SECOND WITCH
By the pricking of my thumbs,
Something wicked this way comes.
Open locks,
Whoever knocks.
[Enter MACBETH.]
MACBETH
How now, you secret, black, and midnight hags?
What is't you do?
ALL
A deed without a name.
MACBETH
I conjure you, by that which you profess,
Howe'er you come to know it, answer me.
Though you untie the winds, and let them fight
Against the churches; though the yesty waves
Confound and swallow navigation up;
Though bladed corn be lodged, and trees blown down;
Though castles topple on their warders' heads;
. . .
Even till destruction sicken–answer me
To what I ask you.

"Something wicked this way comes" captures the moral decay symbolized by Macbeth, who now seeks more power through sinister means. The witch's perception of Macbeth as "wicked" signifies his complete transformation into a figure of evil, driven by ambition and guilt. His entrance disrupts any semblance of natural order, as indicated by the witches' ominous greeting. Macbeth's demand to know the future reflects his insatiable desire for control, even at the cost of chaos.

The witches' cryptic response, "A deed without a name," emphasizes the unspeakable nature of the acts Macbeth will commit. It underscores the theme of unchecked ambition leading to destruction, as Macbeth's actions transcend conventional morality and language. The passage highlights the futility of power gained through treachery and the inevitable consequence that even as Macbeth seeks certainty, he only invites more uncertainty and dread.

MACBETH
. . .
Will all great Neptune's ocean wash this blood
Clean from my hand? No. This my hand will rather
The multitudinous seas incarnadine,
Making the green one red.
LADY MACBETH
My hands are of your colour; but I shame
To wear a heart so white. [Knock.] I hear a knocking
At the south entry. Retire we to our chamber.
A little water clears us of this deed.
. . .

In this exchange, Macbeth reveals the profound weight of his guilt. The imagery evokes his belief that not even the vast ocean could cleanse the blood from his hands, symbolizing the irremovable stain of regicide on his conscience. The "multitudinous seas incarnadine" underscores the extent of his remorse, capable of turning all the world's waters red with his sin.

In stark contrast, Lady Macbeth downplays the gravity of their crime. Her assertion that "a little water clears us of this deed" highlights her pragmatic, albeit misguided, approach. She equates the physical act of washing with moral absolution, showcasing her denial of the emotional and ethical consequences. Her reference to "a heart so white" implies cowardice, mocking Macbeth's inability to dismiss the deed as easily as she claims to. This moment foreshadows her eventual unraveling, as the psychological burden of their actions will later consume both their sanity and their lives.

MACBETH
. . .
To-morrow, and to-morrow, and to-morrow,
Creeps in this petty pace from day to day,
To the last syllable of recorded time;
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life's but a walking shadow, a poor player,
That struts and frets his hour upon the stage,
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury
Signifying nothing.
. . .

In this poignant soliloquy, Macbeth reflects on the futility and transient nature of life following Lady Macbeth's death. His words convey a sense of profound disillusionment and nihilism. The repetition of "to-morrow" emphasizes the monotonous and unrelenting passage of time, which ultimately leads to "dusty death." The imagery of life as a "brief candle" and "a walking shadow" underscores its ephemeral and insubstantial nature. Macbeth likens life to a "poor player," an actor full of meaningless bluster, highlighting the insignificance of human endeavors. His declaration that life is "a tale told by an idiot" suggests that existence is chaotic and devoid of meaning, filled with "sound and fury" yet ultimately "signifying nothing." This passage encapsulates the despair and existential angst that permeates Macbeth's character as he faces the collapse of his ambitions and the inevitable consequences of his actions.

MACBETH
. . .
. . . Better be with the dead,
Whom we, to gain our peace, have sent to peace,
Than on the torture of the mind to lie
In restless ecstasy. Duncan is in his grave.
After life's fitful fever he sleeps well,
Treason has done his worst; nor steel, nor poison,
Malice domestic, foreign levy, nothing,
Can touch him further.
LADY MACBETH
Come on.
Gentle my lord, sleek o'er your rugged looks,
Be bright and jovial among your guests to-night.
MACBETH
So shall I, love, and so I pray be you. . . .

Macbeth's reflection on death, expressed in these lines, reveals his deep-seated turmoil and regret. He envies King Duncan, who, despite being murdered by Macbeth himself, now enjoys the peace of the grave—a stark contrast to Macbeth's own "torture of the mind." The phrase "life's fitful fever" captures the chaos and unrest plaguing the living, suggesting that death brings a serene resolution. This moment underscores the irony of Macbeth's situation: he sought power to achieve peace, yet it eludes him, while Duncan, whom he killed to attain that power, now rests untroubled. Macbeth’s lament illustrates the futility of his ambition and foreshadows his eventual downfall, trapped by the consequences of his own actions. Meanwhile, Lady Macbeth urges him to conceal his inner conflict and present a jovial facade, highlighting the deceptive veneer that masks their crumbling state.

LADY MACBETH
Here's the smell of the blood still: all the perfumes of Arabia will not sweeten this little hand. Oh, oh, oh!
DOCTOR
What a sigh is there! The heart is sorely charged.
GENTLEWOMAN
I would not have such a heart in my bosom for the dignity of the whole body.
DOCTOR
Well, well, well.
GENTLEWOMAN
Pray God it be sir.
DOCTOR
This disease is beyond my practice. Yet I have known those which have walked in their sleep who have died holily in their beds.

In Shakespeare's "Macbeth," this quote captures Lady Macbeth's descent into madness. Her initial ambition and cold determination have given way to overwhelming guilt and despair. While earlier she mocked Macbeth's hesitations, she is now consumed by the psychological consequences of their actions. The "smell of the blood" becomes a haunting symbol of her inescapable guilt. Her belief that "all the perfumes of Arabia will not sweeten this little hand" suggests that no external remedy can cleanse her inner torment. The phrase underscores the depth of her remorse and the futility of trying to escape the moral repercussions of her deeds. The doctor and gentlewoman's reactions highlight the severity of her condition, with the doctor acknowledging the limits of his medical knowledge. This powerful scene emphasizes the destructive power of guilt and ambition unchecked by moral boundaries.

MACDUFF
I am not treacherous.
MALCOLM
But Macbeth is.
A good and virtuous nature may recoil
In an imperial charge. But I shall crave your pardon.
That which you are, my thoughts cannot transpose;
Angels are bright still, though the brightest fell.
Though all things foul would wear the brows of grace,
Yet grace must still look so.

In this exchange between Macduff and Malcolm from Macbeth, Malcolm deliberates on the nature of trust and betrayal amidst the chaos wrought by Macbeth's tyranny. Despite Macduff's assurance that he is loyal, Malcolm remains cautious, acutely aware that appearances can be deceiving, as even the brightest angels, like Lucifer, have fallen. This metaphor underscores the potential for corruption in those who once seemed virtuous. Malcolm’s words highlight the difficulty of discerning true loyalty in a world where deceit is rampant. By reminding Macduff that "though all things foul would wear the brows of grace, yet grace must still look so," Malcolm acknowledges that while evil may disguise itself as good, genuine goodness must persistently shine through. This moment reflects the pervasive mistrust in Scotland and the necessity for discernment and integrity in the face of treachery.

FIRST WITCH
A sailor's wife had chestnuts in her lap,
And munched, and munched, and munched.
Give me, quoth I.
Aroint thee witch the rump-fed ronyon cries.
Her husband's to Aleppo gone, master o'th' Tiger;
But in a sieve I'll thither sail,
And like a rat without a tail,
I'll do, I'll do, and I'll do.

This passage reveals the whimsical yet malevolent nature of the witches in Macbeth. The first witch recounts an encounter where she was denied chestnuts by a sailor's wife and insults were exchanged. Despite the dismissal, the witch plots her revenge. The witch's vengeful response—sailing in a sieve to Aleppo and transforming into a tailless rat—showcases their supernatural abilities and vindictive tendencies. Her tale serves not only as comic relief but also foreshadows the chaotic influence the witches will exert over Macbeth's life. This interaction exemplifies the witches’ capriciousness and forebodes their role in manipulating human fate with malicious delight. The imagery of a "rump-fed ronyon" and the witch's bizarre threats emphasize the eerie and unpredictable forces at play in the narrative.

LADY MACBETH
I pray you speak not; he grows worse and worse.
Question enrages him. At once, good night.
. . .
MACBETH
It will have blood, they say; blood will have blood.
Stones have been known to move, and trees to speak.
Augurs and understood relations have
By maggot-pies and choughs and rooks brought forth
The secret'st man of blood. What is the night?

In this tense moment from Macbeth, the titular character finds himself haunted by the consequences of his ambition and treachery. Lady Macbeth attempts to mask her husband's unraveling sanity in front of their guests, urging them to leave before Macbeth's condition worsens. This exchange occurs during a banquet where Macbeth is visited by Banquo's ghost, a manifestation of his guilt and paranoia.

The line "blood will have blood" suggests an inevitable cycle of violence and retribution. Macbeth is beginning to understand that his murderous actions will incite further bloodshed, perhaps even his own downfall. His reference to unnatural events, like stones moving and trees speaking, emphasizes the disorder and chaos his deeds have unleashed. Macbeth's query, "What is the night?" reflects his growing confusion and fear of the darkness that symbolizes his tormented mind and the ominous future awaiting him.

LADY MACBETH
. . . Come you spirits
That tend on mortal thoughts, unsex me here,
And fill me from the crown to the toe top-full
Of direst cruelty; make thick my blood, . . .
Come to my woman's breasts,
And take my milk for gall, you murd'ring ministers
Wherever in your sightless substances
You wait on nature's mischief. Come thick night,
And pall thee in the dunnest smoke of hell,
That my keen knife see not the wound it makes,
Nor heaven peep through the blanket of the dark,
To cry, hold, hold!

This passage from "Macbeth" reveals Lady Macbeth's chilling invocation to the supernatural. She seeks to shed her femininity, asking to be "unsexed" in order to pursue her dark ambitions with remorseless cruelty. Her plea to the spirits to "thicken" her blood signifies her desire to be devoid of compassion and hesitation. By requesting her milk be turned to gall, she rejects traditional nurturing roles, embracing a path of ruthless determination. The imagery of "thick night" and "dunnest smoke of hell" underscores her wish for obscurity in her deeds, hiding her actions from the moral judgment of "heaven." These lines highlight her willingness to go to any lengths, even conjuring dark forces, to achieve power, showcasing her pivotal role in the tragedy’s unfolding chaos.

FIRST WITCH
Round about the caldron go;
In the poisoned entrails throw.
Toad, that under cold stone
Days and nights has thirty-one
Sweltered venom sleeping got,
Boil thou first i' th' charmed pot.
ALL
Double, double toil and trouble;
Fire burn, and caldron bubble.

This iconic chant from Shakespeare's "Macbeth" encapsulates the eerie and foreboding atmosphere conjured by the witches. As they prepare their brew, the First Witch's instructions to "Round about the caldron go" and to add "poisoned entrails" signal the sinister nature of their work. The use of a "toad" with "sweltered venom" adds a grotesque and unsettling element to the scene. The repetition of "Double, double toil and trouble; / Fire burn, and caldron bubble" is a rhythmic incantation that enhances the sense of looming danger and chaos. This spell serves as an ominous precursor to Macbeth's descent into madness and tyranny. It reflects the theme of unnatural influences corrupting human ambition and foreshadows the catastrophic consequences of Macbeth's unchecked desire for power. The witches' supernatural presence and their dark prophecy drive the narrative forward, underscoring the tragic trajectory of Macbeth's fate.

SECOND WITCH
Fillet of a fenny snake,
In the caldron boil and bake;
Eye of newt, and toe of frog,
Wool of bat, and tongue of dog,
Adder's fork, and blind-worm's sting,
Lizard's leg, and howlet's wing;
For a charm of powerful trouble,
Like a hell-broth boil and bubble.
ALL
Double, double toil and trouble;
Fire burn, and caldron bubble.

In this iconic scene from Macbeth, Shakespeare presents the witches concocting a potion filled with bizarre and grotesque ingredients. The recitation of this spell by the witches, with its rhythmic "Double, double toil and trouble," encapsulates the dark and supernatural tone of the play. Each ingredient adds to the eerie atmosphere, symbolizing the chaotic and unnatural events unfolding in the story. The witches' brew serves as a metaphor for the moral corruption invading Scotland, mirroring Macbeth's descent into tyranny and madness. Their incantation foreshadows the further "trouble" that will ensue as Macbeth's reign continues. This scene exemplifies the play’s exploration of themes like fate versus free will and the corruptive nature of unchecked ambition.

This eerie incantation from the witches in Shakespeare's Macbeth sets the stage for the play's exploration of moral ambiguity and deceptive appearances. "Fair is foul, and foul is fair" encapsulates the theme of inversion, suggesting that what seems good is actually bad and vice versa. This paradoxical statement establishes an atmosphere of confusion and foreboding, where the natural order of things is subverted. It foreshadows the deceptive nature of the characters and events that follow, indicating that Macbeth's rise to power will be fraught with treachery and deceit. The witches' ability to "hover through the fog and filthy air" further emphasizes their otherworldly presence and their role in blurring the lines between reality and illusion. The line is a harbinger of the chaos that will ensue, inviting the audience to question the reliability of appearances and the integrity of ambitions.

ROSS
Your son my lord, has paid a soldier's debt.
He only lived but till he was a man,
The which no sooner had his prowess confirmed
In the unshrinking station where he fought,
But like a man he died.
. . .
SIWARD
Had he his hurts before?
ROSS
Ay, on the front.
SIWARD
Why then, God's soldier be he.
Had I as many sons as I have hairs,
I would not wish them to a fairer death.
And so his knell is knolled.

This exchange between Ross and Siward emphasizes themes of honor and bravery in Shakespeare's Macbeth. Siward, upon learning of his son's death, seeks reassurance that his son died valiantly, with wounds received at the front. This detail satisfies Siward, as it confirms his son's courage and dedication as "God's soldier." Siward's stoic acceptance of his son's death reflects the values of the society in which martial valor and a dignified death in battle are held in high esteem. His remark, "I would not wish them to a fairer death," underscores the belief that dying honorably in service is the ultimate fulfillment of a soldier’s duty. The dialogue poignantly illustrates the personal sacrifices made in the pursuit of power and the relentless cycle of violence that characterizes the play.

LADY MACBETH
My royal lord,
You do not give the cheer. The feast is sold
That is not often vouched, while 'tis a-making,
'Tis given with welcome. To feed were best at home;
From thence, the sauce to meat is ceremony,
Meeting were bare without it.
[Enter GHOST OF BANQUO and sits in MACBETH'S seat.]
MACBETH
Sweet remembrancer!
Now good digestion wait on appetite,
And health on both.
LENNOX
May't please your Highness sit.
MACBETH
Here had we now our country's honour roofed,
Were the graced person of our Banquo present; . . .

This passage from Macbeth highlights the tension between appearance and reality as Macbeth struggles to maintain composure. Lady Macbeth chastises her husband for neglecting the role of a gracious host, suggesting that a meal without genuine hospitality is as hollow as sustenance without joy. Her comments underscore the pretense necessary to disguise their treachery. Macbeth, addressing the gathering, wishes for "good digestion" to accompany "appetite," indicating his desire for peace of mind amidst growing turmoil, even as the ghost of Banquo—a symbol of his guilt—appears. This imagery of a disrupted banquet reflects Macbeth's internal chaos and foreshadows further unraveling. Lennox's polite prompt for Macbeth to sit adds to the irony, as the king's inability to "sit" comfortably in his ill-gotten position is palpable. This moment encapsulates the deceptive façade Macbeth must uphold as his conscience haunts him, literally and figuratively.

MACBETH
. . .
Let fall thy blade on vulnerable crests;
I bear a charmed life, which must not yield
To one of woman born.
MACDUFF
Despair thy charm,
And let the angel whom thou still hast served
Tell thee, Macduff was from his mother's womb
Untimely ripped.

Here, Macbeth clings to a prophecy that he believes guarantees his safety. He is under the impression that no "one of woman born" can harm him, thus seeing himself as invincible. In the heat of battle, he challenges Macduff, taunting him with his supposed immunity to harm. However, Macduff shatters Macbeth's illusion of invulnerability by revealing his own birth by caesarean section, thus not "of woman born" in the traditional sense. This pivotal moment underscores the theme of deceptive appearances and the danger of overconfidence. Macbeth's reliance on the witches' prophecies blinds him to the true reality of his situation, highlighting his tragic flaw: an overreliance on fate and supernatural assurances. In this dramatic exchange, Shakespeare illustrates the collapse of Macbeth's world, built on misinterpretation and arrogance.

LADY MACBETH
. . . Would'st thou have that
Which thou esteem'st the ornament of life,
And live a coward in thine own esteem,
Letting I dare not wait upon I would,
Like the poor cat i' th' adage?
MACBETH
Prithee peace.
I dare do all that may become a man;
Who dares do more is none.

In this exchange, Lady Macbeth challenges Macbeth's resolve and questions his bravery, implying he is too cowardly to seize the opportunity to become king. She uses a metaphor about a cat hesitating to get its feet wet to shame him into action. The line draws out Macbeth's inner turmoil and his struggle with ambition and morality. In response, Macbeth declares, "I dare do all that may become a man; Who dares do more is none." Here, he asserts that true courage lies in acting within the bounds of what is honorable and human. Macbeth's retort highlights his belief that exceeding these bounds would strip a person of their humanity, revealing the ethical conflict he faces. This moment foreshadows the internal and external battles that will plague Macbeth throughout the play.

MACBETH
Ride you this afternoon?
BANQUO
Aye, my good lord.
MACBETH
We should have else desired your good advice,
Which still hath been both grave and prosperous,
In this day's council; but we'll take tomorrow.
Is't far you ride?
BANQUO
As far, my lord, as will fill up the time
'Twixt this and supper. Go not my horse the better,
I must become a borrower of the night
For a dark hour or twain.

This exchange between Macbeth and Banquo is steeped in dramatic irony and foreshadowing. Banquo's mention of "becom[ing] a borrower of the night" speaks to his intention to ride until dusk, oblivious to the sinister fate Macbeth has in mind for him. His words are layered with an unintentional prophecy of his own end, as night serves as a metaphor for the darkness of death that awaits him. Macbeth's seemingly casual inquiry about Banquo's plans veils his ulterior motive—the impending plot against Banquo. The dialogue underlines the theme of deception that runs throughout the play, with Macbeth hiding murderous intent under a guise of friendly concern. Banquo's trust contrasts sharply with Macbeth's treachery, reflecting the corrupting influence of power and ambition on personal relationships.

MACBETH
. . .
Is this a dagger which I see before me,
The handle toward my hand? Come let me clutch thee.
I have thee not, and yet I see thee still.
Art thou not, fatal vision, sensible
To feeling as to sight? . . .
There's no such thing,
It is the bloody business which informs
Thus to mine eyes. . . .

In this famous soliloquy from Macbeth, the titular character is on the verge of committing regicide. He perceives a floating dagger, leading him to question his senses and his resolve. The phantom dagger, enticing yet untouchable, symbolizes Macbeth’s inner turmoil and the gravity of the act he is about to commit. His attempt to grasp the dagger only to find it illusory underscores the conflict between his ambitions and his moral hesitation. The imagery reveals the psychological impact of his "bloody business," as his guilt and ambition manifest as hallucinations. This moment marks a turning point, emphasizing the theme of appearance versus reality and foreshadowing Macbeth’s descent into madness as he becomes ensnared in his own treacherous ambitions.

MACBETH
. . .
Yet I will try the last. Before my body
I throw my warlike shield. Lay on Macduff,
And damned be him that first cries, hold, enough.

In this climactic moment from Shakespeare's Macbeth, the titular character confronts his inevitable downfall with fierce defiance. Although previously assured by the witches' prophecy that no man born of woman could harm him, Macbeth learns from Macduff that this is not literal protection. The revelation that Macduff was "from his mother's womb untimely ripped" shatters Macbeth's illusion of invincibility. Yet, instead of surrendering to despair, Macbeth chooses to face his fate with courage. His challenge to Macduff, "Lay on Macduff, / And damned be him that first cries, hold, enough," reflects his refusal to yield, even when defeat is certain. This confrontation underscores the themes of fate, ambition, and the tragic consequences of unchecked power, encapsulating Macbeth's tragic heroism in his final stand against the forces arrayed against him.

MACBETH
We will proceed no further in this business.
He hath honoured me of late, and I have bought
Golden opinions from all sorts of people,
Which would be worn now in their newest gloss,
Not cast aside so soon.
. . .
LADY MACBETH
. . . Wouldst thou have that
Which thou esteem'st the ornament of life,
And live a coward in thine own esteem,
Letting I dare not wait upon I would,
Like the poor cat i' th' adage?

In this exchange from Shakespeare's "Macbeth," the protagonist hesitates to commit regicide, despite the witches' prophecy that he will become king. Macbeth's initial reluctance stems from recent accolades he has received from others, reflecting his desire to maintain his honorable reputation. He wishes not to discard the "golden opinions" he has earned, choosing instead to relish them. Lady Macbeth, however, counters his hesitation with a powerful metaphor. She chides him for behaving like "the poor cat i' th' adage," referring to a creature that desires fish but refuses to wet its paws to obtain them. By juxtaposing "I dare not" with "I would," she highlights Macbeth's indecision and challenges his courage, pressing him to pursue his ambitions more ruthlessly. This interaction underscores the tension between ambition and morality, as well as the influential role Lady Macbeth plays in propelling Macbeth towards his tragic fate.

MACBETH
. . .
To-morrow, and to-morrow, and to-morrow,
Creeps in this petty pace from day to day,
To the last syllable of recorded time;
And all our yesterdays have lighted fools
The way to a dusty death. Out, out, brief candle!
Life's but a walking shadow, a poor player,
That struts and frets his hour upon the stage,
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury
Signifying nothing.

In this poignant soliloquy from Shakespeare's "Macbeth," the titular character reflects on the transient and meaningless nature of life following the death of Lady Macbeth. The repetition of "to-morrow" underscores the monotony and relentless passage of time. Macbeth perceives life as a "walking shadow," emphasizing its insubstantial and fleeting quality. By likening life to "a poor player" who briefly struts upon the stage, he highlights the futility and insignificance of human existence. The "tale told by an idiot" further suggests that life's events are chaotic and devoid of reason, ultimately "signifying nothing." This speech encapsulates Macbeth's profound disillusionment and nihilism, illustrating his descent into despair as he confronts the consequences of his ambition and the emptiness it has wrought.

MACBETH
. . .
. . . Light thickens, and the crow
Makes wing to th' rooky wood.
Good things of day begin to droop and drowse,
Whiles night's black agents to their preys do rouse.
Thou marvel'st at my words; but hold thee still,
Things bad begun make strong themselves by ill.
So prithee go with me.
[Exeunt.]

In this passage from Macbeth, Shakespeare illustrates the encroaching darkness both literally and metaphorically. As day turns to night, Macbeth observes how the natural world mirrors his own descent into villainy. The "light thickens" suggests an ominous atmosphere, where visibility diminishes and shadows lengthen. Meanwhile, "the crow / Makes wing to th' rooky wood" evokes a scene where creatures associated with death and mystery take flight, symbolizing the unleashing of dark deeds. Macbeth acknowledges the transition from the safety of daytime to the sinister activities of night, noting how "night's black agents" awaken to hunt. This setting underscores his awareness that his evil actions, once started, will only grow stronger. His words to Lady Macbeth, "Things bad begun make strong themselves by ill," reflect his resignation to the path of wrongdoing he has chosen. The passage is a powerful reflection on the corrupting nature of unchecked ambition and the inevitable consequences that follow.

SECOND APPARITION
Be bloody, bold, and resolute, laugh to scorn
The power of man, for none of woman born
Shall harm Macbeth.
[Descends.]
MACBETH
Then live Macduff, what need I fear of thee?
But yet I'll make assurance double sure,
And take a bond of fate. Thou shalt not live;
That I may tell pale-hearted fear it lies,
And sleep in spite of thunder.

In this passage from Macbeth, the second apparition's words provide Macbeth with a deceptive sense of invulnerability by suggesting that no one "of woman born" can harm him. Initially, this prophecy gives Macbeth some comfort, leading him to consider letting Macduff live. However, his inherent paranoia quickly resurfaces, driving him to "make assurance double sure" by planning Macduff’s murder. This moment underscores Macbeth’s deep-seated insecurity and his reliance on violent action to quell his fears. The phrase "sleep in spite of thunder" highlights his desperate yearning for peace and the lengths he’s willing to go to reclaim it. Ultimately, this scene reflects the tragic irony of Macbeth's situation; in seeking to control his destiny, he sets in motion the very events that will lead to his downfall.

CAPTAIN
But the Norweyan lord . . .
. . .
Began a fresh assault.
DUNCAN
Dismayed not this
Our captains, Macbeth and Banquo?
CAPTAIN
Yes,
As sparrows eagles, or the hare the lion.
If I say sooth, I must report they were
As cannons overcharged with double cracks, so they
Doubly redoubled strokes upon the foe.
Except they meant to bathe in reeking wounds,
Or memorize another Golgotha,
I cannot tell–
. . .

This exchange between the Captain and King Duncan in "Macbeth" showcases the valor and ferocity of Macbeth and Banquo in battle. The Captain’s vivid description paints them as forces of nature, comparing their courage to eagles and lions, animals symbolic of power and dominance. The intensity of Macbeth and Banquo's assault is likened to "cannons overcharged with double cracks," illustrating their overwhelming force and unyielding aggression. The reference to "bathing in reeking wounds" or creating "another Golgotha" emphasizes the brutality and bloodshed they unleash, echoing the biblical site of Christ's crucifixion known for its immense sacrifice and suffering. This image sets the tone for the play, underscoring themes of ambition and violence while foreshadowing the tragic consequences of Macbeth's ambition.

MACBETH
. . .
How does your patient, doctor?
DOCTOR
Not so sick my lord,
As she is troubled with thick-coming fancies
That keep her from her rest.
MACBETH
Cure her of that.
Canst thou not minister to a mind diseased,
Pluck from the memory a rooted sorrow,
Raze out the written troubles of the brain,
And with some sweet oblivious antidote
Cleanse the stuffed bosom of that perilous stuff
Which weighs upon the heart?
DOCTOR
Therein the patient
Must minister to himself.

This poignant exchange between Macbeth and the Doctor captures the tragic culmination of Macbeth’s ambition and guilt. Despite Macbeth’s power, he is helpless to alleviate the mental torment plaguing Lady Macbeth, a consequence of their shared complicity in regicide. Macbeth’s request for a cure reflects his desperation to erase the psychological burdens that haunt both him and his wife. The Doctor’s response underscores the theme that some ailments, particularly those of the mind and soul, cannot be remedied by external means. Instead, they require introspection and self-healing. This moment highlights the limits of human intervention in the face of moral and psychological turmoil, and foreshadows the impending downfall of both Macbeth and Lady Macbeth, as they are unable to escape the consequences of their actions.

DOCTOR
Foul whisperings are abroad. Unnatural deeds
Do breed unnatural troubles; infected minds
To their deaf pillows will discharge their secrets.
More needs she the divine than the physician.
God, God forgive us all. Look after her,
Remove from her the means of annoyance,
And still keep eyes upon her. So good night.
My mind she has mated, and amazed my sight.
I think, but dare not speak.

In this poignant scene from Shakespeare's Macbeth, the doctor addresses the profound disturbance plaguing Lady Macbeth. Her descent into madness, manifested through her sleepwalking and obsessive hand-washing, symbolizes the deep psychological toll of her guilt. The "foul whisperings" and "unnatural deeds" refer to the heinous acts she has been complicit in, which now haunt her subconscious. The doctor's statement, "More needs she the divine than the physician," acknowledges that her condition is beyond medical intervention; she requires spiritual healing. His call for divine forgiveness reflects the moral decay that has enveloped both Lady Macbeth and her husband. The doctor's final admission, "I think, but dare not speak," suggests both his fear of the consequences of openly acknowledging the truth and the pervasive atmosphere of suspicion and dread. This exchange highlights the tragic consequences of unchecked ambition and the inescapable burden of guilt.

SECOND APPARITION
Macbeth, Macbeth, Macbeth!
MACBETH
Had I three ears, I'd hear thee.
SECOND APPARITION
Be bloody, bold, and resolute; laugh to scorn
The power of man. For none of woman born
Shall harm Macbeth.

The second apparition's prophecy fills Macbeth with misplaced confidence. The declaration that "none of woman born shall harm Macbeth" suggests to him an invulnerability, as every human he knows was born of a woman. This assurance emboldens his reckless tyranny. Yet, Shakespeare uses this prophecy to illustrate the dangers of half-truths and the folly of hubris. The prophecy's true meaning is only revealed at the play's climax, when Macduff, "from his mother's womb untimely ripped," confronts Macbeth. This clever twist highlights the deceptive nature of the witches and underscores the theme that one's interpretation of fate can lead to downfall. Macbeth's misunderstanding becomes a pivotal moment in the play, driving him deeper into a false sense of security and sealing his tragic fate.

LADY MACBETH
. . . The raven himself is hoarse
That croaks the fatal entrance of Duncan
Under my battlements. . . .
. . .
. . . Come thick night,
And pall thee in the dunnest smoke of hell
That my keen knife see not the wound it makes,
Nor heaven peep through the blanket of the dark,
To cry, hold, hold!

In this chilling soliloquy from Shakespeare's Macbeth, Lady Macbeth calls upon the powers of darkness to cloak her impending murderous act. Her invocation of a "thick night" and "the dunnest smoke of hell" reflects her desire to conceal her intentions not just from the world, but even from heaven itself. The imagery of a raven, traditionally an omen of death, underscores the fatal nature of King Duncan's impending visit. She craves an impenetrable darkness that would prevent any divine intervention—signified by "heaven peep[ing] through the blanket of the dark"—from halting her grim resolve. This moment illuminates Lady Macbeth's ruthless ambition and her willingness to surrender her morality to fulfill her desires, setting the stage for her and Macbeth's tragic descent into madness and despair.

MALCOLM
My liege,
They are not yet come back. But I have spoke
With one that saw him die; who did report,
That very frankly he confessed his treasons,
Implored your Highness' pardon, and set forth
A deep repentance. Nothing in his life
Became him like the leaving it. He died,
As one that had been studied in his death,
To throw away the dearest thing he owed,
As 'twere a careless trifle.
DUNCAN
There's no art
To find the mind's construction in the face.
He was a gentleman, on whom I built
An absolute trust. . . .

This passage from Shakespeare's Macbeth captures a moment of reflection and irony. Malcolm describes the Thane of Cawdor's execution, noting that "nothing in his life became him like the leaving it." His death, marked by a candid confession and apparent repentance, stands in stark contrast to his previous treachery. The phrase suggests that the Thane's final act of dignity overshadows all his past misdeeds, presenting his death as his most honorable moment. Duncan's response underscores the theme of deceptive appearances. Despite the Thane's seeming nobility, his betrayal leaves Duncan pondering the difficulty of discerning true intentions. This moment sets the stage for the play's exploration of trust and betrayal, foreshadowing future deceptions that drive the tragedy forward.

LADY MACBETH
Out damned spot, out I say! One–two–why, then 'tis time to do 't. Hell is murky. Fie my lord, fie! A soldier, and afeard? What need we fear who knows it, when none can call our power to account? Yet who would have thought the old man to have had so much blood in him?

This iconic line from Macbeth captures Lady Macbeth's unraveling mind as she sleepwalks, tormented by guilt over King Duncan's murder. The "damned spot" symbolizes the indelible bloodstains of the crime she can neither wash away nor forget. Her subconscious turmoil surfaces despite her previous stoic demeanor. With "Hell is murky," she acknowledges the moral darkness she has plunged into, yet she remains defiant, questioning why they should fear discovery if their power is unchecked. Her incredulity at the "old man's" abundant blood reveals the profound impact of their violent actions. These words lay bare her psychological torment, illustrating the corrosive nature of guilt and the limits of ambition unchecked by morality.

SETON
The Queen, my lord, is dead.
MACBETH
She should have died hereafter;
There would have been a time for such a word.
Tomorrow, and tomorrow, and tomorrow,
Creeps in this petty pace from day to day,
To the last syllable of recorded time;
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life's but a walking shadow, a poor player,
That struts and frets his hour upon the stage,
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury
Signifying nothing.

Macbeth's soliloquy, delivered upon hearing of Lady Macbeth's death, poignantly encapsulates his descent into existential despair. No longer just a valiant warrior or ambitious noble, he reflects on the futility of life itself. "She should have died hereafter" expresses a resigned acceptance of death as an inevitable conclusion, suggesting that its timing holds little consequence. The repetition of "tomorrow" underscores the monotonous and relentless march of time, reducing life's vibrant moments to mere shadows. Macbeth likens existence to a "poor player" on a stage, whose fleeting performance ends without any lasting impact or significance. This metaphor captures the transient nature of human endeavors, emphasizing their ultimate insignificance. The phrase "full of sound and fury, signifying nothing" completes his lament, highlighting the chaotic and meaningless nature of life's tumultuous events. In this speech, Shakespeare masterfully conveys a profound sense of nihilism that defines Macbeth's tragic realization.

MACBETH
[Aside.] This supernatural soliciting
Cannot be ill, cannot be good. If ill
Why hath it given me earnest of success,
Commencing in a truth? I am Thane of Cawdor.
If good, why do I yield to that suggestion,
Whose horrid image doth unfix my hair,
And make my seated heart knock at my ribs,
Against the use of nature? Present fears
Are less than horrible imaginings. . . .

This passage captures Macbeth's inner turmoil as he grapples with the witches' prophecy and its implications. Caught between disbelief and temptation, he finds himself in a moral quandary. The idea that something "cannot be ill, cannot be good" reflects his confusion and the dual nature of the prophecy. As Macbeth acknowledges his new title as Thane of Cawdor, he is both reassured and unsettled. The "horrid image" of regicide provokes physical reactions, unsettling him to the core. "Present fears" are tangible and immediate, yet they pale in comparison to the possibilities his imagination conjures. This quote highlights the conflict between ambition and morality in Macbeth's character, setting the stage for his tragic downfall. By contemplating "horrible imaginings," Shakespeare explores how unchecked ambition can lead one down a dark and dangerous path.

MACBETH
If we should fail?
LADY MACBETH
We fail?
But screw your courage to the sticking-place,
And we'll not fail. . . .

In this exchange from Macbeth, Lady Macbeth challenges her husband's wavering resolve. Macbeth's anxiety about their plan to murder King Duncan is evident in his question about failure. Lady Macbeth's response is dismissive and sharp, indicating her unyielding determination and belief in their success. Her phrase "screw your courage to the sticking-place" suggests fastening one's resolve firmly, as one would tighten a screw to ensure it does not loosen. This metaphor underscores her scorn for Macbeth's doubts and her insistence on unwavering bravery. Her influence over Macbeth is profound, as she pushes him to embrace ambition despite the moral and ethical consequences. This moment is pivotal as it solidifies Lady Macbeth's role as the driving force behind the plot to seize the throne, revealing the dynamic of power and persuasion in their relationship.

SECOND APPARITION
Be bloody, bold, and resolute; laugh to scorn
The power of man. For none of woman born
Shall harm Macbeth.
[Descends.]
MACBETH
Then live Macduff, what need I fear of thee?
But yet I'll make assurance double sure,
And take a bond of fate. Thou shalt not live;
That I may tell pale-hearted fear it lies;
And sleep in spite of thunder.

In this passage from Macbeth, the second apparition reassures Macbeth that he is invincible to any man born of a woman. This supernatural assurance initially leads Macbeth to believe he is safe from Macduff, yet his paranoia drives him to take drastic measures. Macbeth's decision to "make assurance double sure" by plotting Macduff's death highlights his inner turmoil and growing desperation. He wants to "sleep in spite of thunder," symbolizing his desire for peace of mind amid chaos. This phrase captures Macbeth's tragic flaw: his inability to trust anything but his own ruthless actions. The prophecy, meant to bolster his confidence, instead fuels his spiraling insecurity, underscoring the theme of how unchecked ambition can lead to one's downfall.

MACBETH
Methought I heard a voice cry, sleep no more.
Macbeth does murder sleep, the innocent sleep,
Sleep that knits up the ravelled sleave of care.
The death of each day's life, sore labour's bath,
Balm of hurt minds, great nature's second course,
Chief nourisher in life's feast.

In this haunting soliloquy, Macbeth articulates his profound sense of guilt and the irrevocable disruption of his peace. The phrase "sleep no more" signifies more than just physical rest; it symbolizes the destruction of his inner tranquility and moral sanity. By murdering King Duncan in his sleep, Macbeth metaphorically "murders" sleep itself, the "innocent" and essential human need. He describes sleep as "that knits up the raveled sleave of care," highlighting how it soothes the tangles of daily troubles and provides healing solace. Sleep, as "the death of each day's life," offers reprieve and renewal, a "balm of hurt minds." In calling it "great nature's second course," Macbeth equates it with essential nourishment, vital to living a balanced life. By denying himself this fundamental need, Macbeth acknowledges the depth of his psychological torment and the natural order he has irrevocably broken through his heinous act.

LADY MACBETH
I pray you speak not; he grows worse and worse.
Question enrages him. At once, good night.
Stand not upon the order of your going,
But go at once.

In this moment from Shakespeare's "Macbeth," Lady Macbeth attempts to salvage the chaotic situation at the banquet. Macbeth's increasingly erratic behavior, spurred by the haunting vision of Banquo's ghost, alarms their guests. Lady Macbeth, always the pragmatic partner, urges the attendees to leave without ceremony, prioritizing haste over decorum. Her plea—"Stand not upon the order of your going, but go at once"—encapsulates the urgency of the moment. It reflects her awareness that any further questioning or delay could exacerbate Macbeth's unstable condition, risking their grip on power. This line underscores the unraveling of their once meticulous plans and highlights the growing isolation of the Macbeths, as their ambition leads them past the point of no return. The scene marks a critical turning point, revealing the psychological toll of their actions and foreshadowing the inevitable collapse of their reign.

MACDUFF
O horror, horror, horror! Tongue nor heart
Cannot conceive nor name thee.
MACBETH and LENNOX
What's the matter?
MACDUFF
Confusion now hath made his masterpiece.
Most sacrilegious murder hath broke ope
The Lord's anointed temple, and stole thence
The life o' th' building.
MACBETH
What is't you say–the life?
LENNOX
Mean you his Majesty?
MACDUFF
Approach the chamber, and destroy your sight
With a new Gorgon. Do not bid me speak.
See, and then speak yourselves. . . .

In this heart-wrenching scene from Macbeth, Macduff grapples with the realization of King Duncan's murder. His repeated exclamations of "horror" underscore the depth of his shock and despair. By referring to Duncan as "the Lord's anointed temple," Macduff equates the king's body to a sacred structure, emphasizing the blasphemy of the murder. The "sacrilegious murder" has literally and figuratively shattered this holy edifice, suggesting a profound disruption in the natural and moral order. Macduff's vivid language conveys the gravity of the crime, inviting Macbeth and Lennox to witness the atrocity themselves. The reference to "a new Gorgon" suggests that the sight is so horrifying it could turn viewers to stone, reinforcing the magnitude of the tragedy. This moment illustrates the catastrophic consequences of ambition unchecked by moral restraint, a central theme in Shakespeare's play.

MACBETH
. . . He's here in double trust;
First, as I am his kinsman, and his subject,
Strong both against the deed; then, as his host,
Who should against his murderer shut the door,
Not bear the knife myself. Besides, this Duncan
Hath borne his faculties so meek, hath been
So clear in his great office, that his virtues
Will plead like angels, trumpet-tongued against
The deep damnation of his taking-off.
. . .
. . . I have no spur
To prick the sides of my intent, but only
Vaulting ambition, which o'erleaps itself,
And falls on th'other–

In this soliloquy, Macbeth wrestles with the moral implications of assassinating King Duncan. He acknowledges the "double trust" Duncan places in him—not only as a relative and a subject but also as a host. This multifaceted loyalty should deter him from the murderous deed. Duncan is portrayed as a gentle and effective ruler, whose virtues ought to protect him from treachery. Macbeth recognizes that Duncan’s virtues will "plead like angels" against the "deep damnation" of his untimely death, suggesting that such an act would be gravely unjust. Despite this awareness, Macbeth admits that the only driving force behind his dark ambition is his own "vaulting ambition," a blind ambition that risks leading to his downfall. This internal conflict highlights the theme of unchecked ambition and its potential to corrupt and destroy.

MACBETH [aside]
Two truths are told,
As happy prologues to the swelling act
Of the imperial theme. . . .
. . .
This supernatural soliciting
Cannot be ill, cannot be good. If ill,
Why hath it given me earnest of success,
Commencing in a truth? I am Thane of Cawdor.
If good, why do I yield to that suggestion,
Whose horrid image doth unfix my hair,
And make my seated heart knock at my ribs,
Against the use of nature? . . .
. . .

This passage captures Macbeth's inner conflict upon realizing the witches' prophecy is coming true. Initially, he embraces the news of his new title, seeing it as "happy prologues" to his potential rise to kingship. However, this anticipation quickly turns to turmoil as he grapples with the moral implications of the prophecy. He recognizes the "supernatural soliciting" as ambiguous, neither wholly beneficial nor entirely malevolent. The realization that he is now Thane of Cawdor lends the prophecy credibility, yet the darker thought of murder—a "horrid image"—plagues him. This duality creates a physical reaction, making his heart race "against the use of nature." This moment marks the inception of Macbeth's tragic descent, illustrating how ambition and moral uncertainty begin to unravel his sense of self.

BANQUO
The earth has bubbles, as the water has,
And these are of them. Whither are they vanished?
MACBETH
Into the air; and what seemed corporal melted,
As breath into the wind. Would they had stayed.
BANQUO
Were such things here, as we do speak about?
Or have we eaten on the insane root
That takes the reason prisoner?
MACBETH
Your children shall be kings.
BANQUO
You shall be king.
MACBETH
And Thane of Cawdor too–went it not so?
BANQUO
To the selfsame tune and words.

In this quote from Macbeth, Shakespeare illustrates the bewilderment of Macbeth and Banquo after encountering the enigmatic witches. Banquo's metaphor comparing the earth to water with bubbles highlights the ephemeral nature of the witches' presence, as they vanish as quickly as they appeared. His reference to the "insane root" suggests the possibility of hallucination, hinting at the surreal nature of the encounter and questioning their grip on reality. Macbeth’s fixation on the prophecy, even as Banquo doubts their senses, foreshadows his growing ambition and eventual descent into madness. The dialogue captures a pivotal moment where ambition and doubt collide, setting the stage for the tragic unraveling of both characters' fates. This exchange underscores the theme of appearance versus reality, a central motif in the play.

LADY MACBETH
Glamis thou art, and Cawdor, and shalt be
What thou art promised: yet do I fear thy nature;
It is too full o' the milk of human kindness
To catch the nearest way. . . .

In this soliloquy, Lady Macbeth reveals her perception of her husband's nature while contemplating his potential rise to power. She acknowledges Macbeth's current titles and believes in the prophecy that he will ascend to the throne. However, her concern lies in his character, which she describes as being "too full o' the milk of human kindness." This metaphor suggests that Macbeth, despite his ambitions, possesses an innate gentleness and morality that might hinder his willingness to seize opportunities through ruthless means. Lady Macbeth's words underscore the tension between ambition and morality, introducing the central conflict that will drive the play. Her resolve to bolster Macbeth’s resolve foreshadows her pivotal role in spurring him towards regicide. This passage sets the stage for the ensuing moral and psychological unraveling that defines "Macbeth."

PORTER
. . . Knock, knock. Never at quiet. What are you? But this place is too cold for hell. I'll devil-porter it no further. I had thought to have let in some of all professions, that go the primrose way to th' everlasting bonfire. . . .

In this darkly comedic moment, the Porter imagines himself as the gatekeeper of hell, humorously reflecting on the influx of souls destined for damnation. His comment on the "primrose way to th' everlasting bonfire" serves as a metaphor for the easy and pleasurable path that leads to destruction. This imagery underscores the theme of deceptive appearances, as the path seems appealing but ultimately leads to ruin. The Porter's jesting about letting in people of "all professions" suggests the ubiquity of sin and corruption, while his imagery eerily parallels the moral descent of Macbeth and Lady Macbeth, who have just committed regicide. Shakespeare uses the Porter's speech to provide a moment of levity amidst the tension, yet it also reinforces the play's exploration of guilt and the consequences of ambition.

MACBETH
. . .
I have lived long enough. My way of life
Is fallen into the sear, the yellow leaf,
And that which should accompany old age,
As honour, love, obedience, troops of friends,
I must not look to have; but in their stead
Curses, not loud but deep,
. . .

In this poignant reflection, Macbeth acknowledges the barren state of his life. He compares his existence to a "sear, the yellow leaf," signifying the autumn of life where vibrancy has faded, and decay sets in. The imagery captures the inevitability of aging and the withering of ambitions and relationships. Unlike the typical rewards that come with old age—such as honor, love, and loyal friends—Macbeth expects to receive nothing but deep curses. His reign, marked by treachery and violence, has alienated him from those emotional comforts. This moment is significant as it underscores Macbeth's internal despair and recognition of his moral and social isolation. He is trapped in a self-made prison of regret and foresight of impending doom, marking a critical moment of self-awareness in Shakespeare's tragedy.

MACBETH
Had I but died an hour before this chance,
I had lived a blessed time; for from this instant,
There's nothing serious in mortality.
All is but toys. Renown and grace is dead,
The wine of life is drawn, and the mere lees
Is left this vault to brag of.

In this passage, Macbeth reflects on the emptiness that now pervades his life following the murder of King Duncan. The imagery of "The wine of life is drawn" signifies that the essence and joy of existence have been drained away, leaving only the dregs, or "lees." By lamenting that "renown and grace is dead," Macbeth acknowledges the moral and spiritual void created by his ambition and treachery. He implies that his life is now devoid of meaning, as everything substantial has been lost in his pursuit of power. His words, laced with irony and despair, reveal his awareness of the hollowness of his achievements, despite his outward pretenses. This moment poignantly captures Macbeth's internal conflict and foreshadows the unraveling of both his psyche and his reign.

MACBETH
. . .
Canst thou not minister to a mind diseased,
Pluck from the memory a rooted sorrow,
Raze out the written troubles of the brain,
And with some sweet oblivious antidote
Cleanse the stuffed bosom of that perilous stuff
Which weighs upon the heart?
DOCTOR
Therein the patient
Must minister to himself.

In this poignant exchange, Macbeth desperately seeks a remedy for Lady Macbeth's psychological torment, wishing for her mental anguish to be erased as easily as physical ailments might be treated. His plea reflects his inability to comprehend that certain troubles—especially those of the mind—are beyond the reach of medicine. The doctor's response, "Therein the patient must minister to himself," emphasizes the personal nature of dealing with guilt and trauma. This moment underscores a central theme of the play: the internal and inescapable consequences of one's actions. Macbeth, who is so adept at manipulating external events, is powerless to heal the internal scars his and his wife's guilt have inflicted. It reveals the tragic irony of their situation, where the real battle lies not in external conflicts but within their own hearts and minds.

MALCOLM
. . . Let's not consort with them.
To show an unfelt sorrow is an office
Which the false man does easy. I'll to England.
DONALBAIN
To Ireland, I. Our separated fortune
Shall keep us both the safer. Where we are,
There's daggers in men's smiles; the near in blood,
The nearer bloody.
MALCOLM
This murderous shaft that's shot
Hath not yet lighted, and our safest way
Is to avoid the aim. Therefore to horse,
And let us not be dainty of leave-taking,
But shift away. . . .

In this tense scene from Shakespeare's Macbeth, Malcolm and Donalbain grapple with the implications of their father's assassination. Malcolm's observation about deceit highlights the false displays of grief around them. Donalbain's chilling remark that "There's daggers in men's smiles" underscores the duplicity and hidden danger they perceive in those around them, especially given their royal blood. His statement reveals a keen awareness of their precarious situation as potential targets for violence. By deciding to flee—Malcolm to England and Donalbain to Ireland—the brothers aim to protect themselves from the treacherous environment and avoid becoming the next victims of the power struggle unleashed by Duncan's murder. Their dialogue captures the theme of betrayal and foreshadows the turmoil that will follow their departure.

MACBETH
I'll go no more.
I am afraid, to think what I have done.
Look on't again I dare not.
LADY MACBETH
Infirm of purpose!
Give me the daggers. The sleeping, and the dead
Are but as pictures. 'Tis the eye of childhood
That fears a painted devil. If he do bleed,
I'll gild the faces of the grooms withal,
For it must seem their guilt.

In this intense moment from Shakespeare's Macbeth, Lady Macbeth rebukes her husband for his hesitation and fear after committing regicide. Macbeth is paralyzed by guilt and terror, unable to confront the reality of his actions. Lady Macbeth, on the other hand, dismisses these concerns with her cold pragmatism. She considers the dead as mere "pictures," implying that they pose no threat and should not invoke fear. Her reference to the "eye of childhood" suggests that fearing a "painted devil"—a metaphor for harmless illusions—is childish and irrational. This exchange underscores the stark contrast between Macbeth's growing remorse and Lady Macbeth's unwavering determination. It highlights the psychological unraveling that will haunt Macbeth, as well as foreshadowing Lady Macbeth’s eventual succumbing to her own guilt. Through this dialogue, Shakespeare explores themes of ambition, guilt, and the consequences of moral corruption.

MACBETH
If it were done, when 'tis done, then 'twere well
It were done quickly. If th' assassination
Could trammel up the consequence, and catch
With his surcease, success; that but this blow
Might be the be-all and the end-all–here,
But here, upon this bank and shoal of time,
We'd jump the life to come. But in these cases,
We still have judgment here, that we but teach
Bloody instructions, which being taught return
To plague th' inventor. . . .

In this soliloquy from Macbeth, the protagonist grapples with the moral and practical implications of assassinating King Duncan. Macbeth wishes that Duncan's murder would quickly and neatly achieve his ambitions without further repercussions. He imagines a world where the act of assassination could "trammel up the consequence," implying a desire to escape the inevitable moral and cosmic judgments. However, Macbeth recognizes that such actions do not exist in a vacuum; they set a precedent of violence that often returns to haunt the perpetrator. The phrase "bloody instructions, which being taught return to plague th' inventor" encapsulates the idea that violent deeds create cycles of retribution. This internal conflict illustrates Macbeth's awareness of the moral decay that accompanies his ambition, setting the stage for his tragic downfall.

MACBETH
He's here in double trust;
First, as I am his kinsman, and his subject,
Strong both against the deed; then, as his host,
Who should against his murderer shut the door,
Not bear the knife myself. Besides, this Duncan
Hath born his faculties so meek, hath been
So clear in his great office, . . .
I have no spur
To prick the sides of my intent, but only
Vaulting ambition, which o'er leaps itself,
And falls on th' other–

This passage from Macbeth reveals the internal conflict within the titular character as he grapples with the thought of murdering King Duncan. Macbeth acknowledges his roles as both kinsman and host, which should deter him from committing such a heinous act. However, his only motivation is his "vaulting ambition," a force so powerful and reckless that it could lead to his own downfall. In these lines, Shakespeare captures the tragic flaw of ambition unchecked by morality or reason. Macbeth's ambition metaphorically "o'er leaps itself," suggesting that it is so excessive that it leads to self-destruction. This moment foreshadows the disastrous consequences of his unchecked desires, serving as a critical commentary on the dangers of overreaching ambition in the pursuit of power.

LADY MACBETH
. . .
How now my lord, why do you keep alone,
Of sorriest fancies your companions making,
Using those thoughts which should indeed have died
With them they think on? Things without all remedy
Should be without regard: what's done is done.
MACBETH
We have scotched the snake, not killed it.
She'll close, and be herself, whilst our poor malice
Remains in danger of her former tooth.
But let the frame of things disjoint, both the worlds suffer,
Ere we will eat our meal in fear, and sleep
In the affliction of these terrible dreams
That shake us nightly. Better be with the dead,
Whom we, to gain our peace, have sent to peace,
Than on the torture of the mind to lie
In restless ecstasy. . . .

In this passage from Macbeth, the line "We have scotched the snake, not killed it" captures Macbeth's realization that the dangers threatening his newly acquired throne are far from over. The metaphor of the "snake" represents the threats still lurking around him, particularly Banquo's descendants and the exiled sons of King Duncan. Macbeth acknowledges that their "malice" is merely wounded, not eradicated, and thus remains a menacing force. He expresses profound unease, suggesting that even if the very fabric of the universe were to fall apart, they would continue to live in fear and be haunted by nightmares. This reveals Macbeth’s deep-seated anxiety and guilt, indicating that his ambitious actions have led only to internal torment rather than peace or security.

MACBETH
What man dare, I dare.
Approach thou like the rugged Russian bear,
The armed rhinoceros, or the Hyrcan tiger,
Take any shape but that, and my firm nerves
Shall never tremble.
. . .

This passage is a powerful moment of Macbeth's internal struggle manifesting as bravado. He tries to assert his courage and resolve by declaring that he fears no man or beast, whether it resembles a "rugged Russian bear," a "rhinoceros," or a "Hyrcan tiger." The invocation of these fearsome creatures underscores both his attempt to project strength and his deep-seated fear. The ghost that haunts him is not just a spectral apparition but a symbol of his guilt and the psychological torment following his heinous actions. It is a reminder that Macbeth's real battle is with his own conscience and the consequences of his ambition-driven choices. Despite his outward display of fearlessness, the ghost represents an internal horror he cannot escape, rendering his bravado hollow and his nerves far from "firm." This scene encapsulates Macbeth's tragic decline from a noble warrior to a tyrant tormented by his deeds and their repercussions.

LADY MACBETH
How now my lord, why do you keep alone,
Of sorriest fancies your companions making,
Using those thoughts which should indeed have died
With them they think on? Things without all remedy
Should be without regard: what's done is done.

In this passage, Lady Macbeth addresses her husband, Macbeth, questioning his pensive and solitary demeanor. She observes that he is consumed by "sorriest fancies," thoughts that should have perished along with the events they dwell upon. Her pragmatic advice is encapsulated in the phrase "what's done is done," suggesting that tormenting oneself over irreversible actions is futile. This moment underscores Lady Macbeth's initial role as the pragmatic force in their relationship, urging Macbeth to dismiss his guilt and focus on the present and future. Her words are significant as they highlight the theme of guilt and the psychological torment that follows their heinous actions. Lady Macbeth's attempts to suppress remorse foreshadow her own eventual descent into madness, illustrating the inescapable consequences of their deeds. Her dismissal of guilt contrasts sharply with the inner turmoil that will later consume them both, marking the beginning of their psychological unraveling.

LADY MACBETH
. . . Fie my lord, fie! A soldier, and afeard? What need we fear who knows it, when none can call our power to account? Yet who would have thought the old man to have had so much blood in him?
DOCTOR
Do you mark that?
LADY MACBETH
The Thane of Fife had a wife; where is she now? What, will these hands ne'er be clean? No more o'that my lord, no more o'that; you mar all with this starting.
DOCTOR
Go to, go to! You have known what you should not.

This quote from Macbeth captures Lady Macbeth's unraveling mind as guilt consumes her. Initially a driving force behind regicide, she is now a prisoner of her own conscience. Her rhetorical question, "who would have thought the old man to have had so much blood in him?", reveals an unexpected horror at the physical and moral consequences of Duncan's murder. The imagery of blood, persistent and indelible, symbolizes guilt that she cannot wash away. Her sleepless wanderings and fragmented speech indicate a profound psychological breakdown. The doctor and lady-in-waiting's observations underscore her tragic downfall, showing how ambition and remorse have led to her madness. Lady Macbeth's descent reflects the broader themes of unchecked ambition and the heavy toll of guilt, central to Shakespeare's tragic narrative.