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Macbeth's tragedy
Superstitions about macbeth play
Psychoanalysis on the novel Macbeth
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Recommended: Macbeth's tragedy
A convincing and tempting argument can be made that characters in Shakespeare’s MacBeth suffer from psychological ailments such as post-traumatic stress disorder or delusional schizophrenia. The appeal of such arguments is likely due to the resulting simplicity; when MacBeth, the main character, can be diagnosed with PTSD, his actions throughout the story can be explained and justified with the diagnosis, along with some convenient paradigm-shifting. However, when viewed through a psychoanalytic perspective of criticism, MacBeth, the main character of Shakespeare’s tragedy MacBeth, can be shown to be free of mental illness or affliction; MacBeth suffers only from critical facets of the human condition and conflicts between his id and superego. …show more content…
Man has struggled eternally with the human condition and its omnipotence. To declare MacBeth free from any mental illness, only some aspects of the human condition require attention. These aspects are guilt, shame, and pride. By comparing the human condition’s effect on MacBeth with any diagnosis of mental illness, it will be seen that the human condition is responsible for many of MacBeth’s actions throughout the tragedy. MacBeth’s subconscious is just as significant a factor. In order to bring himself to commit his atrocities throughout the tragedy, MacBeth’s id, the part of his subconscious focused purely on animal-like drives and pleasures, suppresses his superego, the “voice of reason” of the subconscious which prevents one from acting purely on the pleasure principle of the id. For as long as the superego is silenced by the id, MacBeth can commit ghastly murders necessary to gain and maintain power, only feeling the routine guilt and shame when the superego’s morality has …show more content…
MacBeth meets three witches in his war camp at Forres, Scotland. The witches present MacBeth and his companion Banquo with a prophecy - they are to be kings. The supernatural nature of witches and prophecy in an otherwise worldly setting can easily be attributed to a daylight hallucination due to delusional or paranoid schizophrenia. In this regard, I will concede and compromise with the mental illness theory; MacBeth received this prophecy not from a supernatural trinity of sisters, but as an internal premonition after victory in battle. In other words, after a battle that was considered by the minor Captain character to be as memorable as the site of Christ’s crucifixion, MacBeth’s sense of importance, vanity, and pride implanted in his id a notion not that he would be king, but that he should be king. All later mentions of the witches later in the play are merely references to this ambition. In this regard, the prophecy upon which the tragedy is based is given to MacBeth not by a hallucination caused by an unmentioned mental illness, but by an idea implanted in his subconscious by a swollen sense of pride and importance. Rather than hallucinatory schizophrenia or delusions, MacBeth suffers from the more realistic human condition; specifically pride and its effect of man’s sense of importance and
‘Brave Macbeth,’ (1.2.18.) as he is first introduced, possesses a valiant temperament, is adored by his generous king and all those who have viewed his prowess on the battlefield. Noble and righteous, Macbeth is portrayed as a respectable man who – although it being prophesied by the three witches before he obtains knowledge of his good fortune – gains his title of Thane of Cawdor solely through his loyalty to his kingdom. At first glance, the play’s protagonist ostensibly has a near perfect balance of both ambition and pride. However, as the plot progresses and the Weyard Sisters equivocate the future in their familiar groups of three, the reader may discern an imbalance that contradicts early perceptions of the protagonist’s personality. ‘[Yielding] to that suggestion whose horrid image doth … make [his] heart knock against [his] ribs against the use of nature,’ (1.3.144–47) Macbeth has already succumbed, albeit only in thought, to his overwhelming ambition, adding more weight to his formerly balanced internal scale, thus raising pride raising slightly higher, as ambition takes precedence. Yet this change is relatively minute, and balance is retained, as he has no desire to act upon these thoughts, wishing to gain power only ‘if chance will have [him] king … without [his] stir.’ (1.3.154–55) It is not until his wife asks him, ‘If thou are afeard
Macbeth rejects conformation to traditional gender roles in its portrayal of Lady Macbeth’s relationship with her husband, her morals and their effect on her actions, and her hunger for power. Her regard for Macbeth is one of low respect and beratement, an uncommon and most likely socially unacceptable attitude for a wife to have towards her spouse at the time. She often ignores morality and acts for the benefit of her husband, and subsequently herself. She is also very power-hungry and lets nothing stand in the way of her success. Lady Macbeth was a character which challenged expectations of women and feminism when it was written in the seventeenth century.
In order to do this he is led on a path of multiple murder and deceit.
William Shakespeare’s Macbeth is a play centring around opposing forces trying to gain power in the succession for the throne of Scotland. Macbeth, in the beginning, is known to be a nobel and strong willed man, who is ready to fight for his country. However, one may see that Macbeth has a darker side to him, he is power hungry and blood thirsty, and will not stop until he has secured his spot as King of Scotland. Though Macbeth may be a tyrant, he is very naïve, gullible, and vulnerable. He is vulnerable and willing to be persuaded by many characters throughout the play, his wife, the witches to name a few, this is the first sign that his mental state is not as sharp as others. One will see the deterioration of Macbeth and his mental state as the play progresses, from level headedness and undisturbed to hallucinogenic, psychopathic and narcissistic. The triggering event for his mental deterioration is caused by the greed created from the witches first prophecy, that Macbeth will become King of Scotland (I.iii.53). Because of the greed causing his mental deterioration, Macbeth’s psychosis is what caused his own demise by the end of the play. In Shakespeare’s play Macbeth, the tragic hero Macbeth’s demise is provoked by his hallucinogenic episodes, psychopathic actions and narcissistic behaviours.
While in Hamlet and others of Shakespeare's plays we feel that Shakespeare refined upon and brooded over his thoughts, Macbeth seems as if struck out at a heat and imagined from first to last with rapidity and power, and a subtlety of workmanship which has become instructive. The theme of the drama is the gradual ruin through yielding to evil within and evil without, of a man, who, though from the first tainted by base and ambitious thoughts, yet possessed elements in his nature of possible honor and loyalty. (792)
Shakespeare’s Macbeth alludes, both in real life and in fiction, to mental disease being a corrupting influence on personalities. Many Shakespearean plays include dark topics such as depression and suicide but Macbeth takes the cake by being a melting pot of sins: murder, suicide, guilt, political corruption, and even witchcraft. But no topic is more realistically played than Macbeth’s slow drive into insanity and self destruction.
The history of human behavior can be traced back through literature where human behavior is preserved, and our evolution is observed. The great works of art preserved for entertainment do more than that as they resemble the human behavior that remains constant even though our time period may change; humanity remains the same as kept in ink on paper.
Typical of Shakespeare’s works, the play Macbeth has a protagonist who ultimately experiences a downfall that lead to his demise. The protagonist or tragic hero of this play is Macbeth, once brave and honorable, who eventually becomes tyrannical and feared by many due to what Abrams describes as his “hamartia” or “error of judgment or, as it is often…translated, his tragic flaw.” In this case, Macbeth’s tragic flaw proves to be ambition; however, he cannot be held solely responsible for his downfall. As a result of many outside influential factors, including the witches’ prophecies and a rather coaxing and persuasive wife, one should not hold Macbeth entirely culpable for his actions and tragic end.
While the diagnosis of mental conditions is considered a modern practice, people throughout history have suffered similar mental illnesses but have gone undocumented or unstudied. But even without scientific or psychological records, mental illness can clearly be derived from historical figures and works of art. As early as the 1600s, characters in literary pieces are known to depict characteristics of modern mental labels. During this time period, mental illnesses were generally credited to witchcraft or demonic possession. Though the explanations seem farfetched, the symptoms of what are now seen as neurological disruptions remain the same. In William Shakespeare’s seventeenth century play Macbeth, several characters portray indications of what could be the modern diagnosis schizophrenia.
In the play Macbeth, author William Shakespeare utilizes modest yet distinct diction as well as word organization to portray the resilient personalities of the play. In the early 1600’s mental illnesses and disorders were not recognized and people who displayed symptoms were labeled “crazy” then thrown away to be forgotten. In Macbeth, author Shakespeare uses significant and dramatic elements, diction and organization to show the shift of the main character Macbeth as the play progresses. In the play, Macbeth displays symptoms of, Post-Traumatic Stress Disorder (PTSD), Dissociative Identity Disorder (DID) and Borderline Personality Disorder (BPD), which all go unnoticed.
Macbeth is a brave general who fights for his country Scotland, defeating the King of Norway. He is loyal to his king Duncan, but Macbeth has ambition to take over the kingdom for himself. He has lots of doubts of if he is doing the right thing, but still murders Duncan and then Banquo who is another general who fought with Macbeth. These murders and guilt about his treason are leading Macbeth to become insane. This essay shows that although Macbeth’s strong desire for power is influenced by the three witches in the play and also the planning and ambition of his wife Lady Macbeth, in the end he is responsible for his self-destruction.
William Shakespeare is widely regarded as the greatest writer in the history of English literature as well as the world’s paramount playwright. Possibly the most superlative writing attribute he possessed was his unmatched ability of characterization. Shakespeare created unique, opaque, and eminent characters who related to almost everyone. When one thinks of these famous characters, Shakespeare’s tragedy of Macbeth comes into consideration. Macbeth is possibly Shakespearian Theatre’s densest and most disturbed character, and this prestigious title can be credited to his obvious psychological problems. The troubled mind of Macbeth can be related to several modern day psychological problems.
I decided to analyze Act II, Scene II in MacBeth using Psychoanalysis. I have previously examined the passage using Marxism and Queer Theory, so I thought it might be beneficial to scrutinize the scene from yet another angle. However, I will also discuss another scenes, as well, in order to fully, yet briefly, demonstrate MacBeth’s two opposing psychological constructions.
As with all great works of literature, William Shakespeare’s Macbeth has spawned countless essays concerning its interpretation. Two such essays, “Shakespearean Tragedy” and “General Macbeth,” produced by two eminent literary critics, A.C. Bradley and Mary McCarthy, find themselves in conflict. The essays’ respective authors diverge on subjective points such as interpretation of character, original intent, and meaning. Bradley’s Macbeth is courageous and encumbered by the dregs of guilt, while McCarthy’s version takes a less orthodox path. A.C. Bradley’s interpretation of Macbeth finds him human, conflicted, and comparable to his wife, Lady Macbeth, in many respects.
Macbeth’s story highlights the inherent goodness found in all of us, but also the evil that lurks within us, unnourished. Although there is no redemption for Macbeth’s evil sins, he finally comes to acknowledge his crimes and thus can provoke pity in the eyes of the audience. Macbeth’s psychological journey from a courageous general to a “ dead butcher” (5.9.41) is one that truly merits to be called a tragedy.