Examples Of Treachery In Macbeth

“The tragedy of Macbeth is considered so unlucky that it is hardly ever called by name inside the profession. People refer to the play as ‘that play’, ‘the unmentionable’ or ‘the Scottish play.’ It is supposed to be bad luck to quote from the play or to use any sets, costumes, or props from a production” (Hirtle, par. 2). Considering the treachery and betrayal that appears throughout MacBeth, the idea of the play being cursed does not seem implausible. MacBeth, indeed a nefarious character, continuously changed over the course of the play. Coping with the guilt of his various betrayals, disgrace and shame haunt MacBeth. Evidently, betrayal of one’s own values is a major affair in MacBeth. MacBeth betrayed his morals and inner values. He deals

with his treachery throughout the whole story. In the play, MacBeth, written by William Shakespeare, the author illustrates treachery and betrayal through the utilization of conflict, characterization, feminine stereotypes, and authorial bias.
To begin, Shakespeare utilizes internal conflict to illustrate treachery and betrayal throughout MacBeth. An incident involving internal conflict arises when MacBeth debates whether or not to kill King Duncan in Act I. “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” (I.VII.XIII-XVI). Considering his loyalty to Duncan, MacBeth felt irresolute when asked by Lady MacBeth to betray and murder Duncan. Furthermore, MacBeth wished to hold a position of power but also knew that this murder would be a gateway to far darker and more treacherous actions. Another incident involving internal conflict transpires when MacBeth feels extreme guilt for murdering King Duncan. “What hands are here! Ha, they pluck out mine eyes. / 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” (II.II.LVII-LXI). With the guilt of having murdered a figure to whom he was loyal to, King Duncan, MacBeth examines his blood-stained hands and does not believe his incredulous action that he just committed. Additionally, MacBeth hears a suspicious knocking at his door and believes that the knocking symbolized death. Throughout MacBeth, Shakespeare employs the use of internal conflict to elucidate the aspects treachery and betrayal in the play.
In addition, Shakespeare utilizes characterization to exemplify betrayal throughout MacBeth. Incidents involving characterization take place over the whole story during MacBeth’s transformation into a ruthless leader. For example, in Act I, MacBeth deeply contemplates murdering Duncan. “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” (I.VII.I-VII). Through the succession of the story, MacBeth flourishes into a merciless dictator. In Act V, MacBeth does not feel the guilt of killing anymore. MacBeth transformed from a credulous subject into a murderous, power-hungry, leader. MacBeth murdered MacDuff’s family without shame. “I have no words. My voice is in my sword. / Thou bloodier villain / Than terms can give thee out!” (V.VIII.VII-IX). The transformation of the characterization of MacBeth demonstrates treacherous and disloyal aspects over the course of the play, MacBeth.
Furthermore, Shakespeare exploits feminist theory in order to further develop the recurring betrayal and treachery throughout MacBeth. Statistics show that 16% of Shakespeare’s characters were independent vivid females (BBC). For example, Lady MacBeth is a character in MacBeth acting on her own inclinations. Lady MacBeth wishes to abdicate her femininity and other qualities associated with women, such as being nurturing, supportive, and submissive. In addition, Lady MacBeth desires to renounce her femininity in order to act firmly and without weakness. In Act I, Lady MacBeth presents a soliloquy in which she dictated, “The raven himself is hoarse / That croaks the fatal entrance of Duncan / Under my battlements. Come, you spirits / That tend on mortal thoughts, unsex me here, / And fill me from the crown to the toe topful / Of direst cruelty!” (I.V.XXXVIII-IXIII). Lady MacBeth performs her soliloquy alone in a cold and lonely domain that adds to the idea that she is a cold, treacherous character. Considering the fact that Lady MacBeth is acting through MacBeth in order to gain more power, Lady MacBeth is a dynamic and influential character, especially in Act I. In MacBeth, Shakespeare makes use of feminist theory in pursuance of developing treachery and betrayal.
Finally, Shakespeare integrates his authorial bias into Macbeth in an effort to display the betrayal and treachery throughout the story.

For example, the women in Shakespeare’s life could have inspired Lady MacBeth’s vast determination and self-reliance. “His [Shakespeare’s] mother, aunts and grandmothers had a degree of independence or influence in their social spheres that the majority of 16th century women did not have, something which may have contributed to his portrayal of female characters in his plays and writing” (Loomis). Being influential and eloquent, the character of Lady MacBeth possibly might have been a reflection of the significance of the women in Shakespeare’s life. As seen in Act I, Lady MacBeth displays her sense of initiative when presented with any opportunity to achieve her goals. “Glamis thou art, and Cawdor, and shalt be / What thou art promised. Yet do I fear thy nature; / It is too full o' th' milk of human kindness / To catch the nearest way. Thou wouldst be great, / Art not without ambition, but without / The illness should attend it” (I.V.XV-XX). Additionally, as stated in the TV program, “In Search of Shakespeare”, Shakespeare interacted with many other influential female characters such as his wife Anne Hathaway and Queen Elizabeth I. By analyzing Shakespeare’s authorial bias in the play, MacBeth, the reason for the manifestation of the influential female characters becomes

apparent.
In conclusion, the treachery and betrayal woven by Shakespeare throughout MacBeth proves an important recurring topic of betraying one’s own values and scruples. From MacBeth washing out his bloody hands to him murdering MacDuff’s entire family, MacBeth remains a treacherous character. MacBeth’s internal conflict, first seen in Act I, helps shape his overall treachery. Through his fickle pondering between his morals and desires, MacBeth becomes a ruthless leader. Additionally, through MacBeth’s characterization of a ruthless leader, Shakespeare indicates the metamorphosis of MacBeth. Using feminist theory, Shakespeare also displays the treachery of both men and women in the story. Shakespeare’s upbringing also affected his authorial bias throughout the story and the depiction of his characters. Clearly, the motif of betrayal in MacBeth helped shape the story. Overall, the structure and evolution of treachery throughout MacBeth produced a fairly dark mood. William Shakespeare displays treachery and betrayal by appropriating conflict, characterization, feminist theory, and his authorial bias throughout the play, MacBeth.