Macbeth: Motifs | SparkNotes

Macbeth Motifs

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Motifs are recurring structures, contrasts, and literary devices that can help to develop and inform the text’s major themes.

Hallucinations

Visions and hallucinations recur throughout the play and serve as reminders of Macbeth and Lady Macbeth’s joint culpability for the growing body count. When he is about to kill Duncan, Macbeth sees a dagger floating in the air. Covered with blood and pointed toward the king’s chamber, the dagger represents the bloody course on which Macbeth is about to embark. Later, he sees Banquo’s ghost sitting in a chair at a feast, pricking his conscience by mutely reminding him that he murdered his former friend. The seemingly hardheaded Lady Macbeth also eventually gives way to visions, as she sleepwalks and believes that her hands are stained with blood that cannot be washed away by any amount of water. In each case, it is ambiguous whether the vision is real or purely hallucinatory; but, in both cases, the Macbeths read them uniformly as supernatural signs of their guilt.

Violence

Macbeth is a famously violent play. Interestingly, most of the killings take place offstage, but throughout the play, the characters provide the audience with gory descriptions of the carnage, from the opening scene where the captain describes Macbeth and Banquo wading in blood on the battlefield, to the endless references to the bloodstained hands of Macbeth and his wife. The action is bookended by a pair of bloody battles: in the first, Macbeth defeats the invaders; in the second, he is slain and beheaded by Macduff. In between is a series of murders: Duncan, Duncan’s chamberlains, Banquo, Lady Macduff, and Macduff’s son all come to bloody ends. By the end of the action, blood seems to be everywhere.

Prophecy

Prophecy sets Macbeth’s plot in motion—namely, the witches’ prophecy that Macbeth will first become thane of Cawdor and then king. The weird sisters make a number of other prophecies: they tell us that Banquo’s heirs will be kings, that Macbeth should beware Macduff, that Macbeth is safe till Birnam Wood comes to Dunsinane, and that no man born of woman can harm Macbeth. Save for the prophecy about Banquo’s heirs, all of these predictions are fulfilled within the course of the play. Still, it is left deliberately ambiguous whether some of them are self-fulfilling—for example, whether Macbeth wills himself to be king or is fated to be king. Additionally, as the Birnam Wood and “born of woman” prophecies make clear, the prophecies must be interpreted as riddles, since they do not always mean what they seem to mean.

Doublespeak

Doublespeak, or deliberately ambiguous language, occurs at key moments of Macbeth and underscores the idea that when truth is manipulated, destruction follows. Sometimes this doublespeak is kindly meant, as when Ross tries to spare Macduff’s feelings by telling him that his wife and son are “well” when he really means that they are in heaven, dead. More often, however, the characters rely on ambiguity to evade the truth. The witches’ deceptive prophecies, like saying Macbeth can never be harmed by anyone “of woman born,” are the most dangerous instances of doublespeak, as Macbeth relies on them to violently seize power. Ultimately, despite his own facility with lies and deception, Macbeth’s inability to correctly interpret the witches’ doublespeak leads to his downfall. Just before Macduff kills him, Macbeth swears that he will never again believe those “juggling fiends” that manipulate words and speak “in a double sense.”