Themes are the fundamental and often universal ideas explored in a literary work.
The Corrupting Power of Unchecked Ambition
The main theme of
The Relationship Between Cruelty and Masculinity
While the male characters are just as violent and prone to evil as the women, the aggression of the female characters is more striking because it goes against prevailing expectations of how women ought to behave. Lady Macbeth’s behavior certainly shows that women can be as ambitious and cruel as men. Whether because of the constraints of her society or because she is not fearless enough to kill, Lady Macbeth relies on deception and manipulation rather than violence to achieve her ends.
Ultimately, the play does put forth a revised and less destructive definition of manhood. In the scene where Macduff learns of the murders of his wife and child, Malcolm consoles him by encouraging him to take the news in “manly” fashion, by seeking revenge upon Macbeth. Macduff shows the young heir apparent that he has a mistaken understanding of masculinity. To Malcolm’s suggestion, “Dispute it like a man,” Macduff replies, “I shall do so. But I must also feel it as a man” (4.3.221–223). At the end of the play, Siward receives news of his son’s death rather complacently. Malcolm responds: “He’s worth more sorrow [than you have expressed] / And that I’ll spend for him” (5.8.16–17). Malcolm’s comment shows that he has learned the lesson Macduff gave him on the sentient nature of true masculinity. It also suggests that, with Malcolm’s coronation, order will be restored to the Kingdom of Scotland.
The Difference Between Kingship and Tyranny
In the play, Duncan is always referred to as a “king,” while Macbeth soon becomes known as the “tyrant.” The difference between the two types of rulers seems to be expressed in a conversation that occurs in Act 4, scene 3, when Macduff meets Malcolm in England. In order to test Macduff’s loyalty to Scotland, Malcolm pretends that he would make an even worse king than Macbeth. He tells Macduff of his reproachable qualities—among them a thirst for personal power and a violent temperament, both of which seem to characterize Macbeth perfectly. On the other hand, Malcolm says, “The king-becoming graces / [are] justice, verity, temp’rance, stableness, / Bounty, perseverance, mercy, [and] lowliness” (4.3.92–93).
The model king, then, offers the kingdom an embodiment of order and justice, but also comfort and affection. Under him, subjects are rewarded according to their merits, as when Duncan makes Macbeth thane of Cawdor after Macbeth’s victory over the invaders. Most important, the king must be loyal to Scotland above his own interests. Macbeth, by contrast, brings only chaos to Scotland—symbolized in the bad weather and bizarre supernatural events—and offers no real justice, only a habit of capriciously murdering those he sees as a threat. As the embodiment of tyranny, he must be overcome by Malcolm so that Scotland can have a true king once more.
Although he is encouraged by the Witches, Macbeth’s true downfall is his own ambition. Lady Macbeth is as ambitious as her husband, encouraging him to commit murder to achieve their goals. Both Macbeths fail to see how their ambition makes them cross moral lines and will lead to their downfall. Once Macbeth kills Duncan, his ambition to hold on to his title as king becomes intertwined with his paranoia. Rather than being able to enjoy the fruits of his ambition, he becomes obsessed with maintaining the power he’s won. Macbeth’s blind pursuit of power can be contrasted with other ambitious characters in the play like Banquo. Banquo also hears the Witches’ prophecies, and similarly has ambition for his sons. But unlike Macbeth, Banquo’s morality prevents him from pursuing his goal at any cost. At the end of the play, Macbeth has achieved all he wanted but has nothing. With his wife gone and no hope of producing a prince, Macbeth sees what his unchecked ambition has cost him: the loss of all he holds dear.
Macbeth’s guilt about murdering his king, Duncan, and ordering the murder of his friend, Banquo, causes him to have guilty hallucinations. Lady Macbeth also hallucinates and eventually goes insane from guilt over her role in Duncan’s death. The fact that both characters suffer torment as a result of their actions suggests neither Macbeth nor his wife is entirely cold-blooded. Although they commit terrible crimes, they know, on some level, that what they’ve done is wrong. Their guilt prevents them from fully enjoying the power they craved. Lady Macbeth says “What’s done/ cannot be undone” in Act Five scene one, but her guilt continues to torment her. While Macbeth’s guilt causes him to commit further murders in an attempt to cover up his initial crimes, Lady Macbeth’s guilt drives her to insanity, and, finally, suicide.
The loss of children is a complex and intriguing theme in the play. For both Macbeth and Banquo, children represent the idea of the continuation of a family line. Macbeth has Banquo murdered in hopes of thwarting the Witches’ prophecy that Banquo will sire a long line of kings. However, Fleance is able to escape being killed, leaving open the possibility he will one day take over the throne. Macbeth and his wife have no heirs, although Lady Macbeth references having been a mother once, saying, “I have given suck, and know / How tender ‘tis to love the babe that milks me. “ This line suggests the Macbeths may have lost a child. Similarly, Macduff mourns the children Macbeth ordered killed and uses their memory to spur him on to victory against their killer; and Siward laments the loss of his son in the play’s closing battle, but is proud to have fathered such a brave soldier who fought in a noble cause.
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