Gazing afar the galaxy of poets, none shines as brightly as William Shakespeare. Indeed, his ingenious depiction of characters, uncanny medley of vocabulary, and use of rhetorical devices was unprecedented. Shakespeare, in the famous play Macbeth, examines the psychological aspect of crime. He puts forth an interesting notion – that one could be easily shocked by crimes which appear abruptly in their full magnitude, but alleviated by the stratagem of self-deceit, one could be negligent of the gradual growth of one’s own wickedness and corruption as a consequence, which ultimately triggers more crimes.
Following the atrocious act of murdering Duncan, Macbeth, though engulfed by guilt, undergoes a subtle change in character and immediately contemplates yet another crime. Firstly, a major distinction can be seen between the first and second great crime pertaining Macbeth’s judgment. Prior to the murder of Duncan, a virtuous Macbeth shows reluctance towards temptation and sees the witches’ prophesy as merely a daunting yet inevitable burden. It is not through Lady Macbeth’s persistent instigation when he finally takes up the dagger. Afterwards, however, the last vestige of a righteous Macbeth has already begun to fade away, and in its place, an avaricious, selfish and resolute criminal. Notably, he says to the murderers, “So he is mine; and in such bloody distance that every minute of his being thrusts against my near’st of life” (3.1.115-117), meaning that every minute of Banquo’s existence eats away at his heart. His revulsion towards Banquo is emphasized by the hyperbole which in turn demonstrates that he would secure his crown even at the cost of betrayal. Moreover, Macbeth quotes, “Come, seeling night, scarf up the tender eye of pitiful day and with thy bloody and invisible hand cancel and tear to pieces that great bond which keeps me pale. […] Good things of day begin to droop and drowse; […] Things bad begun make strong themselves by ill” (3.2.46-55). In contrast to the first great crime, Macbeth has taken the role as the chief conspirer of murder. The apostrophe used in addressing night shows that Macbeth is seeking the assistance of darkness to conceal his future crimes. “Great bond” refers to Banquo’s lineage of kings, which Macbeth hopes to avert through the death of Fleance. In doing so, Macbeth is willing to let his “good things of day”, which metaphorically represent his conscience and former self, “droop and drowse” – a personification that shows his intention to clear any remnants of goodness. The last phrase translates into “bad deeds force you to commit more bad deeds”. Now that Macbeth has gained power through violence, he needs to retain it with the same means. To conclude, crime has breached Macbeth’s mind following the murder of Duncan, which leads him his Second Great Crime.
When Banquo is finally killed, Macbeth becomes even more bloody and reckless in his path to tyranny and his third great crime. Macbeth quotes, as he decides to revisit the witches, “I am in blood, stepped in so far that, should I wade no more, returning were as tedious as go o'er” (3.4.135–137). The vivid imagery of the pool of blood emphasizes the burden of crimes that Macbeth carries and the impossibility of atonement, which influences profoundly his decisions to commit more crimes. Macbeth becomes outraged in hearing about Macduff’s desertion, and says,
Time, thou anticipat’st my dread exploits. The flighty purpose never is o’ertook unless the deed go with it […] I’ll raid Macduff’s castle, seize the town of Fife, and kill his wife, his children, […] No boasting like a fool. This deed I’ll do before this purpose cool. But no more sights” (4.1.144-156).
Macbeth attributes time as his predominant barricade against his dreadful deeds. Even more so than before, he refrains from evaluating the consequences of his actions, nor their purpose, as suggested by “This deed I’ll do before this purpose cool”. His mind has now deteriorated to the point that he is consciously forcing himself to be arbitrary and brutal, and to act upon his whim. He ceases to be scrupulous and discreet and makes no attempt in concealing his intention of murdering Macduff’s family. Moreover, he mentions that he wants no more hallucinations, through which one can imply that he determines to feel no more guilt from his actions, which also reflects a drastic change in character. In conclusion, Macbeth goes through yet another major change in character after his Third Great Crime, which further shapes his sinister personality.
During Macbeth’s final hours, when he becomes acquainted with iniquity, he goes through a thorough transformation into the evil and obnoxious tyrant. He reprimands the servant, “Go, prick they face and over-red they fear, thou lily-livered boy. […] Death of thy soul! Those linen cheeks of thine are counselers to fear. What soldiers, they-face?” (5.3.14-17). Through the use of cacophony – “lily-livered”, “death” and “they-face”, one sees Macbeth’s strong detest against the hapless servant, who evidently is devoid of guilt. Macbeth has always used hypocrisy to conceal his inner vulgarity, which ceases to be the case. Partially due to the witches’ prophesies, but more so due to the immensity of his crimes that weighs heavy upon him, Macbeth has become heedless and arrogant, which is amalgamated with a vague sense of fear. He quotes, “Those linen cheeks of thine are counselers to fear”, meaning that the soldier’s pale face is contagious, whereby one implies that Macbeth could possibly be affected. Moreover, Macbeth refuses to be further informed with news of the rebellion and says, “Then fly, false thanes, and mingle with the English epicures” (5.3.7-10). The metaphor of “epicures” - A person devoted to luxurious living - is used to show his disdain towards the rebels. Macbeth has also abandoned the value of loyalty, as he is oblivious to his dwindling subjects. This clearly demonstrates Macbeth’s corruption and tyranny, for, in the face of an invasion from a foreign country, he cares no more for the safety of his country, or that of his subjects. To summarize, the abuse of crime has left Macbeth corrupt, and ultimately brings about his demise.
Crime has always been the chief instigator of corruption, which by itself is sinful. It is oftentimes, as in the case of Macbeth, an insidious poison that slowly deteriorates one’s mind, which traps its victims in a malicious cycle of crimes. However, crime is not a death sentence. To quote from Sophocles, “All men make mistakes, but a good man yields when he knows his course is wrong, and repairs the evil”. No matter how far one is down the path of crime, redemption is only a benevolent thought away.
Following the atrocious act of murdering Duncan, Macbeth, though engulfed by guilt, undergoes a subtle change in character and immediately contemplates yet another crime. Firstly, a major distinction can be seen between the first and second great crime pertaining Macbeth’s judgment. Prior to the murder of Duncan, a virtuous Macbeth shows reluctance towards temptation and sees the witches’ prophesy as merely a daunting yet inevitable burden. It is not through Lady Macbeth’s persistent instigation when he finally takes up the dagger. Afterwards, however, the last vestige of a righteous Macbeth has already begun to fade away, and in its place, an avaricious, selfish and resolute criminal. Notably, he says to the murderers, “So he is mine; and in such bloody distance that every minute of his being thrusts against my near’st of life” (3.1.115-117), meaning that every minute of Banquo’s existence eats away at his heart. His revulsion towards Banquo is emphasized by the hyperbole which in turn demonstrates that he would secure his crown even at the cost of betrayal. Moreover, Macbeth quotes, “Come, seeling night, scarf up the tender eye of pitiful day and with thy bloody and invisible hand cancel and tear to pieces that great bond which keeps me pale. […] Good things of day begin to droop and drowse; […] Things bad begun make strong themselves by ill” (3.2.46-55). In contrast to the first great crime, Macbeth has taken the role as the chief conspirer of murder. The apostrophe used in addressing night shows that Macbeth is seeking the assistance of darkness to conceal his future crimes. “Great bond” refers to Banquo’s lineage of kings, which Macbeth hopes to avert through the death of Fleance. In doing so, Macbeth is willing to let his “good things of day”, which metaphorically represent his conscience and former self, “droop and drowse” – a personification that shows his intention to clear any remnants of goodness. The last phrase translates into “bad deeds force you to commit more bad deeds”. Now that Macbeth has gained power through violence, he needs to retain it with the same means. To conclude, crime has breached Macbeth’s mind following the murder of Duncan, which leads him his Second Great Crime.
When Banquo is finally killed, Macbeth becomes even more bloody and reckless in his path to tyranny and his third great crime. Macbeth quotes, as he decides to revisit the witches, “I am in blood, stepped in so far that, should I wade no more, returning were as tedious as go o'er” (3.4.135–137). The vivid imagery of the pool of blood emphasizes the burden of crimes that Macbeth carries and the impossibility of atonement, which influences profoundly his decisions to commit more crimes. Macbeth becomes outraged in hearing about Macduff’s desertion, and says,
Time, thou anticipat’st my dread exploits. The flighty purpose never is o’ertook unless the deed go with it […] I’ll raid Macduff’s castle, seize the town of Fife, and kill his wife, his children, […] No boasting like a fool. This deed I’ll do before this purpose cool. But no more sights” (4.1.144-156).
Macbeth attributes time as his predominant barricade against his dreadful deeds. Even more so than before, he refrains from evaluating the consequences of his actions, nor their purpose, as suggested by “This deed I’ll do before this purpose cool”. His mind has now deteriorated to the point that he is consciously forcing himself to be arbitrary and brutal, and to act upon his whim. He ceases to be scrupulous and discreet and makes no attempt in concealing his intention of murdering Macduff’s family. Moreover, he mentions that he wants no more hallucinations, through which one can imply that he determines to feel no more guilt from his actions, which also reflects a drastic change in character. In conclusion, Macbeth goes through yet another major change in character after his Third Great Crime, which further shapes his sinister personality.
During Macbeth’s final hours, when he becomes acquainted with iniquity, he goes through a thorough transformation into the evil and obnoxious tyrant. He reprimands the servant, “Go, prick they face and over-red they fear, thou lily-livered boy. […] Death of thy soul! Those linen cheeks of thine are counselers to fear. What soldiers, they-face?” (5.3.14-17). Through the use of cacophony – “lily-livered”, “death” and “they-face”, one sees Macbeth’s strong detest against the hapless servant, who evidently is devoid of guilt. Macbeth has always used hypocrisy to conceal his inner vulgarity, which ceases to be the case. Partially due to the witches’ prophesies, but more so due to the immensity of his crimes that weighs heavy upon him, Macbeth has become heedless and arrogant, which is amalgamated with a vague sense of fear. He quotes, “Those linen cheeks of thine are counselers to fear”, meaning that the soldier’s pale face is contagious, whereby one implies that Macbeth could possibly be affected. Moreover, Macbeth refuses to be further informed with news of the rebellion and says, “Then fly, false thanes, and mingle with the English epicures” (5.3.7-10). The metaphor of “epicures” - A person devoted to luxurious living - is used to show his disdain towards the rebels. Macbeth has also abandoned the value of loyalty, as he is oblivious to his dwindling subjects. This clearly demonstrates Macbeth’s corruption and tyranny, for, in the face of an invasion from a foreign country, he cares no more for the safety of his country, or that of his subjects. To summarize, the abuse of crime has left Macbeth corrupt, and ultimately brings about his demise.
Crime has always been the chief instigator of corruption, which by itself is sinful. It is oftentimes, as in the case of Macbeth, an insidious poison that slowly deteriorates one’s mind, which traps its victims in a malicious cycle of crimes. However, crime is not a death sentence. To quote from Sophocles, “All men make mistakes, but a good man yields when he knows his course is wrong, and repairs the evil”. No matter how far one is down the path of crime, redemption is only a benevolent thought away.