Right, so this was an essay I completed a few weeks ago without using the book. This was not written in timed conditions, hence why it is so long, as I got completely carried away - oops! This received an A* from my teacher, which I was super shocked & surprised at. Hope this helps!
Consider the significance of darkness and concealment in ‘Macbeth’.
Despite Shakespeare’s ‘Macbeth’ forming a pre-gothic text, with his writings occurring approximately two centuries before the publication of the first gothic text ‘The Castle of Otranto’; arguably, throughout the text a vast spectrum of gothic notions remain present, including those of darkness and concealment. The role of darkness within ‘Macbeth’ forms a vital aspect of the entire nature of the plot, with characters such as Macbeth, Lady Macbeth and even the witches displaying the use of dark acts, such as murder, in order to achieve personal ambition “that wilt raven up life’s own means.” Additionally, darkness could even be interpreted in the literal sense, in regards to the all-consuming darkness which “entombs” all light after the murder of Duncan - proving how serious Macbeth’s disruption of the Divine Right Of Kings is on the order of nature and time itself. Although, concealment also plays an equally as vital role, with the ‘femme fatale’ of Lady Macbeth strongly displaying signs of duality as she represses her evil nature behind the charade of passive femininity. However, it cannot be denied that both components of darkness and concealment strongly obtain a significant relationship throughout the plot as a whole - with many of the characters utilising darkness as a means of concealment of their “black and deep desires.”
Within ‘Macbeth, one of the most significant roles of the gothic notion of darkness is to accentuate to the audience the chaos and distress caused by Macbeth’s grotesque disruption of the Divine Right of Kings; which Shakespeare highlights through the relentless conflict between dark and light throughout the plot. Although darkness plays a vital role in accentuating the beast within both Macbeth and Lady Macbeth, it can be seen as equally significant in the literal sense, with the eclipse which occurs during and after the murder of Duncan - hiding the cruel, dark nature to Macbeth’s acts. Within Act Two, Scene One, Fleance expresses the fact that “the moon is down: I have not heard the clock” which instantly creates a striking sense of terror for both modern and Jacobean audiences, through the imagery of “thick night” entirely consuming all light - which strongly evokes the sense that the natural order appears to be off balance. However, although on the surface it could be interpreted that this imagery of darkness constructs a sense of the unfamiliar, it could be more strongly interpreted that in fact Shakespeare’s use of darkness within this moment is to accentuate how Macbeth and his wife’s cravings for darkness have been fulfilled - with them both earlier craving “stars, hide your fires” so “that my keen knife see not the wound it makes.” Thus, aligning them entirely with the supernatural and evil as a whole, with their callings to the “evil spirits” appearing to have been fulfilled. Notably, this interpretation can be further consolidated by the fact that Shakespeare’s use of imagery when describing darkness becomes much more violent and evil in lexis, as he later creates the personification of “dark night strangl[ing] the travelling lamp” or even “entomb[ing]” the earth’s light. Shakespeare’s use of lexis within these extracts, such as “strangles…[and] entombs” creates associations with murder, violence and death, which could create the sense that purity, innocence and light has become a suffering victim to the transgressive acts of Macbeth; which later foreshadows the effects Macbeth’s tyrannical reign inflicts on Scotland as a whole, with Scotland becoming personified as a victim of Macbeth’s violence: “each a new day a gash is added to her wounds.” However, it could be more strongly argued that the way in which the conflict between light and dark becomes more excessive and violent in language highlights Shakespeare’s intentions to externalise how the battle between good and evil within Macbeth becomes much more excessive and violent as he steps further into “blood” so far that “returning” would be as “tedious” as continuing. Therefore, accentuating the role of darkness within ‘Macbeth’ to be significant in the way in which it highlights not only the disruption of the natural order, through the imagery of the conflict between dark and light; but additionally, both Macbeth and Lady Macbeth’s alignment with the “evil spirits” as their desires for literal darkness appear to have been fulfilled by the supernatural forces working as “dark agents” against the powers of God.
Additionally, the role of witches can be aligned strongly with the gothic notion of darkness within ‘Macbeth’, as they appear to represent all that is chaotic, decaying, evil and dark about the nature of the plot; not only through Shakespeare’s use of setting and pathetic fallacy, but also the way in which they tempt Macbeth to commit the sinful act of murder. Instantly, in Act One, Scene One, Shakespeare affirms the witches with evil and darkness through his use of pathetic fallacy, as their introductory settings include a “barren heath” with “thunder and lighting.” Shakespeare’s use of this pathetic fallacy of “thunder” creates a domineering sense of chaos, violence and power in association with the witches, which instantly foreshadows their overall control of the plot throughout - as well as their control of Macbeth’s psychology. However, the addition of “lighting” to the witches opening setting simultaneously creates a sinister sense of the unexpected, or unpredictable, in alignment with the witches, which could form a subtle hint to the audience at their frequently abrupt entrances and exits displayed throughout the plot. Typically within the gothic, the use of “thunder and lighting” forms a prominent warning to the reader, foreshadowing a sense of danger and darkness to most likely follow shortly after this powerful burst of weather - for example, like Shelley’s repetition of the moon rising and the wind picking up in order to foreshadow the arrival of the “wretched” Creature in ‘Frankenstein.’ Therefore, Shakespeare’s use of this to open the play, in association with the witches composes the sense that these supernatural beings will strongly be aligned closely with darkness and power throughout the play - making them an equal threat to the power of nature displayed in this opening scene. However, Shakespeare’s alignment of the witches just not merely halt at the use of pathetic fallacy in the opening scene; but rather Shakespeare continues to associate the witches with darkness throughout the plot - as they ultimately lead Macbeth to commit his sinful deed of murder against King Duncan. Notably, in Act Two, Scene One, Macbeth witnesses the supernatural form of the “dagger of the mind, a false creation” suspended in front of him, with “the handle toward [his] hand.” Although on the surface it could be argued that this “dagger of the mind” is nothing more than this, and merely a “false creation” of Macbeth’s conflicted psychology; it could be alternatively argued that this imagery is planted by the witches as a tool to corrupt Macbeth and lead him to darkness. For example, the fact that the witches firstly compose the image with the “handle” facing Macbeth instantly creates a sinister twist to this supernatural happening, as the witches intentions instantly appear dark and distorted, as they attempt to allow Macbeth to witness the power in which he could possess whilst holding this murderous weapon - providing him with the opportunity to mock the role of God, and the ability to take a life. Additionally, the fact that the witches then manipulate the dagger to be dripped with “gouts of blood” further enhances this sense of darkness to this event, as once again they appear to try and tempt Macbeth with the imagery of the final result; allowing him to see that with this weapon he will inevitably be successful in his murder. Thus, affirming the witches alignment with the significant role of darkness throughout the plot, as these supernatural beings become morphed into dark and twisted characters by Shakespeare in order to unequivocally strike fear within a Jacobean audience - who would have viewed the supernatural at face value.
Shakespeare’s composition of the one of the most powerful females in literature; Lady Macbeth, illustrates throughout ‘Macbeth’ the vital gothic notions of concealment and duality, as the female protagonist conceals her truly evil desires with a mask of passive femininity. Arguably, Shakespeare’s use of duality in association with Lady Macbeth can clearly be defined by the distinction between public and private appearance; with her appearing to be dominantly evil and malicious in the confines of solitude, yet weak and passive in the presence of others - such as Duncan, Malcolm and Macduff. Within Act One, Scene Four, Lady Macbeth expresses her desires to transgress the boundaries of gender identity, as she calls on the “evil spirits” to “unsex” her and “fill [her] from the crown to the toe, top-full of direst cruelty”. On the surface, Shakespeare’s use of violent lexis within this extract, such as “cruelty, blood, murthering, evil, spirits” may have been utilised as a tool in order to strike emotions of gothic horror and terror within his Jacobean audiences; who notably took all supernatural happenings at face value, and thus would have been cautious and fearful of Lady Macbeth and her desires to seek help from them. Therefore, instantly affirming her as the villainous role of the plot. However, it could be more strongly interpreted that Shakespeare’s structural decision to introduce Lady Macbeth to the audience in the confines of isolation; thus, revealing her private persona, may have been to construct an early sense of dramatic irony. Shakespeare’s instant association of Lady Macbeth with darkness, evil and violence, allows the audience to understand this as her true nature, or her instinctive base desires; therefore, as the play progresses, the audience can clearly see her use of concealment to hide this true nature which creates a domineering sense of irony as none of the characters appear to be able to perceive this. Upon further evaluation, this interpretation can further be reaffirmed by Shakespeare’s structural decisions once again, as notably directly after this scene we see characters such as Duncan use the terms: “See, see our honoured hostess” and “fair and noble hostess” when referring to Lady Macbeth - which both modern and Jacobean audiences understand is entirely the opposite. However, although Shakespeare demonstrates through Lady Macbeth the way in which she masters concealment, as she commands Macbeth to “look like th’innocent flower, / But be the serpent under’t”, it could be argued that ‘Macbeth’ is more about the way in which this concealment breaks down, and is only short term, which ultimately leads to the downfall of each of the focal protagonists. Notably, the fact that Lady Macbeth later appears to be unable to repress her sense of guilt and moral conscience as she expresses “the thane of fife had a wife, where is she now?” as well as questioning “will these hands ne’er be clean?” accentuates the fact that concealment is merely a short-term tool in order to achieve ambition; however, it cannot remain throughout. Therefore, creating the sense that throughout ‘Macbeth’ both Lady Macbeth and her husband adopt masks to conceal their inner desires, which gradually begin to crack, fade and deteriorate throughout the progression of the plot - proving the play to be a warning of the dangers of concealment to attempt to hide all of our “black and deep desires.”
However, despite the gothic notions of darkness and concealment (which Shakespeare arguably created) appearing to remain separate themes throughout ‘Macbeth’, it could be argued that in fact these notions co-exist thoroughly throughout the play - with both Macbeth and Lady Macbeth utilising darkness as a means of concealment. Notably, within Act One, Scene Five, Lady Macbeth states towards the end of her monologue: “Come, thick night,/ And pall thee in the dunnest smoke of Hell / That my keen knife see not the wound it makes.” On the surface, it could be argued that Shakespeare’s repetition of the imperative “come” throughout this speech is a tool to align Lady Macbeth with the supernatural, or the witches; thus, making her entirely fearful to a Jacobean audience who would have regarded her as the ‘fourth witch’ and therefore untrustworthy or even villainous. However, it could be more strongly argued that in fact Shakespeare’s use of these imperatives is to accentuate the way in which Lady Macbeth is utilising darkness as a tool to conceal her evil intentions, as her commanding tone appears to accentuate her desperation, or even reliance, on the “thick night” to allow her to commit the acts. Notably, the fact that Lady Macbeth states that her knife is “keen” further could link to the dark nature of her intended acts; meaning that in order to conceal this dark, evil taboo she must rely on something equally as enraptured with darkness - causing her to crave the consummation of light/day in the “dunnest smoke of hell.” Similarly, it is interesting that even before the villainous introduction of Lady Macbeth, Macbeth additionally appears to call on darkness, in one of Shakespeare’s most famous lines: “Stars hide your fires; / Let not light see my black and deep desires.” The fact that Macbeth states these desires even before his apparently more villainous wife, creates the sense that Macbeth is much more corrupt with dark intentions than we first believe; therefore, proving to the audience that in fact Macbeth may be significantly more in tune with the alignment of concealment and darkness than we first thought - as at this point, he is still viewed as “brave…[and] noble Macbeth.” Therefore, highlighting that in fact throughout ‘Macbeth’ the notions of darkness and concealment appear to withhold a strong bond throughout, as they co-exist within both Lady Macbeth and Macbeth’s speeches, with darkness forming a tool of concealment - which arguably creates a sense of pity for both these characters, with their naive beliefs that a simple burst of “darkness” will allow them to conceal their such grotesque violation of the Divine Right of Kings.
To conclude, the gothic notions of darkness and concealment are extremely vital throughout the plot of ‘Macbeth’, as they appear to both not only work on separate levels, but obtain the potential to co-exist throughout the text - which ultimately leads the focal protagonists to their tragic downfall in Act Five. Notably, the theme of darkness within the play is utilised by Shakespeare on many levels, not only in the literal sense in order to create the striking imagery of the day being “strangle[d]” by “thick night” to accentuate Macbeth’s disruption of the natural order; but additionally, to externalise the repressed desires of the protagonists’ and their desires to reach royalty and prestige through murderous acts. However, although concealment too appears significant in isolation with the character of Lady Macbeth, it could be more strongly interpreted that darkness and concealment form a strong relationship within Shakespeare’s use of language, imagery and personification throughout the text - with not only both the Macbeth’s attempting to conceal their dark intentions, but also their cravings to use darkness as a means of concealment. Ultimately, in the conclusion, both darkness and concealment catalyse the downfall of both Macbeth and Lady Macbeth, with even the ‘femme fatale’ craving the constant presence of light at the ending of her life; proving entirely how darkness will conquer all in the conclusion, which even concealment cannot attempt to mask.
Written by Millie Thurley.
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