This is an essay focusing specifically on the disruption of natural order in Act One & Act Two of 'Macbeth' - this essay received an A grade, and the points of improvement were to focus more on making my topic sentences really defined and easy to understand in relation to the question.
“Gothic Literature demonstrates the consequences of disrupting the natural order.”
Consider Act One and Act Two of Shakespeare’s ‘Macbeth’ in light of this comment.
Throughout ‘Macbeth’, Shakespeare consistently presents the archetypal gothic notion of ‘dangerous consequence’, when the natural order is brutally violated or disturbed in any way. Shakespeare utilizes the gothic concepts of evil and death as distinct consequences, in order to form a strong warning for the reader, advising and educating them to refrain from transgressing beyond the affirmed natural boundaries - such as life and death in Macbeth’s case. Essentially, through his use of metaphor, symbolism and imagery, Shakespeare composes a grotesque warning for the reader; exposing the consequences of not only disrupting the order of nature, but also the natural order of gender expectations and the life cycle through the brutal act of murder.
One of the vital ways in which Shakespeare demonstrates the consequences of disrupting the natural order in Act Two, Scene Two of ‘Macbeth’ is through his use of metaphor, repetition and juxtaposition, to expose both Macbeth’s descent into all-consuming insanity - depriving him not only of sleep, but of the ability to even utter ‘Amen’. Instantly within this scene, Shakespeare composes a sense of inescapable chaos for not only his focal protagonist, but also for the audience, as he illustrates a strong juxtaposition between “death and nature” and “live and die”. Arguably, it could be interpreted that Shakespeare wants to evoke a sense of confusion for the audience, in order to expose Lady Macbeth’s bewildered state of mind as she awaits her husband’s return from the violent murder of King Duncan. However, although this displays a valid argument, it could be more strongly argued that Shakespeare intends to expose the unsettled, disorientated state of the natural order of things after the murder is committed by Macbeth. Shakespeare’s juxtaposition of life and death exposes the gothic notion of transgression, as he indicates to the audience that Macbeth’s completion of the deed has entirely shattered the affirmed natural boundaries of the life cycle, meaning that “nature” now obtains no control over the transgression between the act of living or dying - due to Macbeth’s attempts to manipulate the natural course of events to achieve personal ambition and tyrannic power. However, Shakespeare exposes that this defiant act of transgression between affirmed natural boundaries will undoubtedly result in dark, unavoidable consequences, as he continues to repeat the motif of guiltless “sleep” to form a reminder of that which Macbeth must consequently be deprived of as punishment for his sins. Shakespeare’s use of protective lexis within the line: “sleep that knits up the ravelled sleeve of care”, exposes that sleep may only be granted to those whom remain innocent, forming the “balm of hurt minds”. However, Macbeth is forbidden from this, he no longer is able to take advantage of this simply natural act, as he progressively descends into guilt-ridden insanity - even referring to himself in the third person as he cries “Macbeth shall sleep no more.” Upon further evaluation, it could even be argued that Shakespeare is exploring the natural cycle of cause and effect, as Macbeth murdered Duncan whilst he was asleep, and thus consequently is deprived of this. The symbol of sleep, therefore, not only forms a distinct symbol within Act Two, Scene Two for the consequences of disrupting the natural cycle of life and death; but also within the play as a whole, as sleep becomes a forbidden comfort for many of the characters burdened with a restlessly guilty mind.
Furthermore, it could be even argued that Lady Macbeth’s similar descent into engulfing insanity could be a direct consequence of her subversion of the ‘natural order’ of gender expectations, as Shakespeare deviates strongly from her affirmed patriarchal gender role, proving how unnatural it is for a female to be involved in an act of brutal murder. In Act One, Scene 5, Shakespeare reveals Lady Macbeth’s unnatural feminine desires to transgress into a liminal, dehumanise state, as she expresses her ruthless craving to be filled “from the crown to the toe, top-full of direst cruelty”, making “thick [her] blood” as she calls for the “spirits” to “unsex” her and fulfill these unnatural transgressive desires. Instantly, Shakespeare deviates from the ‘natural order’ of gender expectations, exposing Lady Macbeth’s capabilities to manipulate and intelligently understand the passive restriction of the female within the domestic sphere. Shakespeare presents to the audience that she is completely aware of her dual, evil potential; as she appears to show no attempt at repressing her cravings for corruption and vicious desires to be rid of all purity and conscience in her body. Furthermore, the fact that she exclaims her disgust and fear of Macbeth’s weak nature, expressing that “it is too full o’th’ milk of human kindness”, exposes that the determination and strength to commit the assassination must come from her, presenting her entirely as an ‘unnatural female’. However, Lady Macbeth’s deviation of her ‘natural’ gender role does catalyse repercussions, as like her husband, she becomes burdened with a restlessly guilt conscience, depriving her too of sleep and sanity. Despite her calm, content belief that “a little water clears [them] of this deed”, Shakespeare affirms strong consequences in the long term for Lady Macbeth for her adoption of brutal villainous traits, as later in the play she becomes gripped by insanity, unable to rid of “the smell of blood still.”
Within Act 2, Scene 4 of ‘Macbeth’, Shakespeare illustrates the gross violation of nature caused by Macbeth through his use of metaphor, consequently exposing the severity of chaos caused within the natural world. Notably, within this scene Shakespeare deviates from the natural order of the play so far, as he abruptly removes the attentions of the audience to the lower social class, in order to provide an insight into the enormity of the crime Macbeth has committed against King Duncan. Shakespeare’s characterisation of the ‘Old Man’ could arguably be similar to a chorus in an Aristotelian tragedy, forming a symbolic representation of common man as a whole; and thus, proving to the audience that the effect of Macbeth’s murderous crime has inflicted consequences on everyone - not just those of a higher social status behind the castle walls. Within this extract, Shakespeare once again consolidates the recurring motif of darkness, as Ross expresses that despite the clock saying “tis day...dark night [still] strangles the travelling lamp...emtomb[ing]...living light.” On the surface, Shakespeare presents that in the literal sense the rare occurrence of an eclipse has removed any form of radiating sunlight, casting a shadow over the entire “face of earth”. However, a more analytical reading of Shakespeare’s use of metaphor would suggest that Shakespeare is illustrating the gruesome consequences of Macbeth’s transgressive abuse of the boundaries of life and death, which has caused severe disruption to the natural cycle of day and night. Furthermore, it could even be argued that Shakespeare is composing connections to Macbeth’s earlier desire for “stars, hide your fires; let not light see my black and deep desires”, which could suggest that Macbeth has become unnatural and corrupted, as his cravings for darkness to hide his true intentions appears to have been answered by unnatural or even supernatural forces - exposing that Macbeth is no longer in mental conflict between good and evil anymore, he is perfectly in tune now with the dark forces of the supernatural. However, Shakespeare exposes the consequences of Macbeth’s shift between good and evil, as he exposes the sheer disruption of the natural world as “Duncan’s horses...turned wild in nature…[and] ate each other.” Shakespeare’s use of this macabre, gruesome imagery could be seen as a symbol for the deteriorating state of patriarchy within the kingdom, as the King’s horses - associated with prestige and loyalty - become cannibalistic in their nature, proving that all that was once good is progressively transgressing to become evil. Notably, this shift in the natural order of things becomes a consequence in itself for Macbeth, slowly drawing attention to him in connection with the murder in the eyes of those such as Ross, who vitally states “lest our old robes sit easier than our new.”
However, Shakespeare’s use of the supernatural witches in Act One of ‘Macbeth’ compose the conflicting argument that there never was a defined ‘natural order of things’ to disrupt, with their synchronised chant “fair is foul, and foul is fair” exposing no sense of stability and solidity to the natural order even at the very start of the play. Shakespeare uses antithesis here to contrast two juxtaposing words, such as “fair” and “foul”, could be interpreted as a transgressive paradox which blurs the boundaries between the two words, thus one could see that there is no such thing as a ‘natural order of things’. Arguably, the witches opening chant could be seen as a tool to foreshadow how all that initially held a “fair” nature will progressively become “foul” due to greed and hunger for power. However, alternatively it could be implied that Shakespeare is directly informing the audience that the play does not, and never will throughout the plot, maintain a sense of ‘natural order’ or stability. Notably, the fact that ‘Macbeth’ opens with the synchronised chant of the witches not only foreshadows how significant this phrase is throughout the remainder of the plot, but also forms a strong hint that this play will continually take a corrupted and unnatural path - as the reader is instantly thrown into a detached world of supernatural evil. Therefore, conflicting the argument that Shakespeare distinctly illustrates the consequences of Macbeth’s gruesome violation of the natural order, as arguably he suggests that there was no defiant sense of ‘natural order’ established to begin with.
To conclude, Gothic literature certainly does demonstrate the consequences of disrupting the natural order of things, as within ‘Macbeth’ Shakespeare dominantly illustrates that when intentional disruption is inflicted on affirmed boundaries, consequences of insanity, evil and death will certainly follow. Throughout the play, Shakespeare not only presents the disruption of the natural order of nature itself, but additionally the disruption to the life cycle as Macbeth transgresses the boundaries of life and death through the act of murder - as well as the disruption to natural gender expectations through his characterisation of Lady Macbeth. Shakespeare’s presentation of the consequences of this violation of natural order, shown through moments of mental insanity, sleep deprivation and the cycle of cause and effect, all expose a strong warning to the reader to refrain from acting against the power of nature to achieve personal ambition - a vital lesson Shakespeare’s two Aristotelian protagonists failed to employ.
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