Explore the presentation of Macbeth in Act Three Scenes 1 - 4.
To what extent could he be considered a ‘Gothic Protagonist’?
Developing from the 18th century onwards, Gothic literature became a perceived as a form of literary fiction depicting the decaying, fallen world - featuring conventions of sadomasochism, melodrama, exoticism, transgression and even both physical and mental alienation. With the introduction of such a radical form of literature came the defiant establishment of the archetypal ‘gothic protagonist’, who frequently possessed attributes such as: inner conflict or turmoil of the mind, a strong connection with the powerful forces of the supernatural, a sense of duality and ability to deceive and an uncontrollably guilt conscience. However, despite William Shakespeare’s ‘Macbeth’ being a pre-gothic text constructed before the introduction of such a radical form of literature, it cannot be denied that Shakespeare’s focal male character almost certainly suits the mould of a gothic protagonist as he too shares these attributes of insanity, burdened guilt and isolation in his transgressive act of murder.
Within Act Three, Scene Two, Shakespeare strongly affirms Macbeth as a gothic protagonist, as he exposes Macbeth’s capability of duality as he begins to mirror precisely the brutal traits and manipulative techniques of his female counterpart; Lady Macbeth. Notably, as Macbeth begins to construct his execution of Banquo with Murderer 1 he strongly questions his masculinity, stating that although he is a man, he is merely part of the species of males alongside that of “ hounds and greyhounds, mongrels, spaniels, curs,/ Shoughs, water-rugs, and demi-wolves are clept / All by the name of dogs.” On the surface, it appears that Macbeth is implying that although the Murderer is a male, and thus is traditionally capable to commit strong acts of violence, he implies that in order to commit this deed with success and efficiency he must have a distinguished “gift” that allows him to stand out from the “worst rank of manhood.” Arguably, Shakespeare could be suggesting that Macbeth is attempting to learn from his own failures; as he previously felt an inescapable inner conflict when it came to committing murder, thus could be appearing to give advice through experience to the Murderer on how to commit the act with no form of emotion involved. However, it could be much more strongly argued that Shakespeare is exposing Macbeth’s sense of duality as he dominantly appears to echo Lady Macbeth’s manipulative statement “you would/Be so much more the man” if he were to successfully commit the deed of murder. The fact that Macbeth appears to become the doppelganger of his wife certainly exposes his capability to adopt a dual nature, he is able to now manipulate in the same manner conducted by his wife; questioning the masculinity of the Murderer as a way of catalysing anger and ambition for the murder. Throughout the play so far, Shakespeare has dramatically reversed the gender roles within the marriage of the Macbeth’s, presenting Lady Macbeth as the manipulative, active and powerful role as she asserts dominance and control over her weak and passive husband - whom she describes as “too full o’the milk of human kindness.” However, within this extract from Act Three, Scene Two, Shakespeare appears to adopt more of a traditional patriarchal perspective of gender roles, as Macbeth distinctly regains the active power of the male; even mimicking her language in the final stages of the scene as he beckons “come, seeling night.” Additionally, Shakespeare’s structural decisions of Act Three, Scene Two can be seen as an echo of Act One, Scene 5, however it is no longer the plot of Duncan’s murder being constructed, but rather the murder of Banquo; and Macbeth is the tyrannic orchestrator as oppose to Lady Macbeth. Therefore, once again affirming Macbeth as the dominant gothic protagonist as he fulfills the attributes of duality, as he manipulatively injects ambition into the Murderer by mirroring Lady Macbeth’s bloodthirsty craving for success in the act of murder and deception.
Notably, despite Macbeth’s gothic duality in Act Three, Scene Two in his mirroring of Lady Macbeth’s dehumanised state, Shakespeare simultaneously proves this to just be a charade to attempt to repress Macbeth’s inner moral conflict as he transgressively shifts between emotions of remorse and determined ambition; thus, asserting another attribute of an archetypal gothic protagonist. In the early stages of Act Three, Scene 2, Shakespeare firmly establishes Macbeth’s descent into insanity as he expresses to Lady Macbeth “we have scorched the snake; not killed it” as he grows ever closer to the murder of Banquo. One interpretation could be that Shakespeare is confirming Banquo as the symbol of the “snake” in order to construct allusions to Genesis and forbidden knowledge within the Garden of Eden; by associating Banquo with the role of the “snake” suggests that he possesses forbidden knowledge regarding the murder which he could use to tempt others into rebellion against the “King, Cawdor and Glamis” - thus catalysing the downfall of Macbeth. However, alternatively the intentions of Shakespeare may be to accentuate Macbeth’s inner turmoil and guilty conscience, as it could be argued that Macbeth is “scorched” by his own sin; the “snake” - symbolising his guilt - is “not yet killed” meaning that it remains dangerous and will continue to strike at his insanity, corrupting his mind until the murder is confirmed. Additionally, Shakespeare continues to affirms this macabre imagery of infestation of the mind, as Macbeth expresses “O, full of scorpions is my mind!” which serves to further expose Macbeth as a gothic protagonist; revealing the consistent infestation of guilt and sin within Macbeth’s mental sanity. Notably, it could be argued that Shakespeare’s exposure of this constant insanity within Macbeth’s mind is reflected within the structural shift between Act Three, Scene Two and Act Three, Scene Three. The abrupt resolution to Scene Two which becomes interrupted by the unravelling of Banquo’s murder, could be reflective of the abrupt transgression between good and evil within Macbeth’s mind, as the nature of play suddenly jumps to reveal the act of murder being committed - which before the audience were refrained from. The effect of this on the audience is startling and disturbing, as finally we see Macbeth’s murderous state of mind become a shocking reality - proving him truly to be a tyrannic murderer. Thus, solidifying Macbeth as a gothic protagonist, as Shakespeare exposes the engulfing insanity corrupting his mind, shifting him between the boundaries of good and evil in his turmoil.
Arguably, within Act Three, Scene Four, Shakespeare distinctly asserts Macbeth as a typical gothic protagonist as he exposes his corruptive relationship with the supernatural elements through the use of rhyming couplets to accentuate Macbeth’s echoes of their earlier spell-like tone. In the final stages of Act Three, Scene Four, Shakespeare creates strong connections with the tone of Macbeth’s utterance with that of the witches earlier chant-like spells in Act One, Scene One, as Macbeth states:
“Strange things that I have in head that will to hand,/
Which must be acted ere they may be scanned.”
The addition of the rhyming couplets within Macbeth’s speech constructs an effect on the audience which is startling and disturbing, as this appears the first time in which Macbeth has utilised this tone of speech before within his frantic state of mind; thus, implying that his insanity has forced him to become entirely reliant on the supernatural for a solution to his sins. Throughout this final stage of Act Three, Scene Four, Shakespeare exposes that Macbeth has become entirely evil in his nature, as he expresses the “tedious” nature of “returning” or seeking redemption for his sins; he believes that he has transgressed the boundaries too significantly already to gather the energy to turn back. Notably, there appears to be no conflict within this line anymore, Macbeth no longer appears to be questioning his morals in the battle between good and evil, but rather distinctly sides with evil as it is suggestively the easier option for him to pursue his ambition. Shakespeare’s presentation of Macbeth being entirely in tune with the supernatural in this scene becomes further solidified by the fact that the following scene shows the witches conversing with Heccat; implying that Macbeth’s use of rhyming couplets has successfully summoned the witches to “speak more” on the prophecy and it’s consequences. Previously, Shakespeare created the sense that the witches possessed complete control over the events of the plot, ominously lurking as the deeds of the prophecy become fulfilled; however, now Shakespeare suggests that Macbeth has gained the power to summon the witches at his own command - proving him to certainly be a gothic protagonist in his capability to call on the supernatural to provide him with a solution.
However, despite a spectrum of arguments affirming Macbeth as a gothic protagonist throughout the beginning of Act Three, it could be alternatively argued that Shakespeare constructs Macbeth more distinctly as a tragic hero, as his character flaws of progressive insanity and burdened guilt ultimately catalyse his downfall in the final stages of the play. The Aristotelian tragic hero essentially forms a figure who is entirely responsible for their own downfall within the events of the play; however, more notably, they realise their own mistakes and acknowledge the role they have played within their own demise. To a certain extent, this can be applied to the role of Macbeth, as throughout the play Shakespeare exposes moments when the enormity of the murders committed completely engulf Macbeth’s state of mind - causing him to hold his own actions entirely to blame. For example, within Act Two, Macbeth states “I am afraid to think what I have done” before frantically exclaiming in Act Three, Scene Four that “it will have blood, they say; blood, will have blood”, suggesting vital moments when Macbeth becomes entirely consumed with his realisation of the acts he has committed. Shakespeare’s repetition of the motif of “blood” could be suggestive of Macbeth’s insanity, thus asserting him as a gothic protagonist; however, it could alternatively be implied that this repetition is Macbeth’s realisation of the enormity of the murders he has committed or organised, as he becomes obsessed with the theory of cause and effect - forcing him to understand that it was his actions that catalysed the endless repetition of “blood” within the scheme of the novel. Therefore, asserting him more strongly in the role of the Aristotelian tragic hero, as he acknowledges the consequences he has caused through his own greed for ambition and glory.
To conclude, to a crucial extent, Shakespeare affirms Macbeth as a stereotypical gothic protagonist throughout Act Three, Scenes 1 to 4; exposing many of the typical attributes of an archetypal gothic protagonist within his focal masculine role such as: duality, deception, inner conflict, a guilt-infested conscience and a defiant relationship with the supernatural throughout. Although it can be argued that Macbeth is in fact a tragic hero, as he catalyses his own downfall through his transgressive acts of murder to achieve ambition, it cannot be denied that Macbeth entirely suits the mould of a gothic protagonist - through the evidence of his mental insanity, relationship with the supernatural and use of duality and deception. Notably, Shakespeare achieves this presentation of Macbeth in many ways, mainly through his use of structure to present the abrupt shifts in Macbeth’s state of mind, as well as the use of macabre metaphors to compose the idea of an infestation of guilt corrupting Macbeth internally - eventually leading to the fatal downfall of Shakespeare’s gothic protagonist in the final stages of the play.
Written by Millie Thurley.
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