Imagery
The rich imagery ofMacbeth brings the themes of the play into sharp focus. Shakespeare uses poetic language to metaphorically explore key ideas. The play’s imagery also helps to create atmosphere and enriches the audience’s understanding of the characters. In particular, four recurring images are
interwoven into the text:
blood clothing and masks.
Darkness and Light By settingmany of the important scenes ofMacbeth at night, Shakespeare reflects themoral darkness of the play. The murder of Duncan, the killing of Banquo, the banquet scene and the sleepwalking scene all take place at night. Light and darkness serve as metaphors for good and evil through the imagery of the play. As emblems of evil, the witches are referred to by Macbeth as ‘black, and midnight hags’ (Act 4,
Sc 1); Banquo calls them ‘instruments of darkness’ (Act 1, Sc 3). It is therefore fitting that the night of Duncan’s murder is characterised by an unusually starless sky: ‘There’s husbandry in heaven; / Their candles are all out’ (Act 2, Sc 1). After his death, a strange darkness grips the land. Ross and an old man discuss how the sun fails to rise: ‘by the clock, ‘tis day, / And yet dark night strangles the travelling lamp’ (Act 2, Sc 4). When Macbeth seeks the courage to kill Duncan, he imagines all light being blotted out to
provide cover for his evil desires: ‘Stars, hide your fires! / Let not light seemy black and deep desires’ (Act 1, Sc 4). Similarly, as he prepares for the murder of Banquo, he calls on the night to blindfold the light of day: ‘Come, seeling night, / Scarf up the tender eye of pitiful day’ (Act 3, Sc 2). When LadyMacbeth invokes evil spirits, she imagines darkness smothering her actions, screening
the deed from her conscience: ‘Come, thick night, And pall thee in the dunnest smoke of hell, That my keen knife see not the wound it makes, Nor heaven peep through the blanket of the dark, To cry ‘Hold, hold!’’ (Act 1, Sc 5)
Towards the end of the play, as she starts to suffer from a guilty conscience, Lady Macbeth keeps a light by her bed continuously. InAct 5, Scene 5,Macbeth imagines life as a candle thatwill inevitably burn out. This pessimistic
image illustrates how the dark forces of evil have coloured his view of the world. For Macbeth, darkness has consumed light leaving him with a desperately bleak outlook: ‘Out, out, brief candle! / Life’s but a walking shadow…signifying nothing’ (Act 5, Sc 5). In contrast, images of light help to highlight the essential goodness of Duncan and Malcolm. It is
no coincidence that scenes focusing on these characters generally take place during the day. Duncan equates nobility and goodness with light: ‘But signs of nobleness, like stars, shall shine /
On all deservers’ (Act 1, Sc 4). Malcolm equates Macbeth’s reign with darkness and his marching army with the coming dawn: ‘Receive what cheer you may: / The night is long that never finds the day’ (Act 4, Sc 3).
155
darkness and light fertility and disease
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124 |
Page 125 |
Page 126 |
Page 127 |
Page 128 |
Page 129 |
Page 130 |
Page 131 |
Page 132 |
Page 133 |
Page 134 |
Page 135 |
Page 136 |
Page 137 |
Page 138 |
Page 139 |
Page 140 |
Page 141 |
Page 142 |
Page 143 |
Page 144 |
Page 145 |
Page 146 |
Page 147 |
Page 148 |
Page 149 |
Page 150 |
Page 151 |
Page 152 |
Page 153 |
Page 154 |
Page 155 |
Page 156 |
Page 157 |
Page 158 |
Page 159 |
Page 160 |
Page 161 |
Page 162 |
Page 163 |
Page 164 |
Page 165 |
Page 166 |
Page 167 |
Page 168 |
Page 169 |
Page 170 |
Page 171 |
Page 172 |
Page 173 |
Page 174 |
Page 175 |
Page 176 |
Page 177 |
Page 178 |
Page 179 |
Page 180 |
Page 181 |
Page 182 |
Page 183 |
Page 184 |
Page 185 |
Page 186 |
Page 187 |
Page 188 |
Page 189 |
Page 190 |
Page 191 |
Page 192