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Macbeth - Act 1, scene 5

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Act 1, scene 5.

Lady Macbeth reads her husband’s letter about his meeting the witches. She fears that Macbeth lacks the ruthlessness he needs to kill Duncan and fulfill the witches’ second prophecy. When she learns that Duncan is coming to visit, she calls upon supernatural agents to fill her with cruelty. Macbeth arrives, and Lady Macbeth tells him that she will take charge of the preparations for Duncan’s visit and for his murder.

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A ct 1, S cene 5

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Macbeth: Act 1, Scene 5 – Summary & Analysis

In Iverness, the castle of Macbeth, Lady Macbeth reads a letter from her husband that details the events that have occurred so far in the play, his new title and the meeting with the witches. While reading, Lady Macbeth remarks that while her husband is ambitious he is too full of ‘th’ milk of human kindness’ to do what is necessary to realize his ambitions, and plans to convince him to undertake the required actions. A messenger announces Macbeth is close to arrival and Lady Macbeth begs ‘you spirits/ That tend of mortal thought, unsex me here,/ And fill me from the crown to the toe too-full/ Of direst cruelty’, planning to abandon her natural femininity so as to be able to commit the bloody actions needed for Macbeth to attain the kingship. Macbeth then enters and tells his wife Duncan will stay the night, but Lady Macbeth responds that the king will not see tomorrow; she tells her husband to be patient and leave matters to her.

Our first view of Lady Macbeth raises various questions concerning not only her character but also the marriage between she and Macbeth. They are polar opposites; Macbeth is indecisive concerning the act of regicide despite it offering him the chance to realize his ambition, while Lady Macbeth is decisive and considers nothing except forcing her husband to realize his ambition. While it may be argued that she is a loyal and caring wife for doing so it is difficult not to criticize her here, as her decisiveness and plan to help her husband reveal an evil nature. She admits fearing Macbeth’s nature as it ‘is too full o’ th’ milk of human kindness/ To catch the nearest way’ and her plan to convince him presents her as corrupting; it is possible to sympathize with Macbeth later in the play as her plans and words suggest he is corrupted by his wife into acting in an underhanded manner. She plans to ‘pour spirits in ear’ which suggests she will corrupt him unknowingly, which may be a reference to another Shakespeare play, Hamlet, when King Hamlet was killed while asleep as Claudius poured poison in his ear; the mention of ear may suggest that the person acted upon has no control or ability to stop the action. If she has her way, she will transform Macbeth from an ‘innocent flower’ to ‘serpent’, the epitome of corruption, which makes it difficult to consider Lady Macbeth as a supporting wife. She realizes that she has to manipulate and control her husband so as to achieve his and her aims.

Points of note

The issue of gender/ sex comes to light here. Lady Macbeth plans to help Macbeth but can only do so by removing her femininity and losing feminine compassion, ‘remorse’; this is the reason for her plea to ‘unsex me here’, so she can be cold and ruthless enough to convince her husband to kill the king. This may suggest why the Weird Sisters have beards; do they need some masculine trait so as to be ruthless enough to be part of an act such as murder or regicide?

The natural order has already been disturbed, evidenced by Lady Macbeth’s remark that ‘Thy letters have transported me beyond/ This ignorant present, and I feel now the future in the instant’. The future she refers to is the world when Macbeth becomes king and immorality reigns; this has already begun as two of the play’s principal characters plot to kill the king.

Lady Macbeth reveals herself as another character aware of deception and its role in the world as she instructs Macbeth to ‘bear welcome in your eye but be the serpent under’t’ when Duncan arrives. This does lessen some of the criticism towards Lady Macbeth as Macbeth has already shown himself to be able to deceive, as he presented himself as loyal to the king in the previous scene while still considering his ambition to be king, which would involve killing Duncan.

by William Shakespeare

Macbeth summary and analysis of act 1, act 1, scene 1.

On a heath in Scotland, three witches, the Weird Sisters, wait to meet Macbeth amidst thunder and lightning. Their conversation is filled with paradox and equivocation: they say that they will meet Macbeth "when the battle's lost and won" and when "fair is foul and foul is fair" (10).

Act 1, Scene 2

The Scottish army is at war with the Norwegian army. Duncan, king of Scotland, meets a captain returning from battle. The captain informs them of Macbeth and Banquo's bravery in battle. He also describes Macbeth's attack on the castle of the treacherous Macdonald, in which Macbeth triumphed and planted Macdonald’s head on the battlements of the castle. The Thanes of Ross and Angus enter with the news that the Thane of Cawdor has sided with Norway. Duncan decides to execute the disloyal thane and give the title of Cawdor to Macbeth.

Act 1, Scene 3

The Weird Sisters meet on the heath and wait for Macbeth. He arrives with Banquo, repeating the witches' paradoxical phrase by stating "So foul and fair a day I have not seen" (36). The witches hail him as "Thane of Glamis" (his present title), "Thane of Cawdor" (the title he will soon receive officially), and "king hereafter" (46-48). Their greeting startles and seems to frighten Macbeth. When Banquo questions the witches as to who they are, they greet him with the phrases "Lesser than Macbeth and greater," "Not so happy, yet much happier," and a man who "shall get kings, though [he] be none" (63-65).

When Macbeth questions them further, the witches vanish into thin air. Almost as soon as they disappear, Ross and Angus appear with the news that the king has granted Macbeth the title of Thane of Cawdor. Macbeth and Banquo step aside to discuss this news; Banquo is of the opinion that the title of Thane of Cawdor might "enkindle" Macbeth to seek the crown as well (119). Macbeth questions why such happy news causes his "seated heart [to] knock at [his] ribs / Against the use of nature," and his thoughts turn immediately and with terror to murdering the king in order to fulfill the witches' second prophesy (135-36). When Ross and Angus notice Macbeth's distraught state, Banquo dismisses it as Macbeth's unfamiliarity with his new title.

Act 1, Scene 4

Duncan demands to know whether the former Thane of Cawdor has been executed. His son Malcolm assures him that he has witnessed the former Thane’s becoming death. While Duncan muses about the fact that he placed "absolute trust" in the treacherous Thane, Macbeth enters. Duncan thanks Macbeth and Banquo for their loyalty and bravery. He consequently announces his decision to make his son Malcolm the heir to the throne of Scotland (something that would not have happened automatically, since his position was elected and not inherited). Duncan then states that he plans to visit Macbeth at his home in Inverness. Macbeth leaves to prepare his home for the royal visit, pondering the stumbling block of Malcolm that now hinders his ascension to the throne. The king follows with Banquo.

Act 1, Scene 5

At Inverness, Lady Macbeth reads a letter from Macbeth that describes his meeting with the witches. She fears that his nature is not ruthless enough-- he's "too full o' th' milk of human kindness” (15)—to murder Duncan and assure the completion of the witches' prophesy. He has ambition enough, she claims, but lacks the gumption to act on it. She then implores him to hurry home so that she can "pour [her] spirits in [his] ear" (24)—in other words, goad him on to the murder he must commit. When a messenger arrives with the news that Duncan is coming, Lady Macbeth calls on the heavenly powers to "unsex me here" and fill her with cruelty, taking from her all natural womanly compassion (39). When Macbeth arrives, she greets him as Glamis and Cawdor and urges him to "look like the innocent flower, / but be the serpent under’t" (63-64). She then says that she will make all the preparations for the king's visit and subsequent murder.

Act 1, Scene 6

Duncan arrives at Inverness with Banquo and exchanges pleasantries with Lady Macbeth. The king inquires after Macbeth's whereabouts and she offers to bring him to where Macbeth awaits.

Act 1, Scene 7

Alone on stage, Macbeth agonizes over whether to kill Duncan, recognizing the act of murdering the king as a terrible sin. He struggles in particular with the idea of murdering a man—a relative, no less—who trusts and loves him. He would like the king's murder to be over and regrets the fact that he possesses “vaulting ambition" without the ruthlessness to ensure the attainment of his goals (27).

As Lady Macbeth enters, Macbeth tells her that he "will proceed no further in this business" (31). But Lady Macbeth taunts him for his fears and ambivalence, telling him he will only be a man when he carries out the murder. She states that she herself would go so far as to take her own nursing baby and dash its brains if necessary. She counsels him to "screw [his] courage to the sticking place" and details the way they will murder the king (60). They will wait until he falls asleep, she says, and thereafter intoxicate his bodyguards with drink. This will allow them to murder Duncan and lay the blame on the two drunken bodyguards. Macbeth is astonished by her cruelty but resigns to follow through with her plans.

Fate, Prophecy, and Equivocation

Just as the Porter in Act 2 extemporizes about the sin of equivocation, the play figures equivocation as one of its most important themes. Starting from the Weird Sisters' first words that open the play, audiences quickly ascertain that things are not what they seem. According to the Oxford English Dictionary , the word "equivocation" has two different meanings—both of which are applicable to this play. The first is:

“The using (a word) in more than one sense; ambiguity or uncertainty of meaning in words; also . . . misapprehension arising from the ambiguity of terms.”

This definition as simple verbal ambiguity is the one that audiences are most familiar with—and one that plays an important role in the play. The Porter’s speech on equivocation in Act 2, however, refers to a more active type of equivocation. The second definition in the OED: reads:

The use of words or expressions that are susceptible of a double signification, with a view to mislead; esp. the expression of a virtual falsehood in the form of a proposition which (in order to satisfy the speaker's conscience) is verbally true.

This kind of equivocation is similar to lying; it is intentionally designed to mislead and confuse.

The intentional ambiguity of terms is what we see in the prophesies of the Weird Sisters. Their speech is full of paradox and confusion, starting with their first assertion that "fair is foul and foul is fair" (I i 10). The witches' prophesies are intentionally ambiguous. The alliteration and rhymed couplets in which they speak also contributes to the effect of instability and confusion in their words. For many readers, more than one reading is required to grasp a sense of what the witches mean. It is not surprising, therefore, that these "imperfect speakers" can easily bedazzle and confuse Macbeth throughout the course of the play (I iii 68).

Just as their words are confusing, it is unclear as to whether the witches merely predict or actually effect the future. Banquo fears, for example, that the witches' words will "enkindle [Macbeth] unto the crown"—in other words, that they will awaken in Macbeth an ambition that is already latent in him (I iii 119). His fears seem well-founded: as soon as the witches mention the crown, Macbeth's thoughts turn to murder. The witches’ power is thus one of prophecy, but prophecy through suggestion. For Macbeth, the witches can be understood as representing the final impetus that drive him to his pre-determined end. The prophecy is in this sense self-fulfilling.

The oracular sisters are in fact connected etymologically to the Fates of Greek mythology. The word "weird" derives from the Old English word "wyrd," meaning "fate." And not all fate is self-fulfilling. In Banquo's case, in contrast to Macbeth’s, the witches seem only to predict the future. For unlike Macbeth, Banquo does not act on the witches' prediction that he will father kings—and yet the witches' prophesy still comes true. The role of the weird sisters in the story, therefore, is difficult to define or determine. Are they agents of fate or a motivating force? And why do they suddenly disappear from the play in the third act?

The ambiguity of the Weird Sisters reflects a greater theme of doubling, mirrors, and schism between inner and outer worlds that permeates the work as a whole. Throughout the play, characters, scenes, and ideas are doubled. As Duncan muses about the treachery of the Thane of Cawdor at the beginning of the play, for example, Macbeth enters the scene:

KING DUNCAN: There's no art To find the mind's construction in the face. He was a gentleman on whom I built An absolute trust. Enter MACBETH, BANQUP, ROSS, and ANGUS. To MACBETH: O worthiest cousin, The sin of my ingratitude even now Was heavy on me! (I iv 11-16)

The dramatic irony of Duncan’s trust is realized only later in the play. Similarly, the captain in Scene 2 makes a battle report that becomes in effect a prophecy:

For brave Macbeth—well he deserves that name!— Disdaining fortune, with his brandished steel Which smoked with bloody execution, Like valour’s minion Carved out his passage till he faced the slave, Which ne’er shook hands nor bade farewell to him Till he unseamed him from the nave to th’chops, And fixed his head upon our battlements. (I i16-23)

The passage can be interpreted as follows: Macbeth “disdains fortune” by disregarding the natural course of action and becomes king through a “bloody execution” of Duncan; Macduff, who was born from a Caesarian section (his mother being “unseamed. . . from the nave to th’chops”) and who “ne’er shook hands nor bade farewell” decapitates Macbeth and hangs his head up in public.

As in all Shakespearean plays, mirroring among characters serves to heighten their differences. Thus Macbeth, the young, valiant, cruel traitor/king has a foil in Duncan, the old, venerable, peaceable, and trusting king. Lady Macbeth, who casts off her femininity and claims to feel no qualms about killing her own children, is doubled in Lady Macduff, who is a model of a good mother and wife. Banquo's failure to act on the witches' prophesy is mirrored in Macbeth's drive to realize all that the witches foresee.

Similarly, much of the play is also concerned with the relation between contrasting inner and outer worlds. Beginning with the equivocal prophecies of the Weird Sisters, appearances seldom align with reality. Lady Macbeth, for example, tells her husband to "look like the innocent flower, / but be the serpent under’t" (63-64). Macbeth appears to be a loyal Thane, but secretly plans revenge. Lady Macbeth appears to be a gentle woman but vows to be "unsexed" and swears on committing bloody deeds. Macbeth is also a play about the inner world of human psychology, as will be illustrated in later acts through nightmares and guilt-ridden hallucinations. Such contrast between "being" and "seeming" serves as another illustration of equivocation.

The Macbeths and The Corruption of Nature

One of the most ambiguous aspects of the play is the character of Macbeth himself. Unlike other Shakespearean villains like Iago or Richard III , Macbeth is not entirely committed to his evil actions. When he swears to commit suicide, he must overcome an enormous resistance from his conscience. At the same time, he sees as his own biggest flaw not a lack of moral values but rather a lack of motivation to carry out his diabolical schemes. In this he resembles Hamlet, who soliloquizes numerous times about his inaction. But unlike Hamlet, Macbeth does not have a good reason to kill, nor is the man he kills evil—far from it. And finally, while Macbeth becomes increasingly devoted to murderous actions, his soliloquies are so full of eloquent speech and pathos that it is not difficult to sympathize with him. Thus at the heart of the play lies a tangle of uncertainty.

If Macbeth is indecisive, Lady Macbeth is just the opposite—a character with such a single vision and drive for advancement that she brings about her own demise. And yet her very ruthlessness brings about another form of ambiguity, for in swearing to help Macbeth realize the Weird Sisters' prophecy, she must cast off her femininity. In a speech at the beginning of Scene 5, she calls on the spirits of the air to take away her womanhood:

Come you spirits That tend on mortal thoughts, unsex me here, And fill me from the crown to the toe top-full Of direst cruelty. Make thick my blood, Stop up th'access and passage to remorse, That no compunctious visitings of nature Shake my fell purpose, nor keep peace between Th'effect and it. (I v 38-45)

Lady Macbeth sees "remorse" as one of the names for feminine compassion—of which she must rid herself. Thus she must be "unsexed." This does not mean, however, that in rejecting her femininity she becomes manly. Instead, she becomes a woman devoid of the sexual characteristics and sentimentality that make her a woman. She becomes entirely unnatural and inhuman. Like the supernatural Weird Sisters with their beards, Lady Macbeth becomes something that does not fit into the natural world.

The corruption of nature is a theme that surfaces and resurfaces in the same act. When Duncan greets Macbeth, for example, he states that he has “begun to plant thee and will labor / to make thee full of growing" (I iv 28-29). Following the metaphor of the future as lying in the “seeds of time,” Macbeth is compared to a plant that Duncan will look after (I iii 56). By murdering Duncan, then, Macbeth perverts nature by severing himself effectively from the very "root" that feeds him. For this reason, perhaps, the thought of murdering Duncan causes Macbeth's heart to "knock at [his] ribs / Against the use of nature" (I iii 135-36). Just as the Weird Sisters pervert the normal course of nature by telling their prophecy, Macbeth upsets the course of nature by his regicide.

Reflecting the disruption of nature, the dialogue between Macbeth and Lady in the scene following the murder becomes heavy, graceless, and almost syncopated. Lady Macbeth, for example, says:

What thou wouldst highly, That wouldst thou holily; wouldst not play false And yet wouldst wrongly win. Thou'd'st have, great Glamis, That which cries "Thus thou must do," if thou have it, And that which rather thou dost fear to do, Than wishest should be undone. (I v 28-23).

The repetition of the phrase "thou wouldst," in all its permutations, confounds the flow of speech. The speech is clotted with accents, tangling meter and scansion, and the alliteration is almost tongue-twisting, slowing the rhythm of the words. Just as Macbeth and Lady Macbeth have corrupted nature, the language Shakespeare uses in these scenes disrupts the flow of his usually smoothly iambic meter.

Yet another part of the theme of corruption of nature lies in the compression of time that occurs throughout the act. When Lady Macbeth reads Macbeth’s letter, she states: Th[ese] letters have transported me beyond / This ignorant present, and I feel now / The future in the instant" (I v 54-56). By telling the future to Macbeth and Banquo, the Weird Sisters upset the natural course of time and bring the future to the present. Thus when Macbeth vacillates over whether or not to kill Duncan, he wants to leap into the future: "If it were done when ‘tis done, then ‘twere well / It were done quickly" (I vii 1-2). He wants the murder to be over quickly—indeed so quickly that it is over before the audience even registers it. Just as equivocation twists the meaning of words, Macbeth's murderous desires twist the meaning of time.

Thus beginning with the Weird Sisters, equivocation in all its permutations is threaded throughout the fabric of the first act. Over the course of the play, the breach between the worlds of reality and illusion that is the core of equivocation grows ever wider.

Macbeth Questions and Answers

The Question and Answer section for Macbeth is a great resource to ask questions, find answers, and discuss the novel.

The third which says that Banquo's sons shall be kings, Thou shalt get kings, though thou be none. So all hail, Macbeth and Banquo!

Macbeth Act 1 Scene 3 questions

What is significant about the first words that Macbeth speaks in the play?

A motif or recurring idea in the play is equivocation. There is the balance of the dark and the light, the good and the bad. Macbeth's first line reflects this. It...

What news took the wind out of Macbeth's invincibility?

Macbeth rethinks his invincibility when MacDuff tells him that he was torn from his mother's womb.

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Macbeth Act 1, scene 5 Analysis.

Act 1, scene 5 Analysis Coursework

At Inverness, Lady Macbeth reads a letter from Macbeth telling of his meeting with the witches. She fears that his nature is not ruthless enough, is "too full o' th' milk of human kindness," to murder Duncan and assure the completion of the witches' prophesy. He has ambition enough, she claims, but lacks the gumption to act on it. She then implores him to hurry home so that she can "pour [her] spirits in [his] ear," in other words, goad him on to the murder he must commit. When a messenger arrives with the news that Duncan is coming, Lady Macbeth calls on the heavenly powers to "unsex me here" and fill her with cruelty, taking from her all natural womanly compassion. When Macbeth arrives, she greets him as Glamis and Cawdor and urges him to "look like th'innocent flower, / but be the serpent under Œt," and states that she will make all the preparations for the king's visit and subsequent murder.

If Macbeth is indecisive, Lady Macbeth is just the opposite  a character with such a single vision and drive for advancement that she cannot help but bring about her own demise. And yet her very ruthlessness is another form of ambiguity, for in swearing to help Macbeth realize the Weird Sisters' prophecy, she must cast off her femininity. In a speech at the beginning of scene five, she calls on the spirits of the air to take away her womanhood:

This is a preview of the whole essay

Come you spirits That tend on mortal thoughts, unsex me here, And fill me from the crown to the toe top-full Of direst cruelty. Make thick my blood. Stop up th'access and passage to remorse, That no compunctious visitings of nature Shake my fell purpose, nor keep peace between Th'effect and it. Come to my woman's breasts And take my milk for gall, you murd'ring ministers (I.v 47-55).

Lady Macbeth sees "remorse" and "peace" as feminine virtues, and in order to void herself of such compassion she must be "unsexed." That she sees femininity as soft and kind is evident in the fact that she calls the waffling Macbeth womanish, telling him that only when he has murdered Duncan will he be a man. And whereas she wants to turn her mother's milk into "gall," she complains that Macbeth is "too full o' th' milk of human kindness" (I.v 17). Later she reinforces the rejection of her femininity by claiming that she would go so far as to cast off all of the motherly sentiments that go along with it:

I have given suck, and know How tender Œtis to love the babe that milks me. I would, while it was smiling in my face, Have plucked my nipple from his boneless gums And dashed its brains out, had I so sworn as you Have done to this (I.vii 61-67).

However, this does not mean that in rejecting her femininity she becomes a man. Instead she becomes a woman devoid of the sexual characteristics and sentimentality that make her a woman. She becomes entirely unnatural and inhuman. Like the supernatural Weird Sisters with their beards, Lady Macbeth becomes something that does not fit into the natural world.

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Macbeth (grades 9–1) york notes, william shakespeare, examiner's notes, you assessed this answer as grade 7 . hover over the highlighted text to read the examiner’s comments., question: read from act i scene 5 ‘ my dearest love, duncan comes here tonight ... ’ (line 45) to ‘ leave all the rest to me ’ (line 60). in this scene, lady macbeth is discussing her plans for the king..

Starting with this conversation, explore how far Lady Macbeth is presented as the main villain of the play.

Write about:

• how Shakespeare presents Lady Macbeth in this extract
• how far Shakespeare presents Lady Macbeth as the main villain in the play as a whole.

In Act I Scene 5 we are presented with a villainous Lady Macbeth plotting the murder of King Duncan. She is presented as the evil driving force in the lead-up to the king’s murder though this idea is not sustained and later we witness the character softening and eventually descending into madness.

In this conversation Macbeth is presented as a doting husband, using the term ‘My dearest love’ to address his wife. She is quick to ask when Duncan will leave Dunsinane and becomes excited when she proclaims her intention ‘never/Shall sun that morrow see!’ The exclamation mark at the end of this line shows her enthusiasm for the plan to murder the king; a clear example of Lady Macbeth as villain.

She then proceeds to advise Macbeth on how best to present himself. She accuses him of being too easy to read and says he must ‘look like the innocent flower,/But be the serpent under’t.’ This shows us that she is deceitful and that the audience sees her as a scheming Machiavellian character.

Her evil is further demonstrated by the way she gives directions to Macbeth. In ‘you shall put/This night’s great business into my dispatch’ the pronoun ‘my’ shows that she, not Macbeth, is responsible for this murderous plan.

In fact, Macbeth appears to desire that the plan is delayed. He says ‘We will speak further’ suggesting that he is not entirely in agreement with Lady Macbeth at this point.

Later in Act I, we see additional evidence of Lady Macbeth as villain. When Macbeth says he will ‘proceed no further in this business’ she uses her powers of persuasion – undermining his manliness and questioning his courage – to convince Macbeth that murder is the best course of action. It is Lady Macbeth who suggests duping the guards ‘with wine and wassail’, and she who takes the bloody daggers from Macbeth to plant them on the grooms. She shows no fear of the dead, claiming the ‘sleeping and the dead/Are but as pictures’.

A contemporary audience may have been challenged by this intimidating female character. At the time when the play was written, women were largely treated as the property of their husbands or fathers, so Lady Macbeth is unusual in her outspoken manner, and also in her power. Macbeth says she should ‘bring forth men-children only!’ suggesting that her strength is more suited to warriors and kings.

Later in the play her character changes and by Act III Scene 2 we begin to see signs of her regret. When she says ‘naught’s had, all’s spent’ we are presented with a character whose excitement is waning with the disappointment of the outcome. Her language when speaking with Macbeth is less aggressive and more soothing. She says ‘Gentle my lord’ and whereas in earlier scenes she dominated the dialogue, her lines are fewer in this scene.

In Act III Scene 4 when the ghost of Banquo haunts Macbeth at the feast, Lady Macbeth plays the peacemaker, attempting to calm the ‘good peers’. Macbeth echoes her earlier challenge about being a man with ‘What man dare, I dare’. The repetition of ‘dare’ emphasises his determination and sheer determination and we see that he has now overtaken his wife in the role of the play’s main villain.

The next time Lady Macbeth appears is when the doctor has been summoned to witness her strange nightly wanderings. In Act V Scene 1 we see, not a villain, but a woman reduced to sickness by guilt. Eventually she kills herself, not the act of a villain, but more of a coward, unable to face the consequences of her actions.

Overall, Lady Macbeth can be seen as a villain, and she is certainly portrayed as such in the earlier scenes, especially where she is plotting with her husband as in the extract. However, when Macbeth arranges for Banquo’s murder without consulting her, he takes the lead as the main villain in the play and acts increasingly alone during his violent and brutal reign.

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