01/01/1599View on timeline

Macbeth is a tragedy by William Shakespeare; it is thought to have been first performed in 1606. It dramatizes the damaging physical and psychological effects of political ambition on those who seek power for its own sake. Of all the plays that Shakespeare wrote during the reign of James I, who was patron of Shakespeare's acting company, Macbeth most clearly reflects the playwright's relationship with his sovereign. It was first published in the Folio of 1623, possibly from a prompt book, and is Shakespeare's shortest tragedy.

A brave Scottish general named Macbeth receives a prophecy from a trio of witches that one day he will become King of Scotland. Consumed by ambition and spurred to action by his wife, Macbeth murders King Duncan and takes the Scottish throne for himself. He is then wracked with guilt and paranoia. Forced to commit more and more murders to protect himself from enmity and suspicion, he soon becomes a tyrannical ruler. The bloodbath and consequent civil war swiftly take Macbeth and Lady Macbeth into the realms of madness and death.

Shakespeare's source for the story is the account of Macbeth, King of Scotland; Macduff; and Duncan in Holinshed's Chronicles (1587), a history of England, Scotland, and Ireland familiar to Shakespeare and his contemporaries, although the events in the play differ extensively from the history of the real Macbeth. The events of the tragedy are usually associated with the execution of Henry Garnet for complicity in the Gunpowder Plot of 1605.

In the backstage world of theatre, some believe that the play is cursed, and will not mention its title aloud, referring to it instead as "The Scottish Play". Over the course of many centuries, the play has attracted some of the most renowned actors to the roles of Macbeth and Lady Macbeth. It has been adapted to film, television, opera, novels, comics, and other media.

A poster for a c. 1884 American production of Macbeth, starring Thomas W. Keene. Depicted, anti-cloc...

Date and text

Macbeth cannot be dated precisely but it is usually dated as contemporaneous to the other canonical tragedies (King Lear, Hamlet, and Othello). Some scholars have placed the original writing of the play as early as 1599. As the play is widely seen to celebrate King James' ancestors and the Stuart accession to the throne in 1603 (James believed himself to be descended from Banquo), most scholars believe that the play is unlikely to have been composed earlier than 1603 and suggest that the parade of eight kings—which the witches show Macbeth in a vision in Act IV—is a compliment to King James. Many scholars think the play was written in 1606 in the aftermath of the Gunpowder Plot because of possible internal allusions to the 1605 plot and its ensuing trials. In fact, there are a great number of allusions and possible pieces of evidence alluding to the Plot, and, for this reason, a great many critics agree that Macbeth was written in the year 1606. Lady Macbeth's instructions to her husband, "Look like the innocent flower, but be the serpent under't" (1.5.74–75), may be an allusion to a medal that was struck in 1605 to commemorate King James' escape that depicted a serpent hiding among lilies and roses.

Particularly, the Porter's speech (2.3.1–21) in which he welcomes an "equivocator", a farmer, and a tailor to hell (2.3.8–13), has been argued to be an allusion to the 28 March 1606 trial and execution on 3 May 1606 of the Jesuit Henry Garnet, who used the alias "Farmer", with "equivocator" referring to Garnet's defence of "equivocation". The porter says that the equivocator "committed treason enough for God's sake" (2.3.9–10), which specifically connects equivocation and treason and ties it to the Jesuit belief that equivocation was only lawful when used "for God's sake", strengthening the allusion to Garnet. The porter goes on to say that the equivocator "yet could not equivocate to heaven" (2.3.10–11), echoing grim jokes that were current on the eve of Garnet's execution: i.e. that Garnet would be "hanged without equivocation" and at his execution he was asked "not to equivocate with his last breath." The "English tailor" the porter admits to hell (2.3.13), has been seen as an allusion to Hugh Griffin, a tailor who was questioned by the Archbishop of Canterbury on 27 November and 3 December 1607 for the part he played in Garnet's "miraculous straw", an infamous head of straw that was stained with Garnet's blood that had congealed into a form resembling Garnet's portrait, which was hailed by Catholics as a miracle. The tailor Griffin became notorious and the subject of verses published with his portrait on the title page.

When James became king of England, a feeling of uncertainty settled over the nation. James was a Scottish king and the son of Mary, Queen of Scots, a staunch Catholic and English traitor. In the words of critic Robert Crawford, "Macbeth was a play for a post-Elizabethan England facing up to what it might mean to have a Scottish king. England seems comparatively benign, while its northern neighbour is mired in a bloody, monarch-killing past. ... Macbeth may have been set in medieval Scotland, but it was filled with material of interest to England and England's ruler." Critics argue that the content of the play is clearly a message to James, the new Scottish King of England. Likewise, the critic Andrew Hadfield noted the contrast the play draws between the saintly King Edward the Confessor of England who has the power of the royal touch to cure scrofula and whose realm is portrayed as peaceful and prosperous vs. the bloody chaos of Scotland. James in his 1598 book The Trew Law of Free Monarchies had asserted that kings are always right, if not just, and his subjects own him total loyalty at all times, writing that even if a king is a tyrant, his subjects must never rebel and just endure his tyranny for their own good. James had argued that the tyranny was preferable to the problems caused by rebellion which were even worse; Shakespeare by contrast in Macbeth argued for the right of the subjects to overthrow a tyrant king, in what appeared to be an implied criticism of James's theories if applied to England. Hadfield also noted a curious aspect of the play in that it implies that primogeniture is the norm in Scotland, but Duncan has to nominate his son Malcolm to be his successor while Macbeth is accepted without protest by the Scottish lairds as their king despite being an usurper. Hadfield argued this aspect of the play with the thanes apparently choosing their king was a reference to the Stuart claim to the English throne, and the attempts of the English parliament to block the succession of James's Catholic mother, Mary, Queen of Scots, from succeeding to the English throne. Hadfield argued that Shakespeare that implying that James was indeed the rightful king of England, but he owned his throne not to divine favor as James would have it, but rather due to the willingness of the English Parliament to accept the Protestant son of the Catholic Mary, Queen of Scots, as their king.

Garry Wills provides further evidence that Macbeth is a Gunpowder Play (a type of play that emerged immediately following the events of the Gunpowder Plot). He points out that every Gunpowder Play contains "a necromancy scene, regicide attempted or completed, references to equivocation, scenes that test loyalty by use of deceptive language, and a character who sees through plots—along with a vocabulary similar to the Plot in its immediate aftermath (words like train, blow, vault) and an ironic recoil of the Plot upon the Plotters (who fall into the pit they dug)."

The play utilizes a few key words that the audience at the time would recognize as allusions to the Plot. In one sermon in 1605, Lancelot Andrewes stated, regarding the failure of the Plotters on God's day, "Be they fair or foul, glad or sad (as the poet calleth Him) the great Diespiter, 'the Father of days' hath made them both." Shakespeare begins the play by using the words "fair" and "foul" in the first speeches of the witches and Macbeth. In the words of Jonathan Gil Harris, the play expresses the "horror unleashed by a supposedly loyal subject who seeks to kill a king and the treasonous role of equivocation. The play even echoes certain keywords from the scandal – the 'vault' beneath the House of Parliament in which Guy Fawkes stored thirty kegs of gunpowder and the 'blow' about which one of the conspirators had secretly warned a relative who planned to attend the House of Parliament on 5 November...Even though the Plot is never alluded to directly, its presence is everywhere in the play, like a pervasive odor."

Scholars also cite an entertainment seen by King James at Oxford in the summer of 1605 that featured three "sibyls" like the weird sisters; Kermode surmises that Shakespeare could have heard about this and alluded to it with the weird sisters. However, A. R. Braunmuller in the New Cambridge edition finds the 1605–06 arguments inconclusive, and argues only for an earliest date of 1603.

One suggested allusion supporting a date in late 1606 is the first witch's dialogue about a sailor's wife: "'Aroint thee, witch!' the rump-fed ronyon cries./Her husband's to Aleppo gone, master o' the Tiger" (1.3.6–7). This has been thought to allude to the Tiger, a ship that returned to England 27 June 1606 after a disastrous voyage in which many of the crew were killed by pirates. A few lines later the witch speaks of the sailor, "He shall live a man forbid:/Weary se'nnights nine times nine" (1.3.21–22). The real ship was at sea 567 days, the product of 7x9x9, which has been taken as a confirmation of the allusion, which if correct, confirms that the witch scenes were either written or amended later than July 1606.

The play is not considered to have been written any later than 1607, since, as Kermode notes, there are "fairly clear allusions to the play in 1607." One notable reference is in Francis Beaumont's Knight of the Burning Pestle, first performed in 1607.[38][39] The following lines (Act V, Scene 1, 24–30) are, according to scholars, a clear allusion to the scene in which Banquo's ghost haunts Macbeth at the dinner table:

When thou art at thy table with thy friends,

Merry in heart, and filled with swelling wine,

I'll come in midst of all thy pride and mirth,

Invisible to all men but thyself,

And whisper such a sad tale in thine ear

Shall make thee let the cup fall from thy hand,

And stand as mute and pale as death itself.

Macbeth was first printed in the First Folio of 1623 and the Folio is the only source for the text. Some scholars contend that the Folio text was abridged and rearranged from an earlier manuscript or prompt book. Often cited as interpolation are stage cues for two songs, whose lyrics are not included in the Folio but are included in Thomas Middleton's play The Witch, which was written between the accepted date for Macbeth (1606) and the printing of the Folio. Many scholars believe these songs were editorially inserted into the Folio, though whether they were Middleton's songs or preexisting songs is not certain. It is also widely believed that the character of Hecate, as well as some lines of the First Witch (4.1 124–31), were not part of Shakespeare's original play but were added by the Folio editors and possibly written by Middleton, though "there is no completely objective proof" of such interpolation.

The first page of Macbeth, printed in the Second Folio of 1632



No comments avaliable.



Published in 14/09/2018

Updated in 19/02/2021

All events in the topic Plays and work - Tragedies:

Invalid DateAntony and CleopatraAntony and Cleopatra
Invalid DateCoriolanusCoriolanus
Invalid DateHamletHamlet
Invalid DateJulius CaesarJulius Caesar
Invalid DateKing LearKing Lear
Invalid DateMacbethMacbeth
Invalid DateOthelloOthello
Invalid DateRomeo and JulietRomeo and Juliet
Invalid DateTimon of AthensTimon of Athens
Invalid DateTitus AndronicusTitus Andronicus
Invalid DateTroilus and CressidaTroilus and Cressida