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Analysis of William Shakespeare’s Macbeth

By NASRULLAH MAMBROL on July 25, 2020 • ( 0 )

Macbeth . . . is done upon a stronger and more systematic principle of contrast than any other of Shakespeare’s plays. It moves upon the verge of an abyss, and is a constant struggle between life and death. The action is desperate and the reaction is dreadful. It is a huddling together of fierce extremes, a war of opposite natures which of them shall destroy the other. There is nothing but what has a violent end or violent beginnings. The lights and shades are laid on with a determined hand; the transitions from triumph to despair, from the height of terror to the repose of death, are sudden and startling; every passion brings in its fellow-contrary, and the thoughts pitch and jostle against each other as in the dark. The whole play is an unruly chaos of strange and forbidden things, where the ground rocks under our feet. Shakespear’s genius here took its full swing, and trod upon the farthest bounds of nature and passion.

—William Hazlitt, Characters of Shakespeare’s Plays

Macbeth completes William Shakespeare’s great tragic quartet while expanding, echoing, and altering key elements of Hamlet, Othello, and King Lear into one of the most terrifying stage experiences. Like Hamlet, Macbeth treats the  consequences  of  regicide,  but  from  the  perspective  of  the  usurpers,  not  the  dispossessed.  Like  Othello,  Macbeth   centers  its  intrigue  on  the  intimate  relations  of  husband  and  wife.  Like  Lear,  Macbeth   explores  female  villainy,  creating in Lady Macbeth one of Shakespeare’s most complex, powerful, and frightening woman characters. Different from Hamlet and Othello, in which the tragic action is reserved for their climaxes and an emphasis on cause over effect, Macbeth, like Lear, locates the tragic tipping point at the play’s outset to concentrate on inexorable consequences. Like Othello, Macbeth, Shakespeare’s shortest tragedy, achieves an almost unbearable intensity by eliminating subplots, inessential characters, and tonal shifts to focus almost exclusively on the crime’s devastating impact on husband and wife.

What is singular about Macbeth, compared to the other three great Shakespearean tragedies, is its villain-hero. If Hamlet mainly executes rather than murders,  if  Othello  is  “more  sinned  against  than  sinning,”  and  if  Lear  is  “a  very foolish fond old man” buffeted by surrounding evil, Macbeth knowingly chooses  evil  and  becomes  the  bloodiest  and  most  dehumanized  of  Shakespeare’s tragic protagonists. Macbeth treats coldblooded, premeditated murder from the killer’s perspective, anticipating the psychological dissection and guilt-ridden expressionism that Feodor Dostoevsky will employ in Crime and Punishment . Critic Harold Bloom groups the protagonist as “the culminating figure  in  the  sequence  of  what  might  be  called  Shakespeare’s  Grand  Negations: Richard III, Iago, Edmund, Macbeth.” With Macbeth, however, Shakespeare takes us further inside a villain’s mind and imagination, while daringly engaging  our  sympathy  and  identification  with  a  murderer.  “The  problem  Shakespeare  gave  himself  in  Macbeth  was  a  tremendous  one,”  Critic  Wayne  C. Booth has stated.

Take a good man, a noble man, a man admired by all who know him—and  destroy  him,  not  only  physically  and  emotionally,  as  the  Greeks  destroyed their heroes, but also morally and intellectually. As if this were not difficult enough as a dramatic hurdle, while transforming him into one of the most despicable mortals conceivable, maintain him as a tragic hero—that is, keep him so sympathetic that, when he comes to his death, the audience will pity rather than detest him and will be relieved to see him out of his misery rather than pleased to see him destroyed.

Unlike Richard III, Iago, or Edmund, Macbeth is less a virtuoso of villainy or an amoral nihilist than a man with a conscience who succumbs to evil and obliterates the humanity that he is compelled to suppress. Macbeth is Shakespeare’s  greatest  psychological  portrait  of  self-destruction  and  the  human  capacity for evil seen from inside with an intimacy that horrifies because of our forced identification with Macbeth.

Although  there  is  no  certainty  in  dating  the  composition  or  the  first performance  of  Macbeth,   allusions  in  the  play  to  contemporary  events  fix the  likely  date  of  both  as  1606,  shortly  after  the  completion  and  debut  of  King Lear. Scholars have suggested that Macbeth was acted before James I at Hampton  Court  on  August  7,  1606,  during  the  royal  visit  of  King  Christian IV of Denmark and that it may have been especially written for a royal performance. Its subject, as well as its version of Scottish history, suggest an effort both to flatter and to avoid offending the Scottish king James. Macbeth is a chronicle play in which Shakespeare took his major plot elements from Raphael  Holinshed’s  Chronicles  of  England,  Scotland  and  Ireland  (1587),  but  with  significant  modifications.  The  usurping  Macbeth’s  decade-long  (and  largely  successful)  reign  is  abbreviated  with  an  emphasis  on  the  internal  and external destruction caused by Macbeth’s seizing the throne and trying to hold onto it. For the details of King Duncan’s death, Shakespeare used Holinshed’s  account  of  the  murder  of  an  earlier  king  Duff  by  Donwald,  who cast suspicion on drunken servants and whose ambitious wife played a significant role in the crime. Shakespeare also eliminated Banquo as the historical Macbeth’s co-conspirator in the murder to promote Banquo’s innocence and nobility in originating a kingly line from which James traced his legitimacy. Additional prominence is also given to the Weird Sisters, whom Holinshed only mentions in their initial meeting of Macbeth on the heath. The prophetic warning “beware Macduff” is attributed to “certain wizards in whose words Macbeth put great confidence.” The importance of the witches and  the  occult  in  Macbeth   must  have  been  meant  to  appeal  to  a  king  who  produced a treatise, Daemonologie (1597), on witch-craft.

The uncanny sets the tone of moral ambiguity from the play’s outset as the three witches gather to encounter Macbeth “When the battle’s lost and won” in an inverted world in which “Fair is foul, and foul is fair.” Nothing in the play will be what it seems, and the tragedy results from the confusion and  conflict  between  the  fair—honor,  nobility,  duty—and  the  foul—rank  ambition and bloody murder. Throughout the play nature reflects the disorder and violence of the action. Opening with thunder and lightning, the drama is set in a Scotland contending with the rebellion of the thane (feudal lord) of Cawdor, whom the fearless and courageous Macbeth has vanquished on the battlefield. The play, therefore, initially establishes Macbeth as a dutiful and trusted vassal of the king, Duncan of Scotland, deserving to be rewarded with the rebel’s title for restoring peace and order in the realm. “What he hath lost,” Duncan declares, “noble Macbeth hath won.” News of this honor reaches Macbeth through the witches, who greet him both as the thane of Cawdor and “king hereafter” and his comrade-in-arms Banquo as one who “shalt get kings, though thou be none.” Like the ghost in Hamlet , the  Weird  Sisters  are  left  purposefully  ambiguous  and  problematic.  Are  they  agents  of  fate  that  determine  Macbeth’s  doom,  predicting  and  even  dictating  the  inevitable,  or  do  they  merely  signal  a  latency  in  Macbeth’s  ambitious character?

When he is greeted by the king’s emissaries as thane of Cawdor, Macbeth begins to wonder if the first predictions of the witches came true and what will come of the second of “king hereafter”:

This supernatural soliciting Cannot be ill, cannot be good. If ill, Why hath it given me earnest of success Commencing in a truth? I am Thane of Cawdor. If good, why do I yield to that suggestion Whose horrid image doth unfix my hair And make my seated heart knock at my ribs, Against the use of nature? Present fears Are less than horrible imaginings: My thought, whose murder yet is but fantastical, Shakes so my single state of man that function Is smother’d in surmise, and nothing is But what is not.

Macbeth  will  be  defined  by  his  “horrible  imaginings,”  by  his  considerable  intellectual and imaginative capacity both to understand what he knows to be true and right and his opposed desires and their frightful consequences. Only Hamlet has as fully a developed interior life and dramatized mental processes as  Macbeth  in  Shakespeare’s  plays.  Macbeth’s  ambition  is  initially  checked  by his conscience and by his fear of the unforeseen consequence of violating moral  laws.  Shakespeare  brilliantly  dramatizes  Macbeth’s  mental  conflict in near stream of consciousness, associational fashion:

If it were done when ’tis done, then ’twere well It were done quickly. If th’assassination Could trammel up the consequence, and catch With his surcease, success: that but this blow Might be the be all and the end all, here, But here, upon this bank and shoal of time, We’d jump the life to come. But in these cases We still have judgement here, that we but teach Bloody instructions which, being taught, return To plague th’inventor. This even-handed justice Commends th’ingredients of our poison’d chalice To our own lips. He’s here in double trust: First, as I am his kinsman and his subject, Strong both against the deed; then, as his host, Who should against his murderer shut the door, Not bear the knife myself. Besides, this Duncan Hath borne his faculties so meek, hath been So clear in his great office, that his virtues Will plead like angels trumpet-tongued against The deep damnation of his taking-off, And pity, like a naked new-born babe, Striding the blast, or heaven’s cherubin, horsed Upon the sightless couriers of the air, Shall blow the horrid deed in every eye That tears shall drown the wind. I have no spur To prick the sides of my intent, but only Vaulting ambition which o’erleaps itself And falls on the other.

Macbeth’s “spur” comes in the form of Lady Macbeth, who plays on her husband’s selfimage of courage and virility to commit to the murder. She also reveals her own shocking cancellation of gender imperatives in shaming her husband into action, in one of the most shocking passages of the play:

. . . I have given suck, and know How tender ’tis 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 the brains out, had I so sworn As you have done to this.

Horrified  at  his  wife’s  resolve  and  cold-blooded  calculation  in  devising  the  plot,  Macbeth  urges  his  wife  to  “Bring  forth  menchildren  only,  /  For  thy  undaunted mettle should compose / Nothing but males,” but commits “Each corporal agent to this terrible feat.”

With the decision to kill the king taken, the play accelerates unrelentingly through a succession of powerful scenes: Duncan’s and Banquo’s murders, the banquet scene in which Banquo’s ghost appears, Lady Macbeth’s sleepwalking, and Macbeth’s final battle with Macduff, Thane of Fife. Duncan’s offstage murder  contrasts  Macbeth’s  “horrible  imaginings”  concerning  the  implications and Lady Macbeth’s chilling practicality. Macbeth’s question, “Will all great Neptune’s ocean wash this blood / Clean from my hand?” is answered by his wife: “A little water clears us of this deed; / How easy is it then!” The knocking at the door of the castle, ominously signaling the revelation of the crime, prompts the play’s one comic respite in the Porter’s drunken foolery that he is at the door of “Hell’s Gate” controlling the entrance of the damned. With the fl ight of Duncan’s sons, who fear for their lives, causing them to be suspected as murderers, Macbeth is named king, and the play’s focus shifts to Macbeth’s keeping and consolidating the power he has seized. Having gained what the witches prophesied, Macbeth next tries to prevent their prediction that Banquo’s descendants will reign by setting assassins to kill Banquo and his son, Fleance. The plan goes awry, and Fleance escapes, leaving Macbeth again at the mercy of the witches’ prophecy. His psychic breakdown is dramatized by his seeing Banquo’s ghost occupying Macbeth’s place at the banquet. Pushed to  the  edge  of  mental  collapse,  Macbeth  steels  himself  to  meet  the  witches  again to learn what is in store for him: “Iam in blood,” he declares, “Stepp’d in so far that, should Iwade no more, / Returning were as tedious as go o’er.”

The witches reassure him that “none of woman born / Shall harm Macbeth” and that he will never be vanquished until “Great Birnam wood to high Dunsinane hill / Shall come against him.” Confident that he is invulnerable, Macbeth  responds  to  the  rebellion  mounted  by  Duncan’s  son  Malcolm  and  Macduff, who has joined him in England, by ordering the slaughter of Lady Macduff and her children. Macbeth has progressed from a murderer in fulfillment of the witches predictions to a murderer (of Banquo) in order to subvert their predictions and then to pointless butchery that serves no other purpose than as an exercise in willful destruction. Ironically, Macbeth, whom his wife feared  was  “too  full  o’  the  milk  of  human  kindness  /  To  catch  the  nearest  way” to serve his ambition, displays the same cold calculation that frightened him  about  his  wife,  while  Lady  Macbeth  succumbs  psychically  to  her  own  “horrible  imaginings.”  Lady  Macbeth  relives  the  murder  as  she  sleepwalks,  Shakespeare’s version of the workings of the unconscious. The blood in her tormented  conscience  that  formerly  could  be  removed  with  a  little  water  is  now a permanent noxious stain in which “All the perfumes of Arabia will not sweeten.” Women’s cries announcing her offstage death are greeted by Macbeth with detached indifference:

I have almost forgot the taste of fears: The time has been, my senses would have cool’d To hear a nightshriek, and my fell of hair Would at a dismal treatise rouse and stir As life were in’t. Ihave supp’d full with horrors; Direness, familiar to my slaughterous thoughts, Cannot once start me.

Macbeth reveals himself here as an emotional and moral void. Confirmation that “The Queen, my lord, is dead” prompts only the bitter comment, “She should have died hereafter.” For Macbeth, life has lost all meaning, refl ected in the bleakest lines Shakespeare ever composed:

Tomorrow, and tomorrow, and tomorrow Creeps in this petty pace from day to day To the last syllable of recorded time; And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life’s but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more. It is a tale Told by an idiot, full of sound and fury, Signifying nothing.

Time and the world that Macbeth had sought to rule are revealed to him as empty and futile, embodied in a metaphor from the theater with life as a histrionic, talentless actor in a tedious, pointless play.

Macbeth’s final testing comes when Malcolm orders his troops to camoufl  age  their  movement  by  carrying  boughs  from  Birnam  Woods  in  their march toward Dunsinane and from Macduff, whom he faces in combat and reveals that he was “from his mother’s womb / Untimely ripp’d,” that is, born by cesarean section and therefore not “of woman born.” This revelation, the final fulfillment of the witches’ prophecies, causes Macbeth to fl ee, but he is prompted  by  Macduff’s  taunt  of  cowardice  and  order  to  surrender  to  meet  Macduff’s challenge, despite knowing the deadly outcome:

Yet I will try the last. Before my body I throw my warlike shield. Lay on, Macduff, And damn’d be him that first cries, “Hold, enough!”

Macbeth  returns  to  the  world  of  combat  where  his  initial  distinctions  were  honorably earned and tragically lost.

The play concludes with order restored to Scotland, as Macduff presents Macbeth’s severed head to Malcolm, who is hailed as king. Malcolm may assert his control and diminish Macbeth and Lady Macbeth as “this dead butcher and his fiendlike queen,” but the audience knows more than that. We know what  Malcolm  does  not,  that  it  will  not  be  his  royal  line  but  Banquo’s  that  will eventually rule Scotland, and inevitably another round of rebellion and murder is to come. We also know in horrifying human terms the making of a butcher and a fiend who refuse to be so easily dismissed as aberrations.

Macbeth Oxford Lecture by Emma Smith

Analysis of William Shakespeare’s Plays

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William Shakespeare

Ask litcharts ai: the answer to your questions.

Welcome to the LitCharts study guide on William Shakespeare's Macbeth . Created by the original team behind SparkNotes, LitCharts are the world's best literature guides.

Macbeth: Introduction

Macbeth: plot summary, macbeth: detailed summary & analysis, macbeth: themes, macbeth: quotes, macbeth: characters, macbeth: symbols, macbeth: literary devices, macbeth: quizzes, macbeth: theme wheel, brief biography of william shakespeare.

Historical Context of Macbeth

Other books related to macbeth.

• Full Title: The Tragedy of Macbeth
• When Written: 1606
• Where Written: England
• When Published: 1623
• Literary Period: The Renaissance (1500 - 1660)
• Genre: Tragic drama
• Setting: Scotland and, briefly, England during the eleventh century
• Climax: Some argue that the murder of Banquo is the play's climax, based on the logic that it is at this point that Macbeth reaches the height of his power and things begin to fall apart from there. However, it is probably more accurate to say that the climax of the play is Macbeth's fight with Macduff, as it is at this moment that the threads of the play come together, the secret behind the prophecy becomes evident, and Macbeth's doom is sealed.

Extra Credit for Macbeth

Shakespeare or Not? There are some who believe Shakespeare wasn't educated enough to write the plays attributed to him. The most common anti-Shakespeare theory is that Edward de Vere, the Earl of Oxford, wrote the plays and used Shakespeare as a front man because aristocrats were not supposed to write plays. Yet the evidence supporting Shakespeare's authorship far outweighs any evidence against. So until further notice, Shakespeare is still the most influential writer in the English language.

Macbeth Essays

There are loads of ways you can approach writing an essay, but the two i favour are detailed below., the key thing to remember is that an essay should focus on the three aos:, ao1: plot and character development; ao2: language and technique; ao3: context, strategy 1 : extract / rest of play, the first strategy basically splits the essay into 3 paragraphs., the first paragraph focuses on the extract, the second focuses on the rest of the play, the third focuses on context. essentially, it's one ao per paragraph, for a really neatly organised essay., strategy 2 : a structured essay with an argument, this strategy allows you to get a much higher marks as it's structured to form an argument about the whole text. although you might think that's harder - and it's probably going to score more highly - i'd argue that it's actually easier to master. mainly because you do most of the work before the day of the exam., to see some examples of these, click on the links below:, lady macbeth as a powerful woman, macbeth as a heroic character, the key to this style is remembering this: you're going to get a question about a theme, and the extract will definitely relate to the theme., the strategy here is planning out your essays before the exam, knowing that the extract will fit into them somehow., below are some structured essays i've put together., macbeth and gender.

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A Modern Perspective: Macbeth

By Susan Snyder

Coleridge pronounced Macbeth to be “wholly tragic.” Rejecting the drunken Porter of Act 2, scene 3 as “an interpolation of the actors,” and perceiving no wordplay in the rest of the text (he was wrong on both counts), he declared that the play had no comic admixture at all. More acutely, though still in support of this sense of the play as unadulterated tragedy, he noted the absence in Macbeth of a process characteristic of other Shakespearean tragedies, the “reasonings of equivocal morality.” 1

Indeed, as Macbeth ponders his decisive tragic act of killing the king, he is not deceived about its moral nature. To kill anyone to whom he is tied by obligations of social and political loyalty as well as kinship is, he knows, deeply wrong:

         He’s here in double trust:

First, as I am his kinsman and his subject,

Strong both against the deed; then, as his host,

Who should against his murderer shut the door,

Not bear the knife myself.                  ( 1.7.12 –16)

And to kill Duncan, who has been “so clear in his great office” (that is, so free from corruption as a ruler), is to compound the iniquity. In adapting the story of Macbeth from Holinshed’s Chronicles of Scotland, Shakespeare created a stark black-white moral opposition by omitting from his story Duncan’s weakness as a monarch while retaining his gentle, virtuous nature. Unlike his prototype in Holinshed’s history, Macbeth kills not an ineffective leader but a saint whose benevolent presence blesses Scotland. In the same vein of polarized morality, Shakespeare departs from the Holinshed account in which Macbeth is joined in regicide by Banquo and others; instead, he has Macbeth act alone against Duncan. While it might be good politics to distance Banquo from guilt (he was an ancestor of James I, the current king of England and patron of Shakespeare’s acting company), excluding the other thanes as well suggests that the playwright had decided to focus on private, purely moral issues uncomplicated by the gray shades of political expediency.

Duncan has done nothing, then, to deserve violent death. Unlike such tragic heroes as Brutus and Othello, who are enmeshed in “equivocal morality,” Macbeth cannot justify his actions by the perceived misdeeds of his victim. “I have no spur,” he admits, “To prick the sides of my intent, but only / Vaulting ambition” ( 1.7.25 –27). This ambition is portrayed indirectly rather than directly. But it is surely no accident that the Weïrd Sisters accost him and crystallize his secret thoughts of the crown into objective possibility just when he has hit new heights of success captaining Duncan’s armies and defeating Duncan’s enemies. The element of displacement and substitution here—Macbeth leading the fight for Scotland while the titular leader waits behind the lines for the outcome—reinforces our sense that, whatever mysterious timetable the Sisters work by, this is the psychologically right moment to confront Macbeth with their predictions of greatness. Hailed as thane of Glamis, thane of Cawdor, and king, he is initially curious and disbelieving. Though his first fearful reaction ( 1.3.54 ) is left unexplained, for us to fill in as we will, surely one way to read his fear is that the word “king” touches a buried nerve of desire. When Ross and Angus immediately arrive to announce that Macbeth is now Cawdor as well as Glamis, the balance of skepticism tilts precipitously toward belief. The nerve vibrates intensely. Two-thirds of the prophecy is already accomplished. The remaining prediction, “king hereafter,” is suddenly isolated and highlighted; and because of the Sisters’ now proven powers of foreknowledge, it seems to call out for its parallel, inevitable fulfillment.

The Weïrd Sisters present nouns rather than verbs. They put titles on Macbeth without telling what actions he must carry out to attain those titles. It is Lady Macbeth who supplies the verbs. Understanding that her husband is torn between the now-articulated object of desire and the fearful deed that must achieve it (“wouldst not play false / And yet wouldst wrongly win,” 1.5.22 –23), she persuades him by harping relentlessly on manly action. That very gap between noun and verb, the desired prize and the doing necessary to win it, becomes a way of taunting him as a coward: “Art thou afeard / To be the same in thine own act and valor / As thou art in desire?” ( 1.7.43 –45). A man is one who closes this gap by strong action, by taking what he wants; whatever inhibits that action is unmanly fear. And a man is one who does what he has sworn to do, no matter what. We never see Macbeth vow to kill Duncan, but in Lady Macbeth’s mind just his broaching the subject has become a commitment. With graphic horror she fantasizes how she would tear her nursing baby from her breast and dash its brains out if she had sworn as she says her husband did. She would, that is, violate her deepest nature as a woman and sever violently the closest tie of kinship and dependence. Till now, Macbeth has resisted such violation, clinging to a more humane definition of “man” that accepts fidelity and obligation as necessary limits on his prowess. Now, in danger of being bested by his wife in this contest of fierce determinations, he accepts her simpler, more primitive equation of manhood with killing: he commits himself to destroying Duncan. It is significant for the lack of “equivocal morality” that even Lady Macbeth in this crucial scene of persuasion doesn’t try to manipulate or blur the polarized moral scheme. Adopting instead a warrior ethic apart from social morality, she presents the murder not as good but as heroic.

Moral clarity informs not only the decisions and actions of Macbeth but the stage of nature on which they are played out. The natural universe revealed in the play is essentially attuned to the good, so that it reacts to the unambiguously evil act of killing Duncan with disruptions that are equally easy to read. There are wild winds, an earthquake, “strange screams of death” ( 2.3.61 –69). And beyond such general upheaval there is a series of unnatural acts that distortedly mirror Macbeth’s. Duncan’s horses overthrow natural order and devour each other, like Macbeth turning on his king and cousin. “A falcon, tow’ring in her pride of place”—the monarch of birds at its highest pitch—is killed by a mousing owl, a lesser bird who ordinarily preys on insignificant creatures ( 2.4.15 –16). Most ominous of all, on the morning following the king’s death, is the absence of the sun: like the falcon a symbol of monarchy, but expanding that to suggest the source of all life. In a general sense, the sunless day shows the heavens “troubled with man’s act” ( 2.4.7 ), but the following grim metaphor points to a closer and more sinister connection: “dark night strangles the traveling lamp” ( 2.4.9 ). The daylight has been murdered like Duncan. Scotland’s moral darkness lasts till the end of Macbeth’s reign. The major scenes take place at night or in the atmosphere of the “black, and midnight hags” ( 4.1.48 ), and there is no mention of light or sunshine except in England ( 4.3.1 ).

Later in the play, nature finds equally fitting forms for its revenge against Macbeth. Despite his violations of the natural order, he nevertheless expects the laws of nature to work for him in the usual way. But the next victim, Banquo, though his murderer has left him “safe in a ditch” ( 3.4.28 ), refuses to stay safely still and out of sight. In Macbeth’s horrified response to this restless corpse, we may hear not only panic but outrage at the breakdown of the laws of motion:

                           The time has been

That, when the brains were out, the man would die,

And there an end. But now they rise again

With twenty mortal murders on their crowns

And push us from our stools. This is more strange

Than such a murder is.                           ( 3.4.94 –99)

His word choice is odd: “ they rise,” a plural where we would expect “he rises,” and the loaded word “crowns” for heads. Macbeth seems to be haunted by his last victim, King Duncan, as well as the present one. And by his outraged comparison at the end—the violent death and the ghostly appearance compete in strangeness—Macbeth suggests, without consciously intending to, that Banquo’s walking in death answers to, or even is caused by, the murder that cut him off so prematurely. The unnatural murder generates unnatural movement in the dead. Lady Macbeth, too, walks when she should be immobile in sleep, “a great perturbation in nature” ( 5.1.10 ).

It is through this same ironic trust in natural law that Macbeth draws strength from the Sisters’ later prophecy: if he is safe until Birnam Wood come to Dunsinane, he must be safe forever:

Who can impress the forest, bid the tree

Unfix his earthbound root? Sweet bodements, good!

Rebellious dead, rise never till the Wood

Of Birnam rise . . .                  ( 4.1.109 –12)

His security is ironic because for Macbeth, of all people, there can be no dependence on predictable natural processes. The “rebellious dead” have already unnaturally risen once; fixed trees can move against him as well. And so, in time, they do. Outraged nature keeps matching the Macbeths’ transgressions, undoing and expelling their perversities with its own.

In tragedies where right and wrong are rendered problematic, the dramatic focus is likely to be on the complications of choice. Macbeth, on the contrary, is preoccupied less with the protagonist’s initial choice of a relatively unambiguous wrong action than with the moral decline that follows. H. B. Charlton noted that one could see in Richard III as well as Macbeth the biblical axiom that “the wages of sin is death”; but where the history play assumes the principle, Macbeth demonstrates why it has to be that way. 2 The necessity is not so much theological as psychological: we watch in Macbeth the hardening and distortion that follows on self-violation. The need to suppress part of himself in order to kill Duncan becomes a refusal to acknowledge his deed (“I am afraid to think what I have done. / Look on ’t again I dare not”: 2.2.66 –67). His later murders are all done by proxy, in an attempt to create still more distance between the destruction he wills and full psychic awareness of his responsibility. At the same time, murder becomes a necessary activity, the verb now a compulsion almost without regard to the object: plotted after he has seen the Weïrd Sisters’ apparitions, Macbeth’s attack on Macduff’s “line” ( 4.1.174 ) is an insane double displacement, of fear of Macduff himself and fury at the vision of the line of kings fathered by Banquo.

Yet the moral universe of Macbeth is not as uncomplicated as some critics have imagined. To see in the play’s human and physical nature only a straightforward pattern of sin and punishment is to gloss over the questions it raises obliquely, the moral complexities and mysteries it opens up. The Weïrd Sisters, for example, remain undefined. Where do they come from? Where do they go when they disappear from the action in Act 4? What is their place in a moral universe that ostensibly recoils against sin and punishes it? Are they human witches, or supernatural beings? Labeling them “evil” seems not so much incorrect as inadequate. Do they cause men to commit crimes, or do they only present the possibility to them? Macbeth responds to his prophecy by killing his king, but Banquo after hearing the one directed at him is not impelled to act at all. Do we take this difference as demonstrating that the Sisters have in themselves no power beyond suggestion? Or should we rather find it somewhat sinister later on when Banquo, ancestor of James I or not, sees reason in Macbeth’s success to look forward to his own—yet feels it necessary to conceal his hopes ( 3.1.1 –10)?

Even what we most take for granted becomes problematic when scrutinized. Does Macbeth really desire to be king? Lady Macbeth says he does, but what comes through in 1.5 and 1.7 is more her desire than his. Apart from one brief reference to ambition when he is ruling out other motives to kill Duncan, Macbeth himself is strangely silent about any longing for royal power and position. Instead of an obsession that fills his personal horizon, we find in Macbeth something of a motivational void. Why does he feel obligated, or compelled, to bring about an advance in station that the prophecy seems to render inevitable anyway? A. C. Bradley put his finger on this absence of positive desire when he observed that Macbeth commits his crime as if it were “an appalling duty.” 3

Recent lines of critical inquiry also call old certainties into question. Duncan’s saintly status would seem assured, yet sociological critics are disquieted by the way we are introduced to him, as he receives news of the battle in 1.2. On the one hand we hear reports of horrifying savagery in the fighting, savagery in which the loyal thanes participate as much as the rebels and invaders—more so, in fact, when Macbeth and Banquo are likened to the crucifiers of Christ (“or memorize another Golgotha,” 1.2.44 ). In response we see Duncan exulting not only in the victory but in the bloodshed, equating honor with wounds. It is not that he bears any particular guilt. Yet the mild paternal king is nevertheless implicated here in his society’s violent warrior ethic, its predicating of manly worth on prowess in killing. 4 But isn’t this just what we condemn in Lady Macbeth? Cultural analysis tends to blur the sharp demarcations, even between two such figures apparently totally opposed, and to draw them together as participants in and products of the same constellation of social values.

Lady Macbeth and Duncan meet in a more particular way, positioned as they are on the same side of Scotland’s basic division between warriors and those protected by warriors. The king is too old and fragile to fight; the lady is neither, but she is barred from battle by traditional gender conventions that assign her instead the functions of following her husband’s commands and nurturing her young. In fact, of course, Lady Macbeth’s actions and outlook thoroughly subvert this ideology, as she forcefully takes the lead in planning the murder and shames her husband into joining in by her willingness to slaughter her own nurseling. It is easy to call Lady Macbeth “evil,” but the label tends to close down analysis exactly where we ought to probe more deeply. Macbeth’s wife is restless in a social role that in spite of her formidable courage and energy offers no chance of independent action and heroic achievement. It is almost inevitable that she turn to achievement at second hand, through and for her husband. Standing perforce on the sidelines, like Duncan once again, she promotes and cheers the killing.

Other situations, too, may be more complex than at first they seem. Lady Macduff, unlike Lady Macbeth, accepts her womanly function of caring for her children and her nonwarrior status of being protected. But she is not protected. The ideology of gender seems just as destructive from the submissive side as from the rebellious, when Macduff deserts her in order to pursue his political cause against Macbeth in England and there is no husband to stand in the way of the murderers sent by Macbeth. The obedient wife dies, with her cherished son, just as the rebellious, murderous lady will die who consigned her own nursing baby to death. The moral universe of Macbeth has room for massive injustice. Traditional critics find Lady Macbeth “unnatural,” and even those who do not accept the equation of gender ideology with nature can agree with the condemnation in view of her determined suppression of all bonds of human sympathy. Clear enough. But we get more blurring and crossovers when Macduff’s wife calls him unnatural. In leaving his family defenseless in Macbeth’s dangerous Scotland, he too seems to discount human bonds. His own wife complains bitterly that “he wants the natural touch”; where even the tiny wren will fight for her young against the owl, his flight seems to signify fear rather than natural love ( 4.2.8 –16). Ross’s reply, “cruel are the times,” while it doesn’t console Lady Macduff and certainly doesn’t save her, strives to relocate the moral ambiguity of Macduff’s conduct in the situation created by Macbeth’s tyrannical rule. The very political crisis that pulls Macduff away from his family on public business puts his private life in jeopardy through the same act of desertion. But while acknowledging the peculiar tensions raised by a tyrant-king, we may also see in the Macduff family’s disaster a tragic version of a more familiar conflict: the contest between public and private commitments that can rack conventional marriages, with the wife confined to a private role while the husband is supposed to balance obligations in both spheres.

Malcolm is allied with Duncan by lineage and with Macduff by their shared role of redemptive champion in the final movement of the play. He, too, is not allowed to travel through the action unsullied. After a long absence from the scene following the murder of Duncan, he reappears in England to be sought by Macduff in the crusade against Macbeth. Malcolm is cautious and reserved, and when he does start speaking more freely, what we hear is an astonishing catalogue of self-accusations. He calls himself lustful, avaricious, guilty of every crime and totally lacking in kingly virtues:

                Nay, had I power, I should

Pour the sweet milk of concord into hell,

Uproar the universal peace, confound

All unity on earth.                  ( 4.3.113 –16)

Before people became so familiar with Shakespeare’s play, I suspect many audiences believed what Malcolm says of himself. Students on first reading still do. Why shouldn’t they? He has been absent from the stage for some time, and his only significant action in the early part of the play was to run away after his father’s murder. When this essentially unknown prince lists his vices in lengthy speeches of self-loathing, there is no indication—except an exaggeration easily ascribable to his youth—that he is not sincere. And if we do believe, we cannot help joining in Macduff’s distress. Malcolm, the last hope for redeeming Scotland from the tyrant, has let us down. Duncan’s son is more corrupt than Macbeth. He even sounds like Macbeth, whose own milk of human kindness ( 1.5.17 ) was curdled by his wife; who threatened to destroy the whole natural order, “though the treasure / Of nature’s germens tumble all together / Even till destruction sicken” ( 4.1.60 –63). In due course, Malcolm takes it all back; but his words once spoken cannot simply be canceled, erased as if they were on paper. We have already, on hearing them, mentally and emotionally processed the false “facts,” absorbed them experientially. Perhaps they continue to color indirectly our sense of the next king of Scotland.

Viewed through various lenses, then, the black and white of Macbeth may fade toward shades of gray. The play is an open system, offering some fixed markers with which to take one’s basic bearings but also, in closer scrutiny, offering provocative questions and moral ambiguities.

• “Notes for a Lecture on Macbeth ” [c. 1813], in Coleridge’s Writings on Shakespeare , ed. Terence Hawkes (New York: Capricorn, 1959), p. 188.
• H. B. Charlton, Shakespearian Tragedy (Cambridge: Cambridge University Press, 1948), p. 141.
• A. C. Bradley, Shakespearean Tragedy (London: Macmillan, 1904), p. 358.
• James L. Calderwood, If It Were Done: “Macbeth” and Tragic Action (Amherst: University of Massachusetts Press, 1986), pp. 77–89.

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Macbeth: Analysis and Themes

By Dr Oliver Tearle (Loughborough University)

Macbeth is, along with the character of Iago in Othello and his earlier portrayal of Richard III, William Shakespeare’s most powerful exploration and analysis of evil.

Although we can find precursors to Macbeth in the murderer-turned-conscience-stricken-men of Shakespeare’s earlier plays – notably the conspirator Brutus in Julius Caesar and Claudius in Hamlet – Macbeth provides us with a closer and more complex examination of how a brave man with everything going for him might be corrupted by ambition and goading into committing an act of murder.

It’s worth examining how Shakespeare creates such a powerful depiction of one man persuaded to do evil and then wracked by his conscience for doing so. What follows is a short analysis, but one which attempts to address some of the key – not to mention the most interesting – aspects of Macbeth . You can read our summary of  Macbeth  here .

The sources for Shakespeare’s Macbeth

Macbeth was a real Scottish king, although he was somewhat different from the ambitious, murderous creation of William Shakespeare. His wife was real too, but Lady Macbeth’s real name was Gruoch and Macbeth’s real name was Mac Bethad mac Findlaích.

The real Macbeth killed Duncan in battle in 1040 and Macbeth (or Mac Bethad) actually went on to rule for 17 years, until he was killed and Macbeth’s stepson, known as Lulach the Idiot, became king (though he only ruled for less than a year – then Malcolm, as Malcolm III, took the crown). Where did Shakespeare get the story from, then, and what did he change?

The plot of Shakespeare’s Macbeth is a combination of two stories: the story of Macbeth and the story of the murder of King Duffe by Donwald and his wife, which Shakespeare read about in Raphael Holinshed’s Chronicles . The Three Witches appear in Holinshed, but as ‘nymphs or fairies’, suggesting beautiful young women rather than old, ugly hags.

Holinshed’s King Duncan is a weak and feeble ruler, who has unfairly named his own son Prince of Cumberland (and thus heir to the throne), thwarting Macbeth’s own (just) claim to the throne, through his wife’s previous marriage and her son by her first husband.

In Holinshed, then, Macbeth has every reason to have a grievance against Duncan, rather than being motivated solely by ‘vaulting ambition’. When Duncan proclaims Malcolm his heir and Prince of Cumberland, Macbeth does not see it as a slight on him and his claim to the throne – for he appears to have no genuine claim. Instead, he sees it as the turning point: if he is to become King then he must take the crown by force.

What’s more, in Holinshed’s chronicle, Banquo actually helps Macbeth to murder Duncan. Shakespeare altered the character of Banquo because his King, James I of England (James VI of Scotland, of course) claimed descent from Banquo. This explains the scene in Macbeth with the mirrors displaying Banquo’s descendants – eventually culminating in King James himself. Banquo will certainly ‘get’ (i.e. beget) kings, all right.’

This is what led the critic William Empson to regard Shakespeare’s version of Macbeth as a ‘Just-So Story’, like ‘How the Elephant Got Its Trunk’: it explains how James came to be King, over half a millennium after the events of Macbeth .

The other story from Holinshed, detailing the murder of King Duffe, is much closer to the plot of Shakespeare’s play. In the tenth century, a century before the real Macbeth lived, Donwald, egged on by his wife, murders King Duffe (although in this version Donwald gets the servants to commit the murder rather than bearing the knife himself). Donwald and his wife get Duffe’s personal attendants drunk, and then to divert suspicion Donwalde blames them for their master’s murder, killing them in pretend rage.

Themes of Macbeth

Macbeth is a play that begins with the Weird Sisters discussing their future meeting, and ends with Macduff and the other survivors preparing to go and see Malcolm crowned King.

Even the soliloquies in Macbeth seem unusually focused on not just the contemplation of a future course of action (for that’s a common feature of many soliloquies in many other plays) but on the displacement of time that the play is preoccupied with: ‘If it were done, when ’tis done’, begins one of Macbeth’s most famous speeches, while he greets the news of Lady Macbeth with his celebrated meditation on ‘tomorrow’:

Tomorrow, and tomorrow, and tomorrow, Creeps in this petty pace from day to day, To the last syllable of recorded time; And all our yesterdays have lighted fools The way to dusty death.

The first words Lady Macbeth speaks to her husband in the play show how her ambitions for her and her husband are already making her mind leap from the present into the future:

Thy letters have transported me beyond This ignorant present, and I feel now The future in the instant.

But the glue that keeps all of these future meditations in place, and acts as the main device in Macbeth linking present to future, is the role of prophecy.

It’s worth stopping to consider and analyse the role of prophecy in Macbeth . It’s true that the Witches are clearly meant to be supernatural, and their prophecies are supposedly founded on – well, on their witchcraft. One of the reasons Shakespeare may have been drawn to the story of Macbeth is that, as well as speaking to King James I’s Scottish blood, it also played to his interest in witchcraft, black magic, and the supernatural.

Indeed, the King even wrote a book about it, Daemonologie , which had been published in 1597, six years before he came to the English throne. But the clever thing about the prophecies is that we are left to decide how much what happens in the play was foretold in the Witches’ prophecy and how much was a result of the course of action Macbeth decided on, once he had knowledge of the prophecy.

We talk of ‘self-fulfilling prophecies’, and Macbeth as a piece of drama leaves us in some doubt as to the relationship between Fate and free agency. If Macbeth had never been told by the Witches that he would be Thane of Cawdor, he would still have been made Thane of Cawdor. But would he still have become King?

For Macbeth to become King, he needed to know that it was ordained that he would one day sit on the throne, so he could then murderously take it from the current incumbent. If Macbeth had not acted upon the prophecy, it may not have come true.

A similar ambiguity surrounding the role of fate and the role of individual agency governs the plot of Sophocles’ Oedipus Rex ; although Shakespeare’s tragic model was more Senecan than ancient Greek, Macbeth is perhaps the play in his oeuvre which comes the closest to following the model for a good tragedy set out in Aristotle’s Poetics .

Similarly, Banquo starts to take his prophecy seriously once he sees Macbeth’s coming true. Nevertheless, the idea that no man of woman born being able to harm Macbeth isn’t ever tested to the full: Macbeth may simply be unusually lucky in combat, and Macduff, regardless of his caesarean section, may just have proved lucky; at the same time, believing that having been ‘from his mother’s womb / Untimely ripped’ made him invincible against the tyrannical Macbeth may have given him the self-belief that he could bring the usurper down. The stories we tell ourselves about our own lives, and our destinies, shape what we do.

Ambition – or ‘vaulting ambition’ as Macbeth himself puts it – is another central theme of the play. Hearing the prophecy from the Witches convinces Macbeth that he could be King. Indeed, more than that, the prophecy suggests that he is meant to be King. Although Duncan has ‘honour’d [him] of late’, and Macbeth knows that to kill the king who had raised him to the title of Thane of Cawdor would be, among other things, an act of supreme ingratitude, Macbeth is driven to commit murder so he can seize the crown.

Everything that happens afterwards – his dispatching of the hired killers to murder Banquo, the attempted murder of Fleance, the killing of Macduff’s wife and children, and the final battle at Dunsinane – is a result of this one act, an act that was inspired by both Macbeth’s private ambition and his wife’s lust for power.

It’s worth remembering that Macbeth was almost certainly written shortly after the thwarting of the Gunpowder Plot in November 1605. (There are a number of local allusions to this recent attempt at politically and religiously motivated terrorism: the numerous instances of the word ‘equivocation’ in the play refer to the Jesuit Father Garnet, who knew of the Plot and consorted with the conspirators.)

The ‘moral’ of Macbeth , if we can run the risk of reducing the play to an ethical message in this way, is that to usurp the ruler of a kingdom is usually a Bad Idea, at least if the ruler is generally thought to be a good one and your motivation for wanting to kill and replace them is your own grasping ambition to be monarch yourself. Which brings us to the last major theme of Macbeth worth mentioning in this short analysis (before the analysis becomes somewhat less than short)…

It would be inaccurate to say Macbeth feels remorse for the murder of Duncan. Even Claudius, the ‘smiling villain’ of Hamlet who killed a king so he could take the throne for himself, expresses something approaching a pricking of conscience for murdering his own brother, acknowledging that he cannot very well appear penitent before God if he doesn’t relinquish everything he’s gained by his murderous deed.

But Macbeth’s guilt over the murders of Banquo and Duncan is less remorse than it is fear of being discovered, and one bad deed gives birth to another, each of which has to be carried out to make Macbeth and his wife ‘safe’, to use the word that recurs throughout the play (a dozen times, including ‘safely’, ‘safety’, and other variants).

Even when Banquo’s ghost appears to Macbeth at the banquet, and appears to him alone, suggesting it is a manifestation of his own guilty conscience, he is terrified that the ghost’s presence will betray his secret, rather than wracked with remorse for killing his friend. Angus’ wonderfully vivid image of Macbeth’s guilt (‘Now does he feel / His secret murders sticking on his hands’) reminds us that ‘hands’ and ‘eyes’ and other body parts are often somewhat disembodied in this play, as numerous critics have acknowledged.

From Macbeth’s bloody hand (‘Will all great Neptune’s ocean wash this blood / Clean from my hand?’) to Lady Macbeth’s feverish somnambulistic hand-washing, to Macbeth’s early words in an aside, signalling his deadly ambition (‘The eye wink at the hand; yet let that be, / Which the eye fears, when it is done, to see’), eyes and hands are at odds in this play, as if the eye countenances the evil carried out by the hand, with the wielder of the dagger turning a blind eye.

But as Angus’ words and Lady Macbeth’s night-time mimed ablutions demonstrate, one cannot so easily remove one’s mind from the hand that does a terrible deed.

One final piece of Macbeth trivia…

Macbeth is supposed to be cursed. The idea of the ‘curse’ of  Macbeth  has a complicated origin, though it was certainly given a leg up in 1898 when the novelist and wit Max Beerbohm put about the idea that the play was unlucky.

That said, it has had its fair share of tragedies and disasters: in a 1942 production starring John Gielgud, four people involved in the production died, including two of the Witches and the man playing Duncan. If you say ‘Macbeth’ in a theatre, you are meant to walk three times in a circle anti-clockwise, then either spit or say a rude word.

In 1849,  Macbeth even   caused a riot in New York . The Astor Place Riot was caused by two rival actors arguing about whose portrayal of Macbeth  was better. American actor Edwin Forrest and English thespian William Charles Macready were both playing the role of Macbeth in different productions at different theatres on the same night, and a longstanding rivalry erupted.

Another notable nineteenth-century production of the play (featuring acting rivalry) involves the so-called ‘worst poet in the English language’, who once played Macbeth on stage – and refused to die at the end.

As we revealed in our selection of  interesting facts about Scottish poet William McGonagall , when McGonagall – who has a reputation for being the worst poet in English – played the role of Macbeth in a stage production, he was so annoyed at being upstaged by his co-star, who was playing Macduff, that when Macduff went to kill Macbeth at the end of the play, he found his foe mysteriously unvanquishable.

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6 thoughts on “Macbeth: Analysis and Themes”

Eqivocation: Shakespeare (whose father was a friend of William Catesby, the father of Robert Catesby, one of the leaders in the alleged Gunpowder Plot) may well have been drawing attention to his own loyalist credentials when he shows the Porter admitting ‘an equivator’ to Hell. On the other hand he may have been doing a bit of equivocating himself. It depends how you say the line “who committed treason enough for God’s sake” it can simply be an exclamation “for God’s sake!” or mean “he committed treason enough for God’s sake…” he was one of ‘God’s traitors’ as John Shakespeare almost certainly, and William very probably were.

To create a breach of time hundreds of years in each direction: The Scotland that the historical Macbeth occupied was a tough, violent place demanding that a monarch be capable of meeting all challenges. If a monarch could be bested, deposed, all the better for the kingdom. Duncan’s nobility, a soft virtue, requires Bellona’s bridegroom succeed on the battlefield, and he doesn’t realize how dangerous such a warrior can be, especially with an ambitious woman goading him on. Now rocket forward hundreds of years to see the philosophical realization predicted in the tomorrow and tomorrow and tomorrow speech Macbeth ruminates upon hearing of Lady Macbeth’s death. (N.B. She dies off stage like most of the deaths in the play which conform to Aristotle’s Poetics which holds that violence on stage “but teaches bloody instruction.”) What does life signify? Nothing. Macbeth’s speech anticipates the 20th C. philosophy of existentialism. We come from nothing and we go to nothing. Any performance of the Scottish play in which the Three Sisters are performed exceedingly well enters the dreamscape of all the audience. The play is bloody, yes, and eerie too, as it travels in time.

I will refrain from the kind of lofty comments already given on here and just say your last story made me snort out loud :D

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Macbeth Summary and Analysis

Home » Literature Explained – Literary Synopses and Book Summaries » Macbeth – William Shakespeare » Macbeth Summary and Analysis

Introduction to Macbeth

Macbeth is a play by William Shakespeare. One of Shakespeare’s most famous tragedies, Macbeth tells a tale of greed and lust for power and how the pursuit of such things inevitably leads one to their ultimate downfall. Macbeth is a Scottish general who has managed to lead his army to defeat invaders. Near the beginning of the play, a chorus of witches prophesize that Macbeth will eventually be made king of Scotland. Intrigued by the prophecy, Macbeth writes to his wife to tell her about it. She becomes consumed with thoughts of power and control and pushes Macbeth to commit unthinkable crimes in order to make the prophecy come true.

Literary Elements of Macbeth

Type of Work: Drama

Genres : Tragedy

Published Date: First performed in 1606

Setting: 11th century Scotland

Main Characters: Macbeth, Lady Macbeth. See full characters list .

Protagonist/Antagonist: Protagonist – Macbeth (he is considered a tragic hero); Antagonist – every other character acts to threaten Macbeth and therefore almost every other character can be considered the antagonist. Macbeth vs. the world. See character descriptions .

Major Thematic Elements: Corruption and unchecked ambition, cruelty and masculine authority, guilt, the loss of children. See major themes .

Motifs: Hallucinations, acts of violence, prophecy

Exposition: Macbeth is a military general who has recently seen significant success in battle. As he returns home, he encounters three witches who deliver a prophecy.

Conflict: Lady Macbeth urges Macbeth to resort to murder to make the prophecy come true. Once Macbeth has been made king, political mistrust adds another layer of conflict.

Plot: Linear; chronological

Major Symbols: Blood, dark/gloomy/stormy weather. See major symbols .

Climax: The assassination of King Duncan

Literary Significance of Macbeth

Macbeth is Shakespeare’s shortest and most violent play that speaks to Scottish bravery. It is a complex and emotionally intense play that gained wide popularity when it was first performed. To this day, Macbeth remains a wildly popular drama. Macbeth differs from Shakespeare’s other tragedies which explore intellectually complicated dilemmas by exploring the rapid descent into madness that results from greed and power. Because it is so jarring and fascinating, it has shocked audiences for centuries and is likely not going out of rotation any time soon.

Summary of Macbeth

Macbeth Act 1 Summary

As Macbeth and Banquo make their way back to the king’s palace in a storm, they encounter the three witches who reveal that Macbeth is about to discover that he has been appointed thane of Cawdor. Macbeth asks for more information and they declare that he will also one day be king of Scotland. As for Banquo, they say that he is “lesser than Macbeth, and greater” and although he will never hold the throne, a long line of his descendants will. The witches vanish, leaving Macbeth and Banquo stunned.

Back at the palace, King Duncan announces the changes and reveals that he intends to make his son, Malcom, heir to the throne. Macbeth notes that Malcom stands between himself and the throne. Learning her husband’s prophecy, Lady Macbeth is wild with lust for her husband to become king and resolves that murder is the best course of action. She informs her husband of her intentions and begins planning. When Macbeth later reveals that he does not wish to murder King Duncan, Lady Macbeth verbally berates him until he complies. Lady Macbeth devises a plan to frame King Duncan’s chamberlains by smearing the king’s blood all over them as they drunkenly sleep.

Macbeth Act 2 Summary

After briefly running into Banquo and his son, Macbeth has a vision of a dagger floating before him in the air. The tip of the dagger is aimed towards King Duncan. Macbeth tries in vain to grasp the dagger and he has trouble discerning if it is real or imagined. He gazes at the dagger in wonder and realizes that there is blood on the blade. He decides it is a figment of his imagination and Macbeth resolves to follow through with his wife’s plan.

Lady Macbeth ponders about the event that is about to take place, feeling bold. Soon after, Macbeth returns, covered in blood, and informs her that the deed is done. He is badly shaken.

In the early morning hours, a knocking comes at the door of the Macbeth castle. It is fellow military men Macduff and Lennox who request to speak with the king. Macbeth says that the king is still asleep but agrees to take them to him. Macduff discovers the king’s murdered body. Macbeth says that the chamberlains must have done it. However, Macduff grows suspicious. King Duncan’s sons become concerned for their own safety and flee the castle. This causes suspicion to fall on the sons.

Macbeth Act 3 Summary

Macbeth is preparing for his coronation as king. Banquo is pondering the witches’ prophecy and thinks that since everything else has come true, his descendants will probably wind up as heirs to the throne. He feels ambitious but makes no plans of action. Macbeth and Lady Macbeth invite Banquo to attend the feast they will be throwing later that night.

Once alone, a servant informs Macbeth that some men have come to meet with him. The servant leaves to get the visitors and while alone, Macbeth delivers a soliloquy about Banquo and how his friend has turned into someone he fears. He worries that if the witches’ prophecy is true, he will not have any heirs to whom he will be able to leave the crown. The murder of King Duncan weighs heavily on his conscious and his suspects that may be his undoing. The men who were waiting to meet with Macbeth are two murderers who he has hired to murder Banquo and his son. Later, the murderers ambush Banquo and his son on their way to the feast and manage to kill Banquo, but his son escapes.

At the feast, Macbeth is outraged to learn that Banquo’s son escaped. He returns from speaking with the reporting murderer and sees the ghost of Banquo seated in his chair at the table. Macbeth begins speaking to him, but none of the other guests understand what he was doing. Lady Macbeth makes an excuse, and everyone decides to ignore Macbeth. Concerned, Macbeth plans to try and meet with the witches once more.

Elsewhere in Scotland, Lennox is meeting with other lords and it is revealed that Macbeth is starting to be seen as a usurper and is believed to be responsible for the murders of King Duncan and Banquo. Macbeth is preparing to fight to defend his role as king and Lennox and the lord hope that the King Duncan’s son, Malcolm, and Macduff can successfully save Scotland.

Macbeth Act 4 Summary

Macbeth finds the witches and asks them to reveal more information to clarify their prophecies for him. The witches provide confusing visions for him. Later, Lennox informs Macbeth that Macduff has left for England. Macbeth decides to have Macduff’s family murdered to prevent any meddling. In her home, Lady Macduff and her son are assaulted by a group of murderers. Her son is stabbed, and Lady Macduff flees with the killers chasing after her. Elsewhere, Malcom and Macduff worry about the future of Scotland.

Macbeth Act 5 Summary

Lady Macbeth is descending into madness, seeing visions of blood all over herself that can never be washed off. The English army approaches the Macbeth castle and Macbeth prepares by donning his armor. Macbeth soon learns that Lady Macbeth has died but he refuses to believe the news. Macbeth goes into battle to defend his castle and court. Macbeth and Macduff engage in battle, until Macbeth is slain by Macduff who carries Macbeth’s head back to the castle to announce victory in overthrowing the tyrant. Malcom is declared King of Scotland

by William Shakespeare

Macbeth study guide.

Legend says that Macbeth was written in 1605 or 1606 and performed at Hampton Court in 1606 for King James I and his brother-in-law, King Christian of Denmark. Whether it was first performed at the royal court or was premiered at the Globe theatre, there can be little doubt that the play were intended to please the King, who had recently become the patron of Shakespeare's theatrical company. We note, for example, that the character of Banquo—the legendary root of the Stuart family tree—is depicted very favorably. Like Banquo, King James was a Stuart. The play is also quite short, perhaps because Shakespeare knew that James preferred short plays. And the play contains many supernatural elements that James, who himself published a book on the detection and practices of witchcraft, would have appreciated. Even something as minor as the Scottish defeat of the Danes may have been omitted to avoid offending King Christian.

The material for Macbeth was drawn from Raphael Holinshed's Chronicles of England, Scotland, and Ireland (1587). Despite the play’s historical source, however, the play is generally classified as tragedy rather than a history. This derives perhaps from the fact that the story contains many historical fabrications—including the entire character of Banquo, who was invented by a 16th-century Scottish historian in order to validate the Stuart family line. 　In addition to such fictionalization, Shakespeare took many liberties with the original story, manipulating the characters of Macbeth and Duncan to suit his purposes. In Holinshed's account, Macbeth is a ruthless and valiant leader who rules competently after killing Duncan, whereas Duncan is portrayed as a young and soft-willed man. Shakespeare draws out certain aspects of the two characters in order to create a stronger sense of polarity. Whereas Duncan is made out to be a venerable and kindly older king, Macbeth is transformed into an indecisive and troubled young man who cannot possibly rule well.

Macbeth is certainly not the only play with historical themes that is full of fabrications. Indeed, there are other reasons why the play is considered a tragedy rather than a history. One reason lies in the play's universality. Rather than illustrating a specific historical moment, Macbeth presents a human drama of ambition, desire, and guilt. Like Hamlet, Macbeth speaks soliloquies that articulate the emotional and intellectual anxieties with which many audiences identify easily. For all his lack of values and "vaulting ambition," Macbeth is a character who often seems infinitely real to audiences. This powerful grip on the audience is perhaps what has made Macbeth such a popular play for centuries of viewers.

Given that Macbeth is one of Shakespeare's shortest plays, some scholars have suggested that scenes were excised from the Folio version and subsequently lost. There are some loose ends and non-sequiturs in the text of the play that would seem to support such a claim. If scenes were indeed cut out, however, these cuts were most masterfully done. After all, none of the story line is lost and the play remains incredibly powerful without them. In fact, the play's length gives it a compelling, almost brutal, force. The action flows from scene to scene, speech to speech, with a swiftness that draws the viewer into Macbeth's struggles. As Macbeth's world spins out of control, the play itself also begins to spiral towards to its violent end.

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.

Study Guide for Macbeth

Macbeth study guide contains a biography of William Shakespeare, literature essays, a complete e-text, quiz questions, major themes, characters, and a full summary and analysis.

• About Macbeth
• Macbeth Summary
• Macbeth Video
• Character List

Essays for Macbeth

Macbeth essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Macbeth by William Shakespeare.

• Serpentine Imagery in Shakespeare's Macbeth
• Macbeth's Evolution
• Jumping the Life to Come
• Deceptive Appearances in Macbeth
• Unity in Shakespeare's Tragedies

Lesson Plan for Macbeth

• About the Author
• Study Objectives
• Common Core Standards
• Introduction to Macbeth
• Relationship to Other Books
• Bringing in Technology
• Notes to the Teacher
• Related Links
• Macbeth Bibliography

E-Text of Macbeth

Macbeth e-text contains the full text of Macbeth by William Shakespeare.

• Persons Represented
• Act I, Scene I
• Act I, Scene II
• Act I, Scene III
• Act I, Scene IV

Wikipedia Entries for Macbeth

• Introduction
• Sources for the play
• Date and text

Introduction to Macbeth

Macbeth is one of the well-known tragedies of William Shakespeare that was performed with the full title of The Tragedy of Macbeth. It is one of the plays written during the reign of James I to please him as he was the patron of Shakespeare’s acting troupe. The play was first performed in 1606. It was first published in the First Folio in 1623. Interestingly, Macbeth is also the shortest tragic play by Shakespeare, with no subplots .  It was inspired by the story of Macbeth, King of Scotland, Macduff, and Duncan from the historical record found in Holinshed’s Chronicles, published in1587. The historical Macbeth is very different from Macbeth in the play. It dramatizes the psychological and physical impacts of the ambition a thane of Scotland harbors in his heart and then wreaks havoc with the appearance of order. Thus, creating chaos and disorder.

Summary of Macbeth

The play begins with the witches quickly appear and disappear. They plot and predict about meeting Macbeth, who would return after winning the battle against Thane of Cawdor.

King Duncan receives the testimonies of his conquering generals, Banquo and Macbeth, and the surrender of the rebel from a wounded soldier. His appreciation for both generals increase, and he decides to give all his land and the new title to Macbeth. As foretold in the beginning, after the battles, both the generals meet the witches when crossing the moor. Macbeth listens and believes when the witches predict that he will be the next Thane of Cawdor and eventually become the king. They address Macbeth Glamis, Cawdor, and the King of Scots. They also prophesy that Banquo’s descendants will become future kings. Their prophecy is filled with a puzzle as they call Banquo ‘lesser than Macbeth and greater’ and confuse him further by saying ‘Not so happy, yet much happier’. Macbeth demands answers for their prediction because Thane of Cawdor and King Duncan were still alive who held the title. However, the witches disappear without answering.

When Macbeth and Banquo discuss these prophecies, King Duncan’s representatives, Ross and Angus, arrive with the news. They tell that Macbeth is given the title of the Thane of Cawdor as a reward for winning the battle. Banquo and Macbeth are stunned as they see the witches’ first prophecy come true and wonder about the rest.

Later, they meet King Duncan at his castle, who praises both Macbeth and Banquo for their courage and devotion. King Duncan informs Macbeth about his plans to stay at his place at Iverness and also proclaims his son Malcolm as Prince of Cumberland. King Duncan, at that time, indirectly declares Malcolm as the next king of Scotland. Macbeth’s loyalty is replaced with the greed for the crown as he recalls the prophecies of the witches. He excuses himself to make arrangements for King Duncan’s visit Iverness.

Before King Duncan’s visit, Lady Macbeth, Macbeth’s wife, learns about the prophecy. She resolves to be the queen and recalls the idea of killing King Duncan. She disapproves of Macbeth’s gentle nature and loyalty as a weakness. However, she does understand that Macbeth has always been ambitious with the desire to be the king. His mind is filled with excitement at the thought of killing the king. Macbeth and Lady Macbeth begin to plot, and she decides to murder King Duncan believing that Macbeth does not have enough courage.

King Duncan arrives with his sons, Banquo, Macduff, Lennox, and few more envoys. Banquo senses the ‘ moral decay’ at Macbeth’s place. Lady Macbeth greets the king and everyone else, and they hear King Duncan praise Macbeth once more. When Macbeth’s alone , he worries about his afterlife, wondering what kind of punishment he would receive for killing the king, who is a good man. At that moment, Lady Macbeth manipulates him emotionally and convinces him to murder King Duncan.

Surprisingly, Banquo feels uneasy during his stay. When he tries to talk to Macbeth about the witches’ prophecy, Macbeth refuses to discuss. Macbeth hallucinates a bloodied dagger as they drug the guards. While trying to commit the act, Lady Macbeth hesitates as King Duncan looks like her father. After killing the guards, Macbeth returns to kill the king. He hears someone cry out these final words ‘ Glamis hath murther’d sleep: and therefore Cawdor/Shall sleep no more: Macbeth shall sleep no more! ‘. Though restless, both Macbeth and Lady Macbeth pretends to sleep.

The next morning, Macbeth and Lady Macbeth are composed and come to greet the others as if nothing happened. Macduff goes to the king’s chamber first and tells the others. Macbeth kills the guards before they can speak to maintain his innocence and push the blame on them. However, King Duncan’s sons Malcolm and Donalbain, know that their lives are in danger and run away from Scotland. Later, Malcolm goes to England and Donalbain goes to Ireland. Surprisingly the others believe that King Duncan’s sons were behind the murders as they have fled the crime scene. At the end of Act 2, Macbeth is crowned as the king.

After the coronation, Macbeth still lingers to the witches’ prophecies. He remembers that Banquo’s sons or descendants were meant to be the future kings. So, Macbeth hires assassins to kill Banquo and his son Fleance.   Now , Macbeth has completely become evil by nature and willing to do anything to secure the throne. On the other hand, Lady Macbeth is overcome with guilt over the murders. When the assassins return, they inform him that Banquo is killed when but his son had escaped.

During a banquet, Banquo’s ghost appears to Macbeth, leaving him startled. The guests see Macbeth talking to an empty chair. Lady Macbeth tells the guests that he is suffering from a lack of sleep. Macbeth is back to self once the ghost disappears. However, during the stay, Banquo’s ghost reappears, making Macbeth hallucinate again. Lady Macbeth believes, Macbeth is going insane. There is a brief reappearance of witches where they further plot to fool Macbeth. They want him to be overconfident and proud of his evil nature.

Meanwhile, Lennox, one of the thanes under King Duncan and the lord, begins to suspect that Macbeth had murdered the king and Banquo. He, Macduff, along with King Edward, decides to support Malcolm.

The witches summon Macbeth and show him the future again. At first, they warn him about Macduff returning to Scotland. Next, they tell him that only a child not born from a woman can kill him. Finally, they show him a child wearing a crown and holding a tree. They tell him that unless the Great Birnam wood (forest) moves, Macbeth will not be killed. Though Macbeth’s confidence is restored, he asks the witches about the prophecy on Banquo’s descendants. During his confrontation with the witches, Banquo’s ghost is present, and the witches leave without giving him the answer. Lennox meets Macbeth at the cave and informs the alliance between Malcolm and Macduff with the English. Macbeth, in the fit of rage, decides to kill Macduff himself. Though the messenger tries to save Macduff’s family, at Macduff’s castle, Lady Macduff is killed, and his son tries to escape. Ross, one of the noblemen, informs Macduff about his family’s murder. As Macduff grieves over the death of his family, Malcolm, King Duncan’s son, asks Macduff to turn his sorrow into revenge.

Macbeth begins to prepare for the battle. Lady Macbeth is left alone and hallucinates, filled with guilt. Her maid brings a doctor, who advises her to get divine help. While Macbeth is prepared at the royal palace for the attack, Lennox rebels against him and waits for the English army.

Macbeth believes in the witches’ prophecy and remains overconfident. Recalling the first apparition shown by the witches, that nobody born of a woman could kill him, he remains anxious but unmoved. He worries about his wife, Lady Macbeth’s failing mental health.

On the other side, Malcolm asks the soldiers to cut the branch from the Birnam Wood to hide themselves. Later, Macbeth comes to know that the forest is moving towards his fort. Despite the growing tension, Macbeth remains arrogant and unmoved. Lady Macbeth commits suicide (which is shown off-stage).

Now , Macbeth heads to the battle with no choice. He learns that Macduff that he was born early by cesarean birth instead of natural birth. Hence the witches’ prophecies flash before his eyes. He realizes that the witched deceived him and doomed his life. He resolves to die and his beheaded by Macduff. In the end, Malcolm declares himself the king and invites the nobilities to Scone to crown him.

Major Themes in Macbeth

• Ambition: At the beginning of the play, Macbeth is loyal. However, his over-ambitious nature leads him to lust for power . Macbeth, along with his wife, Lady Macbeth, murders King Duncan, Banquo, guards, and Macduff’s family. Their deaths are avenged by Malcolm and Macduff. So, they also lose their lives because of their ambition to take over the crown of Scotland. Shakespeare was inspired by 1605’s rebellion again King James 1 in England.
• Supernatural Elements: The witches and their manipulating prophecies are the supernatural elements in Macbeth. The three witches are the harbinger of chaos and death. They corrupt overly ambitious Macbeth when they prophesy about him and Banquo. They declare that he will be king and Banquo’s descendants will be future kings. The prophecies change Macbeth and his wife and turn them into monstrous people. They kill the competitors for the throne. While the lead characters do not experience anything supernatural throughout the play, the incantation by witches sets the series of murders, suicide, and betrayals in the play.
• Treachery and Betrayal: The play also displays betrayal and treachery. At first, Macbeth was a trustworthy general of King Duncan. He is corrupted by the witches and chooses to be treacherous and betrays King Duncan, who comes to Macbeth’s home as a guest. He kills the king and his friend, Banquo, as he gives in to the selfish desires. He betrays the family of Macduff too. Macbeth is also betrayed by his general, Lennox.
• Crime: The witches’ prophecies manipulate Macbeth and his wife and turn them to criminals. Though they are bestowed with luxury and royalty, they commit heinous crimes because of their never-ending greed. Macbeth commits the first crime by killing his guest, King Duncan. Then he betrays his friend, Banquo, gets him killed and later target’s Macduff’s family. Hence, the play shows the world of crime until justice is done at the end, and Macbeth is beheaded.
• Violence: The eerie atmosphere the play demonstrates, in the beginning, leads immediately to violence when Macbeth falls upon his guest, King Duncan, and then hires killers for his friend Banquo and his son. Even Lady Macbeth joins hands with him in these killings. The final assault of Macduff and Malcolm ends Macbeth and his treacherous fellows when he comes out of his fortress to fight them.
• Conflict between Good and Evil: Macbeth and his wife represent evil, while King Duncan, his generals, Banquo, and Macduff represent the good. Shakespeare has shown that Lady Macbeth is schemer, just like the witches without magical powers. While her attempts to kill the king fails, Lady Macbeth persuades Macbeth to do the job by taunting him when he hesitates. However, ‘good’ is always victorious as the play ends when Macduff and his forces behead Macbeth as a punishment for his crimes.
• Loyalty: When the play begins, Macbeth and Banquo show their loyalty to King Duncan by fighting for him. While Macbeth begins to corrupt his loyalty after the witches’ prophecies, Banquo resolves to ignore them to stay loyal to King Duncan. The play also shows Macduff’s and Malcolm’s loyalty to the people of Scotland and the dead king.
• Guilt: Guilt is one of the major internal conflicts that move the play further. Macbeth and Lady Macbeth suffer from guilt until their last breath. Lady Macbeth suffers from paranoia, hallucinations, and mental illness after King Duncan is murder. Macbeth feels guilty at first, and he is haunted by the past. He also sees Banquo’s ghost, which is the result of his guilt.
• Statecrafts: It means government or control. The deaths of King Duncan, Banquo, guards, Macduff’s family were perfectly planned murders by power-hungry Macbeth and his wife. This shows that statecraft is an important theme of the play. Macbeth did not know the statecraft though he becomes a king. Hence he faced a rebellion by Lennox at the end. At the same time, Macduff and Malcolm, with the help of the King of England, defeat Macbeth and take over the kingdom.
• Trust: In Macbeth, King Duncan trusts his generals, Macbeth, and Banquo. Sadly, his trust is broken when Macbeth and his wife plot and murder him. Banquo trusts Macbeth as they fought wars together. However, Macbeth kills him after he loses his mind over witches’ prophecies. On the other hand, Malcolm trusts Macduff, and together they win against Macbeth in the end.

Major Characters in Macbeth

• Macbeth: At first, Macbeth, a Scottish army general. He and Banquo defeat the Thane of Cawdor. King Duncan bestows the title ‘Thane of Cawdor’ to Macbeth, just when he meets the three witches who cast a spell on him. The witches’ fake prophecies also turn him into a despicable person making him make terrible decisions to fulfill them. He is also manipulated by his wife and kills King Duncan. Once he becomes the king, he goes on a killing spree after revisiting the witches. As Macbeth was fooled and cursed by the witches, we can call him an anti-hero , with the qualities of both hero and a villain. At the end of the play, he receives the punishment for all the crimes he had committed when Macduff beheads him.
• King Duncan: King Duncan is shown as one of the most generous kings. Sadly, King Duncan is stabbed to death by Macbeth and Lady Macbeth when they are cursed by the witches. He is a fatherly figure who was kind and caring for the Scottish. However, his gruesome murder shows his trusting nature cost him his life and many others.
• Lady Macbeth: She is villainous by nature with immense strength. She mostly influences Macbeth’s decisions without worrying about the consequence. She also shows extraordinary femininity when she pushes Macbeth to kill anyone who comes in his ways of becoming the king. She even takes part in the killing of King Duncan. Eventually, she feels immense guilt for King Duncan’s death and becomes insane. She begins to sleepwalk and hallucinates bloodstains on her hand. When she could not bear the guilt, she commits suicide just before Macbeth is killed.
• Malcolm and Donalbain: They are sons of King Duncan. They are forced to flee their separate ways after their father is murdered by Macbeth at his castle. At first, they do not retaliate immediately but suspect that Macbeth had intentionally killed their father. Since their life was also under threat, they leave Scotland, Malcolm goes to England and Donalbain takes refuge in Ireland.
• Banquo: Banquo is a capable and trustworthy general of the Scottish army. He is also Macbeth’s friend, who fought with him against the Thane of Cawdor. Banquo is with him when the witches prophecy and curse Macbeth. Banquo discards his temptation of his descendants being the king and leaves the witches’ prophecies behind. He remains faithful to the kingdom. Sadly, Banquo is killed by the assassins hired by Macbeth. His Fleance escapes at the last minute.
• Macduff: Macduff is one of Thanes of Scotland (Thane of Fife) and a loyal servant to King Duncan. He discovers King Duncan’s dead body and also suspects the foul play. Sadly, Macbeth kills his wife and son. He helps Malcolm get to reclaim the throne, along with Lennox and King Edward. Macduff reveals that he had a cesarean birth. Hence, as prophesied by witches, he kills Macbeth to avenge the deaths of his family and King Duncan.
• Siward: Old Siward is the Earl of Northumberland, King Duncan’s brother, and Malcolm’s uncle. He lends his army to Malcolm to take the throne of Scotland back. Sadly, young Siward is killed by Macbeth just before the war ended.
• Three Witches: The witches appear twice in the play to account for prophecies and set the ball of the action rolling. On both occasions, they have encouraged Macbeth to take the next step, involving him in a vicious cycle. This created mayhem in the orderly world of Scotland until Macbeth himself is killed.
• Ross: He is Macduff’s cousin and a loyal noble of the Scottish Kingdom. Ross delivers Macbeth’s and Banquo’s victory of the war again, the King of Norway. After the witches’ first prophecy, Ross delivers the news of Macbeth’s new title. He is one of the thanes who leave Macbeth when Malcolm and Macduff arrive with the army.
• Lady Macduff: Macduff’s wife, Lady Macduff, is the opposite of Lady Macbeth. She is loyal, kind, and has a family. When Macbeth becomes the king, he sends his army to kill her and her family. She displays her innocence by refusing to run away and is killed along with her son. Macduff avenges her death in the end.

Writing Style of Macbeth

The play, Macbeth, shows the language of magnificence, irony , and fluency through the dialogue of Macbeth and Lady Macbeth. However, the language becomes mysterious, halting, and somewhat cryptic by the end of the play. When the play starts, the language is highly charged, and the readers/ audiences are given the foreshadowing of future events. Using diverse literary devices , Shakespeare has exquisitely demonstrated that even a villain could be win sympathy and become a hero of the play.

Analysis of Literary Devices in Macbeth

1. Alliteration : A play written in blank verse ; Macbeth shows many examples of the use of alliteration such as:

• That will be ere the set of the sun. (Act-I, Scene-I, Line, 05)
• That seems to speak things strange. (Act-I, Scene-II, Line, 46)
• She should have died hereafter. (Act-V, Scene V, Line, 16)

The above lines taken from different acts show the use of alliteration, which means the use of consonant sounds in quick succession in a line. For example, /th/, /s/ and /s/ sounds are repeated in quick successions in the above lines.

2. Allegory : Macbeth is an allegory that shows how good and evil resides within men. It shows that when people believe in witchcraft or similar evil practices, they do not think about consequences. Here Macbeth shows that evil resides in man, and all he needed was a curse and a prophecy. Macbeth’s ambition turns to greed, and he kills King Duncan. However, goodness prevails by the end when Malcolm and Macduff kill Macbeth together with the assistance from England.

3. Assonance : The play, Macbeth, shows good use of assonance. For example,

• Who like a good and hardy soldier fought (Act-I, Scene-II, Line, 4)
• So well thy words become thee as thy wounds. (Act-I, Scene-II, Line, 44)
• I’ll drain him as dry as hay (Act-I Scene-III, Lines, 19)

In the above examples, vowel sounds appear after some pauses in such a way that they create a sort of melodious impacts in the verses. The sounds of /oo/, /ee/ and /a/ are used in the above lines showing good use of assonance.

4. Antagonist : If Macbeth is taken as the protagonist , the play seems to revolve around him. Then every other character like Banquo and even Macduff are antagonists, stopping his progress. However, we see that Macbeth becomes an antagonist, the main villain of the play, after he is cursed by the witches.

5. Allusion : These lines show good use of allusions.

• Will all great Neptune’s ocean wash this blood Clean from my hand? . (Act-II, Scene-II, Lines, 78, 79)
• Approach the chamber and destroy your sight With a new Gorgon. (Act-II, Scene-III, Lines, 82-83)

These lines show a reference to the earliest mythical figures. The first is a reference to Neptune, the Roman God of the seas, while the second refers to Medusa.

6. Conflict : There are two types of conflicts in Macbeth. The first one is the external conflict that goes on between Macbeth and his enemies, such as Fleance, Malcolm, and Macduff, after he murders King Duncan. The second is the internal conflict that goes on in the mind of Macbeth and Lady Macbeth.

7. Consonance : The play shows the use of consonance at various places such as;

• Outran the pauser, reason. Here lay Duncan, his silver skin lac’d with his golden blood; and his gash’d stabs look’d like a breach in nature for ruin’s wasteful entrance. (Act-II, Scene-III, Lines, 114-116)
• Fair is foul and foul is fair. (Act-I, Scene-I, Lines, 12)

In both examples, consonant sounds /s/ in the first and then /g/, /l/ and /f/ in the second reference has been repeated in the above lines.

8. Dramatic Irony : Dramatic Irony occurs at several places in Macbeth. For example, when Macbeth receives prophetic predictions from the witches, and King Duncan is unaware of this fact. Similarly, Macbeth is unaware that witches had cursed him and poured fuel to his greed.

9. Deus Ex Machina : Deus Ex Machina means the appearance of some supernatural elements. It happens at the beginning of the play that three witches appear to predict the future course of action for Macbeth. Later they prophesy about his death and defeat with strings of tricky conditions making Macbeth overconfident and a monster.

10. Foreshadowing: The first example of foreshadowing occurs in the very first action where the bloody battle continues. It shows that another somber murder is going to take place. Another example is when Macbeth hears some voices about losing his sleep when stabbing Duncan. It shows that he and his wife are going to face psychological issues.

11. Imagery : Imagery means to use vivid and descriptive language so that the reader can visualize the depth of the text. For example,

• For brave Macbeth–well he deserves that name– Disdaining fortune, with his brandished steel, Which smoked with bloody execution. . (Act-I, Scene-II, Lines 16-19)
• Double, double toil and trouble; Fire burn, and cauldron bubble. (Act-IV, Scene -I, Line -I)
• And yet dark night strangles the travelling lamp. Is ’t night’s predominance or the day’s shame That darkness does the face of Earth entomb When living light should kiss it? (Act-II, Scene-IV, Lines 8-11)

These three examples show sensory images, showing the use of the sense of sight and sense of hearing.

12. Metaphor : Macbeth shows the regular use of various metaphors . For example,

• “There’s nothing serious in mortality. All is but toys. (Act-II, Scene-III, Lines, 92-93)
• The wine of life is drawn and the mere lees is left this vault to brag of. (Act-I, Scene-II, Lines, 192-5).

These are two beautiful metaphors among various other metaphors. The first one shows life compared with toys and second with wine.

13. Mood : The entire play of Macbeth shows different moods according to the situation. When the play opens, the appearance of supernatural elements and witches herald bloodshed and foul play. When it moves forward, it transforms into bloody fights and assassinations followed by Macbeth and Lady Macbeth’s psychological conflict that leads to suicide and death.

14. Protagonist: Macbeth is the main protagonist of the play as he causes not only envy for his position but also arouses pity and fear for his fall, though, he uses devious ways to achieve his goal.

15. Pun : Macbeth shows the use of the pun. For example,

• We should have else desired your good advice, Which still18 hath been both grave and prosperous In this day’s council. (Act-III, Scene-I, Lines, 20-22)
• Who did strike out the light? (Act-III, Scene-III, Line, 18)

In the first example, the king plays upon the word “grave” while in the second, the murderer plays upon “strike.”

16. Paradox : The play, Macbeth, also shows the use of paradoxes. For example,

• When shall we three meet again? In thunder, lightning, or in rain ? (Act-I, Scene-I, Lines, 1-2)
• When the battle’s lost and won. (Act-I, Scene-I, Lines, 4)

Paradox means to use contradictory ideas in the same statement. For example, the first statement shows it in the second line as lightning and rain, and the second statement shows in using lost and won simultaneously.

17. Rhetorical Questions : The play, Macbeth, has several rhetorical questions. For example,

• What, will these hands ne’er be clean?” (Act-V, Scene-I, Line, 46)
• as the hope drunk Wherein you dressed yourself ? Hath it slept since? And wakes it now, to look so green and pale At what it did so freely?” (Act-III, Scene-IV, Line, 106)

These examples show the use of rhetorical questions mostly posed by the character of Lady Macbeth. They also show Shakespeare’s expertise in using rhetorical devices and couple them with other literary devices.

18. Simile : The play, Macbeth, shows the excellent use of various similes such as;

• For brave Macbeth–well he deserves that name– disdaining fortune, with his brandished steel, which smoked with bloody execution, like valor’s minion carved out his passage. (Act 1, Scene 2)

Here Macbeth’s ambitious character is compared to a puppet as he was cursed by the witches and did what they had been plotting before they curse him.

19. Soliloquy : The play shows some memorable soliloquies such as;

• Two truths are told, As happy prologues to the swelling act Of the imperial theme. This supernatural soliciting Cannot be ill, cannot be good: if ill, Why hath it given me earnest of success, Commencing in a truth? I am thane of Cawdor: (Act-I, Scene-III, Lines, 240-247)
• If it were done when ’tis done, then ’twere well It were done quickly: if the assassination Could trammel up the consequence, and catch With his surcease success; that but this blow Might be the be-all and the end-all here, But here, upon this bank and shoal of time, We’ld jump the life to come. But in these cases We still have judgment here; that we but teach Bloody instructions, which, being taught, return To plague the inventor: this even-handed justice Commends the ingredients of our poison’d chalice To our own lips.” (Act-I, Scene-VII, Lines, 474-485)
• Is this a dagger which I see before me, The handle toward my hand? Come, let me clutch thee. I have thee not, and yet I see thee still. Art thou not, fatal vision, sensible To feeling as to sight? or art thou but A dagger of the mind, a false creation, Proceeding from the heat-oppressed brain? I see thee yet, in form as palpable As this which now I draw. (Act-II, Scene-I, Lines, 612-621)

These are some of the memorable soliloquies of Macbeth. The first two were delivered by Macbeth on different occasions to show how he is ready to act upon the prophecies. However, the third one sheds light on the Macbeth’s after he commits the crime of killing the king.

20. Verbal Irony : The play, Macbeth, shows verbal irony. For example,

• There is no art To find the mind’s construction in the face. He was a gentleman on whom I built An absolute trust. (Act-I, Scene-IV, Lines, 10-14)
• Sirrah, your father’s dead. And what will you don now? How will you live?” (Act-IV, Scene-II, Lines, 30-31).

This use of verbal irony is apparent as the King says that he has absolute trust in Macbeth, and yet he has rebelled against him. In the second, Lady Macduff tells her son that her father is killed without showing that she has sensed the danger.

Related posts:

• Macbeth Quotes
• Macbeth Themes
• Macbeth Characters
• Macbeth Motifs
• Song of the Witches: Double, Double Toil and Trouble
• Speech: “Is this a dagger which I see before me
• Speech: Tomorrow, and Tomorrow, and Tomorrow
• 10 Irony Examples in Shakespeare
• Fair is Foul, Foul is Fair
• Tomorrow, and tomorrow, and tomorrow
• 10 Examples of Irony in Shakespeare
• Twelfth Night Quotes
• Twelfth Night Characters
• Twelfth Night Themes
• William Shakespeare
• The Tempest Themes
• The Tempest Quotes
• The Tempest Characters
• Blow, Blow, Thou Winter Wind
• Sonnet 55: Not Marble nor the Gilded Monuments
• Twelfth Night
• Julius Caesar Quotes
• Julius Caesar Themes
• King Lear Characters
• King Lear Themes
• King Lear Quotes
• A Midsummer Night’s Dream
• The Taming of the Shrew
• Shall I compare thee to a summer’s day?
• Sonnet 11: As Fast As Thou Shalt Wane, So Fast Thou Grow’st
• Sonnet 12: When I Do Count The Clock That Tells The Time
• Sonnet 14: Not From The Stars Do I My Judgement Pluck
• Sonnet 15: When I Consider Everything That Grows
• Sonnet 10: For shame deny that thou bear’st love to any
• Sonnet 16: But Wherefore Do Not You a Mightier Way
• Sonnet 17:  Who Will Believe My Verse in Time to Come
•  All the World’s a Stage
• Fear No More the Heat O’ the Sun
• Once More unto the Breach, Dear Friends, Once More
• Romeo And Juliet, Act I Prologue
• Sonnet XXXVIII
• Act I Scene 5 from Romeo and Juliet

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Macbeth – A* / L9 Full Mark Example Essay

This is an A* / L9 full mark example essay on Macbeth completed by a 15-year-old student in timed conditions (50 mins writing, 10 mins planning).

It contained a few minor spelling and grammatical errors – but the quality of analysis overall was very high so this didn’t affect the grade. It is extremely good on form and structure, and perhaps could do with more language analysis of poetic and grammatical devices; as the quality of thought and interpretation is so high this again did not impede the overall mark. 

Thanks for reading! If you find this resource useful, you can take a look at our full online Macbeth course here . Use the code “SHAKESPEARE” to receive a 50% discount!

This course includes: 

• A full set of video lessons on each key element of the text: summary, themes, setting, characters, context, attitudes, analysis of key quotes, essay questions, essay examples
• Downloadable documents for each video lesson 
• A range of example B-A* / L7-L9 grade essays, both at GCSE (ages 14-16) and A-Level (age 16+) with teacher comments and mark scheme feedback
• A bonus Macbeth workbook designed to guide you through each scene of the play!

For more help with Macbeth and Tragedy, read our article here .

MACBETH EXAMPLE ESSAY:

Macbeth’s ambition for status and power grows throughout the play. Shakespeare uses Macbeth as an embodiment of greed and asks the audience to question their own actions through the use of his wrongful deeds.

In the extract, Macbeth is demonstrated to possess some ambition but with overriding morals, when writing to his wife about the prophecies, Lady Macbeth uses metaphors to describe his kind hearted nature: “yet I do fear thy nature, / It is too full o’th’milk of human kindness”. Here, Shakespeare presents Macbeth as a more gentle natured being who is loyal to his king and country. However, the very act of writing the letter demonstrates his inklings of desire, and ambition to take the throne. Perhaps, Shakespeare is aiming to ask the audience about their own thoughts, and whether they would be willing to commit heinous deeds for power and control. 

Furthermore, the extract presents Macbeth’s indecisive tone when thinking of the murder – he doesn’t want to kill Duncan but knows it’s the only way to the throne. Lady Macbeth says she might need to interfere in order to persuade him; his ambition isn’t strong enough yet: “That I may pour my spirits in  thine ear / And chastise with the valour of my tongue”. Here, Shakespeare portrays Lady Macbeth as a manipulative character, conveying she will seduce him in order to “sway “ his mind into killing Duncan. The very need for her persuasion insinuates Macbeth is still weighing up the consequences in his head, his ambition equal with his morality. It would be shocking for the audience to see a female character act in this authoritative way. Lady Macbeth not only holds control of her husband in a patriarchal society but the stage too, speaking in iambic pentameter to portray her status: “To catch the nearest way. Thou wouldst be great”. It is interesting that Shakespeare uses Lady Macbeth in this way; she has more ambition for power than her husband at this part of play. 

As the play progresses, in Act 3, Macbeth’s ambition has grown and now kills with ease. He sends three murders to kill Banquo and his son, Fleance, as the witches predicted that he may have heirs to the throne which could end his reign. Macbeth is suspicious in this act, hiding his true intentions from his dearest companion and his wife: “I wish your horses swift and sure on foot” and “and make our faces vizards to our hearts”. There, we see, as an audience, Macbeth’s longing to remain King much stronger than his initial attitudes towards the throne He was toying with the idea of killing for the throne and now he is killing those that could interfere with his rule without a second thought. It is interesting that Shakespeare presents him this way, as though he is ignoring his morals or that they have been “numbed” by his ambition. Similarly to his wife in the first act, Macbeth also speaks in pentameter to illustrate his increase in power and dominance. 

In Act 4, his ambition and dependence on power has grown even more. When speaking with the witches about the three apparitions, he uses imperatives to portray his newly adopted controlling nature: “I conjure you” and “answer me”. Here, the use of his aggressive demanding demonstrates his reliance on the throne and his need for security. By the Witches showing him the apparitions and predicting his future, he gains a sense of superiority, believing he is safe and protected from everything. Shakespeare also lengthens Macbeth’s speech in front of the Witches in comparison to Act 1 to show his power and ambition has given him confidence, confidence to speak up to the “filthy nags” and expresses his desires. Although it would be easy to infer Macbeth’s greed and ambition has grown from his power-hungry nature, a more compassionate reading of Macbeth demonstrates the pressure he feels as a Jacobean man and soldier. Perhaps he feels he has to constantly strive for more to impress those around him or instead he may want to be king to feel more worthy and possibly less insecure. 

It would be unusual to see a Jacobean citizen approaching an “embodiment” of the supernatural as forming alliance with them was forbidden and frowned upon. Perhaps Shakespeare uses Macbeth to defy these stereotypical views to show that there is a supernatural, a more dark side in us all and it is up to our own decisions whereas we act on these impulses to do what is morally incorrect. 

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Macbeth’s Tragic Flaw

This essay about Macbeth as a tragic hero explores how William Shakespeare crafted Macbeth’s character in accordance with the classical definition of a tragic hero. Macbeth begins the play as a valorous and respected nobleman, but his encounter with the witches’ prophecy awakens his latent ambition. This ambition, his tragic flaw, leads him to murder King Duncan and sets him on a path of moral decay and further violent acts. The essay discusses Macbeth’s internal conflict and the psychological complexity that arises as he struggles with his conscience and descends deeper into tyranny. His initial nobility, combined with the devastating consequences of his actions, isolates him, leading to his inevitable downfall and death at the hands of Macduff. Shakespeare’s portrayal emphasizes the destructive power of unchecked ambition and the deep psychological repercussions of deviating from moral integrity, affirming Macbeth’s role as a tragic hero.

How it works

In William Shakespeare’s enthralling tragedy “Macbeth,” the persona of Macbeth embodies the quintessential tragic protagonist through a narrative imbued with ambition, ethical turmoil, and downfall. Shakespeare intricately constructs a narrative that delves into the journey of the tragic protagonist from valor to vice, providing a profound commentary on the perils of unbridled ambition and the intricate interplay between destiny and volition.

At the outset of the play, Macbeth is presented as a valiant warrior, deeply revered and esteemed for his courage and prowess in combat.

This initial depiction aligns with Aristotle’s portrayal of a tragic protagonist, which encompasses nobility and virtue as fundamental attributes. However, the seeds of his tragic flaw—overwhelming ambition—are planted by the prophecy of the three witches. They foretell Macbeth’s ascension to the throne of Scotland, igniting a fervent ambition within him that ultimately leads to his downfall.

The notion of the tragic flaw, or ‘hamartia,’ is pivotal in comprehending Macbeth’s adherence to the tragic protagonist archetype. His ambition impels him to commit regicide by assassinating King Duncan, an act that initiates his moral decline and the erosion of his character. This pivotal juncture transcends mere political maneuvering; it signifies a profound ethical transgression, the repercussions of which are immediate and dire. Remorse and paranoia begin to consume Macbeth, catalyzing further atrocities, including the murder of Banquo and the slaughter of Macduff’s kin. Each act of brutality propels him deeper into desolation and estrangement from humanity.

Macbeth’s metamorphosis epitomizes the psychological intricacy that Shakespeare infuses into his tragic protagonists. Initially, Macbeth is not devoid of conscience; his hesitation and subsequent anguish over Duncan’s murder depict a man grappling with his inner turmoil. However, his insatiable ambition blinds him to the moral dimensions of his deeds. As he succumbs to the allure of power and the dread of relinquishing it, he severs ties with those he cherishes and with his own moral compass. This isolation epitomizes the personal odyssey of the tragic protagonist, underscoring the individual element of tragedy.

The culmination of Macbeth’s tragic odyssey is his inevitable downfall. In classic tragic narratives, the protagonist must plummet from grace and endure the consequences of his flaws. For Macbeth, the fulfillment of the witches’ prophecy evokes not elation but existential dread and solitude. His reign is characterized not by triumph but by terror and suspicion, precipitating a loss of allegiance and eventual retaliation by those he has wronged. Macbeth’s demise at the hands of Macduff, who is impervious to Macbeth’s despotic tyranny by virtue of his unique birth, symbolizes not merely the conclusion of a reign but a poignant reflection on the inevitability of retribution in the face of despotism.

In conclusion, Macbeth epitomizes the tragic protagonist through his initial nobility, tragic flaw of unchecked ambition, moral turmoil, and ultimate downfall. Shakespeare’s portrayal of Macbeth’s trajectory from a valiant nobleman to a tyrannical ruler elucidates the ruinous potential of ambition and the profound psychological and ethical repercussions that accompany a departure from virtue. Macbeth’s narrative serves as a timeless admonition of the dangers that await those who forsake moral rectitude in pursuit of power, rendering him one of literature’s most captivating and tragic figures.

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‘Macbeth’ Grade 9 Example Response

Grade 9 – full mark – ‘Macbeth’ response

Starting with this extract (from act 1 scene 7), how does Shakespeare present the relationship between Macbeth and Lady Macbeth?

In Shakespeare’s eponymous tragedy ‘Macbeth’, Macbeth and Lady Macbeth’s relationship is a complex portrait of love, illustrating layers of utter devotion alongside overwhelming resentment. Though the couple begins the play unnaturally strong within their marriage, this seems to act as an early warning of their imminent and inevitable fall from grace, ending the play in an almost entirely different relationship than the one they began the play with.

In the exposition of the play, Macbeth and Lady Macbeth initially appear immensely strong within their marriage, with Macbeth describing his wife as ‘my dearest partner of greatness’ in act 1 scene 5. The emotive superlative adjective ‘dearest’ is a term of endearment, and acts as a clear depiction of how valued Lady Macbeth is by her husband. Secondly, the noun ‘partner’ creates a sense of sincere equality which, as equality within marriage would have been unusual in the Jacobean era, illustrates to a contemporary audience the positive aspects of their relationship. Furthermore the lexical choice ‘greatness’ may connote ambition, and as they are ‘partner(s)’, Shakespeare suggests that Macbeth and Lady Macbeth are equal in their desire for power and control, further confirming their compatibility but potentially hinting that said compatibility will serve as the couple’s hamartia.

However, the strength of Macbeth and Lady Macbeth’s relationship falls into a rapid downward spiral in the subsequent scenes, as a struggle for power within the marriage ensues. This is evidenced when Macbeth, in act 1 scene 7, uses the declarative statement ‘we will proceed no further in this business’. Here, Macbeth seems to exude masculinity, embracing his gender role and dictating both his and his wife’s decisions. The negation ‘no’ clearly indicates his alleged definitive attitude. However, Lady Macbeth refuses to accept her husband’s rule, stating ‘when you durst do it, then you were a man’. She attempts to emasculate him to see their plan through. The verb ‘durst’ illustrates the risk taking behaviour that Lady Macbeth is encouraging; implying an element of toxicity within their relationship, and her harsh speech makes the cracks in their relationship further visible to the audience. It is also probable that a contemporary audience would be made severely uncomfortable in the presence of Lady Macbeth’s unapologetic display of power, and it is possible that Shakespeare attempts to paint Lady Macbeth as the villain of the play, playing upon the audience’s pre-determined fears of feminine power. Though Lady Macbeth appears to be acting entirely out of self-interest, another reader may argue that she influences her husband so heavily to commit the heinous act of regicide, as she believes that he crown may as a substitute for the child or children that Shakespeare suggests she and Macbeth have lost previously, and in turn better Macbeth’s life and bring him to the same happiness that came with the child, except in another form.

As the play progresses, Shakespeare creates more and more distance between the characters, portraying the breakdown of their relationship as gradual within the play but rapid in the overall sense of time on stage. For example, Lady Macbeth requests a servant ‘say to the king’ Lady Macbeth ‘would attend his leisure/ for a few words’. Here she is reduced to the status of someone far lesser than the king, having to request to speak to her own husband. It could be interpreted that, now as king, Macbeth holds himself above all else, even his wife, perhaps due to the belief of the divine right of kings. The use of the title rather than his name plainly indicated the lack of closeness Lady Macbeth now feels with Macbeth and intensely emotionally separates them. This same idea is referenced as Shakespeare develops the characters to almost juxtapose each other in their experiences after the murder of Duncan. For example, Macbeth seems to be trapped in a permanent day, after ‘Macbeth does murder sleep’ and his guilt and paranoia render him unable to rest. In contrast, Lady Macbeth takes on an oppositional path, suffering sleepwalking and unable to wake from her nightmare; repeating the phrase ‘to bed. To bed’ as if trapped in a never-ending night. This illustrates to the audience the extreme transformation Macbeth and Lady Macbeth’s relationship undergoes, and how differently they end up experiencing the aftermath of regicide.

In conclusion, Macbeth and Lady Macbeth begin the play almost too comfortable within their marriage, which seems to invite the presence of chaos and tragedy into their relationship. Their moral compositions are opposing one another, which leads to the distancing and total breakdown of their once successful marriage and thus serves as a warning to the audience about the effects of murder, and what the deadly sin of greed can do to a person and a marriage.

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Secondary English teacher in Herts. View all posts by gcseenglishwithmisshuttlestone

9 thoughts on “‘Macbeth’ Grade 9 Example Response”

wheres the context

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It is also probable that a contemporary audience would be made severely uncomfortable in the presence of Lady Macbeth’s unapologetic display of power, and it is possible that Shakespeare attempts to paint Lady Macbeth as the villain of the play, playing upon the audience’s pre-determined fears of feminine power.

Also ref to ‘divine right of kings’

Thank you! This is a brilliant response. Just what I needed. Could you also please include the extract in the question.

We will proceed no further in this business. He hath honored me of late, and I have bought Golden opinions from all sorts of people, Which would be worn now in their newest gloss, Not cast aside so soon.

—> until end of scene

She did (Act 1 Scene 7)

Another great resource for grade 9 Macbeth analysis https://youtu.be/bGzLDRX71bs

In order to get a grade 9 for a piece like this would you need to include a wide range of vocabulary or could you write the same thing ‘dumbed down’ and get a 9.

If the ideas were as strong then yes, but your writing must AT LEAST be ‘clear’ for a grade 6 or above.

This is really great, I’m in Year 10 doing my Mock on Thursday, a great point that i have found (because I also take history) Is the depiction of women throughout the play, during the Elizabethan era, (before the Jacobean era) many people had a changed view of women as Queen Elizabeth was such a powerful woman, glimpses of this have been shown in Jacobean plays, in this case Macbeth, Lady Macbeth is depicted as powerful although she had to be killed of to please King James (as he was a misogynist) women are also depicted as evil in the play, such as the three witches, I also found that the Witches are in three which could be a mockery to the Holy Trinity.

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Critic’s Notebook

In a Pair of ‘Macbeth’ Productions, Only One Does Right by the Lady

One of Shakespeare’s most coveted roles for women gets different interpretations onstage in New York and Washington.

By Maya Phillips

“Macbeth” isn’t one of Shakespeare’s so-called “problem plays,” and yet, the vast contradictions and reversals of the central couple often present a problem for those staging it.

Two “Macbeth” productions now running — the Royal Lyceum Edinburgh’s “Macbeth (An Undoing),” at the Polonsky Shakespeare Center in Brooklyn, and the Shakespeare Theater Company’s “Macbeth” in Washington — take opposite approaches to the text, particularly in their depictions of Lady Macbeth. The results are two wildly different kinds of tragedies, one more successful than the other.

The project of “ Macbeth (An Undoing ),” written and directed by Zinnie Harris, is to re-evaluate the female characters in Shakespeare’s tragedy. The play, presented by Theater for a New Audience and the Rose Theater, begins as a loose adaptation of the material: Macbeth, a celebrated soldier fighting on behalf of Scotland, hears a prophecy from three weird sisters that he’ll get two promotions, including one to the throne. The Macbeths then pave their path to power by murdering everyone who could stand in their way.

With the exception of some modern paraphrasing, the unnecessary fan-fiction-esque addition of a romantic affair and a larger showing by the witches — who sometimes break the fourth wall and at others appear as servants — much of the first half of the show follows the original. In the second half, however, the production changes direction; Macbeth is the one who can’t seem to wash the blood off his hands. As he descends into the particular brand of madness usually reserved for Lady Macbeth, she transforms into the king. In fact, those around her begin addressing her as “sir” and “king.” Lady Macbeth, it turns out, has her own history with the witches, whom she sought out for medicine to prevent a miscarriage but neglected to pay when she still lost the child.

“So I am reduced to my infertility after all,” Lady Macbeth says to her husband when he accusingly interrogates her about the miscarriages. The line is one of several that the play offers as a rebuttal to some unclear larger discourse about the gender politics of “Macbeth.” “Unclear” because the ultimate irony (and failure) of “Macbeth (An Undoing)” is that in trying to subvert the gender politics of the original, it actually contradicts itself, making the character arcs and themes largely incoherent. So this Lady Macbeth complains about being characterized by her infertility, and yet the material that most heavily emphasizes her obsessive desire for a child are unique additions to this play not found in Shakespeare’s text.

Playing Lady Macbeth, Nicole Cooper is at her best when she offers a more realistic, matter-of-fact interpretation of the character in the first half of the production. But she and her Macbeth, played by Adam Best, lack chemistry, and the actors can’t negate the fact that instead of expanding the characters, the play’s role reversals flatten them. Shakespeare already built in a reversal between these characters; Macbeth’s early hesitance and caution shifts to untethered resolve, while Lady Macbeth’s early steadfastness shifts to guilt and madness.

In losing the tension between the couple’s seesawing consciences and intentions, “Macbeth (An Undoing)” also loses the context of the play’s great speeches. The famous “tomorrow and tomorrow and tomorrow” soliloquy, originally spoken by Macbeth in a state of grief-turned-apathy after learning of his wife’s death, loses its emotional weight when spoken by Lady Macbeth after she commits a murder.

There is, by the way, a good helping of murder in this version. And the blood flows freely. One character’s death comes with an almost comical deluge, audibly dripping onstage as the dialogue continues. Lady Macbeth, constantly plagued by blood spots, calls for more wardrobe changes than a contestant on “RuPaul’s Drag Race.” This kind of ceaseless repetition and constant over-explanation of the themes drags down the pacing of the play and makes for a tiresome experience.

“Macbeth (An Undoing)” ends with the same outcome and same body count, though the unnecessarily convoluted route the play takes, full of ineffective additions and alterations, and absent much of Shakespeare’s poetry, only further emphasizes the missing artistry of the original story.

These creative decisions minimize Cooper’s ability to get the most out of Lady Macbeth, who is perhaps the most coveted Shakespeare role for women as a complex character who already subverts stereotypes about women as lovers, mothers and caretakers.

The very proof is in Indira Varma’s absorbing performance opposite Ralph Fiennes in the production of “ Macbeth ” that opened on April 12 in D.C. Set in a former soundstage about three miles from the Shakespeare Theater Company’s usual space, this engrossing production draws audiences into a wrecked war zone that is then mirrored in the Macbeth household.

As played by Varma (known for her role on “Game of Thrones” ), Lady Macbeth is neither a vessel of unbridled female lust, as is often the case, nor an evil girl-boss. Her performance is built on Lady Macbeth’s earnest, wholesome love for her husband. Even when Lady Macbeth rolls up her sleeves and impatiently grabs the daggers from her husband after his bloody act of treason, there’s a brightness to her affections; she guides Macbeth through the next step of their plot with the soft yet forceful scolding of a mother to her hapless son.

Though the show’s aesthetic is grandiose, and occasionally otherworldly, with climactic lighting design and titillating sound design, the performances are refreshingly grounded. From the onset the director, Simon Godwin (who also directed the electric TV film version of “ Romeo and Juliet ,” and National Theater Live’s sensual “Antony and Cleopatra,” also starring Fiennes), paints a sophisticated picture of the central couple’s relationship, and their subsequent fall from grace.

Fiennes’s Macbeth fully owns his ambitions, and potential for regicide, but he’s also tense and cautious to the point of neuroticism. He lumbers across the stage with his shoulders hunched, looking like he’s always on the defensive. Macbeth’s ultimate shift is not toward insanity as much as it is to willfulness rooted in his newly acquired power and driven home by male ego.

And when Lady Macbeth goes mad, there’s still some degree of cogency to her condition; Varma’s tone, posture and temperament shift drastically but never lose their connection to the rest of her performance.

By the end, these Macbeths are transformed more significantly and imbued with more humanity than the reconsidered and restyled couple in “Macbeth (An Undoing).” Because even stuck in a plot of warring men, and on stages ruled by men, Shakespeare’s tragic lady can still summon a magic all her own.

Macbeth (An Undoing)

Through May 4 at Polonsky Shakespeare Center, Brooklyn; tfana.org . Running time: 2 hours 35 minutes.

Through May 5 at Shakespeare Theater Company, Washington, D.C.; shakespearetheatre.org . Running time: 2 hours 45 minutes.

Maya Phillips is an arts and culture critic for The Times.  More about Maya Phillips

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Famous English Authors and Their Contributions to Literature

Published on: May 2, 2024

The vast scope of literature includes entertaining and enlightening works that span numerous geographic locations, cultural traditions and historical periods. Every category presents its own unique flavor and holds strong literary merit, but English literature has long captivated readers with its compelling themes and vivid descriptions.

It’s difficult to appreciate the true scope and power of English literature without paying homage to the myriad of literary geniuses who have contributed to this impressive body of work. Keep reading for an overview of the most famous English authors, ranging from Middle English poets to contemporary English writers.

The Foundation of English Literature

The term “English literature” is often described as the body of works penned by those living in the British Isles — beginning during the 7th century and extending to the present day. The poem  Beowulf  is often highlighted as the earliest verifiable work of English literature, but it is challenging to date and attribute the works of the 1st millennium.

Middle English helped usher in the literary formats and themes we take for granted today. The transition from Middle English to Early Modern English was marked by two literary masters who were clearly ahead of their time: Geoffrey Chaucer and William Shakespeare.

Geoffrey Chaucer and the Middle Ages

Often referred to as the father of English literature,  Geoffrey Chaucer  is best known as the creative force behind  The Canterbury Tales . That said, he penned many other poems and was also a philosopher, an astronomer and a civil servant.

Chaucer’s works were as eclectic as his numerous interests and professional pursuits. Philosophical quandaries were integrated into many of his poems, along with plenty of humor.

During the 1390s, Chaucer set to work on his magnum opus, The Canterbury Tales . Primarily written in verse, these tales center around a group of storytelling pilgrims who engage in a contest as they travel on horseback to a shrine in Canterbury. In addition to being wonderfully entertaining and thought-provoking, this series of stories popularized the use of Middle English in literature.

William Shakespeare and the Elizabethan Era

No discussion of famous English authors would be complete without a deep dive into the fascinating life of  William Shakespeare . Arguably history’s most famous poet and playwright, Shakespeare deserves credit for creating some of the most iconic characters not only in Elizabethan era literature, but of all time. Many of his concepts and even his phrases remain relevant to this day.

Highly prolific, Shakespeare is believed to have penned 38 plays. These include many noteworthy works that remain popular on the stage, in high school classrooms, on the silver screen and beyond:

• Romeo and Juliet
• Midsummer Night’s Dream

The Evolution of the Novel

As one of the most significant literary formats of the last few centuries, the novel has the unique power to transport us to different worlds while helping us form close connections with compelling characters.

While the novel seems like the quintessential form of English literature, its history is rather short compared to English literature as a whole. The origins of the English novel are believed to lie with early works such as  Robinson Crusoe  and  Pilgrim’s Promise . Talented female writers are believed to have brought extra emotional intensity to this format.

Jane Austen and the Rise of Realism

Featuring compelling heroines who seek both romance and self-actualization, Jane Austen’s novels are rife with social commentary. She is, perhaps, best known for the relatable novel Pride & Prejudice . This is one of the world’s most consistently popular novels and is believed to have sold over  200 million copies .  Pride and Prejudice themes like social class and reputation blend with a page-turning plot to achieve almost universal appeal.

But Pride & Prejudice  is just the beginning. Austen wrote many other novels that felt just as relatable, including  Sense & Sensibility ,  Mansfield Park  and  Emma . Readers are still drawn to her work, in part, because her characters feel so realistic. This stems from one of her primary writing techniques, which is weaving characters’ thoughts into the narrative. While common today, this was unusual for the time.

Charles Dickens and Social Commentary

Like Jane Austen,  Charles Dickens  had a knack for creating memorable characters who left a deep impression on readers. Also, like Austen, Dickens incorporated social commentary into his work, although he was more likely to discuss issues such as poverty and inequality.

Dickens was celebrated in his time and has consistently remained among the most popular novelists since his death in 1870. His most noteworthy works include:

• Oliver Twist
• A Christmas Carol
• David Copperfield
• Great Expectations

Through his compassionate work, Dickens introduced readers to the tragic struggles of street children and the infuriating corruption underscoring their plight. It is due to this frequent exploration of poverty and other social ills that similarly themed works are now referred to as “Dickensian.” Beyond this, he was influential simply because he helped to solidify the novel as a popular source of entertainment.

Romanticism and Gothic Literature

The 18th and 19th centuries were dominated by two closely aligned literary movements, Romanticism and Gothic literature. The former represented a clear rejection of order and harmony, instead bringing imaginative and spontaneous attitudes to the forefront.

Creating an atmosphere of terror, Gothic literature delivered a uniquely foreboding feel using fascinating plots involving curses and revenge. The settings were often gloomy with supernatural beings, and often, passionate romances built into these alluring works.

Mary Shelley and the Birth of Science Fiction

When most people think of science fiction, contemporary works involving space or advanced technology come to mind. However, this genre has fascinated readers for centuries. As one of the most notable Gothic literature authors,  Mary Shelley  helped usher in an appreciation of the weird and wonderful through her iconic novel  Frankenstein .

Capturing the still-relevant fear that modern science could usher in destructive forces,  Frankenstein  delved into the potentially horrific consequences of humans playing god. The novel’s writing style was also unique as an epistolary form, featuring a series of letters that functioned as narrative.

The Brontë Sisters and the Exploration of the Psyche

Charlotte, Emily and Anne Brontë enjoyed writing from a young age. While each presented distinct writing styles, they were linked not only as sisters, but also by their use of emotions to bring their characters to life.

Among the best-known works from this amazing sisterhood includes  Charlotte Brontë’s  Jane Eyre , which emphasized the search for love, independence and self-control. Featuring an intimate first-person style and a surprisingly revolutionary subtext, this novel was ahead of its time.

The destructive power of passion dominated Emily Brontë’s  Wuthering Heights , which featured wonderfully complex characters. A typical  Wuthering Heights analysis will also highlight a setting so gloomy, yet compelling, it feels like a character in and of itself.

Anne Brontë, while not as well-known today, penned one of the earliest works that could arguably be classified as feminist, The Tenant of Wildfell Hall. It detailed the effects of abuse while defying social conventions of the time.

The Modernists

Spanning a period beset with huge social and economic changes (between 1890 and World War II), the Modernist era fostered experimental writing styles while integrating then cutting-edge philosophical and psychological concepts. Feelings such as disillusionment pervaded many of these works, although there was also frequently an undercurrent of optimism.

Virginia Woolf and the Stream of Consciousness

Virginia Woolf pioneered the stream of consciousness, emphasizing non-linear writing techniques to capture the nuances of the mind and the unique flow of characters’ thought processes. By focusing on the power of the interior monologue, this approach played a significant role in her well-known novel, Mrs. Dalloway , revealing how memories can influence current perceptions and tackling important themes such as isolation and privilege.

Woolf also wrote many essays on women’s history and politics, including  A Room of One’s Own . Critiquing the patriarchal system and its stifling of female creativity, this impactful essay argued that women could only achieve their full creative potential if they also achieved financial independence.

James Joyce and the Reimagining of the Novel

Irish author  James Joyce  also relied on stream of consciousness techniques while experimenting with absurdism and integrating numerous points of view. With the short story collection  Dubliners,  he hoped to hold up a “nicely polished looking-glass” in the Irish community so that readers could finally recognize (and hopefully address) what the writer regarded as a troubling paralysis.

Joyce took his penchant for experimental writing to a new level with  Ulysses . Structured to align with Homer’s  Odyssey ,  Ulysses  featured a wide array of narrative styles. Over the years,  Ulysses  has gained what  The New Yorker  regards as a “fearsome reputation for difficulty.” Still, there is no denying its status as one of the most influential works of the 20th century.

Post-War British Literature

It is impossible to overstate the influence of World War II on British literature. This was used as a backdrop for many powerful novels and the conceptual framework for both dystopian sagas and historic fiction. There was a distinct bleakness to this period’s most acclaimed works, which decades later, continue to feel hauntingly relevant.

George Orwell and Dystopian Fiction

George Orwell’s initial breakthrough came with the allegorical novella  Animal Farm , which used anthropomorphic animals to reveal the struggle to achieve a free and just society. This novella was inspired by the Bolshevik revolution, with characters representing Karl Marx, Leon Trotsky and Joseph Stalin.

Today, Orwell is best known for the  dystopian novel   1984 , set in an imagined future involving three totalitarian states constantly at war. One of these is known as Oceania, in which the brainwashed population shows obedience and reverence for the leader Big Brother. Featuring a direct writing style and bleak language,  1984  had a huge impact on the dystopian genre and contains compelling themes that still resonate.

Doris Lessing and the Exploration of Identity

A true visionary and the winner of the Nobel Prize for Literature, Doris Lessing was an outspoken novelist who discussed everything from environmentalism to race relations. She was inspired by her childhood in Africa, with several of her early works set in what was then known as Southern Rhodesia (now Zimbabwe).

While she penned a variety of poems, essays and short stories, Lessing’s most acclaimed work is easily the novel  The Golden Notebook , which told the story of the divorced writer Anna Wulf and her mental breakdown. Featuring a fragmented style meant to reflect the similar fragmentation of society,  this saga  aimed to reveal how “any kind of single-mindedness, narrowness, obsession, was bound to lead to mental disorder, if not madness.”

Contemporary Voices

During the last few decades, contemporary writers have demonstrated a clear desire to explore social themes such as inequality and racial tension. There is an ongoing effort to push boundaries while playing with unreliable narrators, non-linear timelines and self-conscious formats such as metafiction.

Zadie Smith and the Multicultural Novel

Zadie Smith took the literary scene by storm when she released her much-anticipated debut novel  White Teeth  in 2000. An ambitious multicultural work and an immediate bestseller, this satirical family story played heavily with themes that would continue to prove popular in the decades to come. This includes the often-significant gaps between expectations and reality.

A tale of an accidental friendship between a Bengali Muslim and an Englishman,  White Teeth  is chock full of sass and beautiful storytelling. Smith has since published several other novels and short stories, along with the play  The Wife of Willesden . Many of these works continue to feature culturally diverse characters and reflections on concepts such as identity and authenticity.

Ian McEwan and the Psychological Novel

Initially devoted to Gothic stories,  Ian McEwan  quickly scored the nickname “Ian Macabre” with his bleak writing style. His efforts to shock were found both in his early novels and in the infamous suspension of his play  Solid Geometry . He earned critical acclaim with thought-provoking works such as  Amsterdam  and especially  Atonement , which was later adapted into an award-winning film.

While he often addresses broad themes by examining the impact of social events on private lives, McEwan’s work involves an intimate glimpse at the human psyche, bringing the interior worlds of his detailed characters to life. He has described one of his central goals in vivid terms, to “incite a naked hunger in readers.”

Discover a Wealth of Inspiration From English Literature

If you find the titles highlighted above compelling, consider taking a deeper dive as you pursue a  Bachelor of Arts in English . As you find inspiration, you can develop your own writing skills with Park University’s  Bachelor of Arts in English and Professional Writing . Request more information  about our English degree programs today.

Park University is accredited  by the  Higher Learning Commission .

Park University is a private, non-profit, institution of higher learning since 1875.

Literary Analysis Essay Writing

Literary Analysis Essay Topics

Interesting Literary Analysis Essay Topics & Ideas

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Good Literary Analysis Essay Topic Ideas

How to choose a literary analysis essay topic , tips to write a compelling literary analysis essay.

You’re a literature student, and you’ve been assigned to work on a literature analysis essay, but you’re not sure which topic to go for. It’s a tricky situation!

We understand that choosing a worthy topic for a literary analysis essay is never an easy task. But don’t you worry!

For literature students, we know the importance of drafting an excellent literary analysis essay . And for an exceptional essay, one needs a standout topic.

That’s why in this blog, we have gathered more than 200 exciting and interesting literary analysis essay ideas for you to get started. 

Read on! 

If you are a high school or a college student, and you’re having difficulty coming up with a good topic for your essay, choose from the topic list below.  

Literary Analysis Essay Topics Middle School

• The Red Badge of Courage by Stephen Crane 
• Reservation Blues by Sherman Alexie
• Harry Potter’s powers in the Harry Potter novels by J.K. Rowling 
• To Kill a Mockingbird by Harper Lee 
• Allegory in Lord Byron’s Vision of Judgement 
• Impact of Henry Miller and Gordon Byron’s life on their legacy 
• Comparative analysis of Dickens VS Thackeray 
• Canterbury Tales VS Decameron 
• The irony in Jerome’s stories
• Mood expressions in Lolita by Vladimir Nabokov

Literary Analysis Essay Topics for High School

• The representation of justice in Harper Lee's To Kill a Mockingbird
• Analyze the theme of friendship in John Steinbeck's Of Mice and Men
• Explore the theme of identity in J.K. Rowling's Harry Potter series
• The role of nature in Emily Brontë's Wuthering Heights
• Discuss the concept of heroism in J.R.R. Tolkien's The Lord of the Rings
• The use of foreshadowing in George Orwell's Animal Farm
• The representation of mental health in Sylvia Plath's The Bell Jar
• The impact of war on individuals in Tim O'Brien's The Things They Carried
• The use of symbolism and allegory in Lois Lowry's The Giver
• Discuss the role of cultural identity in Amy Tan's The Joy Luck Club

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Literary Analysis Essay Topics For College

• Literary devices used in The Night by Elie Wiesel 
• The portrayal of the escape theme in Into The Wild by Jon Krakauer 
• The evolution of Celie's character in 'The Color Purple' by Alice Walker
• Jane Austen's critique of social class and marriage in Pride and Prejudice
• Shed light on the theme of chaos in Sherlock Holmes by Sir Arthur Conan Doyle
• Examine the historical events of World War II and their significance in Elie Wiesel's “Night.”
• The power of love in The Princess Bride by William Goldman 
• The Adventures of Huckleberry Finn by Mark Twain 
• Presentation of dreams in Of Mice and Men by John Steinbeck 
• The Rocking Horse Winner by D.H. Lawrence 

Literary Analysis Essay Prompts in Classics

• The portrayal of fate in Romeo and Juliet 
• The portrayal of love in Romeo and Juliet 
• Concept of mortality in Shakespeare’s play Hamlet 
• Misogyny in Hamlet 
• Witchcraft in Shakespeare’s play Macbeth 
• The tragic flaws and character development of King Lear in William Shakespeare's play
• The philosophical underpinnings of justice and governance in Plato's 'The Republic
• Exploring the theme of civil disobedience and consequences in Sophocles' 'Antigone’
• Exploring the conflict between illusion and reality in 'A Streetcar Named Desire'
• The complex character relationships and moral dilemmas in 'Montana' by Larry Watson

Social Literary Analysis Essay Topics

• Social injustice in Oliver Twist 
• Ethnicity in Burmese Days by Orwell
• Torture and injustice in Night by Elie Wiesel
• Vanity Fair - the culture of the 19th century according to Thackeray 
• The portrayal of the Civil Western Society in Heart of Darkness by Joseph Conrad
• The role of women in society in the 18th Century according to Jane Austen 
• Escape from society and its rules in Into the Wild by John Krakauer 
• The place of women in the society in Hamlet 
• Social status of women in the 17th century portrayed by Jane Austen in Emma 
• The wrongs of the modern society in Fight Club by Palahniuk 

War and Peace Topics for Literary Analysis Essay

• The portrayal of war and violence in the poems of Stephen Crane
• Literary works during WWI
• War setting in Gone with the Wind by Margaret Mitchell
• The depiction of war in Homer’s plays
• Toni Morrison’s views on the civil war
• The war between demons and angels in Paradise Lost
• War in the Mother Courage and Her Child by Bertolt Brecht
• The portrayal of war and peace by George Orwell
• Concept of war in A Fable by Faulkner
• Steinbeck’s presentation of injustice in The Grapes of Wrath

Literary Analysis Essay Topics for Movies

• Comparison between the book and film “Sense and Sensibility.” 
• The portrayal of women in the “Little Women.” 
• Imitation of society and class in “The Great Gatsby.”
• The ideas of love and trust in “Can You Ever Forgive Me?” 
• The good and evil in “A Wrinkle in Time.” 
• Feminity in Sense and Sensibility 
• The role of Saruman and Gandalf 
• Spirituality and religion in “Lord of the Flies.” 
• Oskar’s struggle to find a sense of home in “The Tin Drum.”
• Jealousy and male pride in “The Dead.” 

Literary Analysis Essay Topics for the Subject of Race

• “Waiting for the Barbarians” by J.M. Coetzee
• Race and Injustice in Harper Lee’s To Kill A Mockingbird
• Race and fellowship in Melville’s Moby Dick
• “Under The Feet Of Jesus”
• Description of culture and tradition in “Girl” by Jamaica Kincaid
• Interracial relationship in Back to Life by Wendy Coakley
• Bridge of Scarlet Leaves by McMorris
• The Art Of Love by Hong Ying
• Multiculturalism in the Captain Underpants series by Dev Pilkey
• Imitation of slavery in The Adventures of Huckleberry Finn

General Literary Analysis Essay Topics

• Focalization techniques in When I Lay Dying
• Historical background of Duma’s Novels
• The use of imagery in Walt Whitman’s works
• Male and female characters in Beowulf
• Character analysis of Emmy in Vanity Fair
• Character analysis of Rebeca in Vanity Fair
• The complicated relationship between mother and daughter in Beloved
• Beauty standards in The Bluest Eye
• Comparison in the portrayal of death by Keats and Blake
• The idea of death in Renaissance literature

1984 Literary Analysis Essay Topics

• Roles of genders in the novel
• What role does the Ministry of Truth play in the story?
• The theme of subversion of love in 1984
• The importance of memory in 1984
• Totalitarian society in George Orwell's 1984
• Analyze the role O'Brien plays in Winston's life
• An in-depth analysis of the novel 1984 by George Orwell
• How is the historical background reflected in 1984?
• Lack of privacy in 1984
• Propaganda and totalitarianism in Orwell’s “1984”

Hamlet Literary Analysis Essay Topics

• A theme of revenge in Hamlet
• Explore Hamlet’s relationship with Ophelia
• Explore Hamlet’s mental state
• Discuss Hamlet's relationship with Gertrude
• Ghost in Hamlet
• Was Hamlet truly mad?
• Is Hamlet a villain or a hero?
• How does Shakespeare present the idea of madness in Hamlet?
• Is Hamlet’s love for Ophelia genuine?
• Tragedies in Hamlet VS Romeo and Juliet

Romeo and Juliet Literary Analysis Essay Topics

• Discuss the development of characters during the play
• Examine the role of women in Romeo and Juliet.
• What is the role of history in Romeo and Juliet?
• Analyze the Romeo and Juliet play
• Romeo and Juliet: Fate or Free Will?
• Why did Juliet warn of danger?
• Rosaline in Romeo and Juliet
• The love language of Romeo and Juliet
• A fate analysis essay on Romeo and Juliet
• The death of Romeo and Juliet

Macbeth Literary Analysis Essay Topics

• Macbeth’s mental state
• The role of morality in the play “Macbeth”
• Describe the use of figurative language in Macbeth
• The symbolism of blood in Macbeth
• Applying imagery in Macbeth to advance the story
• Lady Macbeth character analysis
• What role did social hierarchies play in the play?
• Analysis of gender roles in Macbeth
• Role of women in Macbeth by William Shakespeare
• Is Lady Macbeth a dominant heroine?

Beowulf Literary Analysis Essay Topics

• Why is Beowulf a work of Christian propaganda?
• What is the main idea of the story?
• The meaning of rings in Beowulf
• Which of Beowulf's fights was most heroic?
• How do Beowulf’s heroic qualities affect the story?
• Discuss the digression's role in Beowulf
• Analyze the significance of the mead hall in Beowulf.
• The difference between Beowulf and Modern-Day Heroes
• Beowulf’s personality traits in the epic story
• Analysis of Beowulf's symbols and their importance

Frankenstein Literary Analysis Essay Topics

• Analyze what fire is trying to symbolize.
• Frankenstein: The theme of guilt
• Discuss any romantic elements in “Frankenstein”
• The family relationship in Frankenstein by Mary Shelley
• Who is more human, Frankenstein or the monster?
• Romantic and gothic Frankenstein elements
• Sacrifices for ambitions in the novel Frankenstein
• Relationship between Victor and Frankenstein
• Romanticism in Mary Shelley’s Frankenstein
• Family Values and Frankenstein

The Great Gatsby Literary Analysis Essay Topics

• Discuss the novel as a cautionary tale
• The meaning of wealth in the novel
• What is the novel’s title meaning?
• Explain how the novel demonstrates the characteristics of modernism
• Explore the symbolism of the “green light” in “The Great Gatsby”
• Discuss the role of women in the 1920s society as portrayed in “The Great Gatsby”
• Dreams are the main theme in “The Great Gatsby”
• What makes The Great Gatsby great?
• The Great Gatsby: Winter Thoughts
• What role does money play in Fitzgerald’s novel?

The Crucible Literary Analysis Essay Topics

• Relate the Crucible to modern society
• Analyze the most important theme of 'The Crucible.'
• What are the dynamics of puritanism?
• Examine the importance of religion in 1953 in work
• The use of fear tactics in “The Crucible”
• John Hale in The Crucible
• Morality and The Crucible
• The Crucible Critical Lens
• The sinful confessions in Arthur Miller’s The Crucible

Fahrenheit 451 Literary Analysis Essay Topics

• History of the Fireman in Fahrenheit 451
• Discuss the roles of both nature and technology play in Fahrenheit 451
• The use of Parallelism in Fahrenheit 451
• Analyze the three parts of Fahrenheit 451
• Discuss the dual image of fire in the novel
• How relevant is Fahrenheit 451 today?
• The role of Clarisse McClellan in “Fahrenheit 451”
• Analyze Mildred Montag
• Discuss the usage of literary quotes in Fahrenheit 451
• Examine the novel's main title

Literary Analysis Essay Topics For Othello

• Examine the portrayal of women in ‘Othello’
• A true reason for Othello's demise
• Consider Othello’s suicide
• The real motives of Iago in Othello
• Women's roles in Shakespeare’s Othello and Hamlet
• Gender roles and racism in “Othello”
• Discuss Othello's relationship
• Analysis of The Film “Othello” By Oliver Parker
• Explore themes of love and betrayal within Shakespeare's work of literature, “Othello”
• How was Emilia treated by the men in the play “Othello”?

Lord of The Flies Literary Analysis Essay Topics

• The symbolism of the conch shell and its significance in the novel
• Analyze the themes of civilization versus savagery in “Lord of the Flies”
• Explore the character development of Ralph and Jack in the story
• Discuss the role of fear and the “beast” in the boys' descent into chaos
• The portrayal of innate human nature and its consequences on the deserted island
• Analyze the role of Piggy and his glasses as symbols of knowledge and reason
• Analyze the use of irony in the story and its implications for the characters
• Discuss the themes of power and leadership in the struggle for dominance
• Examine the relationship between the boys' names and their personalities
• The role of the island's setting in shaping the events and characters of the story

Literary Analysis Essay Topics For The Catcher In The Rye

• Analyze the novel from the perspective of Bildungsroman
• Analyze literary devices used in “The Catcher in the Rye”
• Discuss the theme of death in the novel
• Analyze the theme of self-discovery from the novel
• Describe the story's topic of loneliness
• Analyze growing up in the novel
• Why does Holden love the Museum of Natural History?
• The Role of Dialogue in The Catcher in the Rye
• Describe the novel's portrayal of phoniness and naivety
• Describe the character of Holden

Interesting Literary Analysis Essay Topics

• War, existentialism, and love in “A Farewell to Arms”
• Sense of Sin in The Scarlet Letter 
• Analyze the use of biblical allusions and religious symbolism in William Golding's novels
• Analyze the symbolism of the “white whale” in Melville's work of literature, “Moby-Dick”
• Lies and deceit in “The Godfather” 
• Analyze the portrayal of fear and the human psyche in William Golding's novels
• The symbols used to describe nature by William Wordsworth
• Comparison between urban and rural settings of nature in the dystopia of Huxley
• Decay and revival in post-apocalyptic novels
• A religious and spiritual journey in “Jude the Obscure”

Now that you have the liberty to choose from a wide range of literary analysis example topics, you could use some help on how to opt for a good topic. 

To select a good and worthy topic for your literary analysis essay, follow the tips provided below:

• Always go for an interesting topic for an engaging piece of paper
• Look for an idea with available research material to support your analysis
• Ensure your topic allows for an in-depth analysis rather than a surface-level summary
• Choose an idea that challenges you to think critically and make meaningful connections
• Avoid overly broad topics; instead, focus on a specific aspect or element of the work.
• Choose an idea that best reflects your stance on the chosen work.
• Analyze the topic deeply before you start writing about it
• Balance personal interest with the potential appeal to your target audience
• Make sure that the theme of the work is visible in your essay topic 

Here are some tips for you to pen down a compelling literary analysis essay!

Essay writing is an essential part of academics. Students always require some tips and tricks to draft perfect essays and score good grades.

To make your literary analysis essay impeccable, follow the tips provided below:

• Thoroughly read the chosen literary work
• Identify the main themes, settings, and characters
• Understand the purpose of the work 
• Pay attention to the tools and techniques used by the author to deliver the message
• Pick an interesting literary analytical essay topic for your essay.
• To write an analytical essay effectively, draft a perfect literary analysis essay outline
• Develop a strong thesis statement 
• Craft strong topic sentences to guide and structure your analysis effectively
• Prove and support all your statements using phrases and quotes from work
• Write your literary essay from the third-person perspective
• Write in the present tense
• Avoid writing a plot summary of the work
• Use multiple literary terms to write your essay professionally
• Always cite properly

Literary Analysis Essay Example

To sum it up , writing a literary analysis essay can be extremely daunting if your analyzing abilities are weak. From selecting the right literary analysis topic to writing a conclusion for your essay, the process is lengthy.

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Professor Megalow’s Dinosaur Bones Richard Owen and Victorian Literature

By Richard Fallon

Richard Owen, the Victorian scientist who first named the “dinosaurs”, claimed that he could identify an animal, even an extinct one, from inspecting a single bone. Richard Fallon revisits other Owen-inspired fictions — by R. D. Blackmore, William Makepeace Thackeray, and Charles Kingsley — and finds literature layered with scientific, religious, and political interventions, spurred by the discovery of prehistoric life.

May 2, 2024

“Professor Owen—On his Favourite Hobby”, colour zincograph by F. Gillot from the cover of an 1870 issue of The Period: An Illustrated Review of What Is Going On — Source .

Richard Owen, known today for coining the term “dinosaur” and founding London’s Natural History Museum, was Victorian Britain’s most celebrated comparative anatomist. He was also — to put it diplomatically — a divisive figure. Writing in 1851, one of his various scientific nemeses, Thomas Henry Huxley, considered it “astonishing with what an intense feeling of hatred Owen is regarded by the majority of his contemporaries”. 1 Yet, when one of his chief admirers, Richard Doddridge (R. D.) Blackmore, based a character in his latest novel on Owen, that character was intended to epitomize the famous naturalist’s “common sense, kindness and humility”. 2 Huxley and Blackmore were evidently seeing very different Owens.

We will return to Blackmore’s intriguing but now largely forgotten novel, The Remarkable History of Sir Thomas Upmore, Bart., M.P., Formerly Known as “Tommy Upmore” (1884), in which Owen is transmuted into the kindly “Professor Megalow”. First, however, it must be asked why the man attracted such variety, and intensity, of feeling. In other words, why did so many fellow naturalists hate his guts? And why did so many titans of literary culture — including not just Blackmore but also Charles Dickens, William Makepeace Thackeray, and many others — find his recondite investigations into zoology and palaeontology so profoundly inspiring?

“Dinner in the Iguanodon ”. On New Year’s Eve, 1853, Owen presides over a meal celebrating the construction of model prehistoric animals at the Crystal Palace in Sydenham. Illustration after Benjamin Waterhouse Hawkins from an issue of Illustrated London News that same year — Source .

Owen rose up from relatively unglamorous family roots in Lancaster, becoming curator, professor, and finally — in 1842 — conservator of London’s well-stocked Hunterian Museum of the Royal College of Surgeons. Superintendency of the natural history collections of the British Museum followed in 1856. Across both spaces, Owen had access to the finest zoological and palaeontological treasures of the ever-growing and ever-acquisitive British Empire. In addition to providing us with the dinosaurs, Owen’s accomplishments included the reconstruction of the New Zealand moa and the giant South American ground sloth Mylodon , pioneering work on the gorilla, and — both before and after the publication of Charles Darwin’s On the Origin of Species (1859) — he postulated innovative if arcane theories of life’s natural development through time. 3 Museums were his speciality: Owen’s orchestration of the opening of the Natural History Museum in 1881, absorbing scientific collections formerly housed at the British Museum, capped an illustrious career.

Nonetheless, Owen’s egotism and inscrutability made him enemies in the scientific world from the start. This habit of acquiring adversaries eventually became a serious problem. In the late 1850s, tensions with the rising star Huxley were already foreboding future ill; in 1864, a powerful group calling itself the X Club formed to take charge of science’s role in society and stuck a more persistent thorn in Owen’s side. This influential group of secular scientific naturalists, whose members included Huxley as well as Herbert Spencer, stood for much that Owen detested. Their agnosticism and naturalistic interpretation of evolutionary processes — sometimes understood as driven by what Spencer termed “survival of the fittest”, or what Darwin called “natural selection” — were anathema to Owen’s theistic evolutionism, in which humans represent the apex of God’s providentially unfolding plan. Charles Kingsley’s classic children’s story The Water-Babies (1863) memorably satirized one of the most public clashes between Owen and Huxley, in which the former attempted to distance humans biologically from apes, while the latter, stressing our humble animal descent, did just the reverse.

Linley Sambourne depicts opponents Owen (left) and Huxley (right) in an 1885 edition of Charles Kingsley’s The Water-Babies — Source .

Owen dines at the Palaeontographical Society, accompanied by those prehistoric creatures whose fossil bones he knew so intimately. 19th-century lithograph by A. Orton after E. C. Rye — Source .

In addition to espousing a more compartmentalized view of the relationship between science and religion than Owen, and a less compartmentalized view of the relationship between humanity and other animals, those naturalists who came to form the X Club distrusted his pervasive influence over scientific culture. As such, many opposed his ambitious proposals for a separate Natural History Museum. Although he got his museum in the end, acolytes of Darwin and Huxley wrote much of the subsequent history, creating a caricature of Owen as a bigoted obscurantist. Notably, Darwin’s statue currently holds pride of place over Owen’s in the latter’s own museum.

Owen, however, enjoyed propagandistic powers of his own. He came to number leading politicians and members of the royal family among his intimate friends and whipped up excitement for his work in lectures and publications for general readers. Particularly integral to his reputation was the notion that Owen could identify an animal, even an extinct one, from a single bone. His most sensational feat concerned a broken femur found in New Zealand. When it was presented to Owen in 1839, he declared that this femur belonged to a then-unidentified ostrich-like bird. In 1843, further specimens vindicated his apparently audacious prediction and revealed that New Zealand had, indeed, once been infested by these giant, flightless moa birds, which Owen dubbed Dinornis . Contemporaries found this story of scientific wizardry utterly enchanting. The reality, which Owen’s media machine smothered with increasing severity, was slightly more mundane: John Rule, the surgeon who presented Owen with the femur, had already provided evidence for its avian origin.

Late in life, holding the famous femur in one hand and caressing a moa in another, Owen relives the high point of his career. Halftone after J. Smit after a photograph, ca. 1877 — Source .

Most of Owen’s contemporaries, however, knew nothing of John Rule. As his career thrived in the 1840s, Owen befriended more and more star-studded litterateurs, many of whose works he voraciously consumed in snatches of spare time. This was an era when palaeontological reconstruction, geological time, and extinction were thrilling and still relatively novel notions. Pre-Darwinian controversies over “development” (or, to use a more recognisable term, evolution) raged, while the largely Christian community of British naturalists continued to construct sophisticated ways of making sense of Earth’s history via liberal interpretation of the Book of Genesis — and vice versa. Owen, for his part, was happy to frame his work (or have others frame it) as confirming that even the most apparently monstrous prehistoric creatures were the products of God’s benign design, mysteriously unfolding over sublime aeons of deep time.

Owen’s ability to resurrect these strange animals from inadequate materials struck several leading novelists as an apt analogy for their own literary methods. “How can I tell the feelings in a young lady’s mind; the thoughts in a young gentleman’s bosom?” asks the narrator of William Makepeace Thackeray’s The Newcomes (1854–55). His justification is palaeontological: “As Professor Owen . . . takes a fragment of a bone, and builds an enormous forgotten monster out of it, wallowing in primæval quagmires . . . so the novelist puts this and that together: from the footprint finds the foot; from the foot, the brute who trod on it; from the brute, the plant he browsed on, the marsh in which he swam”. 4 For Thackeray, this quasi-scientific pedigree — not entirely proposed in jest — was gratifying, implying as it did that his gigantic works were painstakingly researched and planned.

Dickens was even closer to Owen. His periodicals, including Household Words , published Owen’s articles and promoted the naturalist’s ideas, from his moa mythmaking to his esoteric concept of the ideal “archetype” underlying all vertebrate forms. Nor did Dickens’ novels escape his friend’s osseous influence. Direct reference to Owen in Our Mutual Friend (1864–65) is admittedly limited to a droll description of the complacent Mrs Podsnap, a “fine woman for Professor Owen” possessing “quantity of bone, neck and nostrils like a rocking-horse”; nonetheless, as literary scholars like Gowan Dawson have shown, an Owenian language of palaeontological reassembly pervades this last of Dickens’ completed novels. 5 Not least in scenes including the bone collector Mr Venus and the wooden-legged Silas Wegg, the question of conjuring the whole from the part comes to symbolize, as in Thackeray’s The Newcomes , the task of the Victorian serial novelist, who must prove that isolated fragments are all integral contributions to a harmonious and insightful end product.

Satirical lithograph dating roughly to the 1840s: in a parody of the dagger scene in Macbeth , the dreaming palaeontologist is visited by creatures that he has perhaps, in waking life, striven to reconstruct — Source .

Thackeray and Dickens were just two of the famous authors who extolled Owen in his glory days. In 1884, R. D. Blackmore — to return, as promised, to Sir Thomas Upmore — gave Owen, in the form of “Professor Megalow”, a more prominent role than any author of fiction had ever attempted before, and at a time when the man himself was passing out of fashion. Although he only retired from the Natural History Museum the previous year, Owen’s scientific authority had been besieged for decades. Alienating Darwin and X Clubbers like Huxley had resulted in him being sidelined from many cutting-edge evolutionary discussions of later Victorian science, even if Owen continued to publish elaborate, lavishly illustrated zoological and palaeontological “memoirs” and monographs.

The two Richards — Owen and Blackmore — were fast friends (and fellow chess aficionados), living not far from each other in what is now the London Borough of Richmond upon Thames. Blackmore had previously shot to fame with Lorna Doone: A Romance of Exmoor (1869), a historical romance set in the seventeenth century which remains in print today. 6 Sir Thomas Upmore , which stands out among the author’s otherwise substantially rural literary oeuvre, has not enjoyed similar success, and the reasons are not far to seek. The Saturday Review ’s critic called it “neither allegory nor novel, neither satire nor romance, but a mixture – not altogether a successful mixture – of all four”. 7 Despite, or because of, this generic confusion, it is highly interesting to a present-day reader.

The titular character of Blackmore’s allegorico-romantico-satirico novel, like many fellow Victorian narrators, undertakes an upwardly mobile journey to gentlemanliness. The son of a soap manufacturer, young Tommy Upmore courts Laura, the beautiful daughter of Lady Twentifold of Twentifold Towers. To win the respect of the aristocratic Laura’s politically-obsessed brother, Roland, he must also win a seat as Conservative MP and fight off the onslaughts of Liberals pursuing a dramatic reform agenda. What distinguishes this novel from comparable realist works is its highly fantastic element: due to his body’s abnormal density, Tommy can fly, or rather float. At the end of the novel, he literally rises up above the party-political din in the House of Commons to unite Britain’s politicians in nationalistic fervour.

Watercolour by Ernest Griset depicting Richard Owen (seated) and the mineralogist Bryce Wright, ca. 1873 — Source .

Despite its protagonist’s ability to float above divisions, Sir Thomas Upmore is hardly a conciliatory novel. Although not as diehard a Tory as Roland, Tommy is shocked at the radical progressive reforms proposed by their Liberal foes (led by the smooth-talking Panclast): “grand measures were being prepared, for a fine subversion of established things; Liberal statesmen being quite convinced by their own condition, that the universe was wrong”. 8 Their nefarious plans include the abolition of land ownership, the secession of Britain’s strategic and colonial territories, and even the restitution of plundered artefacts. In addition to swiping at socialists and anarchists, Blackmore caricatured the reforming aims of prime minister W. E. Gladstone’s Liberal government, in power since 1880. In the eyes of the Saturday Review , the novel’s Panclast was “as like Mr. Gladstone as one pea is like another”. 9

Science is central to the novel’s conservative political intervention. Blackmore skewers “Professor Brachipod” and the collective of evolutionists brought in to investigate Tommy’s remarkable floating abilities. Insensitive to the boy’s feelings and quick to speculate baselessly about the origin of his powers, these “scientists” — a neologism Blackmore accompanies with scare quotes to indicate his distaste — are impious champions of scientific naturalism, like those men comprising the X Club. Blackmore’s targets are indicated not just by the scientists’ menacing association with vivisection, but also when they help overthrow the traditional classical curriculum of Tommy’s school, replacing it with a new, scientistic syllabus. Both the necessity of vivisection and the need for scientific instruction to accompany — or even replace — classical education, were standard talking points for men such as Huxley.

If Tommy mocks his scientific teachers’ incompetence in the field of ancient Greek and Latin, patrician Lady Twentifold is concerned by something deeper: the apparent atheism of the modern approaches to science they promulgate. “Who brought up this tree?” she asks, gesturing to a grand oak. While some, Tommy observes, would say “Nature”, “Science”, or “Accident”, she prefers to say “that the Almighty made it so”. 10 Luckily for both, a more positive model for the scientific practitioner is at hand: Professor Megalow, “whose name shall never be out-rubbed by time”, and whose face, when Tommy first encounters it, appears “the kindest and grandest I had ever seen”. 11

Photomechanical portrait of Richard Owen, ca. 1880s — Source .

Megalow is nothing like Brachipod (or their equally oddly named colleagues Jargoon, Chocolous, and Mullicles). A devout Christian, softly spoken, reluctant to construct premature hypotheses, and uninterested in fame or lucre, he dispenses wisdom to Tommy throughout the latter’s career. That Blackmore intended to flatter his friend is undeniable: he even wrote to Owen, asking permission to do so. Megalow was meant to be so recognisable “that the public . . . will exclaim at once ‘this must be Professor Owen’”. 12

As the title of an early chapter indicates, Megalow understands “True Science”. He is Blackmore’s ideal scientific practitioner, albeit one at odds with the times. “Even upon subjects, he understands more thoroughly than any other man yet born”, Tommy observes, Megalow “speaks (when he does speak at all) with more doubt, and diffidence, and humility, than a school-girl does, who knows nothing about it, except from one of his own books”. 13 Tommy’s old schoolmaster, the classics-obsessed Dr Rumbelow, calls him “a genuine acolyte of that glorious sage, Pythagoras”. 14 Himself an enthusiast and one-time tutor of classical literature, as well as a conservative in both politics and religion, Blackmore represented Owen as a reassuring and responsible steward of the era’s dramatic scientific advances.

Megalow’s standout scene takes place when Tommy and Laura help him to excavate a “Deino-Saurian” from a cliff face. It is tempting to suggest that this set piece reflects a growing interest in dinosaurs, catalysed by fossils unearthed in the United States during the 1870s and 1880s, including Brontosaurus and Stegosaurus . Owen himself, after all, had coined “dinosaur” back in 1842 and Megalosaurus was even one of the creatures included in his definition. For most of the nineteenth century, however, general audiences were surprisingly indifferent to the term “dinosaur” and Blackmore’s pedantic spelling suggests that the fossil is to be understood as some rather obscure animal. An arguably more pertinent reference point here is the moa: just as Owen had, according to the myth, predicted the form of the moa and been vindicated years later, the “Deino-Saurian” discovery acts as “tangible proof” of Megalow’s “inductions, published in a treatise ten years ago”. 15

Owen’s life-like restoration of Megalosaurus , one of the gigantic extinct creatures he included in his category “Dinosauria” and the origin of the name of Blackmore’s “Professor Megalow”. Illustration from Owen’s Geology and Inhabitants of the Ancient World (1854) — Source .

Detail from an 1863 engraving by C. G. Lewis after T. J. Barker of notables gathered at Buckingham Palace. Gladstone (left, seated) gestures to a military treaty, while Owen (right, with Dickens at his left shoulder), examines an invention — Source .

Strikingly, Megalow’s method is presented as a third way not just in science but also in the era’s polarized politics. In an otherwise polemical and reactionary novel, Megalow’s Liberal — and worse, “Rad” (Radical) — allegiance is repeatedly stressed. As the ultra-Tory Roland thunders, “[how] can such a great man as the Professor ever have become a Liberal?” 16 Indeed, while far from being a revolutionary, the real Owen’s early career had been steeped in the liberal Conservatism of reformist prime minister Robert Peel, who even commissioned a painting of Owen to hang in his country seat, Drayton Manor. In later decades, the Liberal doyen Gladstone himself became a major ally in Owen’s quest to establish the Natural History Museum, as well as supplementing the ageing anatomist’s pension and array of titles.

Admittedly, Tommy’s tolerance for his mentor’s inconvenient political beliefs is enabled by the latter’s reluctance to act upon them: Megalow “was not at all a partisan, or active politician, but quietly held his opinions, upon reasons which satisfied him, and therefore cannot have been weak ones”. 17 Attempting conciliation, Tommy concludes that the party governing Britain, “[w]hether it be Radical, or Tory, matters little to the average Englishman; so long as it acts with courage, candour, common sense, and consistency”. 18 (And, presumably, doesn’t meddle with landowners or the country’s colonial possessions.)

Sir Thomas Upmore is a fascinating and bizarre text (and, as readers will have noticed, an excellent repository of Victorian character names, including those of Tommy’s father Bucephalus, his friend Bill Chumps, and the formidable Lord Grando Crushbill). Far more so than its young leads and their somewhat perfunctory romance, Professor Megalow lingers with us as the novel’s most compelling character. A modest master of rarefied induction, and unwilling to pursue scientific theories with disruptive social consequences, he represents a safe pair of hands to usher in scientific modernity. This was something of the impression Blackmore absorbed in conversation with his accomplished friend, Owen, making Sir Thomas Upmore one of the century’s greatest love letters to one of its most controversial men of science.

Notes Show Notes

• Leonard Huxley, Life and Letters of Thomas Henry Huxley , 2 vols (London: Macmillan, 1900), I, 93.
• Letter quoted in undated catalogue of manuscript material for sale by Maggs Bros of London, “English Literature of the 19th and 20th Centuries … Part I”, no. 443, 30. Available here .
• For a classic study of Owen’s complex relationship with evolutionary thought, see Evelleen Richards, “A Question of Property Rights: Richard Owen’s Evolutionism Reassessed”, British Journal for the History of Science , vol. 20 (1987): 129–171.
• William Makepeace Thackeray, The Newcomes: Memoirs of a Most Respectable Family , 2 vols (London: Bradbury and Evans, 1855), II, 81.
• Gowan Dawson, “Dickens, Dinosaurs, and Design”, Victorian Literature and Culture , vol. 44 (2016): 761–778.
• For a concise modern biography of Blackmore, see Charlotte Mitchell, “Blackmore, Richard Doddridge (1825–1900), Novelist and Fruit Farmer”, Oxford Dictionary of National Biography , 23 Sep., 2004. Available here .
• “Two Novels”, Saturday Review , vol. 57 (1884): 755.
• R. D. Blackmore, The Remarkable History of Sir Thomas Upmore, Bart., M.P., Formerly Known as “Tommy Upmore” (London: Sampson Low, Marston, 1894 [1884]), 386.
• “Two Novels”, 755–756.
• Blackmore, The Remarkable History of Sir Thomas Upmore , 392.
• Ibid., 30–31.
• Maggs Bros, “English Literature of the 19th and 20th Centuries”, 30.
• Blackmore, The Remarkable History of Sir Thomas Upmore , 257.
• Ibid., 254.
• Ibid., 245.
• Ibid., 352.
• Ibid., 440.

Public Domain Works

• Internet Archive
• Biodiversity Heritage Library
• Google Books
• Internet Archive (volume 1)
• Internet Archive (volume 2)

Further Reading

For twenty years, the X Club was the most powerful network in Victorian science -- the men succeeded each other in the presidency of the Royal Society for a dozen years. Barton's group biography traces the roots of their success and the lasting effects of their championing of science against those who attempted to limit or control it, along the way shedding light on the social organization of science, the interactions of science and the state, and the places of science and scientific men in elite culture in the Victorian era.

Nineteenth-century palaeontologists boasted that, shown a single bone, they could identify or even reconstruct the extinct creature it came from with infallible certainty ― “Show me the bone, and I will describe the animal!” Show Me the Bone tells the story of the rise and fall of this famous claim. In so doing, Gowan Dawson reveals how decisively the practices of the scientific elite were ― and still are ― shaped by their interactions with the general public.

When the term “dinosaur” was coined in 1842, it referred to fragmentary British fossils. In subsequent decades, American discoveries — including Brontosaurus and Triceratops — proved that these so-called “terrible lizards” were in fact hardly lizards at all. Unlike previous scholars, who have focused on displays in American museums, Richard Fallon argues that literature was critical in turning these extinct creatures into cultural icons. Popular authors skillfully related dinosaurs to wider concerns about empire, progress, and faith; some of the most prominent, like Arthur Conan Doyle and Henry Neville Hutchinson, also disparaged elite scientists, undermining distinctions between scientific and imaginative writing. The rise of the dinosaurs thus accompanied fascinating transatlantic controversies about scientific authority.

In the mid-1850s, no scientist in the British Empire was more visible than Richard Owen. But, a century and a half later, Owen remains largely obscured by the shadow of the most famous Victorian naturalist of all, Charles Darwin. With this innovative biography, Nicolaas A. Rupke resuscitates Owen's reputation. Arguing that Owen should no longer be judged by the evolution dispute that figured in only a minor part of his work, Rupke stresses context, emphasizing the importance of places and practices in the production and reception of scientific knowledge.

The Public Domain Review receives a small percentage commission from sales made via the links to Bookshop.org (10%) and Amazon (4.5%). Thanks for supporting the project! For more recommended books, see all our “ Further Reading ” books, and browse our dedicated Bookshop.org stores for US and UK readers.

Richard Fallon is a postdoctoral researcher at the Natural History Museum and a knowledge exchange fellow at the University of Nottingham. His research focuses on literary culture’s relationship with geology and palaeontology. Richard received his doctorate in English from the University of Leicester in 2019 and completed a Leverhulme Trust Early Career Fellowship at the University of Birmingham in 2023. His books Reimagining Dinosaurs in Late Victorian and Edwardian Literature (Cambridge University Press) and Creatures of Another Age (Richmond, VA: Valancourt Books) were published in 2021.

The text of this essay is published under a CC BY-SA license, see here for details.

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