Untitled Page

Exploring Good and Evil: the Case of William Shakespeare’s Macbeth by Joanna Johnson, M.A. Background It is no accident that Macbeth is often considered to be cursed in the theatre; perhaps it is the play that most embodies "evil," and as such has taken on a significance in the theatre where actors and others are superstitious of speaking its name. As the famous Shakespeare critic A.C. Bradley has written, "Macbeth leaves on most readers a profound impression of the misery of a guilty conscience and the retribution of crime...But what Shakespeare perhaps felt even more deeply...was the incalculability of evil, --that in meddling with it human beings do they know not what" (324). Likewise, Bradley's comment that "[t]he soul, [Shakespeare] seems to feel, is a thing of such inconceivable depth, complexity, and delicacy, that when you introduce into it, or suffer to develop in it, any change, and particularly the change called evil, you can form only the vaguest idea of the reaction you will provoke" (324) allows us as readers of the play to begin to understand the unpredictability and subsequent magnitude of such change. The play catalogues Macbeth's moral decline, and asking students to consider what contributes to that moral decline will allow them to better understand moral choices. There are numerous possibilities for consideration of ethical decisions in this play. Perhaps it could be argued the entire play is a dramatization of the role of good and evil in society; yet the specific ethical situations and dilemmas in the play, of course, are a lot more complex than this simple binary would suggest. However, one of the most fruitful understandings for students would indeed be to consider the nature of evil. Is it a relative term? What circumstances drive people to commit evil acts? In order to consider these ethical issues in the class, this module assumes that students will have a clear understanding of plot and of the main characters, in order that they could then be asked to consider the ethical situations presented in the play, and the possible reasons or motives for them, via key scenes or lines (see below for specific examples). The teacher would need, of course, to be familiar with the same issues, and additionally have considered the ethical/moral questions below in order to anticipate class responses. The way this module is set up is that a class would be divided into smaller groups, each of which would be given a question to consider, and subsequently present their conclusions to the class as a whole. An alternative class outline is also given; rather than approaching the ethic issues via scenes/lines, students are assigned characters to research in relation to the "character values," or the core values they possess or lack. Summary of the Play and its Ethical Components: Macbeth begins the play as a valiant captain, where his victory over the rebellious Thane of Cawdor is considered "good". Macbeth is duly given the title "Thane of Cawdor." Macbeth's first signs of the tyrant arewhen the witches hail Macbeth as the future king. When the present king Duncan says his son Malcolm is his heir, Macbeth turns to thoughts of murder. Lady Macbeth eggs Macbeth on, especially when Macbeth seems hesitant. Lady Macbeth "conquers his scruples" (Leggatt 124). Macbeth sees an imaginary dagger and "broods on prophecy" (124) that Banquo and descendents will be king. Macbeth hires murderers to kill Banquo and Fleance, but Fleance escapes. Banquo's ghost appears to Macbeth which causes a "wild reaction (124). Macbeth consults the witches again, who tell him to beware Macduff. Since Macbeth can't find Macduff, he kills his wife and children. The virtues of the court of Edward the Confessor in England contrast sharply with those of Macbeth. Act 4, Scene 3 is pivotal scene in that the horrific murders of Macduff's family in the scene before are contrasted with the relative order in the court of Edward the Confessor. The scene describes the virtues of a king, and his relationship to his people, which provides opportunity to discuss the contrast to Macbeth's own kingship. Malcolm lists out general characteristics of a tyrant (not necessarily those of Macbeth, interestingly). "The idea of a good king is given specific embodiment in the [lines] that follow" (Leggatt 176) 4.3.148-159. Macduff and Malcolm plan to return to Scotland to reclaim the crown. In Scotland, Macbeth has become a hated tyrant, Lady Macbeth sleepwalks, tries to wash imaginary blood from her hands, and commits suicide. Macduff kills and beheads Macbeth, and Malcom becomes king of Scotland.

Exploring Good and Evil: the Case of William Shakespeare’s Macbeth

by Joanna Johnson, M.A.

Background

It is no accident that Macbeth is often considered to be cursed in the theatre; perhaps it is the play that most embodies "evil," and as such has taken on a significance in the theatre where actors and others are superstitious of speaking its name.

As the famous Shakespeare critic A.C. Bradley has written, "Macbeth leaves on most readers a profound impression of the misery of a guilty conscience and the retribution of crime...But what Shakespeare perhaps felt even more deeply...was the incalculability of evil, --that in meddling with it human beings do they know not what" (324).

Likewise, Bradley's comment that "[t]he soul, [Shakespeare] seems to feel, is a thing of such inconceivable depth, complexity, and delicacy, that when you introduce into it, or suffer to develop in it, any change, and particularly the change called evil, you can form only the vaguest idea of the reaction you will provoke" (324) allows us as readers of the play to begin to understand the unpredictability and subsequent magnitude of such change.

The play catalogues Macbeth's moral decline, and asking students to consider what contributes to that moral decline will allow them to better understand moral choices.

There are numerous possibilities for consideration of ethical decisions in this play. Perhaps it could be argued the entire play is a dramatization of the role of good and evil in society; yet the specific ethical situations and dilemmas in the play, of course, are a lot more complex than this simple binary would suggest.

However, one of the most fruitful understandings for students would indeed be to consider the nature of evil. Is it a relative term? What circumstances drive people to commit evil acts?

In order to consider these ethical issues in the class, this module assumes that students will have a clear understanding of plot and of the main characters, in order that they could then be asked to consider the ethical situations presented in the play, and the possible reasons or motives for them, via key scenes or lines (see below for specific examples).

The teacher would need, of course, to be familiar with the same issues, and additionally have considered the ethical/moral questions below in order to anticipate class responses. The way this module is set up is that a class would be divided into smaller groups, each of which would be given a question to consider, and subsequently present their conclusions to the class as a whole. An alternative class outline is also given; rather than approaching the ethic issues via scenes/lines, students are assigned characters to research in relation to the "character values," or the core values they possess or lack.

Summary of the Play and its Ethical Components:

Macbeth begins the play as a valiant captain, where his victory over the rebellious Thane of Cawdor is considered "good". Macbeth is duly given the title "Thane of Cawdor."

Macbeth's first signs of the tyrant arewhen the witches hail Macbeth as the future king.

When the present king Duncan says his son Malcolm is his heir, Macbeth turns to thoughts of murder. Lady Macbeth eggs Macbeth on, especially when Macbeth seems hesitant.

Lady Macbeth "conquers his scruples" (Leggatt 124). Macbeth sees an imaginary dagger and "broods on prophecy" (124) that Banquo and descendents will be king.

Macbeth hires murderers to kill Banquo and Fleance, but Fleance escapes. Banquo's ghost appears to Macbeth which causes a "wild reaction (124).

Macbeth consults the witches again, who tell him to beware Macduff. Since Macbeth can't find Macduff, he kills his wife and children.

The virtues of the court of Edward the Confessor in England contrast sharply with those of Macbeth. Act 4, Scene 3 is pivotal scene in that the horrific murders of Macduff's family in the scene before are contrasted with the relative order in the court of Edward the Confessor. The scene describes the virtues of a king, and his relationship to his people, which provides opportunity to discuss the contrast to Macbeth's own kingship. Malcolm lists out general characteristics of a tyrant (not necessarily those of Macbeth, interestingly). "The idea of a good king is given specific embodiment in the [lines] that follow" (Leggatt 176) 4.3.148-159.

Macduff and Malcolm plan to return to Scotland to reclaim the crown. In Scotland, Macbeth has become a hated tyrant,

Lady Macbeth sleepwalks, tries to wash imaginary blood from her hands, and commits suicide.

Macduff kills and beheads Macbeth, and Malcom becomes king of Scotland.