grade 9 essay on supernatural macbeth

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Grade 9 Macbeth Essay - Supernatural

Subject: English

Age range: 14-16

Resource type: Assessment and revision

Last updated

31 May 2019

Full essay that shows the effect of the supernatural throughout the play. The grade 9 essay will help you achieve excellent grades and give you a helping hand. It contains fully fleshed out in depth language analysis.

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The supernatural in "Macbeth"

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The use of the supernatural is very evident in the play “Macbeth” by William Shakespeare. As readers, we are introduced to the world of the supernatural (which was widely believed to exist in Shakespeare’s time) in a number of ways. The witches show Macbeth his fate and awaken his ambition, which leads to his ultimate demise. They act like dark thoughts and temptations in the play, which in turn stems from their supernatural powers, to morally confuse and provide the impetus characters for Macbeth.

As a result, they indirectly lead him to his hallucinations of the dagger and Banquo’s ghost, which serve as reminders of his treason. A direct link between the world of the universe and Macbeth’s deceitful actions is also established, nature is unnaturally disrupted by Macbeth’s regicide of Duncan and his other offences. Lady Macbeth also calls on supernatural spirits to “unsex” her, which are described in the most terrifying terms.

The three witches are the most prominent voices of unnaturalness in “Macbeth”.

“ Amazing as always, gave her a week to finish a big assignment and came through way ahead of time. ”

The description of the “weird sisters” in the first scene of the play gives an indication of the mischief which will eventuate throughout the course of the play. The image that we are given of the witches is an odd one; Banquo portrays them as “withered” and “wild in their attire” and also comments on their “beards”. Shakespeare has them speak in short rhyming verse, which differentiates from the other main characters in the play who mostly speak in blank verse.

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The witches’ language imitates the casting of a spell, which conveys an impression of the supernatural in their speech. They may be viewed as instruments of malicious forces which seek to lead Macbeth away from goodness, tempting him to choose to fulfill his ambitions by malevolent methods. The interpretations of the witches’ prophecies are made by Macbeth himself, he is responsible for his own damnation. Fate may be fixed, but how it eventuates is a matter of chance of Macbeth’s own choice.

The treatment of the supernatural is also discussed through the parallel between the extraordinary confusion in the natural world and the unnatural human acts by Macbeth. The reversal of the expected natural order is the consequence of the evil forces that Macbeth has unleashed in deciding to fulfill the witches’ prophecies by brutal means. These consequences are seen in his own character, in society and in nature. Readers are told through the conversation between Ross and the Old Man, that day has been substituted by night, while Duncan’s “beauteous” horses have “turned wild in nature” and are said to have “eat each other”, and a falcon has been killed by an owl. Weather is also a symbol of the link between the natural world and the developments between the characters in the play. Stormy weather always occurs hand in hand with the appearances of the witches which establish a gloomy atmosphere over the play. These terrible supernatural occurrences reflect the enormity of Macbeth’s crime.

The hallucinations that Macbeth experience serve as reminders of his growing evil and desire to be king, as well as his guilt for the many deaths on his part. When Macbeth was on his way to commit the regicide, he sees a vision of a dagger glittering in the midnight air, and then suddenly splashed with blood. He calls it a “fatal vision” and speculates if it is a “dagger of the mind”, a false creation, “proceeding from the heat oppressed brain”. The dagger also symbolizes the terrible path on which Macbeth is about to begin. The dagger may not have been the only reason for Macbeth to murder Duncan, but it reinforced his plan of action and how the supernatural deceived him into killing Duncan.

The appearance of Banquo’s ghost is a reminder of Macbeth’s guilt and fear of discovery, invisible to others but a terrifying reality to Macbeth himself. This form of the supernatural is significant because it is a turning point in Macbeth’s reign as King. Macbeth’s conscience is eating away at him, showing him what he has done and forcing him to face it. He realises that there is no way of escaping his troubled conscience but for extinguishing the lives of anyone who proves a threat to him, and this results in the murder of Lady Macduff and her son.

Lady Macbeth’s soliloquy prior to Duncan’s death explores the nature of the supernatural and particularly “evil spirits”. Possessed of evil passion, she calls on spirits to “unsex me (her) here”, which is inhuman as though Lady Macbeth is controlled by a supernatural force which masters her mind and soul. Later in the play, she also suffers from visions and sleep walking, and it is debateable whether these are supernatural or not. As she sleepwalks, she imagines her hand “stained in blood” which cannot be washed off.

The nature of the supernatural is presented on many levels, with the three witches being the most predominant and significant form. The “weird sisters” dictated the outcome of the play through deceit. Macbeth was presented with many situations where the witches hinted at possible outcomes, but they never assured Macbeth with any surety throughout the play. These “unnatural beings” provided the drive for Macbeth to commence on his course of terror. As a result of his actions, there are disturbances in the natural law and order. This shows a direct connection between the happenings of the human beings and the natural world. The hallucinations that Macbeth and to a lesser extent Lady Macbeth are reminders of their guilt at having committed the crimes. Lady Macbeth also calls on supernatural “evil spirits” to take away her femininity, so she could commit the murder herself.

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How is the theme of supernatural presented in Macbeth? ESSAY FEEDBACK

Miss Huttlestone's GCSE English

Because a whole class of wonderful minds are better than just one!

Category: Macbeth

A super handy ‘macbeth’ 5:1 analysis – lady macbeth focus, macbeth by act 5….

There is no doubt that Macbeth is numbed by his many ‘bloody’ experiences. Famously, his response to the news of his ‘dearest’ wife’s death is that she ‘should have died hereafter’. Although such a response is ambiguous, I think it captures the undeniable reality that Macbeth and Lady Macbeth are now living in two separate worlds:

Macbeth’s is a hellish present, eternal day, where he must see through his fall from grace, despite knowing that it is ultimately futile.

Lady Macbeth (before her suicide), is trapped in an eternal night, haunted by the past.

Macbeth’s haunting, rhythmic line: ‘tomorrow and tomorrow and tomorrow’, with its polysyndeton, illustrates how weighed down he is by the burden of regicide. He sees only meaningless succession in the days that might follow, each one stretching into eternity, never punctuated by happiness. The futility of exitance replaces his former excitement for the future.

Time is slow as treacle too, with Macbeth wishing the ‘candle’ of life to be ‘out’. In many senses this is Macbeth’s final ‘proper’ speech – a culmination of his thoughts before his inevitable death (the flawed tragic hero must fall).

A critic, David Garrick, said in 1744 that his death is not nearly as dramatic or as elegant as it should be for a tragic hero. But what is your reaction to his death?

Personally, I see it as tragic but inevitable. In subverting the Great Chain of Being and thus God/nature he MUST go punished (James I would not have allowed otherwise!). Macbeth too allowed space for female power – something Shakespeare’s audience deeply feared. In subverting gender norms and sometimes being feminised, he has gone accept society’s expectations. Aligned with the witches, he must be ‘trialed’ and ‘executed’.

There isn’t much cheer therefore at his death – we have followed him throughout after all.

‘Big Ideas’ in your Literature texts

Having pre-planned ‘big ideas’ that can function as top band essay introductions is a productive use of your time ahead of the Literature exams over the next two weeks. I sat down and had a go for ‘A Christmas Carol’ and ‘An Inspector Calls’. One of my year 11 students also came up with three superbly perceptive ‘big ideas’ for ‘Macbeth’, also displayed below. No matter the focus, knowing your concept, your way in before you enter the exam hall is excellent preparation and a HUGE time saver.

Many of Shakespeare’s critics, Bloom among them, have argued that Macbeth and Lady Macbeth may be Shakespeare’s most authentic couple out of all of his plays, this is due to the deep devotion and passion they demonstrate to each other. However, if we observe their marriage at a microscopic level throughout the play, we can see how it fluctuates and slowly decays at the hands of their unchecked ambition and hubris.

In Shakespeare’s eponymous play, ‘Macbeth’, our tragic hero and his wife are both riddled with unchecked ambition and often take radical measures to accomplish their ultimate goal: kingship. While this ruthless thirst for power is seemingly prosperous at first, it hastily crumbles to nothing as guilt plagues their minds full of “scorpions”. Macbeth transforms from a “brave” and noble warrior to a guilt-ridden and despised “butcher”, while Lady Macbeth’s stoic and transgressive persona deteriorates into a pitiful and anxious version of her former self.

‘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.

Ambition: a corrupting influence in ‘Macbeth’

Whilst it is certainly true that “without ambition one starts nothing… the prize will not be sent to you. You have to win it.” (Ralph Waldo Emerson), the Macbeths certainly start something, a terrible feat of violence they cannot draw to a close. In Macbeth’s own deeply unsettling words:

‘things bad begun, make strong themselves by ill’.

In other words, when one malevolent act is set in motion others are bound to follow. One cannot commit regicide and expect subsequently to live holily. Duncan’s murder is but, to use a time honored cliched, the tip of the ice-burg. Violence inevitably follows violence and thus to retain his kingship Macbeth is forced to utilize violence directly and indirectly. His butcher-like qualities readily escalate as the action of the play heightens.

But back to ambition – an integral theme that examiners are especially fond of- it spurs our protagonists on from the very opening of the play in act 1. When exploring this theme ask yourself why ambition becomes the Macbeth’s hamartia. After all, having some semblance of ambition is neither immoral nor troublesome. The true trouble occurs when ‘vaulting ambition’ is given full sway, is nurtured at the expense of morality.

The witches are certainly catalysts for Macbeth and Lady Macbeth’s unchecked ambition. When they grant partial access into the ‘seeds of time’ (Banquo 1:3), Macbeth is catapulted into fancies he has probably never truly entertained, to be ‘king hereafter’. Perceptive audience members may well acknowledge Macbeth’s emerging ambition when he employs the imperative ‘stay you imperfect speakers’. He is undoubtedly intrigued and somewhat intoxicated by the prophecy, wishing to hear the elaborate and fine details of his supposed ascension. Furthermore, the fact that he utilities an aside in disclosing his ‘black and deep desires’, underscores his early contemplation of regicide. His ambition accelerates at such a pace that audiences are left contemplating his soul’s imminent corruption.

In the rising action of the play within the 1st of Macbeth’s sprawling soliloquies, he demonstrates palpable fears, doubts and conflicting emotions. Macbeth attempts to suppress his ambition, or at least avoid the malevolent thoughts it has recently awoken within him. Despite momentarily wrestling with his ambition and winning, Lady Macbeth is instrumental in granting his ambition full sway (‘when you durst do it, then you were a man’).

Macbeth and Lady Macbeth (Illustrations to Shakespeare)

When Lady Macbeth hears of her partner’s recent interaction with the weird sisters, she acknowledges that he is ‘not without ambition’ yet to her dismay, ‘without the illness’ required to usurp Duncan from his throne. As an 11th century woman, in a society dominated by the violence of hyper-masculinity, she knows better than anyone that to attain power one must transcend societal expectation. When Lady Macbeth calls to the spirits to ‘unsex her’ she desires a divorcing from all cultural limitations, as a woman repressed within the domestic sphere with no dealings in the political andocentric world of men. It is likely Lady Macbeth’s ambition is a mirror image of Macbeth’s. After all, all she does it for him, her life is lived through him.

So for now, in the early moments of the play, ambition is already instrumental in guiding our protagonists, in encouraging them to ‘o’erleap’ their positions in the hierarchy and to subvert the natural order.

Keep a close eye on this theme and its dire consequences on morality, relationships and nature.

Like and comments if you found this helpful or have any questions! – Miss Huttlestone

Duncan’s kingship example paragraph

Throughout the entirety of Act I, Duncan is on the throne and he is consistently represented as a virtuous ruler, cherished by his subjects. First of all, he is generously full of praise for other characters, ironically calling Lady Macbeth ‘honour’d hostess’ immediately after she has rather dishonourably plotted to murder him. Even when Macbeth is likewise preoccupied with the murder plot in Act 1 Scene 7, he acknowledges that Duncan has been ‘So clear in his great office’, suggesting his authority has widely been respected as strong and just. This is further exaggerated when he imagines that, due to Duncan’s imminent death, ‘tears shall drown the wind’, hyperbolically predicting that the collective mourning of his subjects will be even more noisy than stormy weather. James I was believed to be in the first audience in 1606, so Shakespeare may have expected the public to link the strengths of Duncan to him and thus understand that it is a mistake to in any way question the the authority of a so-called divinely appointed monarch let alone usurp one.

The Supernatural and its influence in ‘Macbeth’

I mentioned before that I have a feeling regarding the witches/ the supernatural for the summer exam.

With this inclination in mind, here’s a fabulous podcast that explores the supernatural’s influence throughout the play:

http://sccenglish.podbean.com/e/macbeth-revision-v-the-witches-and-the-supernatural/

It covers the witches but also the relationship between the supernatural and the human world e.g. the influence it wields over Macbeth and Lady Macbeth and those it doesn’t entirely (Banquo).

Lady Macbeth Postcard – everything key on one side!

Print off and use for last minute cramming!

10 minute ‘macbeth’ revision activities.

‘Macbeth’ insights on Twitter (bite sized nuggets of revision)

Follow for excellent, manageable ‘macbeth’ revision:.

So what is Macbeth is about? If you had to summarise its main idea in a GCSE-friendly way. I think it's about a wrongful king. It's about a usurper. Shakespeare explores the consequences in both directions: both for the nation and for the usurper himself. 1/ — Macbeth_Insights (@GCSE_Macbeth) April 25, 2018

How does Shakespeare present the supernatural throughout 'Macbeth'?

NOTES:Focus on the authorial methods utilised by Shakespeare in this instance as it is a 'how' question. Consider the theme/motif which is mentioned within the question: the supernatural. Now consider instances the supernatural is utilised thematically/functionally within Macbeth; for example, the witches, Banquo's ghost, the phantom spot of blood on Lady Macbeth's hand, premonitions. ANSWER:Shakespeare presents the supernatural as a central theme throughout Macbeth that ties in with his broader contentions concerning fate, mortality and power. The supernatural is a vessel for presenting these arguments throughout. The opening scene of the play is a significant example of this; as the witches speak of premonitions. Shakespeare employs a rhyme scheme as well as the oxymoron to present and establish a world of half-truths and split totality. Many of his plays problematise the notion of a past, present and future, a linear narrative structure, by revealing the conclusion of the play in it's opening scene - see Romeo and Juliet - however in the instance of 'Macbeth' this is turned into a kind of riddle wherein nothing can be deemed 'certain'. The witches are presented as symbols of the supernatural and thus the supernatural is framed as 'evil', or at least as existing on the deviant end of the play's moral spectrum. However, it is revealed throughout that much of what they predict is correct, and their position is more that of neutral evil than active. By removing the moral foundation and the totality of the future (i.e. that it is unknown) the world of 'Macbeth' instantly becomes one with a different world-structure to our own. It is circular, and known, and yet there is little comfort to be found in fate. This stands in the face of hubris, of ones perception not only that we have control over the future but that this control is a morally positive force, and lays the foundations for the characterisations of both Macbeth and Lady Macbeth. Shakespeare's presentation of the phantom in this play is also noteworthy as it illustrates an active past as well as an active present. This is again an illustration of his world-building within Macbeth, as he does not allow any of time's three states to remain entirely 'still'. Whilst it is Banquo's ghost who returns, the entire play is tonally 'haunted' by the death of Duncan; this is something that Shakespeare engenders symbolically through the immovable spot of blood on Lady Macbeth's hand. His use of powerful rhetoric and emotive language, "Out! Damned Spot..." illustrates how the supernatural is a vessel for this contentions regarding human nature throughout the play: primarily our hubris in seeking power this is not ours to have, be it through Kingship or through knowledge of the future, the Macbeth's 'over-reach' and find themselves struck down by a world more powerful than themselves. Again this theme of fatality is rife throughout the Shakespearian canon and can be traced back to contemporary beliefs in a 'wheel of fortune' which was believed to dictate life in a way that human agency could not - this provides a deeper understanding of Shakespeare's presentation of the supernatural as a means of reconciling the human consciousness and the totality of the world in which is exists.

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