Tuesday, October 1, 2019
Macbeth: Reasons For The Development Of Insanity Essay
Insanity, as defined as an inability to act rationally, develops most commonly in individuals as a response to conditions with which the mind is unable to cope. Prolonged or intense, sudden psychological trauma always results in denial or repression in some form or another, both of which cause the individual to gradually lose their grip on reality. In the play Macbeth by William Shakespeare, as the chaos and guilt caused by their immoral actions increases, the prevalent characters deteriorate into insanity. Macbeth, Lady Macbeth, and Macduff slip into delusion and desperate acts as an outlet for their growing disgust with both themselves and the consequences of their actions. The play opens with a description of gruesome war, in the thick of which is Macbeth, alluding to the dangerous internal conflict going on within him- he is at once consumed by ambition, yet completely lacking in the self-confidence to support it. Macbeth†‘†s weak character, marked by his inability to make decisions that are not black and white in nature and his susceptibility to persuasion, is clearly displayed in his constant need for reassurance from outside influences and his expression of desire that his actions could have no consequence, ‘†‘If it were done when â€Å"‘†tis done, then â€Å"‘†twere well twere 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.'†‘ (I.vii.1-5) Since this is obviously impossible, he attempts to break the murder of Duncan down into the most basic and acceptable cause and effect- his ambition. If there are no tangible affirmations for the immoral actions that Macbeth†‘†s ambition prompts he invents them, such as the bloody dagger he imagines leads him to kill Duncan. In any case, Macbeth attempts to evade the consequences of his morally ambiguous decisions by shifting their perceivable source to either his wife or the supernatural world, in his mind effectually making him only a pawn to the whims of fate. As Macbeth contemplates Duncan†‘†s virtues and other compelling moral reasons for aborting the crime, ‘†‘His virtues will plead like angels, trumpet-tongued against the deep damnation of his taking-off,'†‘ (I.vii.18-20) morality seems to be the most complicating factor in the decision to commit murder and thus, is also the biggest obstacle to his ambition. So, to simplify things, Macbeth allows his moral arguments to be rejected. However, once he sets his morals aside, he cannot regain them, ‘†‘I am in blood stepped in so far that should I wade no more, returning were as tedious as go o†‘†er. Strange things I have in head that will to hand, which must be acted ere they may be scanned.'†‘ (III.iv.136-140) At this point Macbeth admits that his actions are too horrific to ever be forgiven, therefore the only avenue of action left to him that he perceives is to continue along the path he is already following. He can no longer tolerate being a walking contradiction; feeling immense guilt for the murders he commits, but all the time plotting more to salve his paranoia of being found out. To remedy this, Macbeth resolves to suppress his conscience completely, turning him irrevocably evil from this point on, possibly with the aid of a hard whack to his forehead1. Macbeth†‘†s abrupt turn of mood, from paranoid depression to manic delusion, is directly related to the prophecies of the weà ¯Ã‚ ¿Ã‚ ½rd sisters that give him the false confidence he needs for affirmation of his actions and therefore solidifies his denial. Previously, as Macbeth begins to doubt that hiring murders to kill Banquo and Fleance will absolve him of the guilt, he subconsciously vents his horror at his action through the hallucination of Banquo†‘†s ghost, while at the same time trying desperately to convince himself otherwise, ‘†‘Thou canst not say I did it; never shake thy gory locks at me!'†‘ (III.iv.50-51) These fits of paranoia are products of Macbeth†‘†s feelings of guilt that only compound as Macbeth tries to suppress them, surfacing in hallucinations that threaten to expose him and a violent defence mechanism of murdering anyone that could be perceived as a threat. Macbeth seems to sense that it is only a matter of time before lying himself into an illusion of security fails. As everyone, including his wife, continually abandons him, Macbeth sinks into a mood of nihilism that follows his psychological pattern of denial and justification by allowing him to claim that if life is ultimately without consequence then his crimes are also meaningless, ‘†‘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.'†‘ (IV.v.23-27) Against all rational logic, Macbeth concludes that he is innocent of any permanently damning acts, but also that life holds no further purpose for him. Like her husband, Lady Macbeth learns that there is such a thing as guilt by association. She is plagued by the knowledge that she herself did not kill Duncan, but is directly responsible for his death. Before the murder of Duncan, she has a misguided impression of aggression and violence as inherent male traits, and draws the conclusion that anyone truly masculine should be able to commit murder without repercussions on their conscience. Her compulsive need to wash herself clean of imaginary blood indicates that, unlike her husband who can respond to the nagging of his conscience by pushing it away completely, she cannot forgive herself, nor force herself to forget her culpability. Also, unlike Macbeth who nullifies his guilt, she magnifies her own to the point where it consumes her. Perhaps Lady Macbeth can sense the irony of her inability to cleanse herself of Duncan†‘†s imaginary, yet permanently staining blood, ‘†‘Yet who would have thought the old man to have so much blood on him?'†‘ (V.i.33-34) when earlier she scolds Macbeth for making the same claim, ‘†‘A little water clears us of this deed. How easy is it then!'†‘ (II.ii.70-71) Indeed, Lady Macbeth†‘†s decline into insanity is marked most sharply by her contrast to both her earlier character and the character now being taken up by her husband, suggesting that if she listens to the his reservations, she can avoid the mental turmoil that she experiences later. However, Lady Macbeth expects that the amount of urging Macbeth requires to kill the first time is indicative of an inability to plot further murders. Instead she is constantly reminded of the atrocity she instigated by Macbeth†‘†s insistence to raise the body count as high as possible. Disillusionment more than anything else is what pushes her over the brink of insanity and into an agony of anxiety and despair; gaining the throne does not bring her happiness, nor does it justify Duncan†‘†s death. Accompanied only by Lady Macbeth, Macduff is the only other character that admits responsibility for their actions. Macduff†‘†s sanity is severely shaken by the sudden shock of learning that his entire family has been cruelly murdered at Macbeth†‘†s orders. He responds with passionate grief and regret for leaving them at Macbeth†‘†s mercy, while he himself flees beyond Macbeth†‘†s reach. When compared with the reactions of Ross and Malcolm, Macduff seems almost hysterical, but justifiably so. It is Ross and Malcolm that seem to have disproportionate emotion. Malcolm†‘†s claims that Macduff should avenge the murder of his family by challenging Macbeth are fraught with hypocrisy, since Malcolm himself flees when his own father is murdered instead of taking his own advice. His urgings to Macduff seem to come from selfish means, (he needs an army with which to defeat Macbeth) instead of any real concern for the grief that Macduff is feeling. Macduff expresses his exasperation at Malcolm†‘†s disregard and his feelings of culpability for provoking the tyrannical Macbeth†‘†s wraith, ‘†‘But I must also feel it as a man; I cannot but remember such things were That were most precious to me. Did heaven look on, And would not take their part? Sinful Macduff, They were all struck for thee.'†‘ (IV.iii.224-228) Eventually Macduff does agree to Malcolm†‘†s requests as it becomes increasingly apparent that he will not receive the sympathy he seeks from anyone. Indeed Macduff throws himself into the aim with obsessive vigour, having nothing left to live for. Macduff†‘†s frantic charge to meet in a fight to the death with his nemesis seems to mirror his Macbeth†‘†s own nihilistic mood- however, Macduff†‘†s willingness to die originates from despair rather than apathy. In the play Macbeth by William Shakespeare, the main characters stew in guilt upon realization of the aftermath of their actions, driving them to insanity. In that neither Macbeth, nor Lady Macbeth, nor Macduff can escape the mental anguish as consequence of their actions, Shakespeare effectively hits home the idea that one should thoroughly check their conscience before they act.
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