The violence in “Macbeth” becomes an evil force, determining the fortune of people and their storyline. However, real wars of external conflicts occurred in a very rough manner that revealed the outward factor of power intrigues. Meanwhile, internal conflicts among characters like Macbeth and Lady Macbeth suggest that their decisions are psychologically charged. The motif of blood strengthens this investigation, symbolizing the inevitable consequences stemming from their actions. Such elements intertwine (perfectly), which symbolizes the ubiquity of violence in its raw form and the horrible traces left after it has been committed on victims’ souls. From this perspective, “Macbeth” is a classical story of ambition that dehumanizes man and also becomes an enlightening study of how violence forms the human mind.
The violence from the outside world, which is described throughout “Macbeth” as nothing more than background, cannot be so easily confined to that role. It is rather the ever-present power that moves events through a line of violent and aggressive actions fueled by endless desire. The opening setting of the play on a battlefield is indicative of how power and violence are inseparable. The first valor, bravery demonstrated by Macbeth in the war that lies ahead of a bloody trial until his journey’s end, prepares for an outward conflict. This shows the concept of the masculinity of women in the play; “Femininity gives birth to masculinity and keeps it alive. No matter how independent men and masculinity would like to be of women, in Macbeth, masculinity cannot help but justify itself through Femininity.” (Rosenström, 48). The key time point is the predictions made by witches, for Macbeth has a dose of ambition and violence in his future.
However, the killing of King Duncan marks a new beginning of Macbeth’s terror rule. This is the highest level of external conflict as Macbeth succumbs to the witches’ predictions. The physical and emotional aspects of violence are shown as Macbeth struggles to adapt or account for his actions that result in these effects. The struggle for power from the outside gets joined with an internal war, representing the complex conjugation of desires and morals. Thus, blood can be considered a recurring motif within the play, and Macbeth thus stands as an outer violence that violently consumes him. “Lady Macbeth holds evil intentions and plots for the murder of King Duncan; her ambitious desire to hold the title of queen devours her mind”(Dridi, 37). This visceral cue stems literally from the fact that his crimes are visible in blood stains on his hands. This imagery also touches on the psychological response of his moral mind that Macbeth would have had. Bloody deeds taken are the portrayal of an external conflict, which by itself is a reflection of what goes inside their minds.
A blood theme indicates madness in Lady Macbeth. Nevertheless, the soliloquy of her mind’s agonizing cry for supernatural powers focused on his thickening blood beguiles psychological damage into self-control conflict with a disposition from outside. With the blood metaphor being so thick, a necessity for emotional painkillers is indicated as there will be a need to safeguard herself from horrors that were left behind through distressing exchanges between herself and her husband’s acts of violence. Sleepwalking augments the violence of her internal struggle since she washes off invisible blood stains from her hands as a reflection of how guilt accompanies this character wherever he goes. Nevertheless, internal conflict does not only involve the Macbeths. However, it is sorrow that makes Macduff join the camp of protest against tyranny in Scotland under King Macbeth. “Under my battlements. Come, you spirits That tend on mortal thoughts! unsex me here, And fill me from the crown to the toe top-full Of direst cruelty; make thick my blood” (Dridi, 37-38). However, his internal battle is no longer an element of external violence as he tries to take revenge. In this complicated tapestry of violence, Shakespeare subtly weaves the character’s external and internal struggles. So, the significance of blood lies not only in their deeds but also embodies other results that cannot be reversed and reflection on violence as injury. As blood would have it, the play demonstrates an intricate web of guilt and insanity that defines their characters’ path into tragedy.
Shakespeare’s Macbeth uses deep, vigorous language and descriptive images to immerse the audience in war drama before it succumbs to external violence. As a representation of his inner conflict, Macbeth’s soliloquies outline the irresistible pressure making him move outwardly to violence. With the murders of Banquo and Macduff’s family, external violence intensifies, eventually reaching its peak. Hence, the pattern of growing brutality creates an impression that it was made to be so revealing how limitless ambition goes empty as they end in destruction only.”Banquo’s single eye works as a projection of Macbeth’s evil eye for what Macbeth envies the most about him—namely, his succession of heirs to the throne, starting with Fleance, who is certainly precious, but fragile” (Aguero, 77). This complex network of words and deeds is the cloth that Shakespeare uses to weave an immortal play on madness in a violent world.
In conclusion, Macbeth’s violence is on many levels and influences the characters outwardly as well. Basic aspects of physical and psychological conflict lie at those places where power, ambition, and morality are unfolded in this play. The symbol of blood is another dominant image, the indelible spots of guilt and brutality in striving for power. By skillful use of language, imagery, and structural devices, Shakespeare attempts to fathom human nature; he shows the cruelty that is perpetuated by uncontrolled ambition – violence that erupts in individuals as well as society.
References
Aguero, Dolores Aronovich. “Strange images of death: violence and the uncanny in five productions of Macbeth.” (2012).
Dahbia, Dridi. “The Motif of Madness in Shakespeare’s selected tragedies” Hamlet and Macbeth.” (2021).
Rosenström, Mirella. “The Lost Boys: Masculine Confusion and Anxiety in Macbeth.” (2013).
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