Characters:
Macbeth:
The horrific and detestable acts perpetrated by Macbeth mirror the crimes of Shakespeare's great villains -- Aaron the Moor, Iago, Richard III, Edmund -- all at the ready to slaughter women and children, usurp divinely appointed kings, and butcher their closest friends to satisfy ambitious cravings. Yet, despite his villainous deeds, Macbeth is not among the list of Shakespeare's most base evildoers. What sets Macbeth apart is his penchant for self-reflection. Although ultimately he cannot resist his dark desires, his struggle to regain his goodness is constant, and the part of his character that is capable of much love and compassion, although ever fading, is always present. There is no moral dilemma with Shakespeare's true villains. They relish every moment of their immorality. Thus, rather than a villain, Macbeth is considered to be one of Shakespeare's tragic heroes. He is by no means the epitome of the Aristotelian tragic hero, as is Hamlet, but he is a tragic hero nonetheless, because we, the audience, can see ourselves in him.
Lady Macbeth:
Lady Macbeth fulfills her role among the nobility and is well respected like Macbeth. King Duncan calls her "our honored hostess." She is loving to her husband but at the same time very ambitious, as shown by her immediate determination for Macbeth to be king. This outcome will benefit her and her husband equally. She immediately concludes that "the fastest way" for Macbeth to become king is by murdering King Duncan.
Lady Macbeth is Shakespeare's most evil feminine creation. Her satanic prayer to the forces of darkness in Act 1 is chilling to modern readers and it would have been absolutely terrifying to Jacobean groundlings watching the horror unfold in Shakespeare's own Globe Theatre. Most critical analysis of Lady Macbeth focuses on her as catalyst for Macbeth's first murder, that of Duncan, and the linear progression of her deteriorating mental state, culminating in her sleepwalking scene.
However, the most interesting facet of Lady Macbeth's character is hardly ever explored: that she herself intends to commit the murder of Duncan, while her husband merely plays the smiling host. This precious detail gives Lady Macbeth's invocation new weight and her character new depth.
Lady Macbeth fulfills her role among the nobility and is well respected like Macbeth. King Duncan calls her "our honored hostess." She is loving to her husband but at the same time very ambitious, as shown by her immediate determination for Macbeth to be king. This outcome will benefit her and her husband equally. She immediately concludes that "the fastest way" for Macbeth to become king is by murdering King Duncan.
Lady Macbeth is Shakespeare's most evil feminine creation. Her satanic prayer to the forces of darkness in Act 1 is chilling to modern readers and it would have been absolutely terrifying to Jacobean groundlings watching the horror unfold in Shakespeare's own Globe Theatre. Most critical analysis of Lady Macbeth focuses on her as catalyst for Macbeth's first murder, that of Duncan, and the linear progression of her deteriorating mental state, culminating in her sleepwalking scene.
However, the most interesting facet of Lady Macbeth's character is hardly ever explored: that she herself intends to commit the murder of Duncan, while her husband merely plays the smiling host. This precious detail gives Lady Macbeth's invocation new weight and her character new depth.
King Duncan:
Duncan, the King of Scotland, is Macbeth's first victim en route to obtaining the crown for himself. As is evident here and in all of the history plays, Shakespeare was, at least in the public arena, a firm believer in the divine right of kings. Usurping a divinely appointed ruler was always the most serious of crimes, but to usurp a valiant and benevolent monarch was wicked beyond comprehension. Thus, for reasons both dramatic and political, Shakespeare had to make notable changes to the historical Duncan. The real King Duncan, according to Shakespeare's sources, was your regular nasty warlord; nastier, it appears, than the actual historical Macbeth. If Shakespeare's Macbeth planned to kill this Duncan he would be justified, and hence there would be no play. So Duncan morphs into a delightful and much beloved ruler, kind to the point of annoyance. With his 'silver skin' and 'golden blood' (2.3.97), Shakespeare's Duncan epitomizes the perfect ruler. Shakespeare’s changes to Duncan’s character are also in keeping with other changes he made to his sources, all seemingly intended to cater to his king and patron, James I.
Duncan, the King of Scotland, is Macbeth's first victim en route to obtaining the crown for himself. As is evident here and in all of the history plays, Shakespeare was, at least in the public arena, a firm believer in the divine right of kings. Usurping a divinely appointed ruler was always the most serious of crimes, but to usurp a valiant and benevolent monarch was wicked beyond comprehension. Thus, for reasons both dramatic and political, Shakespeare had to make notable changes to the historical Duncan. The real King Duncan, according to Shakespeare's sources, was your regular nasty warlord; nastier, it appears, than the actual historical Macbeth. If Shakespeare's Macbeth planned to kill this Duncan he would be justified, and hence there would be no play. So Duncan morphs into a delightful and much beloved ruler, kind to the point of annoyance. With his 'silver skin' and 'golden blood' (2.3.97), Shakespeare's Duncan epitomizes the perfect ruler. Shakespeare’s changes to Duncan’s character are also in keeping with other changes he made to his sources, all seemingly intended to cater to his king and patron, James I.
Banquo:
Banquo's role in the original source for Macbeth was asMacbeth's co-conspirator. In Shakespeare's play, he is depicted instead as Macbeth's rival; the role of fellow plotter passed to Lady Macbeth. Like Macbeth, Banquo is open to human yearnings and desires: He is, for example, just as keen to hear what the Witches have in store for him in Act I, Scene 3. He is kept from sleep by his dreams of the Witches (Act II, Scene 1).
And in his soliloquy at the start of Act III, Scene 1 —
"Thou hast it now . . . "
— there is more than a hint of resentment and, possibly, of the same naked ambition that leads Macbeth astray. Nevertheless, Banquo is a sympathetic figure for several reasons. First, he is ignorant of what the audience knows concerning the murder of the king and of his own impending doom. Second, he is a father whose relationship with his son is clearly an affectionate one.
Banquo's role in the original source for Macbeth was asMacbeth's co-conspirator. In Shakespeare's play, he is depicted instead as Macbeth's rival; the role of fellow plotter passed to Lady Macbeth. Like Macbeth, Banquo is open to human yearnings and desires: He is, for example, just as keen to hear what the Witches have in store for him in Act I, Scene 3. He is kept from sleep by his dreams of the Witches (Act II, Scene 1).
And in his soliloquy at the start of Act III, Scene 1 —
"Thou hast it now . . . "
— there is more than a hint of resentment and, possibly, of the same naked ambition that leads Macbeth astray. Nevertheless, Banquo is a sympathetic figure for several reasons. First, he is ignorant of what the audience knows concerning the murder of the king and of his own impending doom. Second, he is a father whose relationship with his son is clearly an affectionate one.
Macduff:
Macduff is the archetype of the avenging hero, not simply out for revenge but with a good and holy purpose. Macduff is the character who has two of the most significant roles in the play: First, he is the discoverer of Duncan's body. Second, the news of the callous murder of his wife and children (Act IV, Scene 3) spurs him toward his desire to take personal revenge upon the tyrannical Macbeth.
When he knocks at the gate of Macbeth's castle in Act II, Scene 3, he is being equated with the figure of Christ, who before his final ascension into Heaven, goes down to release the souls of the damned from hell (the so-called "Harrowing of Hell").
Like Macbeth, Macduff is also shown as a human being. When he hears of the death of his "pretty chickens," he has to hold back his emotions. Even when (in Act IV, Scene 3) Malcolm urges him to "Dispute it like a man," Macduff's reply "I will do so. But I must also feel it as a man" enables the audience to weigh him against Macbeth, an unfeeling man if ever there was one. In the final combat between hero and anti-hero, this humanity is recalled once more when Macduff cries out,
"I have no words; my voice is in my sword."
Macduff is the archetype of the avenging hero, not simply out for revenge but with a good and holy purpose. Macduff is the character who has two of the most significant roles in the play: First, he is the discoverer of Duncan's body. Second, the news of the callous murder of his wife and children (Act IV, Scene 3) spurs him toward his desire to take personal revenge upon the tyrannical Macbeth.
When he knocks at the gate of Macbeth's castle in Act II, Scene 3, he is being equated with the figure of Christ, who before his final ascension into Heaven, goes down to release the souls of the damned from hell (the so-called "Harrowing of Hell").
Like Macbeth, Macduff is also shown as a human being. When he hears of the death of his "pretty chickens," he has to hold back his emotions. Even when (in Act IV, Scene 3) Malcolm urges him to "Dispute it like a man," Macduff's reply "I will do so. But I must also feel it as a man" enables the audience to weigh him against Macbeth, an unfeeling man if ever there was one. In the final combat between hero and anti-hero, this humanity is recalled once more when Macduff cries out,
"I have no words; my voice is in my sword."
The Three Weird Sisters:
Shakespeare's witches are prophets who hail the general Macbeth early in the play with predictions of his rise as king. They appear in the first scene. Upon committing regicide and taking thrown of Scotland, Macbeth hears the trio deliver ambiguous prophecies threatening his downfall and sealing his fate. The witches' dark and contradictory natures, their filthy trappings and activities, as well as their interaction with the supernatural all set an ominous tone for the play.
Sourced from: http://www.macbethonbroadway.com/macbeth-synopsis.html
Shakespeare's witches are prophets who hail the general Macbeth early in the play with predictions of his rise as king. They appear in the first scene. Upon committing regicide and taking thrown of Scotland, Macbeth hears the trio deliver ambiguous prophecies threatening his downfall and sealing his fate. The witches' dark and contradictory natures, their filthy trappings and activities, as well as their interaction with the supernatural all set an ominous tone for the play.
Sourced from: http://www.macbethonbroadway.com/macbeth-synopsis.html