Act 1

- while this tricolon, playing on the motif of the number 3, seems to convey a choice, these weather events accompany one another, making this question characteristically paradoxical of the witches, and even ironic.

Another example of equivocating language used by the witches in the form of a prediction, which suggests their desire to cause chaos, and is echoed by Duncan later, cementing the supernatural knowledge and foresight of the witches. Further indicates moral relativism and ambiguity which shrouds Scotland, lurking in the pragmatic mind of macbeth- critique of Humanism

the withes' reluctance to show themselves during the day emphasises the darkness and evil surrounding them, wishing to hide in a blanket of darkness, just as Lady Macbeth and Macbeth wish to. This additionally has thematic significance in that it suggests the further darkness to come, and fall of scotland into chaos

The heath is a setting of desolation and lifeless horror, which reflects the barren coldness and malevolence of the witches' and of Macbeth's dark inner pysche. Sets up their encounter as tied to extreme chaos

- idea of familiars reinforces unnatural horror of the witches - distortion of maternal nurture relationship

- sense of extreme moral ambiguity and relativism which frames Macbeth's Machiavellian desires, which also reinforces the key theme of appearance and reality, introducing the audience to the idea that something dark and disturbing lurks within Scotland, and its metaphorical embodiment in the play, Macbeth

- impurity of the witches' souls is indicated powerfully, and of the entire country

- the nobility and divine morality of protecting royalty is immediately conveyed. Also, malcolm is portrayed as kind and thankful

- ambiguous uncertainty of battle frames Macbeth as a noble saviour

- simile and sibilance emphasise uncertainty and precariousness of the battle- accentuates unlikeliness of witches' correct prediction, and heroism of MB

alliteration of epithet further suggests his cruelty and treacherous nature of this character.

grose insect imagery conveys the evil of macdownald

This heroic image of order and a rejection of fate epitomises the humanistic ideal and contrasts the lack of control which macbeth has over his destiny and self later, despite seemingly taking control of his destiny

- hyperbole- alacrity of macbeth in battle - sword did not even have time to cool down between killings

Suggests how disloyalty, tyranny and evil can become a prison, which happens to Macbeth as the play progresses, as he becomes a slave to his destructive impulses .

- decapitation is the punishment for treason- Macbeth too is decapitated later. Further implies brutality and callouss approach to death and war by both Macbeth and wider society.

- sort of world in which the play is set, and indicates the domain in which MacBeth excels. This alludes to the brutality and evil lurking deep within macbeth, soon to surface following the witches' prophecy

- recalls the witches' words in the preceding scene, reminding the audience of their prescence in this battle

- parasitic metaphor of treachory as a living organ alludes to the fact that Duncan may not actually be an effective leader, and serves as a warning to both Duncan, and the King to follow him, Macbeth.

- this frantic and equivocating list positively frames equivocation and plurality of skill, a sentiment which is contradicted by the witches' warped equivocation and distortion of animals and nature, including Macbeth, in their wicked concoctions

- simile of cannons overloaded indicates the passion and fury of the captains, framed as forces to be reckoned with on the battlefield

motif of duplicity has supernatural connotations which shroud the battle in a sense of extreme ambiguity and demonic influence, which recalls the words of the witches

While this alliterative metaphor does imply Macbeth's proficiency of war, his description as the husband of the goddess of war implies how he is later portrayed as less masculine and brutal than his wife, Lady Macbeth. The noun "proof" is both a direct reference to macbeth's armour, and subtle allusion to the blood which coats it as proof of his victories

- sets up the extended parallel between these two characters, as Macbeth increasingly becomes fragmented and the scheming, treacherous cawdor becomes a key part of his identity. Idea of circularity, and the fragility of noble positions

portrayal of passivity to fate reflects true forces at work in scotland

the rejection of the importance of burial is an allusion to the Antigone, another tragedy however one in which the protagonist's main flaw was loyalty to her relatives. This highlights the Divine right of kings and relevance of lineage in this play, with Duncan in many ways being undone by his insistence on maintaining royalty within his own line, the same wish which leads Macbeth to murdering his best friend

- powerfully ironic when entire play is considered, emphasising how Duncan's lack of judgement and over-reliance causes treacherous forces to constantly exploit his trust, increasingly at his own peril

- rhyming couplets here signal end of scene, as well as indicating the inevitable certainty and circularity of fate, realised through the witches, which seem to be corporal manifestations of fate

- no sentimentality or inquiry- shocking, brutal and violent world and low value of life

exactly an echo of what the witches said earlier - implies their prophetic nature

- thoughtless murder of innocent creatures is emphasised by the unapologetic brevity of this response, indicating the witches' desire to harm mortals

- warped sexual innuendo a play on gender roles and the huge influence of women on men's behaviour through sexual means, as well as foreshadowing the lack of sleep which will plague macbeth until his death "nine times nine"- biblical language for forever

- gruesome ingredient indicates witches' intent to cause extreme chaos, contrary to their ironic reference to "peace" in line 35

motif of three and use of rhyme creates unnatural atmosphere as the witches perform their spell, with the biblical significance of nine, linked to eternity, giving the impression that this unheimlich curse will have huge impacts on Macbeth, as long as he lives

distortion of gender roles implied by the reference to weaving, a female occupation. Also cements parallel with Greek fates, who were linked with imagery of weaving

- reference to the witches' earlier words reflects how they are already influencing Macbeth, before they have even met

- melding of masculine and feminine characteristics implies the strangeness and horror of the witches' appearance, as well as the rigid gender roles that influence the play and society at the time. Also is mirrored later in the play by the strong, masculine presentation of Lady Macbeth, which Macbeth's vanity and ambition draws him towards, in contrast to the disgust he displays towards the witches

- rejoice of these unheimlich remarks is unsettling deeply, as the audience knows that 2 of the predictions have already come true, unlike Macbeth who only knows about the first. In some versions, this is because the witches overhear the King speaking, which raises questions as to how supernatural the witches actually are, and to what extent they are just psychologically influencing Macbeth. The latter theory is somewhat suggested by the uncanny repetition of their phrases, perhaps conveying a kind of hypnosis.

- Reflects deterministic portrayal of fate as unchangeable, as well as framing the witches as observers of fate, rather than beings capable of changing it. Also, this agricultural imagery is a metaphor for children - while Macbeth and especially Lady Macbeth reject the notion of fertility, Banquo's care for his son causes him to produce a line of kings.

- may be interpreted as a kind of cruel irony and foreshadowing - while both will experience kingship in some sense, they will also both die brutally to obtain this

- already intrigued by the prophecy, as it begins to change him

- transcience of witches reflects how uncertain their promises are

- metaphor of imprisonment may suggest that Macbeth makes the prophecy true by his own actions - personification is especially true later in the play, where Macbeth's mind is held captive by visions and dreams which disrupt his conscious thought and ability to think rationally, leading to him experiencing fits of murder and rage.

- Macbeth is clearly feigning indifference, and remembers precisely what was said by the witches, only wishes to conceal how much it has affected him from Banquo

- Banquo's shocked reaction reminds the audience of the dark, supernatural forces behind this chain of events, with this metaphor also serving to demonstrate that Banquo has also been deeply affected by the prophecy

- the motif of clothes is introduced, which imply nobility and status that Macbeth feels uneasy accepting. Also reflects fragility of the title, which Macbeth will soon himself lose.

- macbeth believes he is thanking God, where in reality the opposite is true, with the "instruments of darkness" influencing reality in order to make him destroy himself just as Cawdor has "overthrown" himself.

This hopeful vision of success, while in part indicating the extreme ambition of Macbeth is also laced with references to the witches, such as the motif of doubles "two" and allusion to "swelling", which Ross earlier described with reference to the "discomfort" in scotland, indicating the darkness lurking beneath macbeth's idealistic imagining of his future glory

- gives the impression that the horror lurking beneath Macbeth's feigned domestic persona immediately has surfaced, suggesting his fatal flaw as a character

- adjective "fantastical" has positive connotations, which suggests how Macbeth is already entranced and intoxicated by the idea of murder

- implies how he is to become fragmented - significant in terms of humanism and masculinitY

- arbitrary nature of fate, and hope of Macbeth that there is a moral path to his ascent. This is rejected later as Malcolm is made prince of cumberland, as Macbeth sees only one path to fulfill his destiny"

- corruption of Macbeth implied by his use of rhyming couplets

- clothes and status is once again used to imply how these roles are perhaps products of supernatural influence

- Cawdor's manner of death is framed as precisely in conflict with the equivocation of the witches,and of Macbeth now that he has been corrupted, which is presented as a noble display tied to the religious ideal of "repentance" towards the patriarch, in this case embodied by Duncan

- admission of naivety by Duncan foreshadows the way he will be exploited and deceived by Macbeth, and is ironic as Macbeth' promptly enters

- ironic metaphor demonstrating the moral humility and goodness of Duncan, as opposed to Macbeth's detachment from God and Morality

- hyperbolic flattery demonstrates both the generosity of Duncan, and the never satiated ambition of Macbeth.

- emphasises how Duncan is far too trusting and vulnerable, exposing him to the treachery of Cawdor and Macbeth
"The service and the loyalty I owe" -~ flattery is a guise for Macbeth's dark motives- choice of line break also seems uncertain, encapsulating Macbeth's inner conflict between what he ought to do, his duty, and what he sees as his own right

tricolons allude to the idea of the Great Chain of Being, a chain which by killing the King, macbeth risks entirely disrupting, which causes chaos across the country

Macbeth seems paranoid and immediately and preemptively deflects concerns, which have not even been raised, about his loyalty to Macbeth, onto Duncan's servants, which only makes him seem more suspicious, and the situation more ironic. Also suggests macbeth's moral struggle with duty, struggling to conceptualise himself as a mere "servant", entitled to none of the "harvest" of his labours

Macbeth sees this as a hint that he will be made prince of cumberland, anticipating a huge growth in status, however this is not the case. Again, unlike banquo, macbeth is unhappy with the suffocating and passive relationship between King and Subject, wishing to take control of his own destiny

Banquo is the ideal of a dutiful subject which Macbeth only pretends to be, with this extended agricultural metaphor reflecting the supreme importance of the King, and the gradual process which gaining status is, a process which Macbeth wishes to cheat by stealing the position of another. Short, direct shared lines between Banquo and Duncan reflects this honesty and intimacy, whereas Macbeth's long, wordy responses are dishonest and paranoid, keeping him at a verbal distance from the King, whom he plans to kill

juxtaposition between strength and stability of plosives in "establish" and "estate" with the imagery of tears, again reflecting Shakespeare's deep exploration of the spectrum of masculinity between extreme moral humility, and extreme brutality. While Duncan may be somewhat naive, he still embodies some of the strength of masculine ideals in his stabilisation of his line, while retaining a vulnerability which allows the audience to fully sympathise with his character

- cares for thanes like his own sons, despite his line's precedence.

- ironic, as macbeth now feels that the one thing he deserves has been taken from him, causing him to steal a title which he does not deserve. However he meets his fate and gets what he deserves eventually, so Duncan's words can be considered accurate foreshadowing.

- juxtaposition of two characters' language implies inevitable conflict, as well as Macbeth's fear of exposure to God and morality.

- detached article "the" implies fragmentation not just between the different versions of Macbeth with regards to one another, but also between these offshoots and Macbeth's unified persona, as this fragmentation becomes increasingly evident and even accepted by him consciously. We also see that Macbeth is willing to ignore his own moral corruption in order to attain status and power. Especially with regards to Lady Macbeth, this is potent foreshadowing, as she is unable to unsee the blood "spot" of guilt on her hand

- not being entirely honest as he described the day as ''foul" as well as "fair" - perhaps he does not want to seem weak to his wife, who would only attack his doubts

- total trust in prophecy of the witches is misplaced, due to their desire to cause harm and chaos

- flattering and intimate superlatives exemplify not only the equality of the relationship by modern standards, but also the strong connection which Macbeth has with his wife, suggested by their similar language.

- reference to humours emphasises her distaste for generosity and kindness, seeing them as mere impediments to success. Furthermore, noun "milk" suggests her rejection of fertility, perhaps a reference to a possible miscarriage, and to her spurning of femininity in general.

- uncertain repetition of "wouldst" indicates distrust and critique of Macbeth's loyalty to Duncan, seeing his conscience as a barrier to success

- Alliteration heightens sense that even lady Macbeth recognises the madness necessary to do such horrific things as murder, however she does not seem to care, rather she expresses dissent that Macbeth does not possess such an ailment. This emphasises her warped psychology and ultimate pragmatism.

- half rhyme of "highly" and "holily" is deeply jarring, and creates link between L Macbeth and the language of the witches, suggesting the impurity of her soul

- allusion to Hamlet and K. Claudius creates sense that Lady Macbeth's words are like poison, further corrupting the mind of Macbeth

militant personification contrasts with description of Macbeth as "valour's minion" earlier, implying that while her forte, bending Macbeth to her will, is different to Macbeth's martial prowess on the battlefield, her power is just as terrifying.

- Personification of fate implies that she Sees the prophecy as a blessing from fate for Macbeth to kill Duncan, rather than the curse it really is.

- insult and interrogative directed at male attendant implies her willingness to defy the patriarchy.

-reference to death creates an unsettling and disturbing tone

violent military metaphor of Castle as her fortress is linked to gender roles - she is in control in the domestic domain, and as such neither Duncan not indeed Macbeth can escape her influence.

- warped desire for evil incarnate to corrupt her soul and steal her femininity suggests distorted pysche, perhaps linked to a miscarriage. In order to transcend the limits of her gender in society, she opts to remove her sex all together rather than become a man, indicating that she is beyond these concepts, seeing only cruelty and power and the means to attain it

- "thick" blood is ironic considering her rejection of fertility, which prevents her from passing this blood on. Moreover, her desire for a hardened emotional state indicates the pragmatism and power hunger motivating this, willingly embracing cruelty as a means to an end.

- reference to "woman breasts" especially suggests that she does not see herself as a woman anymore, only wishing to maximise her cruelty.

- nasal alliteration emphasises horror of what she is inflicting upon herself. Noun "ministers" is a distortion of religion and priesthood, with Lady Macbeth seeking a rebirth and rechristening as an agent of evil rather than one of God.

- direct mirror of Macbeth's earlier reference to "stars", however extends his wish from one of concealment from the heavens, to one of active blanketing in hell - more profound association with evil and satanic. Also, while Macbeth wished to hide from moral forces, L M's desire to hide is more pragmatic - doesn't want her plans to be revealed.

- Parallel to the witches indicates the future which L Macbeth, through her meeting with "spirits" now sees as inevitable and unchangeable.

- sureness indicated by "never" is heightened by cruelty of sibilance, indicating her resolute will to murder Duncan

- metaphor and Biblical reference to Eden frames them as Satan, emphasising the horror of the deception which will occur, and the fact that It is a crime against God (Divine right of Kings). Moreover, rather than Satanic forces in control, a more accurate comparison to draw is one of Adam and Eve, suggesting their blindness to the effects which their murder will have on them, in terms of both guilt and kingship challenges.

- ironic as the exact opposite occurs, with M and L M losing control of their fates and becoming captives of equivocation and madness, as they are unable to sleep or contend with the guilt of regicide.

- Macbeth being cut off by his wife immediately defines the power dynamic of their relationship, which Macbeth becoming an accomplice to L M

Fricatives create an uneasy and jarring atmosphere which is heightened by the use of rhyme, alluding to the unnatural speech of the witches. Moreover, L M having the last word heightens impression that she is in control.

- highly ironic due to murder being planned, and earlier metaphor of castle as "battlements," which makes the audience feel uneasy, fully aware of the perfidy and horror beneath the surface of this facade.

- again, highly ironic due to the "filthy air" which really fills the castle (moral impurity and corruption.) Adjective "gentle" emphasises the overtrusting nature of Duncan, totally unaware of his own murder being plotted as he speaks.

- further irony - marlets nested in churches, which the castle is an antithesis of - compromised morality and lack of faith. It is as if nature itself is misleading Duncan- perhaps the influence of witches, spirits L Macbeth etc. Despite this, the PC verb "haunting" hints at this immoral and unnatural infestation by the "instruments of darkness."

foreshadowing - Duncan will be murdered in bed(Sleep as death). Also reminds audience of the importance of lineage

- even Banquo has misread the atmosphere of the castle

- while flattering adjective "honour'd" emphasises a deep respect for L Macbeth as a hostess, voiceless glottal fricatives create anxious atmosphere, heightened by the repetition of "see", which alludes to the motif of Duplicity

-ironic allegorical statement has double meaning - not only mere nuisance, but death will also be caused by his trust in the "love" of those close to him.

- winding, confusing nature of sentence further adds to subtle uneasy tone. Also questions how LM will answer to God for her crimes, and divine justice to come.

- motif of duplicity, linked to the supernatural is juxtaposed with the domestic excellence, expected from women at the time, displayed by L M, alluding to the proficiency of her deception.

- elaborate flattery suggests that she is being deceptive - while Duncan does load their house with status, it is status that she wishes to steal for herself and her husband

- immediate connotations of name are negative, linked to previous Thane of Cawdor, alluding to the treachery which Macbeth is embracing.

- Indicates how respectful and good natured Duncan is , as well as implying L M's control over domestic life which is exploited by her in the worst manner possible.

- Double meaning - both respect and gratitude of Duncan, and power of Lady Macbeth as a hostess - he is entirely at her mercy.

- forced persona of modest, obedient housewife is emphasised by honorific, heightening the impression that LM is being deliberately deceptive, and even sarcastic.

- Uncertainty implied by fragmented language and repeated use of "if" creates sense that Macbeth is questioning his decision to commit regicide, with the plosive alliterative repetition of "done" further emphasising the cruelty and moral horror of such an act.

- metaphor of "jump[ing]" emphasises Macbeth's paralysing fear of Divine judgement, unwilling to confront the consequences of the sin which he has promised to commit

- Enjambment implies his doubt and fear, indicating that not only would such an act cause divine retribution, but would also likely cause their removal from this life

- supernatural motif of doubles creates unsettling tone. Also, reference to role as both Duncan's cousin and his subject emphasises the extreme sin of the crime, with the murder representing the antithesis to his true responsibility as a protector from "murderer[s]"

- again an indication of Duncan's over trusting nature, in this case evoking great sympathy within Macbeth, who sees Duncan not only as naive, but also as morally pure and therefore not to be harmed.

- Imagery of the Day of Judgement is heightened by plosives, hyperbolically implying the consequences which would be inflicted on him, and the country as a whole(macrocosm) if the sin occurs.

- innocence and naivety of Duncan prompts extreme doubt in Macbeth, with the horror of such an act emphasised by the nasal alliteration of "naked" and "newborn"

Further military imagery of day of judgement is emphasised by the voiceless glottal fricatives, which suggests Macbeth's fear of exposure to the divine, and to divine judgement. → reference to reaction of Duncan's horses upon his death. Also may be a reference to witches, and how they travel by wind - ongoing presence in his mind.

- ironic entry of Lady Macbeth following this soliloquy as his "spur" emphasises her instrumental role in the murder.

- Doubt and reluctance to bend to ambition exemplified by worried metaphor of ambition as a horse - here Macbeth recognises his own hamartia, realising how he has been controlled by his ambition.

- immediate disparaging interrogative and mocking tone creates impression that she is highly critical of Macbeth.

forceful rejection of murder is magnified by the clear verb "will", emphasising Macbeth's moral clarity at this point, and thus augmenting his almost instant turn due to L M's words.

- indicates desire to preserve newfound status, as well as respect for the generosity of the King. Despite this, indicates warped view of relationship with the King - contrast with Banquo who states that the "harvest" is Duncan's "own" - serving the King is good in itself, not because of rewards or status.

- derisive metaphor references motif of clothing with "dress'd", alluding to how L M sees status and power as principally important above all other things. R Qs are emphasised by sibilance of "slept since", adding to L M's scathing tone. Also, clothing motif alludes to ease with which Macbeth's character shifts and changes throughout the play, fragmented into various paradoxical identities.

- emasculation of noun "coward" indicates her disdain for inaction and self-control.

- inaction vs action in terms of masculinity - L M sees masculinity as only positive, with the best man being the most cruel, brutal and powerful, unsatisfied with the moral concerns of her husband, which she thinks she has moved beyond.

- indicates a more complex understanding of masculinity as a spectrum, with extreme inaction(Duncan) and extreme machismo and brutality(Macdownald) both being undesirable. Links with religious balance of masculinity, between martial prowess and control

-imagery of the devil- distortion and manipulation as L M implies that it is cowardice which is demonic, and not her will to commit murder.

- nasal alliteration puts emphasis on her deprecatory insults towards Macbeth, suggesting that he would be "more the man" if only he ignores his conscience and commits murder.

- violent and horrific juxtaposition of innocence of newborns (reference to metaphor of duncan as infant) with gruesome horror of this infanticide. This is especially implied by the monosyllabic abruptness of "tis", alluding to the possible miscarriage of L M and her bitterness towards children, and the concept of fertility, as a result. This psychologically disturbing image is also contrasted with the intimacy of "had I so sworn", suggesting the warped intimacy and distorted portrayal of partnership and trust put forward by LM.

- remaining doubt in Macbeth is emphasised by fricative

- brevity of R Q indicates unquestionable nature of success for L M, with the metaphor of tightening one's courage implying the fragmentation necessary to ignore one's doubts and do such a horrific thing.

Alchemy was looked down upon and seen as supernatural

- motif of sleep as death is ironic foreshadowing, considering that they will be deprived of sleep by their guilt(and maybe the witches), causing them to become mad. Accentuated by metaphor of drowning.

- flexible metaphor of sponges implies apparent ease of shifting blame, which is contradicted by their ongoing guilt following the murder.

- already accepted the role of King and necessity for heirs. furthermore, implies that despite L M's rejection of fertility, she still must conform to gender roles and be a mother.

- extreme fragmentation and psychological strain heightens sense of moral horror associated with the act.

- fricatives create suffocating, unstable atmosphere and link to theme of appearance and reality - facade will soon erupt into pure chaos.