‘Unnatural Deeds do Breed Unnatural Troubles’ : A Study of Lady Macbeth’s Cruelty

Abstract

The study of evil is one of the recurrent themes in the plays of Shakespeare. In Macbeth, the playwright presents different dimensions of evil. The aim of this paper is to locate and examine the origin of evil in Lady Macbeth – whether evil is in her nature or not. Macbeth addresses her as ‘dearest partner of greatness’, whereas Macduff describes her as ‘fiend-like queen’. The paper analyses her activities as an attempt to determine whether she is as evil as it is generally thought of, or there is a gap between what she expresses and what she represses. Examining from the point of view of psychoanalytical criticism, we see that the evil, especially the cruelty, she demonstrates is not her natural characteristic trait; rather she assumes it. Actually, she says and does some evil things which are quite incompatible to her original nature. What she does, at any rate, is crime, but not the crime of a ‘criminal by nature’; rather it is the foolish fondness of a loving and devoted wife who sacrifices everything for the sake of her husband so that he can achieve his much desired goal. The paper holds the final view that Lady Macbeth is a victim of illusion- illusion created by her excessive love and devotion for her husband.

Macbeth (1606-1607) is seemingly the last one of Shakespeare’s major tragedies. Although it is ‘the shortest of the tragedies’ (Muir, p xiii), here the playwright presents the ‘most profound and mature vision of evil’ (Knight, p 160). In fact, in his tragedies, Shakespeare presents different dimensions of evil in human affairs. Jean E Howard calls Macbeth ‘culmination of a series of tragedies on evil’ (p 1255). She, again, describes the play as ‘an intensely human study of the psychological effects of evil on a particular man and, to a lesser extent, on his wife.’ (p 1255). Harold Bloom says, “Macbeth . . . is so profoundly dependent on Lady Macbeth. Until she goes mad, she seems as much Macbeth’s mother as his wife” (p 522). Wilson Knight says, “To interpret the figure of Lady Macbeth in terms of ‘ambition’ and ‘will’ is, indeed, a futile commentary. The scope and sweep of her evil passion is tremendous, irresistible, ultimate. She is an embodiment – for one mighty hour- of evil absolute and extreme” (p 173). A. C. Bradley says:

…in the first half (of the play) Lady Macbeth not only appears more than in the second but exerts the ultimate deciding influence on the action. And in the opening Act at least, Lady Macbeth is the most commanding and perhaps the most awe-inspiring figure that Shakespeare drew. Sharing, as we have seen, certain traits with her husband, she is at once clearly distinguished from him by an inflexibility of will, which appears to hold imagination, feeling, and conscience completely in check. To her the prophecy of the things that will be becomes instantaneously the determination that they shall be. (p 322)

In fact, among the female characters of Shakespeare, Lady Macbeth is considered as one of the most complex ones. Her character is full of variety of qualities- both good and evil. She can, indeed, be studied as more heinous than the witches. Dr. Johnson says, “Lady Macbeth is merely detested” (qtd in Bradley, p 332). Howard says, “She has failed to foresee the long-range consequences of her sinful ambition and so becomes a temptress to her husband” (p1257). Again, she can also be studied as one of the most sublime tragic heroines of Shakespeare. Bradley says:

She helps him, but never asks his help. She leans on nothing but herself. And from the beginning to the end …her will never fails her. Its grasp upon her nature may destroy her, but it is never relaxed. We are sure that she never betrayed her husband or herself by a word or even a look, save in sleep. However appalling she may be, she is sublime.” (p 324)