Macbeth Summary and Analysis

Act 1, Scene 1 Summary

The play opens with a depiction of thunder and lightning across a Scottish moor, followed by the appearance of the three witches. They are haggard and old, and their conversation is filled with paradoxes. In eerie, chanting tones, they decide to confront Macbeth who is on his way back from the ongoing battle between the Scots and the Irish.

Act 1, Scene 1 Analysis

The play opens with the appearance of the three “weird sisters.” The Old English word “wyrd,” or “weird,” means Fate, and the three witches signify the Fates of classical mythology—one spins the thread of a person’s life; one measures it; and the third cuts it. Accompanied by thunder and lightning, the witches’ appearance establishes the play’s bleak tone. In fact, the bleakness is a constant throughout the play.

The witches’ conversation is full of paradoxes. They say such things as “when the battle’s lost and won” and when “fair is foul and foul is fair.” These utterances can be understood as intentional ambiguities; they foreshadow the ambiguities that will characterize the witches’ prophecy in Act 1, Scene 3. Further, these paradoxes also arguably apply to the world at large—what is apparently won can also be eventually lost.

Act 1, Scene 2 Summary

Scotland is at war. At a military camp near his palace at Forres, King Duncan, his son Malcolm, and a few Scottish noblemen run into an injured captain. The king asks him about the Scots’ battle against the Irish invaders who are led by the rebellious Macdonwald. The captain, who was wounded while helping Duncan’s son Malcolm escape capture by the Irish, tells him that the Scottish generals, Macbeth and Banquo, fought with great courage. The captain also informs the king that Macdonwald was killed by the “brave Macbeth.”

The king is pleased to hear this news. As the captain is carried off to have his wounds attended to, Ross enters and tells the king that the Thane of Cawdor has been defeated. The Norwegian army has also been repelled, thanks to Macbeth. He also tells the king that Macbeth fought like “Bellona’s bridegroom.” Duncan orders the Thane of Cawdor’s death, and declares Macbeth, the hero of the victorious army, the new Thane of Cawdor. Ross leaves to inform Macbeth of his new title.

Act 1, Scene 2 Analysis

This scene establishes Macbeth as a heroic warrior. Both Ross and the injured captain commend his valor. They credit him for Scotland’s victory in both its campaigns. Descriptions such as “valour’s minion” (the servant of Courage) and “Bellona’s bridegroom” (the husband of the Roman goddess of war) emphasize Macbeth’s heroism. The captain gives a detailed account of the battle, which further amplifies Macbeth’s skill as a warrior. Macbeth did not just kill Macdonald; he’d “unseam’d him from the nave to the chops, / And fix’d his head upon our battlements.”

While Duncan is pleased to hear about Macbeth’s valor, this line also foreshadows the eventual death of Macbeth in a similar fashion. When the king asks the captain if Macbeth and Banquo had shown signs of fear upon being attacked by the Norwegian, the captain replies, “as sparrows eagles, or the hare the lion.” This line establishes that Macbeth and Banquo were brave and unafraid, that they made light work of their timid opposition. The lion is of symbolic significance in that it appears on the royal coat of arms of Scotland.

Macbeth’s introduction as a warrior hero is crucial to the play. The tragic aspect of the play is accentuated by the fall of Macbeth, the hero. This scene also establishes Duncan as a rational and benevolent king who appreciates and honors his men for their successes.

Act 1, Scene 3 Summary

True to their words, the three witches reappear on the heath near the battlefield. Their appearance is once again accompanied by thunder. One of them remarks that she has just come from “[k]illing swine,” whereas another describes how she plans to avenge a sailor whose wife had insulted her. Meanwhile, the third witch states that Macbeth is approaching, and her utterance is accompanied by ominous drum beats.

Macbeth and Banquo are on their way to the king’s court at Forres. Upon running into the witches, Banquo notices that the witches seem to have beards. He is unable to tell if the witches really are women. The first witch hails Macbeth as the Thane of Glamis. The second witch hails him as the Thane of Cawdor, which confuses Macbeth as he is not yet aware of the new title King Duncan has bestowed on him. The third witch, also referring to Macbeth, remarks, “that shalt be king hereafter.”

Banquo notices that Macbeth is taken aback by the last two pronouncements, and he asks the witches if they can see his future. The witches respond in riddles. They tell Banquo that he is “lesser than Macbeth, and greater,” and “not so happy, yet much happier.” Finally, they tell him that while he will never be king, his children will one day ascend the throne of Scotland. Macbeth now addresses the witches and tells them that they have merely said what he wishes to hear. He commands them to tell him how they have gathered this “strange intelligence.” The witches, however, say no more and vanish.

Macbeth and Banquo discuss this strange ambush. Macbeth says to his friend, “Your children shall be kings,” to which Banquo responds, “You shall be king.” Ross and Angus now arrive, and Macbeth is informed that King Duncan has declared Macbeth the Thane of Cawdor. Macbeth, stunned that the witches’ prophecy has come to fruition so quickly, asks Banquo whether he hopes his children will be kings. Banquo replies that “the instruments of darkness” will often tell us the truth, only to betray us later. It is now apparent that Macbeth has taken the prophecy seriously. He ruminates at length about the possibility of ascending the throne. The group resumes its journey toward Forres. As they leave, Macbeth whispers to Banquo that he’d like to speak with him later about their encounter with the witches.

Act 1, Scene 3 Analysis

This act is significant on three levels—first, it introduces Macbeth as the protagonist; the dramatic supernatural setting establishes the fear and anxiety that will torment Macbeth later on; and the act serves as the pivot around which the central plot revolves. It is the witches’ prophecy that convinces Macbeth to murder King Duncan, an act that would mark the beginning of Macbeth’s end.

The second witch explains how she would exact revenge on the sailor for having been insulted by his wife. The imagery in her explanation foreshadows the destiny that will befall Macbeth. As the “captain” of his land—as the king of Scotland—his life, too, would be “tempest-tossed.” The tempest metaphor suggests that Macbeth’s life would soon become turbulent.

By speaking in rhymed couplets and alliterations, the witches add to the effects of instability and confusion evoked in this act. Indeed, the witches are described as “imperfect speakers” who confuse Macbeth. This confusion also underscores the ambition that already lies dormant in him. The prophecy has a strange, lingering effect on Macbeth. Unable to dismiss the prophecy altogether, Macbeth becomes hesitant.

Banquo, as Macbeth’s foil, however, thinks that the prophecies may have been the work of dark, supernatural forces. Macbeth, on the other hand, is uncertain. Accordingly, his speech will henceforth reflect his tendency to question, doubt, and seek justification. This act leaves the reader with an interesting question: Are the witches agents of fate, or just a motivating force?

Act 1, Scene 4 Summary

The scene opens with King Duncan inquiring about the execution of the Thane of Cawdor. The king is informed that, before dying, the Thane of Cawdor had confessed to treason and had begged for forgiveness. As Macbeth and Banquo enter, King Duncan offers them his thanks for their valor and loyalty. He also declares that his son Malcolm will be his heir and states that he wishes to visit Macbeth at his home in Inverness. As Macbeth leaves to inform Lady Macbeth about the royal visit, he finds himself thinking of Malcolm as his obstacle, suggesting that Macbeth now has full faith in the witches’ prophecy.

Act 1, Scene 4 Analysis

Though this is a short scene, it is significant for two reasons.

First, it depicts Duncan’s relationship with Macbeth. Macbeth enters just when King Duncan concludes his inquiry about the previous Thane of Cawdor’s crimes and eventual execution. The timing of Macbeth’s entrance signifies that he, too, as the new Thane, will tread a similar path of treachery. King Duncan calls Macbeth a “peerless kinsman” while congratulating him, and this makes the scene more poignant: historically, Macbeth was a cousin of Duncan’s, which means that by murdering the king, Macbeth will not just be committing regicide but also be murdering his kinsman.

Second, the scene depicts the deepening of Macbeth’s ambition, the rise of his “black and deep desire.” He begins to see Malcom as a threat he has to deal with in order to usurp the throne.

Act 1, Scene 5 Summary

Lady Macbeth is introduced in this scene. She is seen reading a letter from her husband in which he has described his encounter with the witches and their prophecy. The letter stirs her ambition, too, and she wonders whether her husband has what it takes to ascend the throne. She thinks Macbeth is full with “the milk of human kindness,” and resolves to persuade him to kill the king in order to hasten the prophecy’s fruition.

When she is informed of King Duncan’s visit to the Macbeths’ castle in Inverness, she appeals to the spirits to “unsex” her and fill her with the “direst cruelty,” so she can plan the murder. When Macbeth arrives, she greets him as Glamis and Cawdor, acknowledging his new title and hinting at the imminent fulfillment of the second prophecy. She urges him to “look like the innocent flower, / but be the serpent under’t,” assuring him that she would take care of everything.

Act 1, Scene 5 Analysis

Lady Macbeth is one of the most powerful female characters in the canon of English literature. She makes a fittingly strong debut in Scene 5. Lady Macbeth is the lone actor on stage when she is introduced, and this makes the audience privy to her innermost thoughts and also amply conveys the significance of her character.

When she learns about the prophecies from Macbeth, she resolves to do all she can to enable Macbeth ascend the throne. Unlike Macbeth, she is not rattled by these pronouncements; instead, she immediately hatches a plan to kill Duncan. Notably, her soliloquy is an exploration of gender roles, particularly of the value and nature of masculinity. She urges the spirits to strip her of femininity, crying out “unsex me here.” She wishes that the milk in her breasts would be exchanged for “gall,” so she can kill the king herself. Also notable is the association of the act of killing with the idea of masculinity. This scene also shows that while both men and women nurture ambitions, they have to resort to different means to achieve them: while men can achieve their ambitions in a fairly straightforward manner, women have to resort to seduction or manipulation. In the play, it is Lady Macbeth who controls her husband’s ambitions and passions; she directs his path to kingship.

In his letter, Macbeth does not mention the prophecy about Banquo, possibly because he is already afraid of its implications. He also calls his wife his “dearest partner of greatness” in the letter. This would turn out to be an apt description: Lady Macbeth not only supports Macbeth’s ambition but also plays an active role in King Duncan’s murder.

Act 1, Scene 6 Summary

King Duncan arrives at Inverness with his retinue and is welcomed with warmth by Lady Macbeth. She expresses her gratitude and tells the king that she and Macbeth are deeply indebted to him for his kindness and generosity. Duncan asks to meet Macbeth, and tells Lady Macbeth that he loves Macbeth dearly.

Act 1, Scene 6 Analysis

Duncan and his retinue find Macbeth’s castle to be a pleasant place. They find the air in the castle “nimble and sweet.” The royal guests also spot a martlet nest, and are amazed by the bird’s presence. The martlet is a mythical bird without feet; since it never roosts and is always in flight, the guests are pleasantly surprised by the sight of a martlet’s nest, which is an indication of the castle being homely. The castle’s description is almost paradisiacal, which is ironic given the ghastly fate that awaits Duncan here. The conversation between King Duncan and Lady Macbeth also reveals the latter’s ability to effectively conceal her cruel motives with a veil of kindness.

Act 1, Scene 7

Macbeth is seen pacing and mulling over his decision to assassinate the king. He is aware that Duncan is his kinsman as well as his guest, and that he should be protecting his kinsmen and guests, not killing them. He considers Duncan’s popularity and the extent to which the king is admired. He finds himself questioning his decision to kill the king.

Macbeth is plagued with self-doubt and fears the retribution he will face should the plan fail, or if people find out that he killed the king. When Lady Macbeth enters, he declares that they should abandon the plan. He tells her he’d be content with the “golden opinions” he has received from people for his military exploits. Lady Macbeth is outraged and berates her husband for being unmanly. She reassures him that Duncan can be killed when he is asleep. She tells him that they can also get the chamberlains drunk to avoid mishaps. Macbeth, impressed by her practicality as well as masculinity, hopes that Lady Macbeth would only give birth to male children.

Act 1, Scene 7 Analysis

Macbeth’s soliloquy reveals his hesitation to kill the king, who is also his kinsman. His plight and choice of words (“if,” “but,” “were”) in the first few lines of his soliloquy remind readers of Hamlet, another popular character created by Shakespeare. Macbeth is in a quandary; he is aware of the likely repercussions of killing the king. He is especially concerned by the possibility of eternal damnation and the loss of his reputation.

Macbeth also wonders if his act would set forth a cycle of violence that might eventually result in his death, too. Macbeth’s hesitation humanizes him and invites the audience to empathize with him. Lady Macbeth, however, is scornful when she learns of Macbeth’s hesitation. She mocks and ridicules Macbeth in an attempt to motivate him; it is telling that she prefers to motivate Macbeth by humiliating him instead of persuading him with reason. Once again, we see the connection between killing and masculinity. She even declares that she wouldn’t hesitate to kill her own child if need be. At the end of the scene, Lady Macbeth lays out the plan to kill King Duncan, and Macbeth lauds her for her heroism and masculinity.