A place in the sun summary of macbeth
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Immediately after she finishes the letter, Lady Macbeth's mind goes to work. Her words "shalt be" uncannily reflect those of the Witches' prophecy. At this point, Lady Macbeth herself has virtually become an agent of Fate, just like the Weird Sisters. But immediately her thoughts turn to possible failings in her husband. He is "too full of the milk of human kindness" to commit murder; he would be great, he would have a high position, he would wrongly win that position, but in each case, some other aspect of his character would not.
In this case, she says, there is only one solution. She must "pour [her] spirits in thine ear. The scene is rapidly becoming darker. Lady Macbeth is one of the most powerful female characters in literature.
The fact that we meet her alone on stage means that we are privy to her innermost thoughts, which are filled with the imagery of death and destruction. And when she speaks, in her next soliloquy, of her "fell purpose," her intentions are described in the most grotesque and frightening terms. First she bids the spirits to literally deprive her of her femininity, to thicken her blood, and to stop her ability to weep.
Next, she prays that those same evil spirits should suckle her, converting what should be her nourishing mother's milk to "gall" bitterness. Lastly, she calls upon the night itself to hide her actions in a "blanket" of darkness. It is no coincidence that these last words reflect those of Macbeth in the previous scene: Shakespeare is creating a strong verbal bond between husband and wife that will continue throughout the play.
When Macbeth enters his castle, his wife greets him in a way that again recalls the words of the Witches; in particular the words "all-hail" and "hereafter" chill the audience, for they are the exact words spoken to Macbeth by the Witches. During the melee, Banquo holds off the assailants so that Fleance can escape, but is himself killed.
A terrified Macbeth sees him, while the apparition is invisible to his guests. He appears again to Macbeth in a vision granted by the Three Witches, wherein Macbeth sees a long line of kings descended from Banquo. Macbeth, for example, eagerly accepts the Three Witches' prophecy as true and seeks to help it along. Banquo, on the other hand, doubts the prophecies and the intentions of these seemingly evil creatures.
Whereas Macbeth places his hope in the prediction that he will be king, Banquo argues that evil only offers gifts that lead to destruction. Banquo steadily resists the temptations of evil within the play, praying to heaven for help, while Macbeth seeks darkness, and prays that evil powers will aid him.
In act two, scene one, Banquo meets his son Fleance and asks him to take both his sword and his dagger "Hold, take my sword Take thee that too" [18]. Scholars have interpreted this to mean that Banquo has been dreaming of murdering the king as Macbeth's accomplice to take the throne for his own family, as the Three Witches prophesied to him.
In this reading, his good nature is so revolted by these thoughts that he gives his sword and dagger to Fleance to be sure they do not come true, but is so nervous at Macbeth's approach that he demands them back. They argue that Banquo is merely setting aside his sword for the night. Then, when Macbeth approaches, Banquo, having had dreams about Macbeth's deeds, takes back his sword as a precaution in this case.
His spirit lives on in Fleance, his son, and in his ghostly presence at the banquet. The scene carries deep significance: King James, on the throne when Macbeth was written, was believed to be separated from Banquo by nine generations. What Shakespeare writes here thus amounts to a strong support of James' right to the throne by lineage, and for audiences of Shakespeare's day, a very real fulfilment of the witches' prophecy to Banquo that his sons would take the throne. Banquo's triumph over death appears symbolically, insofar as he literally takes Macbeth's seat during the feast.
Shocked, Macbeth uses words appropriate to the metaphor of usurpation, describing Banquo as "crowned" with wounds. Critics have questioned whether not one, but perhaps two ghosts appear in this scene: Banquo and Duncan. Scholars arguing that Duncan attends the banquet state that Macbeth's lines to the Ghost could apply equally well to the slain king. To add to the confusion, some lines Macbeth directs to the ghost, such as "Thy bones are marrowless", [29] cannot rightly be said of Banquo, who has only recently died.
Macbeth had already seen a hallucination before murdering Duncan: a knife hovering in the air. Several performances of the play have even ignored the stage direction to have the Ghost of Banquo enter at all, heightening the sense that Macbeth is growing mad, since the audience cannot see what he claims to see.
Scholars opposing this view claim that while the dagger is unusual, ghosts of murdered victims are more believable, having a basis in the audience's superstitions. Spirits in other Shakespeare plays—notably Hamlet and Midsummer Night's Dream —exist in ambiguous forms, occasionally even calling into question their own presence.
The term 'ghost at the feast' has entered popular culture, and is often used as a metaphor for a subject a person would rather avoid considering, or considering the general plot of Macbeth a reminder of a person's unpleasant past or likely future. Performances and interpretations[ edit ] Canada Lee as Banquo in the Federal Theatre Project production of Macbeth Banquo's role, especially in the banquet ghost scene, has been subject to a variety of interpretations and mediums.
Shakespeare's text states: "Enter Ghost of Banquo, and sits in Macbeth's place.
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