Monday, May 2, 2011
The Transmutation of Macdeath
Macbeth is riddled with language of transmutation. From the series of murders that transform the organization of the state (not to mention the state of Macbeth’s soul) to the sing-song rhyming of the weird sisters, the play deals with the processes by which fate unfolds. Even the etymology of “weird”--from the Old English “wyrd” meaning fate--which is of course closely associated with witchcraft, points to the transmutation of supernatural forces into fate in the human realm. The weird sisters call upon dark beings to transmute the world of man. Indeed Macbeth comes under the spell of devilish powers which enter his soul and drive him deeper and deeper into damnation. As he descends he begins to perceive, through the chaos of his soul, the supersensible beings which have taken him prisoner. In this way, his consciousness is also transmuted into a twofold personality after the “deed that’s done” to Duncan (the done king). Macbeth double-crosses Duncan, who’s with him in “double trust,” (echoing the refrain “double, double toil and trouble”) which results in uncontrolled, spontaneous insights into other planes of reality. In other words, he’s being transmuted into a fiend of the lower worlds where his higher nature has scarcely any influence. He has stripped away the curative properties of sleep, “the death of each day’s life,” so that he’s left in a state of perpetual decay (2.2.35). The false face which must hide the false heart is eventually transmuted by its falseness so that fair becomes foul. Death perfects the imperfect words of the weird sisters, or rather Macbeth (or should I say Macdeath) interprets them to justify the macabre deaths that he unleashes. Like King Lear, this play also questions the nature of free-will and destiny. I don’t think these two things are mutually exclusive. There are certain events which through an act of fate present themselves to Macbeth, but he always has the freedom to decide how to relate himself to these events, how to interpret them and create meaning out of them. Of course, Macbeth’s will-power cannot stand up against the evil forces that take hold of his soul and spur him on to his doom. Once he begins to act in accordance with the fiendish greed that arises in him it becomes increasingly difficult for him to master the impulses that transmute his soul into a vessel for destructive demonic powers.
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2 comments:
I completely agree with these ideas. Macbeth takes the claims and predictions of the Weird Sisters and fulfills them on his own. He is transforming his mind to prepare for what he wants to hear (the promise of kingship by the Weird Sisters) and cruelly creating it for himself in whatever means possible, no matter how evil. He is also bringing his downfall in this sense, as he is blind to his good nature from the glimpse and bewitchment of a coincidence. By acting badly to get what he feels he deserves, Macbeth may get a bit of what he wants, but he is also letting the bad find its way back to him.
One of the things that interests me about this play is whether the transmutations Cliff notes here are ever reversed. "What's been done cannot be undone" is one of the most important lines in the play, one that signals the tragedy of the ending. But since this play is also telling the history of the monarch, we might ask if there is any sense of restoration at the end of the play. Any hope?
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