Preoccupation with death in Macbeth

Death, it could be argued, is a theme within Macbeth weaving its way through the fabric of the play as murder, the supernatural and torment, all gothic elements, are explored. It may be suggested that having been written in a Jacobean era, when death was all too prevalent within society as disease and public executions were commonplace, Macbeth may have an obsession with death as an attempt to reflect the preoccupation with death from its audiences. It could be argued whilst Macbeth features countless murders and explores the concept and consequences of death, it has a stronger obsession with the parasitic nature of guilt and the erosion of sanity within its protagonists, perhaps suggesting as the majority of deaths in the play are untimely and deliberate, gothic texts may have a preoccupation with murder rather than just death.

Structurally, the play begins with death as Macbeth “unseam’d him from the nave to the chaps” in a bloody battle and ends with death as Macbeth is murdered by Macduff despite the witches equivocations. This could suggest an obsession with death as there is a cyclical nature, to open with death could suggest the rest of the play will follow a similar path, ultimately ending with the death of the eponymous protagonist. Throughout the main body of the play, there are many accounts of death such as the death of Duncan, a truly shocking death for Christian audiences, which could be argued as a catalyst for the death of Banquo, Lady Macduff and her unnamed son. There is almost a ricochet of deaths as the play descends into anarchy under the rule of the arguably paranoid tyrannical Macbeth. It could be argued death is present metaphorically within the play as well as literally, Lady Macbeth’s chilling statement “I would, whilst it was smiling in my face…dash’d the brains out” suggests the metaphorical brutal death of a new born baby which could suggest death is an obsession for both men and women within the play. Similarly, there is imagery of death throughout the play as “I have liv’d long enough, my way of life is fall’n into the sere, the yellow leaf” could suggest that death is soon, like the decaying autumnal leaves that depart at the end of the year, the death of the summer, Macbeth is nearing his death, completely disenchanted with life due to the death of Lady Macbeth his “dearest partner of greatness”. Death is present in the action of the play through various murders, it is embedded into the language through imagery of death and decay and structurally present throughout Macbeth suggesting an overwhelming obsession with death as it is almost integral to the play, apparent in so many aspects.

It could be argued “obsession” connotes fascination, suggesting that Macbeth may explore the mysteries surrounding death. Depending on audiences beliefs, the concept of death may vary, for instance a Jacobean audience may believe in an afterlife whilst a more secular, modern audience may see death as a final end. The death of Banquo and the consequent ghost scene in Act 3 Scene 4, may challenge the finality of death within this chaotic world affiliated with the supernatural. Macbeth suggests “when the brains were out, the man would die, and there an end. But now they rise again” suggesting that in the natural world Banquo should have died yet in the world where the supernatural is at play, he rises again, this could create an unsettling scene for audiences as their perceptions of death,  both Christian and secular, are challenged. Death, in this scene is portrayed as unnatural, the ghost of Banquo could be argued by some interpretations as a manifestation of Macbeth’s guilt and therefore a consequence of murder and death, or it could be seen as a mysterious and fascinating part of death within a supernatural world going perhaps against nature. This suggests death is an obsession or fascination in Macbeth as it challenges the concept of death as the end of life on earth, Banquo’s ability to rise again perhaps destabilises expectations which adds to the current atmosphere of chaos and provides a new form of death.

The fascination or obsession with death could be argued to highlighted by Macbeth’s perception of death before and after Banquo’s murder. Macbeth suggests that “there is none but he, whose being I do fear” whilst Banquo is alive, the threat to his throne is more menacing and terrifying than anything else provoking Macbeth to plan his murder stating “who wear our health but sickly in his life, which in his death were perfect” suggesting that the death of Banquo will be a welcome release for Macbeth as he will not be driven to illness by paranoia, his health will be restored upon the death of Banquo. Therefore, death could be argued as a form of relief, by eradicating his competitor, Macbeth can be “safely thus”. However, ironically after Banquo’s death, Macbeth is seized by overwhelming fear, more so than when Banquo was a living threat, by his ghost. Macbeth begs that he “take any form than that” even that of a vicious “Hyrcan tiger” suggesting the sheer terror Macbeth experiences in the wake of Banquo’s death. Despite his earlier perception of death as a relief that would restore his health, his perception of death has now changed to one of terror which ironically causes him to become “not well” and could be argued as a pivotal point as Macbeth’s sanity deteriorates afterwards. It could be argued before the act of murder, the thought of death is tantalisingly tempting for Macbeth as he can see only good outcomes of being “safely thus” yet once murder has been committed and Banquo has died, the reality of death and guilt become apparent suggesting the detrimental effects of death.

It could be argued, whilst Macbeth and other gothic texts are preoccupied with an obsession of death, they are perhaps more exploratory of the consequences of death such as guilt and an obsession with psychological torment. Both Macbeth and Lady Macbeth experience lingering guilt, however, despite Lady Macbeth’s initial pragmatic reaction to the death of Duncan “a little water clears us of this deed” the guilt becomes overwhelming and psychological torture for her as she suggests “will these hands ne’er be clean”. Ironically, Lady Macbeth’s guilt supposedly leads to her assumed suicide or death suggesting the power of such psychological guilt. Macbeth also experiences psychological torment as he feels “o, full of scorpions is my mind” creating an unsettling images of poisonous insects infecting his brain, a particularly gothic image, suggesting the guilt has poisoned his mentality and almost consumed him. The psychological torture portrayed within the play could suggest the gothic has an obsession with the outcome of murder and death rather than death itself as it could be argued death by natural causes could not evoke such strong guilt amongst the plays protagonist as murder can.

Death is arguably the most frightening and unsettling part of life, it is perhaps inevitable that death would be a preoccupation in gothic texts as the genre explores fear and seeks to make its audiences squirm. Whilst death may be seen as a release, perhaps from the threat of a competitor, from insanity and mental torment or as part of a patriotic battle or the portal to power and a crown, death is portrayed as integral and perhaps even inescapable within Macbeth. Death is present from beginning to end, within language and action, death within Macbeth is perhaps a true obsession and a true fact of life.