Betrayal in Macbeth and Other Characteristics

Introduction

Shakespeare's play Macbeth is an old piece about avoidance and betrayal in Macbeth. Lady Macbeth, Ruler Duncan, Mac Duff, and Malcolm are the foremost important individuals in this play. These characters have their contrasts and stories. Macbeth is seen as a genuine war saint but in reality, he is a true war criminal and deceives his individuals, nation and his most critically his ruler fair since he is power-mad.

Unveiling Macbeth's Nature

Macbeth can be seen as a very modern politician he has the ability to manipulate people through the language he uses and the way he treats his people to appear as a saint in order to hide his true criminal self. Even though his inability to see the past himself even when he tries to be a better man he tends to fall back to the man he has become throughout his crimes. Macbeth was a great warrior that turned bad because of the sins he committed. Many say that the reason for his madness came from his wife but I believe she was only the trigger to unleash his true self. He liked to fight and win and thought that nothing could interfere with him and becoming a powerful and mad man. You can relate these kinds of events to real life and real people throughout history such as Hitler. He was a man who could speak and use his words to manipulate people and a trigger made him become the man that wanted to rule and think that nothing could stop him which eventually led to his downfall. Macbeth was seen as the best warrior that there was. He was very powerful in the country and had the people on his side. He could control them with no real interference.

Three Witches in Macbeth and Betrayal

All through the play, the witches referred to as the “weird sisters” by numerous of the characters lurk like dull considerations and oblivious enticements to cruelty. In portion, the cruelty they cause stems from their powers, but primarily it is the result of their understanding of the shortcomings of their particular interlocutors they play upon Macbeth’s desire like puppeteers. The witches’ whiskers, odd elixirs, and rhymed discourse make them appear somewhat strange, like caricatures of the extraordinary. Shakespeare has them talk in rhyming couplets all through their most popular line is likely “Double, twofold, drudge and inconvenience, fire burn and cauldron bubble” which isolates them from the other characters, who generally talk in clear verse. The witches’ words appear nearly comical, like noxious rhymes. In spite of the foolishness of their “eye of newt and toe of frog” formulas, be that as it may, they are clearly the most unsafe characters within the play, being both colossally capable and utterly wicked. The group of onlookers is cleared out to inquire whether the witches are autonomous operators toying with human lives, or operators of destiny, whose predictions are as it were reports of the inescapable.

The witches bear a striking and clearly deliberateness likeness to the destinies, female characters in both Norse and Greek mythology who weave the texture of human lives. A few of their predictions appear self-fulfilling. For illustration, it is far fetched that Macbeth would have killed his ruler without the power given by the witches’ forecasts. In spite of the fact that their predictions are fair strikingly exact readings of the future, it is difficult to see Birnam Wood coming to Dunsinane as being self-fulfilling in any way. The play offers no simple answers. Instep, Shakespeare keeps the witches well exterior the limits of human comprehension. They epitomize an unreasoning, intuitively cruelty. Expressions sound like drivel, but in reality, both declarations in each articulation are genuine. Banquo will have a lesser title than Macbeth but is the more prominent and more of an ethical man. He will not be as blessed as Macbeth within the brief term, as he will before long be killed, but will eventually be much more blessed since he won’t be made to endure the eternal torments of hell. At no point do the witches mislead Macbeth, he essentially listens to what he needs to and disregards the rest.

Macduff the Nobleman

Macduff stands out from a sizably voluminous cast of auxiliary characters because of the specific hurt that Macbeth does to him, and the exact retribution Macduff takes on Macbeth in turn. At the graduation of the play, Macduff may be a staunch and stouthearted respectable battling on Duncan's side. He instantly doubts s Macbeth's claim that Duncan was murdered by his coadjutants, and relucts to go to Macbeth's (delegated a lord or ruler). Once Macbeth gets it that Macduff will not be allegiant to him, Macduff gets to be a specific center of Macbeth's vexation, censurability, and perilous/extreme need to forfend his puissance. Macbeth organizes for killers to murder Macduff's spouse and children after Macduff has as of now absquatulated to Britain to inquire for profit from the ruler for his cause against Macbeth. Macduff's choice to (take off behind and alone interminably) his family is never plenarily elucidated and appears difficult to donate a considerable reason for, given their truculent/arduous murders. The archetype of the avenging hero, not simply out for revenge but with a good and holy purpose.

Conclusion

Macduff is the character who has two of the most significant roles in the play: First, he is the discoverer of Duncan's body. Second, the news of the callous murder of his wife and children (Act IV, Scene 3) spurs him toward his desire to take personal revenge upon the tyrannical Macbeth. When he knocks at the gate of Macbeth's castle in Act II, Scene 3, he is being equated with the figure of Christ, who before his final ascension into Heaven, goes down to release the souls of the damned from hell (the so-called 'Harrowing of Hell'). 

Works Cited

1. Shakespeare, William. Macbeth. Simon & Schuster Paperbacks, 2009.
2. Bradley, A. C. 'The Witch Scenes in Macbeth.' In Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, Macbeth. Macmillan, 1904.
3. Knight, G. Wilson. 'The Embassy of Macduff: A Study in Shakespearean Tragedy.' Essays on Shakespeare and Elizabethan Drama in Honor of Hardin Craig. University of Missouri Press, 1962.
4. Muir, Kenneth. Shakespeare's Tragic Sequence. Routledge, 2013.