Guilt, Innocence and Paranoia

• Though it is the Macbeths' unchecked, amoral ambition that causes their fall from grace, it is their guilt and paranoia that breaks them. Without guilt, they wouldn't be driven insane by their deeds. Without paranoia, their murder spree might have begun and ended with Duncan's death.
• Killing a king was a provocative subject when 'Macbeth' was first being written and performed. Elizabeth I had died without an heir, so James VI of Scotland was made the new king of England. This raised a lot of questions about whether he was the rightful monarch, and who should be allowed to be king.
• This political tension amounted in the Gunpower Plot of 1605, where a group tried to assassinate James and members of Parliament. As the king was the patron of Shakespeare's theatre group, it was important that he pleased him. By illustrating how violently and deeply guilt destroyed the Macbeths, Shakespeare is clearly condemning regicide.
• Jacobean Britain was a very religious, Christian country. People believed God was all-seeing, so would see every sin and crime someone committed. No one was exempt from his judgement. Shakespeare supports this idea by showing how the Macbeths are put through a sort of hell, despite their crime not being known by anyone else.
• The Renaissance was also a period when people believed in the innate (natural) goodness of humanity. The Macbeths are destroyed by their own guilt, suggesting their innate goodness rebelled against their deliberate immorality.
• Innocence, in contrast, is a virtue that Shakespeare, in keeping with Christianity, celebrates. The Macbeths pursue a facade of innocence while plotting their murders, and as they descend further into their web of violence, they long to regain their lost innocence. Malcolm, a posterboy of youthful innocence and virtue, is the rightful king of Scotland, showing how goodness is the correct way to be given power.
• Though both are troubled deeply by their guitl, the Macbeth's experiences of it and reactions to it are very different, and reveal their differences in character.
• Macbeth's guilt is focused on the murder, as he expresses his great remorse directly before and after he kills Duncan. After that, his guilt comes in the form of paranoia, and this sends him on a frenzied murder spree. Shakespeare suggests guilt and conscience are more powerful than ambition.
• Shakespeare associates guilt with religion. While wondering if he should really kill Duncan, Macbeth acknowledges, "We'd jump the life to come," (1.7). This is a reference to the afterlife, which Christians believed would be granted to those who hnoured God. Macbeth knows committing murder will sacrifice his life in Heaven, making him fully mortal and abandoned by God. The threat of this is enough to make Macbeth reconsider his plan, showing the power religion and belief had over people at the time. Shakespeare suggests Macbeth should have listened to his conscience and faith rather than to his wife. Shakespeare shows the moral and religious consequences of being guilty.
• Macbeth continues, "But wherefore could not I pronounce 'Amen'? / I had most need of blessing and 'Amen' / Stuck in my throat," (2.2). He is deeply distressed and upset by this experience. It seems Macbeth is scared because he has been denied God's forgiveness, so knows he is damned. The phrase "I had most need of blessing" reveals his regret, for he is desperate to reclaim his innocence. The metaphor "stuck in my throat" evokes the image of a barrier blocking Macbeth from God.
• Guilt is presented as an intense fear of knowing yourself and facing what you have done. After killing Duncan, he claims, "To know my deed, 'twere best not know my self," (2.2). The perception of himself as an honourable hero has died along with Duncan. He would rather be unconscious or forget who he is than look at what he's done.
• Macbeth's regret is echoed later in the play, when Ross says of Scotland, "Alas, poor country, / Almost afraid to know itself. It cannot / Be called our mother, but our grave," (4.3). Shakespeare shows how Macbeth's guilt has clouded the country in uncertainity and weakness. Ross suggests Scotland is "almost afraid to know itself". because it cnanot face what it has become. The same is true of Macbeth himself, meaning the king and his country are identical.
• Paranoia is portrayed as a poision tha tis relntless and inescapable. Macbeth loses all his heroic qualities because of his fears, and he becomes murderous even as he descends into madness. He says "For Banquo's issue have I filed my mind; / For them, the gracious Duncan have I murdered, / Put rancours in the vessel of my peace / Only for them," (3.1). Shakespeare shows that Macbeth's ambition is punished, not rewarded. The metaphor "put rancours in the vessel of my peace" suggests his guilt and paranoia has polluted his soul. Similar imagery of corruption is used as the play continues: "O, full of scorpions is my mind," (3.2), presenting his paranoia as infinite, small stings.
• Unlike her husband, Lady Macbeth is initally free from any feelings of guilt. Her journey is the play takes her from power and strength to weakness and insanity. Whereas Macbeth's guilt makes him more violent and brutal, Lady Macbeth's guilt makes her go into herself. She closes herself off to everyone else, cannot be in darkness, and sleep walks as she is trapped in her own guilty thoughts. The way her guilt takes over is gradual but destructive, showing how even the most callous (insensitive and cruel) and cold people aren't immune to God's judgement and their own human conscience.
• Guilt and regret are presented as obstacles to following ambition. These two feelings are linked to femininity and thus Lady Macbeth tries to rid herself of her conscience when she calls upon "spirits" to "unsex" her. She demands that they: "Stop up th'access and passage to remorse / That no compunctious visitings of nature / Shake my fell purpose nor keep peace between / Th'effect and it," (1.5). This indicates that she is capable of feeling guilt, but wants to repress these feelings because she views them as weaknesses. The only way to overcome guilt is to not feel it, as Shakespeare implies guilt is too powerful to ignore.
• The cost of Lady Macbeth's guilt is shown to be endless paranoia. She says to herself, "Nought's had, all's spent / Where our desire is got without content. / 'Tis safer to be that which we destroy / Than by destruction dwell in doubtful joy," (3.2), which suggests she envies the dead for their peace of mind. "All's spent" illustrates how there is a cost for being guilty of a crime, and may also allude to her mental exhaustion - she is "spent". Lady Macbeth is becoming aware of the infinite cycle of violence they have got themselves into to satisify their paranoia. Shakespeare shows that sins and crimes are never rewarded, so that the perpetrators are only left with their remorse.
• Shakespeare demonstrates how guilt and regret can't be escaped. Lady Macbeth tells ehr worried husband, "What's done, is done," (3.2), suggesting they can't change their fate and will have just to live with the consequences. Shakespeare suggests that greed and ambition can't predict the guilt that comes with making fantasies into reality. The line becomes a refrain for her, as later she mutters to herself in her sleep, "What's done cannot be undone," (5.1). The repetition makes it appear like she is trying to convince herself to let go and get the courage to face reality. The change from "is done" to "cannot be undone" gives the impression that her guilt and desperation have increased.
• Blood is a symbol of guilt and death in Macbeth. The Macbeths can't escape it no matter how much they try to wash it away. Hallucinations and ghosts are also symbols of guilt and death, as they point to the existence of an afterlife and the invisible world of the supernatural.
• Blood is a motif used throughout the play to show how the Macbeths react to their guilt. They both react differently to the blood which reveals to the audience how differently their minds work.
• Lady Macbeth believes that the simple act of washing their hands will rid them of both the physical blood but also the mental guilt of their deed. She orders her husband, "Go get some water / And wash this filthy witness from your hand," (2.2), echoing this later, "A little water clears us of this deed," (2.2). Here, "water" is a symbol of purity and life. She isn't focused on what the murder says about them or the mental impact it will have, only the implications of it they get caught with blood on their hands. She worries that it will implicate them in the murder as a "witness", so tells Macbeth to "wash" it away. At the same time, she only refers to blood with the euphemisms "filthy witness" and "deed", suggesting she can't confront the reality of her actions.
• In contrast, Macbeth is shocked by the blood on his hands, asking "Will all great Neptune's ocean wash this blood / Clean from my hand? No: this my hand will rather / This multitudinous seas incarnadine, / Making the green one red," (2.2). He knows their guilt goes beyond the literal "blood" on their "hand[s]", and that nothing can remove the metaphorical "blood" on their souls. The reference to "Neptune" a non-Christian god, could reflect how he has turned his back on God.
• Macbeth is faced with the reality of his guilt in the form of blood-soaked hallucinations. A dagger dripping with blood leads the way to Duncan's sleeping form, a premonition of the violence and guilt to come, while Banquo's ghost points his bloodied finger at Macbeth in an accusation of responsibility. Macbeth's fanous soliloquy opens, "Is this a dagger which I see before me, / The handle toward my hand?" (2.1). The question shows that Macbeth cannot tell the difference between what is real and what is imagined, suggesting his guilt has already taken hold.
• Macbeth asks, "Art thou but / A dagger of the mind, a false creation, / Proceeding from the heat-oppressed brain?" (2.1), suggesting he is aware that he can't trust everything he sees. At the same time, though, he isn't sure if the dagger is from his "mind" or not, implying he doesn't know what his mind is capable of. It seems his inability to cope with guilt makes him hallucinate. The adjective "heat-oppressed" refers to the pressure guilt places on you. It connotes a fever, portraying guilt as a disease.
• Shakespeare presents guilt as an intense pyschological torture that makes reality break down. Mental illnesses, such as the psychosis Macbeth is experiencing, weren't understood in Shakespeare's time. It was common to think the mentally ill were possessed.
• At first, Lady Macbeth is dismissive of Macbeth's hallucinations, telling him "Tis the eye of childhood / That fears a painted devil," (2.2) and his "flaws and starts" are merely "impostors to true fear" (3.4). In her final scene however, she is tormented by her own visions. She cries, "Out, damned spot!" (5.1), showing she is trying to wash her hands of an invisible spot of blood. Its invisibility reflects how guilt dosn't have to be visible or known by others for it to be real: she knows her own guilt and cannot unlearn it.
• Shakespeare uses sleep as a symbol of innocence and peace, it brings comfort and is an escape from the troubles of the real world. Sleep is also used to express and reveal the subconscious and the conscience. Thus, sleep is denied to the Macbeths after they murder Duncan. Instead, their nights are plagued by nightmares and "restless ecstasy" (3.2), suggesting they relive their crimes every time they close their eyes.
• When the Macbeths murder Duncan, Shakespeare shows they have sacrificed any chance of serenity and well-being. It is concluded, "Macbeth shall sleep no more," (2.2). As well as being the villain, Macbeth realises he has damned himself. He "shall sleep no more", so he has brought torment and torture on himself. Shakespeare shows how those who are guilty of sins are self-destructive. Macbeth sleeping "no more" is a symbol of his active, haunted conscience. Sleep is "innocent", a "balm of hurt minds", so it cannot be enjoyed by a murderer bathed in blood, as Macbeth is.
• Macbeth's insomnia takes its toll on him, so that he longs for some semblance of peace, even death. He says, "Better be with the dead / Whom we, to gain our peace, have sent to peace, / Than on the torture of the mind to lie / In restless ecstasy. Duncan is in his grave. / After life's fitful fever, he sleeps well," (3.2), suggesting his attempts to feel content have only brought him more pain. Here Macbeth envies the "dead" and clearly mistakes death for a form of "sleep", which implies murder and death has taken over his mindset.
• Lady Macbeth's sleep is disturbed by sleep walking, suggesting ehr mind is always racing. The Doctor notes "A great perturbation in nature, to receive at once the benefit of sleep and do the effects of watching," (5.1), suggesting Lady Macbeth is doomed to always "watch" the murder be replayed.
• Shakespeare uses imagery of light and darkness to explore guilt and innocence. Light is a symbol of innocence, enlightenment, and often holiness, whereas darkness is associated with the evil spirits that call for foul murder. Often, light and darkness indicate which characters are guilty and which can be trusted.
• Both of the Macbeths call upon darkness to mask their crimes. The darkness could be reflective of them turning their back on God and goodness and instead siding with temptation and the devil.
• When the idea of murdering Duncan first comes to Macbeth, he says in an aside, "Stars, hide your fires, / Let not light see my black and deep desires, / The eye wink at the hand. Yet let that be, / Which the eye fears when it is done to see," (1.4). Duncan already established "stars" as "signs of nobleness", so Macbeth is using the darkness to protect his innocent reputation.
• • The phrase "black and deep desires" evokes an imagery of decay, and suggests Macbeth is aware of his immorality while he nurtures it. By asking the "stars" to "hide [their] fires", it seems Macbeth is more concerned with avoiding judgement than embracing darkness.
  • "Let not light see" and "Yet let that be, / Which the eye fears" suggests the darkness is for his own benefit. He can't bear to look at what he is going to do, even though he wants it to happen.
• Lady Macbeth has a similar request when she says, "Come, thick night, / And pall thee in the dunnest smoke of hell, / That my keen knife sees not the wound it makes, / Nor heaven peep through the blanket of the dark," (1.5). She asks directly for "thick night" and "the dunnest smoke of hell", meaning she is calling upon forces of darkness to help her be wicked, wheras Macbeth is more concerned with avoiding "light" to preserve his 'pure soul. However, Lady Macbeth does reveal she is concerned about discovery, wanting to stop "heaven peep[ing] through the blanket of the dark".
• For Macbeth, his guilt and paranoia are constants that accompany him throughout the play. As the play progresses, his guilt and paranoia worsens. This is reflected in how Macbeth's language changes. He uses more Hellish, grotesque, and supernatural imagery. His obsession with death and mortality increases, and he makes repeated references to his troubled mental state and lack of sleep. At the same time, he becomes crueler and more brutal.
• For Lady Macbeth, on the other hand, her guilt and paranoia only manifest fully in her final scenes. At the start, she orchestrates the murder and silences all of Macbeth's fears and regrets. There are subtle indications that she isn't as confident and cold as she wants to seem, but her speech is controlled and cutting. Eventually, she is completely unaware of Macbeth's actions. This division that forms both physically and mentally between the couple portrays guilt as isolating.