Shakespeare: Macbeth -
Freud on the Macbeths


From Some Character-types Met With In Psycho-analytical Work (1916),
by Sigmund Freud

Analytic work has no difficulty in showing us that it is forces of conscience which forbid the subject to gain the long-hoped-for advantage from the fortunate change in reality. It is a difficult task, however, to discover the essence and origin of these judging and punishing trends, which so often surprise us by their existence where we do not expect to find them. For the usual reasons I shall not discuss what we know or conjecture on the point in relation to cases of clinical observation, but in relation to figures which great writers have created from the wealth of their knowledge of the mind.

We may take as an example of a person who collapses on reaching success, after striving for it with single-minded energy, the figure of Shakespeare's Lady Macbeth. Beforehand there is no hesitation, no sign of any internal conflict in her, no endeavour but that of overcoming the scruples of her ambitious and yet tender-minded husband. She is ready to sacrifice even her womanliness to her murderous intention, without reflecting on the decisive part which this womanliness must play when the question afterwards arises of preserving the aim of her ambition, which has been attained through a crime.

           Come, you spirits
That tend on mortal thought, unsex me here
... Come to my woman's breasts,
And take my milk for gall, you murdering ministers!

(I v 41)

... I have given suck, and know
How tender 'tis to love the babe below that milks me:
I would, while it was smiling in my face,
Have pluck'd my nipple from his boneless gums
And dashed the brains out, had I so sworn as you
Have done to this.

(I vii 54)

One solitary faint stirring of reluctance comes over her before the deed:

... Had he not resembled
My father as he slept, I had done it ...

(II ii 14)

Then, when she has become Queen through the murder of Duncan, she betrays for a moment something like disappointment, something like disillusionment. We cannot tell why.

... 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.

(III ii 4)

Nevertheless, she holds out. In the banqueting scene which follows on these words, she alone keeps her head, cloaks her husband's state of confusion and finds a pretext for dismissing the guests. And then she disappears from view. We next see her in the sleep-walking scene in the last Act, fixated to the impressions of the night of the murder. Once again, as then, she seeks to put heart into her husband:

Fie, my lord, fie! a soldier, and afeard? What need we fear who knows it, when none can call our power to account?

(V I 40)

She hears the knocking at the door, which terrified her husband after the deed. But at the same time she strives to "undo the deed which cannot be undone". She washes her hands, which are blood-stained and smell of blood, and is conscious of the futility of the attempt. She who had seemed so remorseless seems to have been borne down by remorse. When she dies, Macbeth, who meanwhile has become as inexorable as she had been in the beginning, can only find a brief epitaph for her:

          She should have died hereafter;
There would have been a time for such a word.

(V v 17)

And now we ask ourselves what it was that broke this character which had seemed forged from the toughest metal? Is it only disillusionment -- the different aspect shown by the accomplished deed [Endnote 1] -- and are we to infer that even in Lady Macbeth an originally gentle and womanly nature had been worked up to a concentration and high tension which could not endure for long, or ought we to seek for signs of a deeper motivation which will make this collapse more humanly intelligible to us?

It seems to me impossible to come to any decision. Shakespeare's Macbeth is a piéce d'occasion, written for the accession of James, who had hitherto been King of Scotland. The plot was ready-made, and had been handled by other contemporary writers, whose work Shakespeare probably made use of in his customary manner. It offered remarkable analogies to the actual situation. The "virginal" Elizabeth, of whom it was rumoured that she had never been capable of child-bearing and who had once described herself as "a barren stock" [Endnote 2], in an anguished outcry at the news of James's birth, was obliged by this very childlessness of hers to make the Scottish king her successor. And he was the son of the Mary Stuart whose execution she, even though reluctantly, had ordered, and who, in spite of the clouding of their relations by political concerns, was nevertheless of her blood and might be called her guest.

The accession of James I was like a demonstration of the curse of unfruitfulness and the blessings of continuous generation. And the action of Shakespeare's Macbeth is based on this same contrast. [Endnote 3]

The Weird Sisters assured Macbeth that he himself should be king, but to Banquo they promised that his children should succeed to the crown. Macbeth is incensed by this decree of destiny. He is not content with the satisfaction of his own ambition. He wants to found a dynasty -- not to have murdered for the benefit of strangers. This point is overlooked if Shakespeare's play is regarded only as a tragedy of ambition. It is clear that Macbeth cannot live for ever, and thus there is but one way for him to invalidate the part of the prophecy which opposes him -- namely, to have children himself who can succeed him. And he seems to expect them from his indomitable wife:

Bring forth men-children only!
For thy undaunted mettle should compose
Nothing but males ...

(I vii 72)

And equally it is clear that if he is deceived in this expectation he must submit to destiny; otherwise his actions lose all purpose and are transformed into the blind fury of one doomed to destruction, who is resolved to destroy beforehand all that he can reach. We watch Macbeth pass through this development, and at the height of the tragedy we hear Macduff's shattering cry, which has so often been recognized to be ambiguous and which may perhaps contain the key to the change in Macbeth:

He has no children!

(IV iii 216)

There is no doubt that this means: "Only because he is himself childless could he murder my children." But more may be implied in it, and above all it may lay bare the deepest motive which not only forces Macbeth to go far beyond his own nature, but also touches the hard character of his wife at its only weak point. If one surveys the whole play from the summit marked by these words of Macduff's, one sees that it is sown with references to the father-children relation. The murder of the kindly Duncan is little else than parricide; in Banquo's case, Macbeth kills the father while the son escapes him; and in Macduff's, he kills the children because the father has fled from him. A bloody child, and then a crowned one, are shown him by the witches in the apparition scene; the armed head which is seen earlier is no doubt Macbeth himself. But in the background rises the sinister form of the avenger, Macduff, who is himself an exception to the laws of generation, since he was not born of his mother but ripp'd from her womb.

It would be a perfect example of poetic justice in the manner of talion if the childlessness of Macbeth and the barrenness of his Lady were the punishment for their crimes against the sanctity of generation -- if Macbeth could not become a father because he had robbed children of their father and a father of his children, and if Lady Macbeth suffered the unsexing she had demanded of the spirits of murder. I believe Lady Macbeth's illness, the transformation of her callousness into penitence, could be explained directly as a reaction to her childlessness, by which she is convinced of her impotence against the decrees of nature, and at the same time reminded that it is through her own fault if her crime has been robbed of the better part of its fruits.

In Holinshed's Chronicle (1577), from which Shakespeare took the plot of Macbeth, Lady Macbeth is only once mentioned as the ambitious wife who instigates her husband to murder in order that she may herself become queen. There is no mention of her subsequent fate and of the development of her character. On the other hand, it would seem that the change of Macbeth's character into a bloodthirsty tyrant is ascribed to the same motives as we have suggested here. For in Holinshed ten years pass between the murder of Duncan, through which Macbeth becomes king, and his further misdeeds; and in these ten years he is shown as a stern but just ruler. It is not until after this lapse of time that the change begins in him, under the influence of the tormenting fear that the prophecy to Banquo may be fulfilled just as the prophecy of his own destiny has been. Only then does he contrive the murder of Banquo, and, as in Shakespeare, is driven from one crime to another. It is not expressly stated in Holinshed that it was his childlessness which urged him to these courses, but enough time and room is given for that plausible motive. Not so in Shakespeare. Events crowd upon us in the tragedy with breathless haste so that, to judge by the statements made by the characters in it, the course of its action covers about one week. This acceleration takes the ground from under all our constructions of the motives for the change in the characters of Macbeth and his wife. There is no time for a long-drawn-out disappointment of their hopes of offspring to break the woman down and drive the man to defiant rage; and the contradiction remains that though so many subtle interrelations in the plot, and between it and its occasion, point to a common origin of them in the theme of childlessness, nevertheless the economy of time in the tragedy expressly precludes a development of character from any motives but those inherent in the action itself.

What, however, these motives can have been which in so short a space of time could turn the hesitating, ambitious man into an unbridled tyrant, and his steely-hearted instigator into a sick woman gnawed by remorse, it is, in my view, impossible to guess. We must, I think, give up any hope of penetrating the triple layer of obscurity into which the bad preservation of the text, the unknown intention of the dramatist, and the hidden purport of the legend have become condensed. But I should not subscribe to the objection that investigations like these are idle in face of the powerful effect which the tragedy has upon the spectator. The dramatist can indeed, during the representation, overwhelm us by his art and paralyse our powers of reflection; but he cannot prevent us from attempting subsequently to grasp its effect by studying its psychological mechanism. Nor does the contention that a dramatist is at liberty to shorten at will the natural chronology of the events he brings before us, if by the sacrifice of common probability he can enhance the dramatic effect, seem to me relevant in this instance. For such a sacrifice is justified only when it merely interferes with probability [Endnote 4] not when it breaks the causal connection; moreover, the dramatic effect would hardly have suffered if the passage of time had been left interdeterminate, instead of being expressly limited to a few days.

One is so unwilling to dismiss a problem like that of Macbeth as insoluble that I will venture to bring up a fresh point, which may offer another way out of the difficulty. Ludwig Jekels, in a recent Shakespearean study, thinks [Endnote 5] he has discovered a particular technique of the poet's, and this might apply to Macbeth. He believes that Shakespeare often splits a character up into two personages, which, taken separately, are not completely understandable and do not become so until they are brought together once more into a unity. This might be so with Macbeth and Lady Macbeth. In that case it would of course be pointless to regard her as an independent character and seek to discover the motives for her change, without considering the Macbeth who completes her. I shall not follow this clue any further, but I should, nevertheless, like to point out something which strikingly confirms this view: the germs of fear which break out in Macbeth on the night of the murder do not develop further in him but in her. It is he who has the hallucination of the dagger before the crime; but it is she who afterwards falls ill of a mental disorder. It is he who after the murder hears the cry in the house: "Sleep no more! Macbeth does murder sleep ..." and so "Macbeth shall sleep no more"; but we never hear that he slept no more, while the Queen, as we see, rises from her bed and, talking in her sleep, betrays her guilt. It is he who stands helpless with bloody hands, lamenting that "all great Neptune's ocean" will not wash them clean, while she comforts him: "A little water clears us of this deed"; but later it is she who washes her hands for a quarter of an hour and cannot get rid of the bloodstains: "All the perfumes of Arabia will not sweeten this little hand." Thus what he feared in his pangs of conscience is fulfilled in her; she becomes all remorse and he all defiance. Together they exhaust the possibilities of reaction to the crime, like two disunited parts of a single psychical individuality, and it may be that they are both copied from the same prototype.


Endnotes

Endnote 1
An allusion to a line in Schiller's Die Braut von Messina, III v. Strachey and Tyson (eds.).   [Return to text]

Endnote 2
Cf. Macbeth, Act III, sc. I:
Upon my head they placed a fruitless crown,
And put a barren sceptre in my gripe,
Thence to be wrenched with an unlineal hand,
No son of mine succeeding ...   [Return to text]

Endnote 3
As is Richard III's wooing of Anne beside the bier of the King whom he has murdered.   [Return to text]

Endnote 4
Freud had already suggested this in the first edition of The Interpretation of Dreams (1900), Standard Edition, IV 266. Strachey and Tyson (eds.).   [Return to text]

Endnote 5
This does not appear to have been published. In a later paper on Macbeth Jekels (1917) barely refers to this theory, apart from quoting the present paragraph. In a still later paper, on The Psychology of Comedy, Jekels (1926) returns to the subject, but again very briefly. Strachey and Tyson (eds.).   [Return to text]

Related Criticism

* Bradley on Othello


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