In the majority of stories, the main character or protagonist experiences character development and a change in their mindset by the conclusion of the narrative. These changes typically occur at different stages of the plot, such as the introduction, beginning excitement, rising action, climax, falling action, and conclusion. Freytag’s pyramid illustrates the typical structure for the evolution of the story and elucidates how the protagonist undergoes change and growth throughout these various stages.
Macbeth, the protagonist, initially experiences confidence and satisfaction in his kingship. However, as the story progresses, Macbeth begins to view his reign as insignificant and worthless. Throughout Shakespeare’s play, Macbeth’s state of mind mirrors the dramatic structure. The play commences with the three weird sisters foretelling Macbeth’s fate, adding an air of mystery. The excitement or disruption commences with Macbeth’s soliloquy, immediately following the witches’ prophecies. Prior to this monologue, Macbeth returns from battle filled with pride for his bravery and superiority.
King Duncan commends Macbeth for his courage and the triumph. Shortly thereafter, Macbeth and Banquo encounter three witches who prophesy that Macbeth will become the thane of Cawdor and eventually the King of Scotland. This prophecy triggers Macbeth’s contemplation on how he could attain this position, but he wrestles with conflicting thoughts. While considering the idea of killing King Duncan to secure the throne, he gains confidence in his potential success. However, he also experiences fear and apprehension, as he acknowledges the gruesome image that such an act would create. Macbeth recognizes that this goes against his true nature, yet he becomes consumed by his ambition, driven by visions of triumph. The use of vivid imagery to describe his agitated heart reveals the difficulty he faces in making this decision, as it contradicts his usually calm demeanor when making choices. This soliloquy is an integral part of the rising action in the dramatic structure. The subsequent speech at the end of Act 1 reflects Macbeth’s contemplation on whether or not to carry out the deed.
Before this soliloquy, Macbeth returns home to Lady Macbeth who expresses confidence in killing King Duncan and taking it upon herself. Macbeth witnesses her deceit and realizes the moral wrongness of killing the king in his own home. He becomes unsure of what to do and concludes that he lacks a valid reason to commit the murder. His ambition for higher status solely drives him towards the act. Macbeth’s concerns about his soul’s fate after this crime also arise, as he says “But here, upon this bank and shoal of time, we’d jump the life to come.” This conflict over his afterlife recurs throughout the play. Furthermore, it would be morally wrong to murder Duncan in his own home, considering the profound mourning that would accompany his death. Shakespeare employs imagery, such as the poisoned chalice symbolizing self-destruction, to depict Macbeth’s state of mind. This speech is followed by the famous dagger soliloquy, contributing to the rising action in the dramatic structure. Lady Macbeth’s persuasion was a catalyst for this soliloquy.
She taunted Macbeth, questioning his masculinity and challenging him to show courage by carrying out the deed instead of acting like a coward. As a result, he starts experiencing hallucinations of a dagger, which he considers using to kill Duncan. He is unsure whether these visions are real or mere imagination. Furthermore, he envisions the goddess of witchcraft disturbing his sleep, but as the hallucination concludes, he hears a bell toll, symbolizing his calling to commit the act. This moment solidifies his determination to go through with the murder.
In this soliloquy, Macbeth uses imagery to convey the appearance of the fake dagger he sees. He describes seeing Duncan’s blood on the blade, which reveals his guilt for the future murder. This soliloquy is followed by another where Macbeth expresses concern about Banquo and his sons’ reign, adding to the rising action of the play. Prior to this speech, the three weird sisters inform Macbeth that Banquo’s sons will inherit the throne unless he takes drastic action. Macbeth believes that Banquo has been taken aside by the witches and told the true story about his sons’ future reign. Consequently, Macbeth decides that his crown is meaningless and that he is being deceived. He develops a deep hatred and determines to murder Banquo’s sons to eliminate any obstacles to his control. He uses imagery in this soliloquy to depict himself selling his soul to the devil for the sake of Banquo’s sons. Once again, he brings up his destiny and acknowledges that he has committed crimes and given up his own fate for someone else.
Macbeth’s soliloquy in Act five is a reflection on his reign and the rapid arrival of old age. This introspective moment plays a crucial role in the rising action and serves as a precursor to the climax. Prior to this speech, preparations are being made for the battle against Dunsinane. Macbeth is conscious that his reign is coming to an end and that he has generated much discontent among the people. In this soliloquy, he begins to feel regretful and believes that he has failed in fulfilling his duties as king. Macbeth realizes that during old age, one should have numerous friends, be highly respected, and be beloved by their subjects; however, he finds himself lacking all of these aspects.
He comes to realize that he is not honored by his people genuinely, but only through their words. The soliloquy highlights the significance of the “yellow leaf” as an image to represent his old age. It symbolizes his downfall, much like a yellow leaf falling from a tree during autumn. The most famous and climactic soliloquy is the “Tomorrow, and tomorrow and tomorrow” speech, where he reflects on his failures and insignificance. This soliloquy comes after the fulfillment of the first omen of his death, which is the arrival of Birnam Wood at Dunsinane.
Initially, Macbeth struggled with killing and suffered from nightmares. But now, he has grown comfortable with violence and its consequences. This change is evident in his lack of sorrow over his wife’s suicide. He believes that everyone has their moment of fame but ultimately becomes forgotten.
Macbeth laments the futility of his life as king, considering it to be of no significance. He likens himself to an actor who receives fleeting fame on stage only to be forgotten afterward, a metaphor that reflects his own reign. The falling action culminates in Macbeth’s death and the victorious revenge attained by Macduff. Ultimately, Malcolm, Duncan’s son, ascends to the throne of Scotland, marking the end of Macbeth’s oppressive rule. Macbeth’s mental state throughout the play mirrors the various stages of the dramatic structure.
Initially, Macbeth faces difficulty in coping with the guilt of killing Duncan and believes he can never rid himself of it. Nevertheless, he swiftly becomes desensitized to murder and shows no hesitation in extinguishing other lives. In due course, he comprehends that renown is transitory and life is brief. Macbeth finds his accomplishments and current role as king unsatisfying as he does not feel valued as a rightful ruler should be. This transformation in Macbeth’s mindset mirrors the various phases of the plot.
