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Life's but a walking shadow; a poor player,
That struts and frets his hour upon the stage,
And then is heard no more: it is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.
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¥°.Characters
Macbeth: Macbeth is a Scottish general and the thane of Glamis who is led to wicked thoughts by the prophecies of the three witches, especially after their prophecy that he will be made thane of Cawdor comes true. Macbeth is a brave soldier and a powerful man, but he is not a virtuous one. He is easily tempted into murder to fulfill his ambitions to the throne, and once he commits his first crime and is crowned King of Scotland, he embarks on further atrocities with increasing ease. Ultimately, Macbeth proves himself better suited to the battlefield than to political intrigue, because he lacks the skills necessary to rule without being a tyrant. His response to every problem is violence and murder. Unlike Shakespeare¡¯s great villains, such as Iago in ¡°Othello¡± and Richard III in ¡°Richard III¡±, Macbeth is never comfortable in his role as a criminal. He is unable to bear the psychological consequences of his atrocities.
Lady Macbeth: Macbeth¡¯s wife, a deeply ambitious woman who lusts for power and position. Early in the play she seems to be the stronger and more ruthless of the two, as she urges her husband to kill Duncan and seize the crown. After the bloodshed begins, however, Lady Macbeth falls victim to guilt and madness to an even greater degree than her husband. Her conscience affects her to such an extent that she eventually commits suicide. Interestingly, she and Macbeth are presented as being deeply in love, and many of Lady Macbeth¡¯s speeches imply that her influence over her husband is primarily sexual. Their joint alienation from the world, occasioned by their partnership in crime, seems to strengthen the attachment that they feel to each another.
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Macbeth: Macbeth´Â ScotlandÀÇ À屺ÀÌ°í GlamisÀÇ çÐñ«(¿µÁÖ)·Î¼ 3¸íÀÇ ØªÒ³(¸¶³à)ÀÇ ¿¹¾ð¿¡ ÀÇÇؼ, ƯÈ÷ ±×°¡ CawdorÀÇ ¿µÁÖ°¡ µÉ °ÍÀ̶ó´Â ¿¹¾ðÀÌ ½ÇÇöµÈ ÈÄ¿¡, »ç¾ÇÇÑ »ý°¢¿¡ À̲ø¸®°Ô µÈ´Ù. Macbeth´Â ¿ë¸ÍÇÑ ±ºÀÎÀÌ°í °·ÂÇÑ ³²ÀÚÀÌÁö¸¸ µµ´öÀûÀÎ Àι°Àº ¾Æ´Ï´Ù. ±×´Â èÝñ¨(¿ÕÁÂ)¿¡ ´ëÇÑ ¾ß¸ÁÀ» ÃæÁ·½ÃÅ°±â À§Çؼ »ìÀÎÀÇ À¯È¤¿¡ ½±°Ô ³Ñ¾î°¡°í ù ¹üÁ˸¦ ÀúÁö¸£°í Scotland¿ÕÀÌ µÇ¾úÀ» ¶§´Â, Á¡Á¡ ´õ ½±°Ô ´õ ÀÜȤÇÑ ÇàÀ§¸¦ ½ÃÀÛÇÑ´Ù. °á±¹, Macbeth´Â Æø±ºÀÌ µÇÁö ¾ÊÀ¸¸é¼ ÅëÄ¡ÇÏ´Â µ¥ ÇÊ¿äÇÑ ±â¼úÀÌ ºÎÁ·Çϱ⠶§¹®¿¡ Á¤Ä¡Àû À½¸ðº¸´Ù´Â ÀüÀïÅÍ¿¡ ´õ ÀûÇÕÇÑ °ÍÀ¸·Î ÆǸíµÈ´Ù. ¸ðµç ¹®Á¦¿¡ ´ëÇÑ ±×ÀÇ ¹ÝÀÀÀº Æø·Â°ú »ìÀÎÀÌ´Ù. ¡°Othello¡±ÀÇ Iago³ª ¡°Richard III¡±ÀÇ Richard III¿Í °°Àº ShakespeareÀÇ ÓÞ¾ÇÀεé°ú´Â ´Þ¸® Macbeth´Â ¹üÁËÀڷμÀÇ ±×ÀÇ ¿ªÇÒ¿¡ °áÄÚ ¸¶À½ÀÌ ÆíÇÏÁö ¾Ê´Ù(comfortable). ±×´Â ±×ÀÇ ¾ÇÇàÀÇ ½É¸®ÀûÀÎ °á°ú¸¦ °ßµ® ³»Áö¸¦ ¸øÇÑ´Ù.
Lady Macbeth: MacbethÀÇ ¾Æ³». ±Ç·Â°ú ÁöÀ§¸¦ °¥¸ÁÇÏ´Â ¸Å¿ì ¾ß¸ÁÀûÀÎ ¿©ÀÎ. ±ØÀÇ ÃÊ¿¡, ±×³à°¡ ³²Æí¿¡°Ô DuncanÀ» Á×ÀÌ°í ¿ÕÁ¸¦ Â÷ÁöÇÒ °ÍÀ» Ã˱¸ÇÒ ¶§´Â ±×µé µÑ Áß¿¡¼ ±×³à°¡ ´õ °·ÂÇÏ°í ´õ ¹«ÀÚºñÇÑ °Íó·³ º¸ÀδÙ. ±×·¯³ª À¯Ç÷ÀÌ ½ÃÀÛµÈ ÈÄ¿¡´Â Lady Macbeth´Â ³²Æíº¸´Ùµµ ´õ ½ÉÇÑ Á¤µµ±îÁö ÁË¿Í ±¤±âÀÇ Èñ»ýÀÚ°¡ µÈ´Ù. ±×³àÀÇ ¾ç½ÉÀº °á±¹¿¡´Â ÀÚ»ìÀ» ÇÒ Á¤µµ±îÁö ±×³à¿¡°Ô ¿µÇâÀ» ³¢Ä£´Ù. Èï¹Ì·Î¿î °ÍÀº, ±×³à¿Í Macbeth´Â ¼·Î ±íÀÌ »ç¶ûÇÏ°í ÀÖ´Â °ÍÀ¸·Î ³ªÅ¸³ª°í Lady MacbethÀÇ ÓæÞò(´ë»ç: speeches) ³²Æí¿¡ ´ëÇÑ ±×³àÀÇ ¿µÇâ·ÂÀº ÁÖ·Î ¼ºÀûÀ̶ó´Â °ÍÀ» ¾Ï½ÃÇÑ´Ù´Â °ÍÀÌ´Ù. ¹üÁË¿¡ ÀÖ¾î¼ ±×µéÀÇ Çù·Â°ü°è¿¡ ÀÇÇØ ¿øÀÎÀÌ µÈ, ±×µéÀÇ ¼¼»óÀ¸·ÎºÎÅÍ °øÅëÀû ¼Ò¿Ü´Â ±×µéÀÌ »óÈ£°£¿¡ ´À³¢´Â ¾ÖÂøÀ» °È½ÃÅ°´Â °Íó·³ º¸ÀδÙ.
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The Three Witches: Three ¡°black and midnight hags¡± who plot mischief against Macbeth using charms, spells, and prophecies. Their predictions prompt him to murder Duncan, to order the deaths of Banquo and his son, and to blindly believe in his own immortality. The play leaves the witches¡¯ true identity unclear—aside from the fact that they are servants of Hecate, we know little about their place in the cosmos. In some ways they resemble the mythological Fates, who impersonally weave the threads of human destiny. They clearly take a perverse delight in using their knowledge of the future to toy with and destroy human beings.
Banquo: The brave, noble general whose children, according to the witches¡¯ prophecy, will inherit the Scottish throne. Like Macbeth, Banquo thinks ambitious thoughts, but he does not translate those thoughts into action. In a sense, Banquo¡¯s character stands as a rebuke to Macbeth, since he represents the path Macbeth chose not to take: a path in which ambition need not lead to betrayal and murder. Appropriately, then, it is Banquo¡¯s ghost—and not Duncan¡¯s—that haunts Macbeth. In addition to embodying Macbeth¡¯s guilt for killing Banquo, the ghost also reminds Macbeth that he did not emulate Banquo¡¯s reaction to the witches¡¯ prophecy.
King Duncan: The good King of Scotland whom Macbeth, in his ambition for the crown, murders. Duncan is the model of a virtuous, benevolent, and farsighted ruler. His death symbolizes the destruction of an order in Scotland that can be restored only when Duncan¡¯s line, in the person of Malcolm, once more occupies the throne.
¼¼ ¸¶³à: ¸¶¹ý°ú ñ±Ùþ(ÁÖ¹®)°ú ¿¹¾ðÀ» ÀÌ¿ëÇÏ¿© Macbeth¿¡ ´ëÇ×Çؼ ÇؾÇÀ» ²Ù¹Ì´Â ¡°Ä¯Ä¯ÇÑ ¹ãÁßÀÇ ´ÄÀº ¸¶³àµé.¡± ±×µéÀÇ ¿¹¾ðÀº Macbeth°¡ DuncanÀ» Á×ÀÌ°í Banquo¿Í ±×ÀÇ ¾Æµéµé¿¡°Ô »çÇüÀ» ¸íÇÏ°í ±× ÀÚ½ÅÀÇ ÜôØþ(ºÒ¸ê)À» ¸Í½ÅÇϵµ·Ï ÀçÃËÇÑ´Ù. ±ØÀº ¸¶³àµéÀÇ ÁøÁ¤ÇÑ Á¤Ã¼¼ºÀ» ¹àÈ÷Áö ¾Ê°í ³²°Ü µÐ´Ù¡ª¿ì¸®´Â ±×µéÀÌ HecateÀÇ Çϳà¶ó´Â »ç½Ç ¿Ü¿¡´Â ¿ìÁÖ¿¡¼ÀÇ ±×µéÀÇ À§Ä¡¿¡ ´ëÇؼ °ÅÀÇ ¸ð¸¥´Ù. ¾î¶² ¸é¿¡¼´Â ¹«½ÉÇÏ°Ô (impersonally) Àΰ£ÀÇ ¿î¸íÀÇ ½ÇÀ» Â¥°í ÀÖ´Â ½ÅÈÀûÀÎ ¿î¸íÀÇ ¿©½ÅÀ» ´à¾ÆÀÖ´Ù. ±×µéÀº Àΰ£À» ýôÖç(Èñ·Õ)ÇÏ°í Æĸê½ÃÅ°±â À§Çؼ ¹Ì·¡ÀÇ Áö½ÄÀ» ÀÌ¿ëÇÔ¿¡ ÀÖ¾î¼ ºÐ¸íÈ÷ »ç¾ÇÇÑ ±â»ÝÀ» °¡Áø´Ù.
Banquo: ¿ë¸ÍÇÏ°í °í±ÍÇÑ À屺ÀÌ°í ¸¶³àµéÀÇ ¿¹¾ð¿¡ ÀÇÇÏ¸é ±×ÀÇ ¾ÆµéµéÀº Scotland ¿ÕÁ¸¦ ¹°·Á¹Þ°Ô µÉ °ÍÀÌ´Ù. Macbethó·³ Banquo´Â ¾ß¸ÁÀÇ »ý°¢À» ÇÏÁö¸¸ ±×°ÍµéÀ» ÇൿÀ¸·Î ¿Å±âÁö´Â ¾Ê´Â´Ù. ¾î¶² Àǹ̿¡¼´Â BanquoÀÇ ÀΰÝÀº Macbeth¿¡ ´ëÇÑ ºñÆÇÀÚ(rebuke)·Î¼ ¿ªÇÒÀ» ÇÑ´Ù. ÀÌ´Â ±×°¡ Macbeth°¡ ÃëÇÏÁö ¾Ê´Â ±æÀ» ´ëÇ¥Çϱ⠶§¹®ÀÌ´Ù: Áï ¾ß¸ÁÀÌ ¹Ý¿ª°ú »ìÇØ·Î À̲ø ÇÊ¿ä°¡ ¾ø´Â ±æ(ÀÌ´Ù). ±×·¡¼ ´ç¿¬ÇÏ°Ôµµ Macbeth¸¦ µû¶ó´Ù´Ï¸ç ±«·ÓÈ÷´Â °ÍÀº DuncanÀÇ À¯·ÉÀÌ ¾Æ´Ï°í BanquoÀÇ À¯·ÉÀÌ´Ù. Banquo¸¦ Á×ÀÎ °Í¿¡ ´ëÇÑ MacbethÀÇ Á˸¦ ±¸ÇöÇÏ´Â °Í¿¡ º¸Å¼, À¯·ÉÀº ¶ÇÇÑ Macbeth°¡ ¸¶³àµéÀÇ ¿¹¾ð¿¡ ´ëÇÑ BanquoÀÇ ¹ÝÀÀÀ» µû¸£Áö (emulate) ¾Ê¾Ò´Ù´Â °ÍÀ» Macbeth¿¡°Ô »ó±â½ÃŲ´Ù.
King Duncan: Macbeth°¡ ¿Õ°üÀ» Â÷ÁöÇϱâ À§ÇØ »ìÇØÇÑ ScotlandÀÇ ¼±ÇÑ ¿Õ. DuncanÀº ´öÀÌ ÀÖ°í, ÀÚºñ·Î¿ì¸ç, ¼±°ßÁö¸íÀÌ ÀÖ´Â ÅëÄ¡ÀÚÀÇ ¸ð¹üÀÌ´Ù. ±×ÀÇ Á×À½Àº DuncanÀÇ Ç÷ÅëÀÌ MalcolmÀ¸·Î úÞãó(Çö½Å)ÇÏ¿© ´Ù½Ã ÇÑ ¹ø ¿ÕÁ¸¦ Â÷ÁöÇÒ ¶§¸¸ÀÌ È¸º¹µÉ ¼ö ÀÖ´Â ScotlandÀÇ Áú¼ÀÇ Æı«¸¦ »ó¡ÇÑ´Ù.
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Macduff: A Scottish nobleman hostile to Macbeth¡¯s kingship from the start. He eventually becomes a leader of the crusade to unseat Macbeth. The crusade¡¯s mission is to place the rightful king, Malcolm, on the throne, but Macduff also desires vengeance for Macbeth¡¯s murder of Macduff¡¯s wife and young son.
Malcolm: The son of Duncan, whose restoration to the throne signals Scotland¡¯s return to order following Macbeth¡¯s reign of terror. Malcolm becomes a serious challenge to Macbeth with Macduff¡¯s aid (and the support of England). Prior to this, he appears weak and uncertain of his own power, as when he and Donalbain flee Scotland after their father¡¯s murder.
Hecate: The goddess of witchcraft, who helps the three witches work their mischief on Macbeth.
Fleance: Banquo¡¯s son, who survives Macbeth¡¯s attempt to murder him. At the end of the play, Fleance¡¯s whereabouts are unknown. Presumably, he may come to rule Scotland, fulfilling the witches¡¯ prophecy that Banquo¡¯s sons will sit on the Scottish throne.
Lennox: A Scottish nobleman.
Ross: A Scottish nobleman.
The Murderers: A group of ruffians conscripted by Macbeth to murder Banquo, Fleance (whom they fail to kill), and Macduff¡¯s wife and children.
Porter: The drunken doorman of Macbeth¡¯s castle.
Lady Macduff: Macduff¡¯s wife. The scene in her castle provides our only glimpse of a domestic realm other than that of Macbeth and Lady Macbeth. She and her home serve as contrasts to Lady Macbeth and the hellish world of Inverness.
Donalbain: Duncan¡¯s son and Malcolm¡¯s younger brother.
Macduff: óÀ½ºÎÅÍ MacbethÀÇ ¿Õ±Ç¿¡ Àû´ëÀûÀ̾ú´ø Scotland ±ÍÁ·. ±×´Â °á±¹ MacbethÅðÀ§¿îµ¿ÀÇ ÁöµµÀÚ°¡ µÈ´Ù. ±× ¿îµ¿ÀÇ »ç¸íÀº ÇÕ¹ýÀûÀÎ ¿ÕÀÎ MalcolmÀ» ¿ÕÁ¿¡ ¾ÉÈ÷´Â °ÍÀÌÁö¸¸ Macduff´Â ¶ÇÇÑ Macbeth°¡ MacduffÀÇ ¾Æ³»¿Í ¾î¸° ¾ÆµéÀ» Á×ÀÎ °Í¿¡ ´ëÇÑ º¹¼öµµ ¿øÇÑ´Ù.
Malcolm: DuncanÀÇ ¾ÆµéÀÌ¸ç ±×ÀÇ ¿ÕÀ§ º¹±Í´Â MacbethÀÇ °øÆ÷ÅëÄ¡ ÀÌÈÄÀÇ ScotlandÀÇ Áú¼ÀÇ È¸º¹À» Ç¥½ÃÇÑ´Ù. MacduffÀÇ Áö¿øÀ» ¹Þ´Â (EnglandÀÇ Áö¿øÀ» ¹Þ´Â) MalcolmÀº Macbeth¿¡°Ô ½É°¢ÇÑ µµÀüÀÌ µÈ´Ù. ÀÌ µµÀü ÀÌÀü¿¡´Â, MalcolmÀº ±×°¡ ¾Æ¹öÁöÀÇ ÇÇ»ì ÈÄ¿¡ ±×¿Í DonalbainÀÌ Scotland·ÎºÎÅÍ µµ¸ÁÇÒ ¶§Ã³·³ ¾àÇÏ°í ÀÚ½ÅÀÇ ¿Õ±Ç¿¡ ´ëÇØ È®½ÅÀ» ÇÏÁö ¸øÇÏ´Â °Íó·³ º¸ÀδÙ.
Hecate: ¸¶¹ýÀÇ ¿©½ÅÀÌ¸ç ¼¼ ¸¶³à°¡ Macbeth¿¡°Ô ¾ÇÇàÀ» ÇÏ´Â °ÍÀ» µµ¿ÍÁØ´Ù.
Fleance: BanquoÀÇ ¾ÆµéÀÌ°í MacbethÀÇ »ìÇؽõµ¿¡¼ »ì¾Æ³²´Â´Ù. ±ØÀÇ ³¡¿¡ °¡¼ FleanceÀÇ Çà¹æÀº ¾Ë ¼ö ¾ø°Ô µÈ´Ù. ¾Æ¸¶µµ BanquoÀÇ ÀÚ¼ÕµéÀÌ Scotland ¿ÕÁ¿¡ ¾ÉÀ» °ÍÀ̶ó´Â ¸¶³àµéÀÇ ¿¹¾ðÀ» ÃæÁ·½ÃÅ°¸é¼ Scotland¸¦ ÅëÄ¡ÇÏ°Ô µÉ °ÍÀÌ´Ù.
Lennox &;; Ross: Scotland ±ÍÁ·.
The Murderers: »ìÀÎÀÚµé. Macbeth¿¡ ÀÇÇØ Banquo¿Í Fleance(Á×À̴µ¥ ½ÇÆÐ)¿Í MacduffÀÇ ¾Æ³»¿Í ÀڽĵéÀ» Á×À̵µ·Ï ¡ÁýµÈ ¾ÇÇѵé.
Porter: Macbeth àòÀÇ ¼ú ÃëÇÑ ¹®Áö±â.
Lady Macduff: MacduffÀÇ ¾Æ³». ±×³à°¡ »ç´Â àò(¼º)ÀÇ Àå¸éÀº Macbeth¿Í Lady MacbethÀÇ °Í°ú´Â ´Ù¸¥ °¡Á¤ºÎ¹®¿¡ ´ëÇØ Àá°£ º¼ ¼ö ÀÖ´Â ¼ø°£À» Á¦°øÇÑ´Ù. ±×³à¿Í ±×³àÀÇ °¡Á¤Àº Lady Macbeth¿Í Inverness(MacbethÀÇ àòÀÌ ÀÖ´Â °÷)ÀÇ Áö¿Á °°Àº ¼¼°è¿ÍÀÇ ´ëÁ¶·Î¼ »ç¿ëµÈ´Ù.
Donalbain: DuncanÀÇ ¾ÆµéÀÌ°í MalcolmÀÇ µ¿»ý.
Siward: Northumberland ¹éÀÛ. ¿µ±¹±º À屺.
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¥±. Plot Analysis
¡°Macbeth¡± is a tragedy that tells the story of a soldier whose overriding ambition and thirst for power cause him to abandon his morals and bring about the near destruction of the kingdom he seeks to rule. At first the conflict is between Macbeth and himself, as he debates whether or not he will violently seize power, and between Macbeth and his wife, as Lady Macbeth urges her husband toward a course of action he is hesitant to take. Once Macbeth stops struggling against his ambition, the conflict shifts. It then primarily exists between Macbeth and the other characters, in particular Banquo and Macduff, who challenge his authority. Macbeth is the protagonist in the sense that he is the main focus of the narrative and that audiences frequently have access to his point of view. However, as he often acts against his own best interests, as well as the best interests of the other characters and his country, he is also the antagonist. The characters who oppose Macbeth and eventually defeat him do so in order to restore order and justice.
The play actually opens with the consequences of someone else¡¯s ambition. In the first scene, audiences hear about the bloody conflict that resulted from the rebellion led by the Thane of Cawdor. The rebellion foreshadows the consequences of overreaching one¡¯s role. The conflict is initiated when Macbeth encounters the witches who prophesize that he will become first the Thane of Cawdor, and then the King of Scotland. As soon as he learns that their first prophecy has come true, he is awakened to the possibility of the second also being realized.
¥±. ÁٰŸ® ºÐ¼®
¡°Macbeth¡±´Â ±Ç·Â¿¡ ´ëÇÑ ¾ÐµµÀûÀÎ ¾ß¸Á°ú °¥¸ÁÀÌ ±×·Î ÇÏ¿©±Ý µµ´ö¼ºÀ» Æ÷±âÇÏ°í ±×°¡ ÅëÄ¡Çϱ⸦ ¿øÇÏ´Â ³ª¶ó¸¦ °ÅÀÇ Æĸê·Î À̲ø¾î °¡°Ô ÇÏ´Â ÇÑ ±ºÀÎÀÇ À̾߱⸦ ÀüÇØÁÖ´Â ºñ±ØÀÌ´Ù. óÀ½¿¡´Â ±× °¥µîÀº ±×°¡ Æø·ÂÀ¸·Î ±Ç·ÂÀ» Àå¾ÇÇØ¾ß ÇÒÁö ¸»Áö¿¡ ´ëÇØ ±×°¡ ³íÀïÀ» ÇÔ¿¡ µû¶ó, Macbeth¿Í ÀڽŠ»çÀÌ¿¡¼ ÀϾ°í, ±×¸®°í´Â Lady Macbeth°¡ Çϱ⸦ ¸Á¼³ÀÌ´Â Çൿ ÂÊÀ¸·Î ±×¸¦ ÀçÃËÇÔ¿¡ µû¶ó, Macbeth¿Í ±×ÀÇ ¾Æ³» »çÀÌ¿¡ ÀϾÙ. Macbeth°¡ ±×ÀÇ ¾ß¸Á°úÀÇ ÅõÀïÀ» ³¡³¾ ¶§ ±× °¥µîÀº À̵¿ÇÑ´Ù. ±×·¯°í ³ª¼ °¥µîÀº Macbeth¿Í ´Ù¸¥ Àι°µé, ƯÈ÷ ±×ÀÇ ±Ç·Â(authority)¿¡ µµÀüÇÏ´Â Banquo¿Í Macduff »çÀÌ¿¡ ÁÖ·Î Á¸ÀçÇÏ°Ô µÈ´Ù. Macbeth´Â ±×°¡ ÁÖµÈ ÃÊÁ¡À̶ó´Â Àǹ̿¡¼, ±×¸®°í °üÁßÀÌ ºó¹øÇÏ°Ô ±×ÀÇ ½ÃÁ¡(point of view)°ú Á¢¼ÓÇÏ°Ô µÈ´Ù´Â Àǹ̿¡¼ ÁÖÀΰøÀÌ´Ù. ±×·¯³ª ±×°¡ °¡²û ´Ù¸¥ Àι°µé°ú ³ª¶óÀÇ ÃÖ¼±ÀÇ ÀÌÀÍ»Ó ¾Æ´Ï¶ó ÀÚ½ÅÀÇ ÃÖ¼±ÀÇ ÀÌÀÍ¿¡ ÚãÇؼ ÇൿÇϱ⠶§¹®¿¡ ±×´Â ¶ÇÇÑ Àû´ëÀÚÀÌ´Ù. Macbeth¿¡°Ô ÚãÐý(¹Ý±â)¸¦ µé°í ±×¸¦ Æйè½ÃÅ°´Â Àι°µéÀº Áú¼¿Í Á¤ÀǸ¦ ȸº¹½ÃÅ°±â À§ÇØ ±×·¸°Ô ÇÑ´Ù.
±ØÀº ½ÇÁ¦·Î ´Ù¸¥ »ç¶÷(Macbeth°¡ ¾Æ´Ñ)ÀÇ ¾ß¸ÁÀÇ °á°ú ¶§¹®¿¡ ½ÃÀ۵ȴÙ. Á¦1Àå¿¡¼ °üÁßµéÀº Cawdor çÐñ«(¿µÁÖ)°¡ ÁöµµÇÏ´Â ¹Ý¶õÀÇ °á°ú·Î ³ª¿Â ÇǺñ¸°³» ³ª´Â ÀüÅõ¿¡ °üÇؼ µè´Â´Ù. ±× ¹Ý¶õÀº ÀÚ½ÅÀÇ ¹ÞÀº ¿ªÇÒ(role)À» ¶Ù¾î³Ñ´Â µ¥¼ ¿À´Â °á°ú¸¦ îñð¼(ÀüÁ¶)ÇÏ°í ÀÖ´Ù. °¥µîÀº Macbeth°¡ ¸ÕÀú CawdorÀÇ ¿µÁÖ°¡ µÇ°í ±×´ÙÀ½¿¡´Â ScotlandÀÇ ¿ÕÀÌ µÉ °ÍÀ̶ó°í ¿¹¾ðÇÏ´Â ¸¶³àµé°ú Macbeth°¡ ¿ì¿¬È÷ ¸¸³¯ ¶§ ½ÃÀ۵ȴÙ. ¸¶³àµéÀÇ Ã¹ ¹ø° ¿¹¾ðÀÌ ½ÇÇöµÇ¾ú´Ù´Â °ÍÀ» ¾Ë°Ô µÇÀÚ¸¶ÀÚ Macbeth´Â µÎ ¹ø° ¿¹¾ðÀÌ ½ÇÇöµÉ °¡´É¼º¿¡ ´«¶ß°Ô µÈ´Ù.
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As Macbeth marvels to himself, ¡°Two truths are told/As happy prologues to the swelling act/ Of the imperial theme¡± (1.3.128-130). In a crucial turning point in the play, Macbeth is faced with a choice: to take decisive action to claim the crown as his own, or to simply wait and see what happens. Every choice he makes, and every thing that happens for the rest of the play stem from his decision here. Macbeth feels ambivalence, as he wants to be king but also knows that he owes Duncan loyalty both ¡°as his kinsman and as his subject¡± (1.7.13).
The tension between duty and ambition sharpens when Lady Macbeth learns of the prophecy that her husband will become king, and immediately begins strategizing ways to bring about the fulfilment of the prophecy. Now Macbeth is torn between loyalty to Duncan and loyalty to his wife, who does not appear to feel any shame, doubt, or remorse about the dark act she is plotting. She is eager to ¡°pour my spirits in [Macbeth¡¯s] ear/And chastise with the valor of my tongue/All that impedes [him] from the golden round¡± (1.5.25-27). The audience has the sense that Lady Macbeth may have been longing for just such an opportunity where she can put her intelligence and strategic ability to good use. Lady Macbeth successfully manipulates her husband into taking action, telling him, ¡°when you durst do it, then you were a man¡± (1.7.49). This initial conflict over whether or not he can kill his king, which exists both between Macbeth and himself and between Macbeth and his wife, is resolved when Macbeth acts, murdering Duncan and then seizing power after the more obvious heirs flee in fear of being accused of the crime.
Macbethµµ ½º½º·Î¿¡°Ô ³î¶ó´Â °Íó·³, ¡°Á¦¿ÕÀ» ÁÖÁ¦·Î ÇÏ´Â ¿õÀåÇÑ ¿¬±Ø(swelling act)ÀÇ ÁÁÀº ¼¸·Ã³·³/ µÎ °³ÀÇ Áø½ÇÀÌ ¸»ÇØÁø(¿¹¾ðµÈ) °ÍÀÌ´Ù.¡± ±ØÀÇ °áÁ¤ÀûÀÎ ÀüȯÁ¡¿¡¼ Macbeth´Â ÇϳªÀÇ ¼±Åðú Á÷¸éÇÏ°Ô µÈ´Ù: ¿Õ°üÀ» Àڱ⠰ÍÀ¸·Î ÁÖÀåÇϱâ À§ÇØ °áÁ¤ÀûÀÎ ÇൿÀ» ÃëÇÏ´À³Ä ¾Æ´Ï¸é ¹«¾ùÀÌ ÀϾÁö¸¦ ´Ü¼øÈ÷ ±â´Ù·Á º¸´À³ÄÀÌ´Ù. ±×°¡ ÇÏ´Â ¸ðµç ¼±ÅÃ, ±×¸®°í ±ØÀÇ ³ª¸ÓÁö µ¿¾È ÀϾ´Â ¸ðµç °ÍÀº ¿©±â¼ ±×°¡ ³»¸®´Â °áÁ¤À¸·ÎºÎÅÍ ±Ù¿øÀ» µÎ°Ô µÉ °ÍÀÌ´Ù. Macbeth´Â ±×°¡ ¿ÕÀÌ µÇ±â¸¦ ¿øÇÏÁö¸¸ ±×´Â ¶ÇÇÑ ¡°DuncanÀÇ Ä£Á·À¸·Î¼ ±×¸®°í ±×ÀÇ ½ÅÇϷμ¡± Duncan¿¡°Ô Ã漺ÇÒ Àǹ«°¡ ÀÖ´Ù´Â °ÍÀ» ¾Ë°í Àֱ⠶§¹®¿¡ ¾ç¸é°¡Ä¡(ambivalence: ¸ð¼ø)¸¦ ´À³¤´Ù.
Àǹ«¿Í ¾ß¸Á »çÀÌÀÇ ±äÀåÀº Lady Macbeth°¡ ¿ÕÀÌ µÉ °ÍÀ̶ó´Â ¿¹¾ðÀ» µè°í Áï°¢ ¿¹¾ðÀÇ ÃæÁ·À» À§ÇÑ Àü·«Àû ¹æ¾ÈÀ» ¼ö¸³Çϱ⠽ÃÀÛÇÒ ¶§¿¡ ³¯Ä«·Î¿ö Áø´Ù. ÀÌÁ¦ Macbeth´Â Duncan¿¡ ´ëÇÑ Ã漺°ú ¾Æ³»¿¡ ´ëÇÑ Ã漺 »çÀÌ¿¡¼ ¸¶À½ÀÌ ºÐ¿µÇ¾î ÀÖÀ¸¸ç, ÀÌ´Â ¾Æ³»°¡ ±×³à°¡ ²Ù¹Ì°í ÀÖ´Â ¾ÇÇà¿¡ ´ëÇØ ¾î¶°ÇÑ ¼öÄ¡³ª ÀǽÉÀ̳ª ¾ç½ÉÀÇ Ê§ô¡(°¡Ã¥)µµ ´À³¢Áö ¾Ê´Â °Íó·³ º¸À̱⠶§¹®ÀÌ´Ù. ±×³à´Â ¡°Á¦ ±â¿îÀ» ´ç½ÅÀÇ£ÛMacbeth's£ÝÀÇ ±Ó¼Ó¿¡ Æۺξî, ¿Õ°üÀ¸·ÎºÎÅÍ ´ç½ÅÀ»£Û±×¸¦£Ý ¹æÇØÇÏ´Â ¸ðµç °ÍÀ» ³» ÇôÀÇ ¿ë¸ÍÀ¸·Î ¡¹úÇϱ⸦¡± °¥¸ÁÇÑ´Ù. °üÁßÀº Lady Macbeth°¡ ±×³àÀÇ Áö´É°ú Àü·«Àû ´É·ÂÀ» È°¿ëÇÒ ¼ö ÀÖ´Â ±×·± ±âȸ¸¦ µ¿°æÇØ ¿ÔÀ»Áöµµ ¸ð¸¥´Ù´Â ´À³¦À» °¡Áö°Ô µÈ´Ù. Lady Macbeth´Â ¡°´ç½ÅÀÌ ±×°ÍÀ» °¨ÇàÇÒ ¶§, ´ç½ÅÀº ³²ÀÚ°¡ µÉ °ÍÀÌ´Ù.¡±¶ó°í Macbeth¿¡°Ô ¸»ÇÏ¸é¼ ³²ÆíÀÌ ÇൿÀ» ÃëÇϵµ·Ï ¼º°øÀûÀ¸·Î Á¶Á¾ÇÑ´Ù. ±×°¡ ¿ÕÀ» Á×ÀÏ ¼ö ÀÖ´ÂÁö ¾ø´ÂÁö¿¡ ´ëÇÑ Macbeth¿Í ±× ÀڽŠ»çÀÌ¿¡, Macbeth¿Í ¾Æ³» »çÀÌ¿¡ Á¸ÀçÇϴ óÀ½ÀÇ °¥µîÀº Macbeth°¡ ÇൿÀ» ÇÒ ¶§¿¡ ÇØ°áµÇ´Â µ¥ ±×´Â DuncanÀ» »ìÇØÇÏ°í ±×·¯°í ³ª¼ ´õ È®½ÇÇÑ ÈÄ°èÀÚµéÀÌ ±× »ìÇØ ¹üÁË·Î ±â¼ÒµÇ´Â °ÍÀÌ µÎ·Á¿ö¼ µµ¸Á°£ ÈÄ¿¡ ±Ç·ÂÀ» Àâ´Â´Ù.
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After the murder, the conflict resides primarily in the opposition between Macbeth and the individuals who mistrust his power and how he got it. Having damned himself by killing Duncan, Macbeth will stop at nothing to hold on to his power. At the start of Act 3, the audience learns that Banquo is suspicious of whether Macbeth may have achieved power through nefarious means. Perhaps because he knows that Banquo has reason to mistrust him, and certainly because he fears that Banquo¡¯s heirs are a challenge to his lineage, Macbeth arranges to have Banquo and his son murdered. Both Macbeth and his wife have changed: Macbeth, formerly hesitant, is now completely firm and decisive, and Lady Macbeth, formerly impatient and bloodthirsty, now thinks it would be fine to leave matters well enough alone. For example, she explicitly tells him that he ¡°must leave this¡± (3.2.35), while he explains that ¡°things bad begun make strong themselves by ill¡± (3.2.55). The murder of Banquo furthers and heightens the conflict. Macbeth is clearly a tyrannical figure, and that the plot will revolve around him being removed from power and punished for his crimes.
The expository speech between Lennox and the lord in Act 3, Scene 6 clarifies that political loyalties have shifted and that Macbeth is now viewed as a usurper who needs to be deposed. We see that Macbeth¡¯s rule is disastrous for Scotland as a whole, as Lennox laments the fate of ¡°this our suffering country/Under a hand accursed¡± (3.6.49-50).
±× »ìÇØ ÈÄ¿¡ °¥µîÀº Macbeth¿Í ±×ÀÇ ±Ç·Â°ú Áý±Ç¹æ¹ýÀ» ºÒ½ÅÇÏ´Â °³ÀÎµé °£ÀÇ ´ë¸³(opposition)¿¡ ÁÖ·Î Á¸ÀçÇÑ´Ù. DuncanÀ» »ìÇØÇÔÀ¸·Î¼ ½º½º·Î¸¦ ÀúÁÖÇÏ°Ô µÈ Macbeth´Â ±Ç·ÂÀ» À¯ÁöÇϱâ À§Çؼ ¾î¶² Àϵµ ¸¶´ÙÇÏÁö ¾Ê´Â´Ù. 3¸·ÀÇ ÃÊ¿¡ °üÁßÀº Macbeth°¡ ±Ø¾ÇÇÑ ¼ö´ÜÀ» ÅëÇؼ ±Ç·ÂÀ» ȹµæÇßÀ»Áöµµ ¸ð¸¥´Ù°í Banquo°¡ ÀǽÉÇÏ°í ÀÖ´Ù´Â °ÍÀ» ¾Ë°Ô µÈ´Ù. ¾Æ¸¶µµ Macbeth´Â Banquo°¡ ±×¸¦ ÀǽÉÇÒ¸¸ÇÑ ÀÌÀ¯°¡ Àֱ⠶§¹®¿¡, ±×¸®°í È®½ÇÈ÷ ±×´Â BanquoÀÇ ÈÄ°èÀÚµéÀÌ ÀÚ½ÅÀÇ Ç÷Åë¿¡ µµÀüÀÚ°¡ µÉ °ÍÀ̶ó´Â °ÍÀ» È®½ÇÈ÷ µÎ·Á¿öÇÏ¿´±â ¶§¹®¿¡, Banquo¿Í ±×ÀÇ ¾ÆµéÀÌ »ìÇصǵµ·Ï ó¸®ÇÑ´Ù. Macbeth¿Í ±×ÀÇ ¾Æ³» µÑ ´Ù º¯Çß´Ù: Àü¿¡´Â ÁÖÀúÇÏ´ø Macbeth´Â Áö±ÝÀº ¿ÏÀüÈ÷ È®°íÇÏ°í °á´Ü·ÂÀÌ ÀÖ°í, Àü¿¡´Â Á¶±ÞÇÏ°í ÀÜÀÎÇÏ´ø Lady Macbeth´Â Áö±ÝÀº ÀÏÀ» ¿ÏÀüÈ÷ ±×´ë·Î ³öµÎ´Â °ÍÀÌ ÁÁÀ» °ÍÀ̶ó°í »ý°¢ÇÑ´Ù. ¿¹¸¦ µé¾î¼, ±×³à´Â ±×¿¡°Ô ¡°±×·± »ý°¢Àº ¸¶¼Å¾ß ÇÕ´Ï´Ù.¡±¶ó°í ¸»ÇÏ°í ¹Ý¸é¿¡ Macbeth´Â ¡°¾ÇÀ¸·Î ½ÃÀÛµÈ ÀÏÀº ¾ÇÀÇ ÈûÀ¸·Î °ÇÏ°Ô µÇ´Â °ÍÀÌ¿ä.¡±¶ó°í ¼³¸íÇÑ´Ù. BanquoÀÇ »ìÇØ´Â °¥µîÀ» ÃËÁø½ÃÅ°°í °íÁ¶½ÃŲ´Ù. Macbeth´Â ºÐ¸íÈ÷ Æø±ºÀûÀÎ Àι°ÀÌ°í À̾߱â ÁٰŸ®´Â ±Ç·Â¿¡¼ Á¦°ÅµÇ°í ÁË ¶§¹®¿¡ ¹úÀ» ¹Þ´Â ±×ÀÇ ÁÖÀ§¸¦ ¸Éµ·´Ù.
3¸· 6Àå¿¡¼ Lennox¿Í ±ÍÁ· »çÀÌÀÇ Çؼ³ÀûÀÎ ´ë»ç´Â Á¤Ä¡Àû Ã漺½ÉÀÌ À̵¿Çß´Ù´Â °Í°ú Áö±ÝÀº Macbeth´Â ÅðÀ§½Ãų ÇÊ¿ä°¡ ÀÖ´Â ÂùÅ»ÀÚ·Î °£Áֵǰí ÀÖ´Ù´Â °ÍÀ» ¸íÈ®È÷ ¸»ÇÏ°í ÀÖ´Ù. ¿ì¸®´Â Lennox°¡ ¡°ÀúÁÖÀÇ ¼Õ¿¡¼ ½ÅÀ½ÇÏ°í ÀÖ´Â ¿ì¸® ÀÌ ³ª¶ó¡±¶ó°í ºñźÇÏ°í ÀÖ´Â °Íó·³ MacbethÀÇ ÅëÄ¡´Â Àü¹ÝÀûÀ¸·Î Scotland¿¡°Ô´Â Àç¾ÓÀ̶ó´Â °ÍÀ» ¾Ë ¼ö ÀÖ´Ù.
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Macbeth¡¯s horrific order of the murder of Macduff¡¯s wife and children creates a more specific personal conflict within the broader one; Macduff now has a case for a personal vengeance against Macbeth. Spurred by his rage and grief, Macduff vows to ¡°Bring thou this fiend of Scotland and myself/Within my sword¡¯s length set him¡± (4.3.234-235). Macduff¡¯s declaration of personal enmity against Macbeth sets the stage for the final conflict between the two, and for Macbeth¡¯s defeat. A positive outcome becomes impossible for Macbeth as he gradually loses his authority, power, and eventually his wife.
Ultimately, Macbeth¡¯s overreliance on his belief he is fated to be king leads to his downfall, since he arrogantly misinterprets the witches¡¯ prophecies, believing that they promise him glory while in fact the prophecies predict how he will be defeated. While the audience has long understood that the witches are untrustworthy and up to no good, Macbeth only realizes this fact when facing his own death. He laments that the witches ¡°palter with us in a double sense/That keep the word of promise to our ear/And break it to our hope¡± (5.8.20-22). Although he blames the witches, his own ambition is equally to blame. He heard what he wanted to hear and believed what he wanted to believe from the first moment he met the witches. Yet Macbeth is not entirely unsympathetic, as he had several powerful forces inciting him to action, and for a long time truly believed he was following his fate. His death resolves the political and social conflict, since the legitimate king can now return to power and restore order to Scotland. The play¡¯s brief falling action allows for the promise of a brighter future under Malcolm¡¯s new reign.
MacbethÀÇ MacduffÀÇ ¾Æ³»¿Í ÀڽĿ¡ ´ëÇÑ »ìÇØ ¸í·ÉÀº º¸´Ù ´õ ³ÐÀº °¥µî ¾È¿¡ ÀÖ´Â º¸´Ù ´õ Ư¼öÇÏ°í °³ÀÎÀûÀÎ °¥µîÀ» ¸¸µç´Ù: Macduff ´Â ÀÌÁ¦ Macbeth¿¡ ´ëÇ×Çؼ °³ÀÎÀûÀÎ º¹¼ö¸¦ ÇÒ ¸íºÐÀ» °¡Áö°Ô µÈ´Ù. ºÐ³ë¿Í ½½ÇÄ¿¡ ¹ÚÂ÷¸¦ ¹Þ¾Æ¼, Macduff´Â ¡°ãêÀ̽ÿ©(thou), ÀÌ ½ºÄÚƲ·£µåÀÇ ¾Ç¸¶¸¦ Àú¿Í ¸é´ëÇÏ°Ô ÇÏ¿© ÁֽÿɼҼ/ÀúÀÇ Ä® ´ê´Â °÷¿¡ ±× ÀÚ¸¦ ¼¼¿ö ÁֽʽÿÀ.¡±¶ó°í ¸Í¼¼ÇÑ´Ù. Macbeth¿¡ ´ëÇÑ MacduffÀÇ °³ÀÎÀû Áõ¿ÀÀÇ ¼±¾ðÀº µÎ »ç¶÷ »çÀÌÀÇ ÃÖÁ¾Àû °¥µî°ú MacbethÀÇ Æй踦 À§ÇÑ ¹«´ë¸¦ ¸¶·ÃÇÑ´Ù. Macbeth°¡ Á¡Â÷ÀûÀ¸·Î ±×ÀÇ ±ÇÀ§¿Í ±Ç·Â°ú ±×¸®°í ¸¶Ä§³» ¾Æ³»±îÁö »ó½ÇÇÔ¿¡ µû¶ó ±×¿¡°Ô ±àÁ¤ÀûÀÎ °á°ú´Â ºÒ°¡´ÉÇÏ°Ô µÈ´Ù.
±Ã±ØÀûÀ¸·Î, Macbeth°¡ ¿ÕÀÌ µÉ ¿î¸íÀ̶ó´Â ¹ÏÀ½¿¡ Áö³ªÄ¡°Ô ÀÇÁ¸ÇÑ °ÍÀº ±×¸¦ ¸ô¶ôÀ¸·Î À̲ô´Â µ¥, ÀÌ´Â »ç½ÇÀº ±× ¿¹¾ðµéÀº ±×°¡ ÆйèÇÒ °ÍÀ̶ó´Â °ÍÀ» ¿¹¾ðÇÏ´Â °ÍÀÌÁö¸¸(while) ¸¶³àµéÀÌ ±×¿¡°Ô ¿µ±¤À» ¾à¼ÓÇÏ´Â °ÍÀ̶ó°í ¹ÏÀ¸¸é¼, Macbeth´Â ¿À¸¸ÇÏ°Ôµµ ¸¶³àµéÀÇ ¿¹¾ðÀ» è¦æ»(¿À¿ª)Çϱ⠶§¹®ÀÌ´Ù. °üÁßÀº ¸¶³àµéÀº ½Å·ÚÇÒ ¼ö ¾ø°í ¾Æ¹«·± ÀÌÀ͵µ ¾ø´Ù´Â °ÍÀ» ¿À·¡Àü¿¡ ¾Ë°í ÀÖ¾ú´ø ¹Ý¸é¿¡ Macbeth´Â ÀÚ½ÅÀÇ Á×À½°ú Á÷¸éÇÒ ¶§ ÀÌ »ç½ÇÀ» ±ú´ÞÀ» »ÓÀÌ´Ù. ±×´Â ¸¶³àµéÀÌ ¡°¸»·Î´Â(to our ear; µè±â¿¡´Â) ¾à¼Ó´ë·Î ÇØÁÖ´Â °Í °°ÀÌÇÏ°í, ¿ì¸®ÀÇ Èñ¸Á¿¡´Â ±×°ÍÀ» ±ú¶ß·Á ¹ö¸®´Â (»ç½ÇÀº ±× Èñ¸ÁÀ» ±ú¶ß·Á ¹ö¸®´Â) ±×·± µÎ °¡Áö ¶æÀÌ ÀÖ´Â ¾Ö¸ÅÇÑ ¸»·Î »ç¶÷À» ¼ÓÀδÙ(palter with: ¾ó··¶×¶¥ ¸»ÇÏ´Ù)¡±¶ó°í ½½ÆÛÇÑ´Ù. ºñ·Ï ±×°¡ ¸¶³à¸¦ ºñ³ÇÏÁö¸¸ ±× ÀÚ½ÅÀÇ ¾ß¸Áµµ ¶È°°ÀÌ ºñ³À» ¹Þ¾Æ¾ß ÇÑ´Ù. ±×´Â ¸¶³àµéÀ» óÀ½À¸·Î ¸¸³ª´Â ¼ø°£ºÎÅÍ ±×°¡ µè°í ½ÍÀº °ÍÀ» µè°í ¹Ï°í ½ÍÀº °ÍÀ» ¹Ï¾ú´Ù. ±×·¯³ª Macbeth´Â ÀüÀûÀ¸·Î Ùíï×(¹«Á¤)ÇÑ »ç¶÷Àº ¾Æ´Ñ °ÍÀÌ ±×´Â ±×¸¦ ÇൿÇϵµ·Ï °í¹«ÇÏ´Â ¸î °³ÀÇ °·ÂÇÑ Á¤½Å·Â(forces)À» °¡Áö°í ÀÖ¾ú°í ÀÚ½ÅÀÌ ÀÚ½ÅÀÇ ¿î¸íÀ» µû¸£°í ÀÖ´Ù°í ¿À·§µ¿¾È Áø½ÉÀ¸·Î ¹Ï¾ú±â ¶§¹®ÀÌ´Ù. ÇÕ¹ýÀûÀÎ ¿ÕÀÌ ±Ç·Â¿¡ º¹±ÍÇÏ¿© Scotland¿¡ Áú¼¸¦ ȸº¹ÇÒ ¼ö Àֱ⠶§¹®¿¡ ±×ÀÇ Á×À½Àº Á¤Ä¡Àû, »çȸÀû °¥µîÀ» ÇØ°áÇÏ°Ô µÈ´Ù. ±ØÀÇ ÂªÀº Á¾°áºÎºÐ(falling action)Àº MalcolmÀÇ »õ·Î¿î ÅëÄ¡ÇÏÀÇ º¸´Ù ¹àÀº ¹Ì·¡¿¡ ´ëÇÑ ¾à¼ÓÀ» Á¦°øÇÑ´Ù.
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¥±. Theme
The Corrupting Power of Unchecked Ambition
The main theme of ¡°Macbeth¡±—the destruction wrought when ambition goes unchecked by moral constraints—finds its most powerful expression in the play¡¯s two main characters. Macbeth is a courageous Scottish general who is not naturally inclined to commit evil deeds, yet he deeply desires power and advancement. He kills Duncan against his better judgment and afterward stews in guilt and paranoia. Toward the end of the play he descends into a kind of frantic, boastful madness. Lady Macbeth, on the other hand, pursues her goals with greater determination, yet she is less capable of withstanding the repercussions of her immoral acts. One of Shakespeare¡¯s most forcefully drawn female characters, she spurs her husband mercilessly to kill Duncan and urges him to be strong in the murder¡¯s aftermath, but she is eventually driven to distraction by the effect of Macbeth¡¯s repeated bloodshed on her conscience. In each case, ambition—helped, of course, by the malign prophecies of the witches—is what drives the couple to ever more terrible atrocities. The problem, the play suggests, is that once one decides to use violence to further one¡¯s quest for power, it is difficult to stop. There are always potential threats to the throne—Banquo, Fleance, Macduff—and it is always tempting to use violent means to dispose of them.
¥±. ÁÖÁ¦
ÅëÁ¦µÇÁö ¾Ê´Â ¾ß¸ÁÀÇ ºÎÆдɷÂ
¡°Macbeth¡±ÀÇ ÁÖµÈ ÁÖÁ¦¡ª¾ß¸ÁÀÌ µµ´öÀû åäð¤(¾ïÁ¦)¿¡ ÀÇÇؼ ÅëÁ¦µÇÁö ¾ÊÀ» ¶§ ôýÕÎ(ÃÊ·¡)µÇ´Â Æĸꡪ´Â ±ØÀÇ µÎ ¸íÀÇ ÁÖ¿ä Àι° °¡Àå °·ÂÇÏ°Ô ³ªÅ¸³´Ù. Macbeth´Â õ¼ºÀûÀ¸·Î ¾ÇÇàÀ» ¹üÇÏ´Â °æÇâÀÌ ¾ø´Â ScotlandÀÇ ¿ë¸ÍÇÑ À屺ÀÌÁö¸¸ ±Ç·Â°ú ÁöÀ§»ó½ÂÀ» ¸Å¿ì °¥¸ÁÇÑ´Ù. ±×´Â ÀÚ½ÅÀÇ ´õ ¼±ÇÑ ÆÇ´Ü¿¡ ÚãÇؼ DuncanÀ» Á×ÀÌ°í ì¤ý(ÀÌÈÄ) Á˾ǰú ÆíÁýÁõ¿¡ ºüÁ® Çì¸Å°Ô µÈ´Ù. ±ØÀÇ ³¡¿¡ °¡¼ ±×´Â ÀÏÁ¾ÀÇ ±¤¶õÀÇ °úÀåµÈ(boastful) ±¤±â ¼ÓÀ¸·Î Àü¶ôÇÑ´Ù. ÀÌ¿¡ ÚãÇؼ Lady Macbeth´Â Macbethº¸´Ù ´õ Å« °á´Ü·ÂÀ» °¡Áö°í ¸ñÇ¥¸¦ Ãß±¸ÇÏÁö¸¸ ºÎµµ´öÇÑ ÇàÀ§ÀÇ ¿µÇâÀ» °ßµð´Â ÈûÀº Macbethº¸´Ù Àû´Ù. ShakespeareÀÇ °¡Àå °·ÄÇÏ°Ô ±×·ÁÁø ¿©¼º Àι° ÁßÀÇ ÇϳªÀÎ ±×³à´Â ³²ÆíÀÌ DuncanÀ» »ìÇØÇϵµ·Ï ¹«ÀÚºñÇÏ°Ô ¸ô¾Æ´ë°í »ìÀÎ ÈÄ¿¡µµ °ÇØÁöµµ·Ï ³²ÆíÀ» °Ý·ÁÇÏÁö¸¸ MacbethÀÇ ¹Ýº¹µÇ´Â »ìÀÎÀÇ ÇÇ°¡ ±×³àÀÇ ¾ç½É¿¡ ¹ÌÄ¡´Â ¿µÇâ¿¡ ÀÇÇؼ °á±¹ Á¤½ÅÂø¶õ »óÅ·ΠÈÖ¸ô·Á°£´Ù. °¢°¢ÀÇ °æ¿ì¿¡, ¾ß¸ÁÀÌ¡ª¹°·Ð, ¸¶³àµéÀÇ »ç¾ÇÇÑ ¿¹¾ð¿¡ ÀÇÇؼ µµ¿òÀ» ¹ÞÁö¸¸¡ªºÎºÎ¸¦ ´õ¿í´õ °¡°øÇÒ ÀÜȤÇàÀ§·Î ¸ô¾ÆºÙÀÌ´Â °ÍÀÌ´Ù. ¹®Á¦´Â »ç¶÷ÀÌ ±Ç·ÂÃß±¸¸¦ ÃËÁøÇϱâ À§ÇØ Çѹø Æø·ÂÀ» »ç¿ëÇϱâ·Î °áÁ¤ÇÏ¸é ±×°ÍÀ» ¸ØÃß´Â °ÍÀÌ ¾î·Æ´Ù´Â °ÍÀ» ±ØÀº ¾Ï½ÃÇÏ°í ÀÖ´Ù. ¿ÕÁ¿¡ ´ëÇؼ Ç×»ó ÀáÀçÀûÀÎ À§Çù¡ªBanquo, Fleance, Macduff¡ªÀÌ ÀÖ°í ±×µéÀ» ó´ÜÇϱâ À§Çؼ Æø·ÂÀ» »ç¿ëÇÏ·Á´Â À¯È¤ÀÌ Ç×»ó ÀÖ´Ù.
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The Relationship Between Cruelty and Masculinity
Characters in ¡°Macbeth¡± frequently dwell on issues of gender. Lady Macbeth manipulates her husband by questioning his manhood, wishes that she herself could be ¡°unsexed,¡± and does not contradict Macbeth when he says that a woman like her should give birth only to boys. In the same manner that Lady Macbeth goads her husband on to murder, Macbeth provokes the murderers he hires to kill Banquo by questioning their manhood. Such acts show that both Macbeth and Lady Macbeth equate masculinity with naked aggression, and whenever they converse about manhood, violence soon follows. Their understanding of manhood allows the political order depicted in the play to descend into chaos.
At the same time, however, the audience cannot help noticing that women are also sources of violence and evil. The witches¡¯ prophecies spark Macbeth¡¯s ambitions and then encourage his violent behavior; Lady Macbeth provides the brains and the will behind her husband¡¯s plotting; and the only divine being to appear is Hecate, the goddess of witchcraft. Arguably, ¡°Macbeth¡± traces the root of chaos and evil to women, which has led some critics to argue that this is Shakespeare¡¯s most misogynistic play. While the male characters are just as violent and prone to evil as the women, the aggression of the female characters is more striking because it goes against prevailing expectations of how women ought to behave. Lady Macbeth¡¯s behavior certainly shows that women can be as ambitious and cruel as men. Whether because of the constraints of her society or because she is not fearless enough to kill, Lady Macbeth relies on deception and manipulation rather than violence to achieve her ends.
ÀÜÀÎÇÔ°ú ³²ÀÚ´Ù¿ò »çÀÌÀÇ °ü°è
¡°Macbeth¡±ÀÇ Àι°µéÀº àõܬ(¼ºº°: gender)¿¡ ´ëÇؼ ºó¹øÇÏ°Ô °õ°õÀÌ »ý°¢ÇÑ´Ù. Lady Macbeth´Â ³²Æí¿¡°Ô ±×ÀÇ ³²ÀÚ´Ù¿ò¿¡ Àǹ®À» Á¦±âÇÔÀ¸·Î½á ±×¸¦ Á¶Á¾ÇÏ°í ±×³à ÀÚ½ÅÀÌ ¡°àõÀÇ Æ¯ÁúÀÌ ¾ø´Â¡± Á¸Àç°¡ µÉ ¼ö Àֱ⸦ ¼Ò¿øÇÏ°í, Macbeth°¡ ±×³à¿Í °°Àº ¿©ÀÚ´Â ¾Æµé¸¸ ³º¾Æ¾ß ÇÑ´Ù°í ¸»ÇÒ ¶§ ¹Ý´ëÀÇ ¸»À» ÇÏÁö ¾Ê´Â´Ù. Lady Macbeth°¡ »ìÀÎÀ» Çϵµ·Ï ³²ÆíÀ» ÀÚ±ØÇÏ´Â °Í°ú °°Àº ¹æ¹ýÀ¸·Î Macbeth´Â ±×°¡ °í¿ëÇÑ »ìÀÎÀÚµéÀ» ±×µéÀÇ ³²ÀÚ´Ù¿ò¿¡ Àǹ®À» Á¦±âÇÔÀ¸·Î½á Banquo¸¦ Á×À̵µ·Ï ÀÚ±ØÇÑ´Ù. ÀÌ·¯ÇÑ ÇàÀ§´Â Macbeth¿Í Lady Macbeth´Â ³ë°ñÀûÀÎ °ø°Ý°ú ³²ÀÚ´Ù¿òÀ» µ¿ÀϽÃÇÏ°í ÀÖ´Ù´Â °ÍÀ» º¸¿©ÁÖ°í ±×µéÀÌ ³²ÀÚ´Ù¿ò¿¡ ´ëÇؼ ´ëȸ¦ ÇÒ ¶§¸¶´Ù °ð Æø·ÂÀÌ µÚµû¸¥´Ù. ³²ÀÚ´Ù¿ò¿¡ ´ëÇÑ ±×µéÀÇ ÀνÄÀÌ(understanding) ±Ø¿¡¼ ¹¦»çµÇ°í ÀÖ´Â Á¤Ä¡Áú¼°¡ È¥µ·»óÅ·Π³»·Á°¡µµ·Ï ÇÑ´Ù.
±×·¯³ª µ¿½Ã¿¡ °üÁßÀº ¿©¼ºµµ Æø·Â°ú ¾ÇÀÇ ±Ù¿øÀ̶ó´Â °ÍÀ» ÁÖ¸ñÇÏÁö ¾ÊÀ» ¼ö ¾ø´Ù. ¸¶³àµéÀÇ ¿¹¾ðÀº MacbethÀÇ ¾ß¸ÁÀ» À¯¹ß½ÃÅ°°í ±×´ÙÀ½¿¡´Â ±×ÀÇ Æø·ÂÀû ÇൿÀ» °í¹«ÇÑ´Ù; Lady Macbeth´Â ³²ÆíÀÇ À½¸ð¿¡ µÎ³ú¿Í ÀÇÁö¸¦ Á¦°øÇÑ´Ù; ±×¸®°í À¯ÀÏÇÑ ãêÀûÀÎ Á¸Àç´Â ¸¶³àÀÇ ¿©½ÅÀÎ HecateÀÌ´Ù. °ÅÀÇ È®½ÇÈ÷(arguably), ¡°Macbeth¡±´Â È¥µ·°ú ¾ÇÀÇ »Ñ¸®¸¦ ¿©¼º¿¡ µÎ°í ÀÖÀ¸¸ç, ÀÌ°ÍÀº "Macbeth" ´Â ShakespeareÀÇ °¡Àå ¿©¼ºÇø¿ÀÀûÀÎ ±ØÀ̶ó°í ÀϺΠºñÆò°¡µéÀÌ ÁÖÀåÇϵµ·Ï À̲ø¾î ¿Ô´Ù. ³²¼ºÀι°µéÀÌ ¿©¼ºÀι°µéó·³ ¶È °°ÀÌ Æø·ÂÀûÀÌ°í ¾ÇÀ» ÇàÇϱ⠽±Áö¸¸ ¿©¼ºÀι°µéÀÇ °ø°Ý¼ºÀº ¿©¼ºÀÇ Ã³½Å¿¡ ´ëÇÑ ÀϹÝÀûÀÎ(prevailing) ±â´ë¿Í´Â ¹Ý´ë·Î °¡±â ¶§¹®¿¡ ´õ Ãæ°ÝÀûÀÌ´Ù. Lady MacbethÀÇ ÇàÀ§´Â ¿©ÀÚµµ ³²ÀÚ¸¸Å ¾ß¸ÁÀÌ ÀÖ°í ÀÜȤÇÒ ¼ö ÀÖ´Ù´Â °ÍÀ» È®½ÇÈ÷ º¸¿©ÁØ´Ù. »çȸÀÇ Á¦¾à ¶§¹®ÀÎÁö ¾Æ´Ï¸é Á×ÀÏ ¼ö ÀÖÀ» ¸¸Å ÃæºÐÈ÷ ´ë´ãÇÏÁö ¸øÇؼÀÎÁö, Lady Macbeth´Â ±×³àÀÇ ¸ñÇ¥¸¦ ¼ºÃëÇϱâ À§Çؼ ѧؾ(±â¸¸)°ú Á¶Á¾¿¡ ÀÇÁ¸ÇÑ´Ù.
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Ultimately, the play does put forth a revised and less destructive definition of manhood. In the scene where Macduff learns of the murders of his wife and child, Malcolm consoles him by encouraging him to take the news in ¡°manly¡± fashion, by seeking revenge upon Macbeth. Macduff shows the young heir apparent that he has a mistaken understanding of masculinity. To Malcolm¡¯s suggestion, ¡°Dispute it like a man,¡± Macduff replies, ¡°I shall do so. But I must also feel it as a man¡± (4.3.221–223). At the end of the play, Siward receives news of his son¡¯s death rather complacently. Malcolm responds: ¡°He¡¯s worth more sorrow [than you have expressed] / And that I¡¯ll spend for him¡± (5.9.16–17). Malcolm¡¯s comment shows that he has learned the lesson Macduff gave him on the sentient nature of true masculinity. It also suggests that, with Malcolm¡¯s coronation, order will be restored to the Kingdom of Scotland.
The Difference Between Kingship and Tyranny
In the play, Duncan is always referred to as a ¡°king,¡± while Macbeth soon becomes known as the ¡°tyrant.¡± The difference between the two types of rulers seems to be expressed in a conversation that occurs in Act 4, scene 3, when Macduff meets Malcolm in England. In order to test Macduff¡¯s loyalty to Scotland, Malcolm pretends that he would make an even worse king than Macbeth. He tells Macduff of his reproachable qualities—among them a thirst for personal power and a violent temperament, both of which seem to characterize Macbeth perfectly.
°á±¹, ±ØÀº ³²ÀÚ´Ù¿ò¿¡ ´ëÇؼ ¼öÁ¤µÈ, º¸´Ù ´ú Æı«ÀûÀÎ ïÒëù(Á¤ÀÇ)¸¦ ³»³õ´Â´Ù. Macduff°¡ ±×ÀÇ ¾Æ³»¿Í ÀÚ½ÄÀÇ Çǻ쿡 °üÇؼ ¾Ë°Ô µÇ´Â Àå¸é¿¡¼, MalcolmÀº Macduff¿¡°Ô ±× ´º½º¸¦ ¡°³²Àڴٿ ¹æ¹ýÀ¸·Î ¹Þ¾ÆµéÀ̶ó°í ±ÇÀ¯ÇÔ¿¡ ÀÇÇؼ, ¶Ç Macbeth¿¡°Ô º¹¼ö¸¦ ½ÃµµÇÏ°Ú´Ù°í ÇÔ¿¡ ÀÇÇؼ, Macduff¸¦ À§·ÎÇÑ´Ù. Macduff´Â ÀþÀº ÈÄ°èÀÚ(Malcolm)¿¡°Ô ±×(Malcolm)°¡ ³²ÀÚ´Ù¿ò¿¡ ´ëÇؼ Àß ¸ø ÀÌÇØÇÏ°í ÀÖ´Ù°í ºÐ¸íÇÏ°Ô º¸¿©ÁØ´Ù. ¡°»ç³ªÀÌ´ä°Ô ±×°Í(±× ´º½º)°ú ÅõÀïÇϽÿÀ[(dispute=struggle against: ½½ÇÄ¿¡ ´ëÇؼ »ç³ªÀÌ´ä°Ô Âüµµ·Ï ³ë·ÂÇ϶ó)].¡±¶ó´Â MalcolmÀÇ Á¦¾È¿¡ Macduff´Â ¡°±×·¸°Ô ÇÏ°Ú½À´Ï´Ù. ±×·¯³ª ³²Àڷμ ±×°ÍÀ» ½½ÆÛÇÏÁö(feel) ¾ÊÀ» ¼ö ¾ø½À´Ï´Ù.¡±¶ó°í ´ë´äÇÑ´Ù. ±ØÀÇ ³¡¿¡ Siward´Â ¾ÆµéÀÇ Á×À½ÀÇ ´º½º¸¦ ´Ù¼Ò Â÷ºÐÇÏ°Ô ¹Þ¾ÆµéÀδÙ. MalcolmÀº ¡°±×´Â(Àü»çÇÑ ¾Æµé) [´ç½Å(Siward)ÀÌ Ç¥ÇöÇÑ °Í º¸´Ù] ´õ ¸¹Àº ¾Öµµ¸¦ ¹ÞÀ» ¸¸ÇÑ °¡Ä¡°¡ ÀÖ¾î¿ä(´õ ½½ÆÛÇØ¾ß ÇÏ¿À)/±×¸¦ À§ÇÑ ¾Öµµ´Â ³»°¡ ´õ ÇØ µå¸®°Ú¼Ò.¡±¶ó°í ÀÀ´äÇÑ´Ù. MalcolmÀÇ ¸»(comment)Àº ÁøÁ¤ÇÑ »ç³ªÀÌ´Ù¿òÀÇ °¨¼ºÀû º»Áú¿¡ °üÇؼ Macduff°¡ ±×¿¡°Ô °¡¸£Ä£ ±³ÈÆÀ» ±×°¡ Å͵æÇß´Ù´Â °ÍÀ» º¸¿©ÁØ´Ù. ±×°ÍÀº ¶ÇÇÑ MalcolmÀÇ ñíêÈ(ÁïÀ§)¿Í ÇÔ²² Scotland ¿Õ±¹¿¡ Áú¼°¡ ȸº¹µÉ °ÍÀ̶ó´Â °ÍÀ» ¾Ï½ÃÇÑ´Ù.
¿Õ±Ç°ú ÀüÁ¦Á¤Ä¡ÀÇ Â÷ÀÌ
±Ø¿¡¼ DuncanÀº Ç×»ó "king"À¸·Î ¾ð±ÞµÇ°í ¹Ý¸é¿¡ Macbeth´Â °ð ¡°tyrant¡±(Æø±º)À¸·Î ¾Ë·ÁÁö°Ô µÈ´Ù. ÀÌ µÎ À¯ÇüÀÇ ÅëÄ¡ÀÚ»çÀÌÀÇ Â÷ÀÌ´Â Macduff°¡ England¿¡¼ MalcolmÀ» ¸¸³ª´Â 4¸·3Àå¿¡¼ ÀϾ´Â ÇÑ ´ëÈ¿¡¼ Ç¥ÇöµÇ´Â °Íó·³ º¸ÀδÙ. Scotland¿¡ ´ëÇÑ MacduffÀÇ Ã漺½ÉÀ» ½ÃÇèÇØ º¸±â À§Çؼ MalcolmÀº ±×´Â Macbethº¸´Ù´Â ÈξÀ ´õ ³ª»Û ¿ÕÀÌ µÉ °ÍÀ̶ó°í °¡ÀåÇÑ´Ù. ±×´Â ÀÚ½ÅÀÇ ºñ³¹ÞÀ» ¸¸ÇÑ ÀÚÁúµé¿¡ °üÇؼ Macduff¿¡°Ô ¸»ÇÑ´Ù¡ª±× Áß¿¡µµ °³ÀÎÀû ±Ç·Â¿¡ ´ëÇÑ °¥¸Á°ú ³ÆøÇÑ ¼ºÁú(À» ¸»ÇÏ°í), ÀÌ µÑÀº Macbeth¸¦ ¿Ïº®ÇÏ°Ô Æ¯Â¡ÀûÀ¸·Î ³ªÅ¸³»´Â °ÍµéÀÌ´Ù.
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On the other hand, Malcolm says, ¡°The king-becoming graces / [are] justice, verity, temp¡¯rance, stableness, / Bounty, perseverance, mercy, [and] lowliness¡± (4.3.92–93). The model king, then, offers the kingdom an embodiment of order and justice, but also comfort and affection. Under him, subjects are rewarded according to their merits, as when Duncan makes Macbeth thane of Cawdor after Macbeth¡¯s victory over the invaders. Most important, the king must be loyal to Scotland above his own interests. Macbeth, by contrast, brings only chaos to Scotland—symbolized in the bad weather and bizarre supernatural events—and offers no real justice, only a habit of capriciously murdering those he sees as a threat. As the embodiment of tyranny, he must be overcome by Malcolm so that Scotland can have a true king once more.
Ambition
Although he is encouraged by the Witches, Macbeth¡¯s true downfall is his own ambition. Lady Macbeth is as ambitious as her husband, encouraging him to commit murder to achieve their goals. Both Macbeths fail to see how their ambition makes them cross moral lines and will lead to their downfall. Once Macbeth kills Duncan, his ambition to hold on to his title as king becomes intertwined with his paranoia. Rather than being able to enjoy the fruits of his ambition, he becomes obsessed with maintaining the power he¡¯s won. Macbeth¡¯s blind pursuit of power can be contrasted with other ambitious characters in the play like Banquo. Banquo also hears the Witches¡¯ prophesies, and similarly has ambition for his sons. But ulike Macbeth, Banquo¡¯s morality prevents him from pursuing his goal at any cost. At the end of the play, Macbeth has achieved all he wanted, but has nothing. With his wife gone and no hope of producing a prince, Macbeth sees what his unchecked ambition has cost him: the loss of all he holds dear.
ÇÑÆí, MalcolmÀº ¡°èÝíº(¿ÕÀÚ)´Ù¿î ¹Ì´ö/£ÛÀº£Ý°øÁ¤, Áø½Ç, ÀýÁ¦, ÁöÁ¶,/ °ü´ë, Àγ», ÀÚºñ,£Û±×¸®°í£Ý,°â¼Õ£ÛÀÌ¿À£Ý¡±¶ó°í ¸»ÇÑ´Ù. ±×·¯°í ³ª¼ ±× ¸ð¹üÀûÀÎ ¿ÕÀº ¿Õ±¹¿¡ Áú¼¿Í °øÁ¤ÀÇ ±¸ÇöÀ» Á¦°øÇÏ°í ¶ÇÇÑ ¾È¶ô°ú ¾ÖÁ¤µµ Á¦°øÇÑ´Ù. DuncanÀÌ Ä§·«ÀÚ¿¡ ´ëÇÑ MacbethÀÇ ½Â¸® ÈÄ¿¡ Macbeth¸¦ CawdorÀÇ ¿µÁÖ·Î ÀÓ¸íÇÑ °Íó·³ ±×(Malcolm)ÀÇ ö½ù»(Ä¡ÇÏ)¿¡¼ ¹é¼ºµéÀº ±×µéÀÇ °øÀû(merits)¿¡ µû¶ó º¸»óÀ» ¹Þ´Â´Ù. °¡Àå Áß¿äÇÑ °ÍÀº, ¿ÕÀº ÀÚ±â ÀÚ½ÅÀÇ ÀÌÀÍÀ» ÃÊ¿ùÇÏ¿© Scotland¿¡ Ã漺ÇؾßÇÑ´Ù. ÀÌ¿Í ´ëÁ¶ÀûÀ¸·Î, Macbeth´Â Scotland¿¡ È¥¶õ¸¸ °¡Á®¿Ô°í¡ª³ª»Û ³¯¾¾¿Í ±â±«ÇÑ ÃÊÀÚ¿¬Àû »ç°Çµé·Î »ó¡µÇ´Â¡ªÁøÁ¤ÇÑ Á¤ÀÇ´Â °áÄÚ Á¦°øÇÏÁö ¾Ê°í ±×°¡ À§ÇùÀûÀÎ °ÍÀ¸·Î °£ÁÖÇÏ´Â »ç¶÷µéÀ» ¸¶±¸ÀâÀÌ·Î »ìÇØÇÏ´Â ½À°ü¸¸ Á¦°øÇÏ¿´´Ù. ÆøÁ¤ÀÇ È½ÅÀ¸·Î¼ ±×´Â Scotland°¡ ´Ù½Ã ÇÑ ¹ø Áø½Ç µÈ ¿ÕÀ» °¡Áú ¼ö ÀÖ±â À§Çؼ´Â, Malcolm¿¡ ÀÇÇؼ Á¤º¹µÇ¾î Á®¾ßÇÑ´Ù.
¾ß¸Á
±×´Â ºñ·Ï ¸¶³àµé¿¡ ÀÇÇؼ ÍÕÙñ(°í¹«)µÇÁö¸¸, MacbethÀÇ ÁøÁ¤ÇÑ ¸ô¶ôÀÇ ¿øÀÎÀº ±×ÀÇ ¾ß¸ÁÀÌ´Ù. Lady Macbeth´Â ³²Æí ¸øÁö¾Ê°Ô ¾ß¸ÁÀûÀÌ¾î¼ ±×µéÀÇ ¸ñÀûÀ» ´Þ¼ºÇϱâ À§ÇÏ¿© ³²ÆíÀÌ »ìÀÎÀ» ¹üÇϵµ·Ï ºÎÃß±ä´Ù. MacbethºÎºÎ µÑ ´Ù ¾î¶»°Ô ±×µéÀÇ ¾ß¸ÁÀÌ µµ´öÀÇ ¼±À» ³Ñ¾î¼ ±×µéÀ» ÆиÁÀ¸·Î À̲ø °ÍÀΰ¡¸¦ ÀÌÇØÇÒ ¼ö°¡ ¾ø´Ù. Macbeth°¡ DuncanÀ» Á×ÀÌÀÚ ¸»ÀÚ ¿ÕÀÇ Á÷À§¿¡ ÁýÂøÇÏ·Á´Â ±×ÀÇ ¾ß¸ÁÀº ±×ÀÇ ÆíÁýÁõ°ú ¼·Î ¾ôÈ÷°Ô µÈ´Ù. ¾ß¸ÁÀÇ ¿¸Å¸¦ Áñ±æ ¼ö Àֱ⺸´Ù´Â ±×°¡ ¼ºÃëÇÑ ±Ç·ÂÀ» À¯ÁöÇÏ·Á´Â ³ë·ÂÀ¸·Î ½Ã´Þ¸®°Ô µÈ´Ù. MacbethÀÇ ¸Í¸ñÀûÀÎ ±Ç·ÂÃß±¸´Â Banquo¿Í °°Àº ±ØÀÇ ´Ù¸¥ ¾ß¸ÁÀ» °¡Áø Àι°µé°ú ´ëºñ¸¦ ÀÌ·ê ¼ö ÀÖ´Ù. Banquoµµ ¸¶³àµéÀÇ ¿¹¾ðÀ» µéÀ¸¸ç ºñ½ÁÇÏ°Ô ¾ÆµéÀ» À§ÇÑ ¾ß¸ÁÀ» °¡Áø´Ù. ±×·¯³ª Macbeth¿Í´Â ´Þ¸® BanquoÀÇ µµ´ö¼ºÀº ¾î¶² ´ë°¡¸¦ Ä¡·ç´õ¶óµµ ±×ÀÇ ¸ñÇ¥¸¦ Ãß±¸ÇÏ´Â °ÍÀ» ¸·´Â´Ù. ±ØÀÇ ³¡¿¡, Macbeth´Â ±×°¡ ¿øÇÏ¿´´ø °ÍÀ» ¸ðµÎ ¼ºÃëÇÏ¿´Áö¸¸ °¡Áø °ÍÀÌ ¾Æ¹«°Íµµ ¾ø´Ù. ¾Æ³»´Â Á×°í ¿ÕÀÚ¸¦ ³º¾ÆÁÙ »ç¶÷ÀÌ ¾ø´Â Macbeth´Â ÅëÁ¦µÇÁö ¾Ê´Â ¾ß¸ÁÀÌ ±×¿¡°Ô Ä¡·ç °Ô ÇÑ °ÍÀ» º¸°Ô µÈ´Ù: ±×°¡ °¡Áø ¸ðµç ¼ÒÁßÇÑ °ÍÀÇ »ó½ÇÀ»(º»´Ù).
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¥². Motif
Hallucinations
Visions and hallucinations recur throughout the play and serve as reminders of Macbeth and Lady Macbeth¡¯s joint culpability for the growing body count. When he is about to kill Duncan, Macbeth sees a dagger floating in the air. Covered with blood and pointed toward the king¡¯s chamber, the dagger represents the bloody course on which Macbeth is about to embark. Later, he sees Banquo¡¯s ghost sitting in a chair at a feast, pricking his conscience by mutely reminding him that he murdered his former friend. The seemingly hardheaded Lady Macbeth also eventually gives way to visions, as she sleepwalks and believes that her hands are stained with blood that cannot be washed away by any amount of water. In each case, it is ambiguous whether the vision is real or purely hallucinatory; but, in both cases, the Macbeths read them uniformly as supernatural signs of their guilt.
Violence
¡°Macbeth¡± is a famously violent play. Interestingly, most of the killings take place offstage, but throughout the play the characters provide the audience with gory descriptions of the carnage, from the opening scene where the captain describes Macbeth and Banquo wading in blood on the battlefield, to the endless references to the bloodstained hands of Macbeth and his wife. The action is bookended by a pair of bloody battles: in the first, Macbeth defeats the invaders; in the second, he is slain and beheaded by Macduff. In between is a series of murders: Duncan, Duncan¡¯s chamberlains, Banquo, Lady Macduff, and Macduff¡¯s son all come to bloody ends. By the end of the action, blood seems to be everywhere.
¥². ¸ðƼÇÁ
¸Á»ó
ȯ»ó°ú ¸Á»óÀÌ ±Ø Àüü¸¦ ÅëÇؼ ¹Ýº¹ÀûÀ¸·Î ÀϾ¸é¼ Á¡Á¡ ´Ã¾î³ª´Â ½Ãü ¼ö¿¡ ´ëÇÑ Macbeth¿Í Lady MacbethÀÇ °øµ¿Ã¥ÀÓÀ» »ó±â½ÃÄÑ ÁÖ´Â ¿ªÇÒÀ» ÇÑ´Ù. ±×°¡ DuncanÀ» Á×ÀÌ·Á°í ÇÒ ¶§, Macbeth´Â °øÁß¿¡ ¶°´Ù´Ï´Â ´Ü°ËÀ» º¸°Ô µÈ´Ù. ÇÇ·Î µ¤¿© ÀÖ°í ±¹¿ÕÀÇ Ò®ãø(³»½Ç)ÂÊÀ» °¡¸®Å°°í ÀÖ´Â ±× ´Ü°ËÀº Macbeth°¡ °¡°Ô µÉ À¯Ç÷ÀÇ °úÁ¤À» ³ªÅ¸³»°í ÀÖ´Ù. ±× ÈÄ, ±×´Â ¾î¶² Ç⿬¿¡¼ ÀÇÀÚ¿¡ ¾É¾Æ ÀÖ´Â BanquoÀÇ À¯·ÉÀ» º¸°Ô µÇ¸ç ±×°ÍÀº Macbeth°¡ ±×ÀÇ îñ Ä£±¸¸¦ »ìÇØÇÏ¿´´Ù´Â °ÍÀ» ±×¿¡°Ô ¸»¾øÀÌ »ó±â½ÃÅ°¸é¼ ±×ÀÇ ¾ç½ÉÀ» Â°í ÀÖ¾ú´Ù. ¿Ü°ß»óÀ¸·Î´Â ºóÆ´¾ø´Â Lady Macbethµµ ÙÓë´(¸ùÀ¯)¸¦ ÇÏ°í ±×³àÀÇ ¼ÕÀº ¾Æ¹«¸® ¸¹Àº ¹°·Î ¾Ä¾îµµ ¾ø¾Ù ¼ö ¾ø´Â ÇÇ·Î ¹¯¾î ÀÖ´Ù°í ¹ÏÀ¸¸é¼ ¸¶Ä§³» ȯ°¢»óÅ¿¡ ºüÁø´Ù. °¢°¢ÀÇ °æ¿ì¿¡, ȯ°¢ÀÌ »ç½ÇÀÎÁö ¾Æ´Ï¸é ¼ø¼öÇÑ ¸Á»óÀÎÁö´Â ºÐ¸íÇÏÁö ¾Ê´Ù(ambiguous:¸ðÈ£ÇÑ, ¾Ö¸ÅÇÑ); ±×·¯³ª µÎ °³ÀÇ °æ¿ì ¸ðµÎ MacbethºÎºÎ´Â ¶È °°ÀÌ ±×µéÀÇ ¹üÁË¿¡ ´ëÇÑ ÃÊÀÚ¿¬Àû ¡ǥ·Î¼ ±×°Íµé(ȯ°¢)À» Çؼ®ÇÑ´Ù(read).
Æø·Â
¡°Macbeth¡±´Â À¯¸íÇÒ ¸¸Å Æø·ÂÀûÀÎ ±ØÀÌ´Ù. Èï¹Ì·Ó°Ôµµ, ´ëºÎºÐÀÇ »ìÀÎÀº ¹«´ë ¹Û¿¡¼ ÀϾÙ. ±×·¯³ª ±Ø Àüü¸¦ ÅëÇؼ Àι°µéÀº ºÎ´ëÀå(captain)ÀÌ îúíÞ(ÀüÀå)¿¡¼ Çǹٴ٠¼ÓÀ¸·Î °É¾î°¡°í ÀÖ´Â Macbeth¿Í Banquo¸¦ ¼³¸íÇÏ°í ÀÖ´Â ßíØ(¼¸·)ÀÇ Àå¸éºÎÅÍ Macbeth¿Í ±×ÀÇ ¾Æ³»ÀÇ Çǹü¹÷ ¼Õ¿¡ ´ëÇÑ ³¡¾ø´Â ¾ð±Þ¿¡ À̸£±â±îÁö ´ëÇл쿡 ´ëÇÑ ÇÇÅõ¼ºÀÌ ¼³¸íÀ» °üÁß¿¡°Ô Á¦°øÇÑ´Ù. ±ØÀÇ ÇàÀ§´Â óÀ½°ú ³¡ÀÌ ÇÑ ½ÖÀÇ ÀüÅõ·Î ¹öÆÀÀÌ µÇ°í ÀÖ´Ù. ù ¹ø° ÀüÅõ¿¡¼´Â Macbeth°¡ ħ·«±ºÀ» Æйè½ÃŲ´Ù. µÎ ¹ø° ÀüÅõ¿¡¼´Â ±×´Â Macduff¿¡ ÀÇÇØ »ìÇØµÇ¾î ¸ñÀÌ À߸°´Ù. ±× µÎ ÀüÅõ»çÀÌ¿¡ ÀÏ·ÃÀÇ »ìÀÎÀÌ ÀÖ´Ù: Duncan, DuncanÀÇ ã´ðô(½ÃÁ¾)µé, Banquo, Lady Macduff, ±×¸®°í MacduffÀÇ ¾Æµé ¸ðµÎ°¡ À¯Ç÷ÀÇ Á¾¸»À» ¸ÂÀÌÇÑ´Ù. ±Ø(action)ÀÇ ³¡¿¡ °¡¼´Â ÇÇ°¡ »ç¹æ¿¡ ÀÖ´Â °Íó·³ º¸ÀδÙ.
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Prophecy
Prophecy sets Macbeth¡¯s plot in motion—namely, the witches¡¯ prophecy that Macbeth will become first thane of Cawdor and then king. The weird sisters make a number of other prophecies: they tell us that Banquo¡¯s heirs will be kings, that Macbeth should beware Macduff, that Macbeth is safe till Birnam Wood comes to Dunsinane, and that no man born of woman can harm Macbeth. Save for the prophecy about Banquo¡¯s heirs, all of these predictions are fulfilled within the course of the play. Still, it is left deliberately ambiguous whether some of them are self-fulfilling—for example, whether Macbeth wills himself to be king or is fated to be king. Additionally, as the Birnam Wood and ¡°born of woman¡± prophecies make clear, the prophecies must be interpreted as riddles, since they do not always mean what they seem to mean.
¿¹¾ðÀº MacbethÀÇ À½¸ð¸¦ ÀÛµ¿½ÃŲ´Ù¡ªMacbeth°¡ ¸ÕÀú CawdorÀÇ ¿µÁÖ°¡ µÇ°í ±× ´ÙÀ½¿¡´Â ¿ÕÀÌ µÉ °ÍÀ̶ó´Â °Í. ±× ÜôʦÞÖì¡(ºÒ°¡»çÀÇ)ÇÑ Àڸŵé(¸¶³àµé)Àº ¸¹Àº ´Ù¸¥ ¿¹¾ðµµ ÇÑ´Ù: BanquoÀÇ ÈÄ°èÀÚ°¡ ¿ÕÀÌ µÉ °ÍÀ̸ç Macbeth´Â Macduff¸¦ °æ°èÇؾßÇÏ°í Macbeth´Â BirnamÀÇ ½£ÀÌ Dunsinane±îÁö ¿Ã ¶§ ±îÁö´Â ¾ÈÀüÇÒ °ÍÀÌ¸ç ±×¸®°í ¿©ÀÚÀÇ ¸ö¿¡¼ ÅÂ¾î³ ÀÚ´Â ±× ´©±¸µµ Macbeth¿¡°Ô úª(ÇØ)¸¦ °¡ÇÒ ¼ö ¾ø´Ù. BanquoÀÇ ÈÄ°èÀÚ¿¡ °üÇÑ ¿¹¾ð ¿Ü¿¡´Â ÀÌ ¸ðµç ¿¹¾ðµéÀº ±ØÀÇ °úÁ¤¿¡¼ ¸ðµÎ ÀÌ·ç¾îÁø´Ù. ±×·¡µµ ¿©ÀüÈ÷, ¿¹¾ðµé ÁßÀÇ ÀϺδ ½º½º·Î ÀÌ·ç¾îÁö´Â °ÍÀÎÁö ¾Æ´ÑÁö¸¦ °íÀÇÀûÀ¸·Î ¾Ö¸ÅÇÏ°Ô ³²°Ü³õ´Â´Ù¡ª¿¹¸¦ µé¸é, Macbeth ÀÚ½ÅÀÌ ¿ÕÀÌ µÇ±â¸¦ ÀǵµÇÏ´ÂÁö ¾Æ´Ï¸é ¿ÕÀÌ µÉ ¿î¸íÀÎÁö´Â( ¸íÈ®ÇÏÁö ¾Ê´Ù). ÷°¡ÇÏÀÚ¸é, Birnam½£°ú ¡°¿©ÀÚ¿¡°Ô¼ ³ª¿Â¡± ¿¹¾ðµéÀÌ ºÐ¸íÈ÷ ¹àÇôÁÖ´Â °Íó·³, ¿¹¾ðµéÀÌ ÀǹÌÇÏ´Â °Íó·³ º¸ÀÌ´Â °ÍÀ»(¿Ü°ß»óÀ¸·Î ÀǹÌÇÏ´Â °Í) Ç×»ó ÀǹÌÇÏÁö´Â ¾Ê±â ¶§¹®¿¡ ¿¹¾ðÀº ¼ö¼ö²²³¢·Î Çؼ®µÇ¾î¾ß ÇÑ´Ù.
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¥³. Symbols
Blood
Blood is everywhere in ¡°Macbeth¡±, beginning with the opening battle between the Scots and the Norwegian invaders, which is described in harrowing terms by the wounded captain in Act 1, scene 2. Once Macbeth and Lady Macbeth embark upon their murderous journey, blood comes to symbolize their guilt, and they begin to feel that their crimes have stained them in a way that cannot be washed clean. ¡°Will all great Neptune¡¯s ocean wash this blood / Clean from my hand?¡± Macbeth cries after he has killed Duncan, even as his wife scolds him and says that a little water will do the job (2.2.58–59). Later, though, she comes to share his horrified sense of being stained: ¡°Out, damned spot; out, I say . . . who would have thought the old man to have had so much blood in him?¡± she asks as she wanders through the halls of their castle near the close of the play (5.1.30–34). Blood symbolizes the guilt that sits like a permanent stain on the consciences of both Macbeth and Lady Macbeth, one that hounds them to their graves.
The Weather
As in other Shakespearean tragedies, Macbeth¡¯s grotesque murder spree is accompanied by a number of unnatural occurrences in the natural realm. From the thunder and lightning that accompany the witches¡¯ appearances to the terrible storms that rage on the night of Duncan¡¯s murder, these violations of the natural order reflect corruption in the moral and political orders.
Most of the major events of the play are foreshadowed before they take place, although the hints can be incomplete or misleading. For example, when the witches first meet Macbeth, they reveal that he will someday be king, but they do not specify that he will obtain that position by murdering Duncan. The frequent use of foreshadowing also raises questions of agency and moral responsibility; to what extent is Macbeth responsible for his choices and actions, and to what extent is he simply fated to carry out these particular actions?
¥³. »ó¡
ÇÇ
¡°Macbeth¡±¿¡´Â 1¸· 2Àå¿¡¼ ºÎ»ó´çÇÑ ºÎ´ëÀå¿¡ ÀÇÇؼ ±«·Î¿î ¿ë¾î·Î ¼³¸íµÇ´Â ½ºÄÚƲ·£µåÀεé°ú ³ë¸£¿þÀÌ Ä§·«±º »çÀÌÀÇ ËÒØ(°³¸·) ÀüÅõ·Î ½ÃÀÛÇؼ ¾îµð¿¡³ª ÇÇ°¡ ÀÖ´Ù. Macbeth¿Í Lady Macbeth°¡ »ìÀÎÀÇ Ô³ïï(µµÁ¤)¿¡ ÀÏ´Ü ¿Ã¶úÀ» ¶§, ÇÇ´Â ±×µéÀÇ Á˸¦ »ó¡ÇÏ°Ô µÇ°í ±×µéÀº ±×µéÀÇ ¹üÁË´Â ±ú²ýÀÌ ¾Ä¾î³¾ ¼ö ¾øÀ» Á¤µµ·Î ±×µéÀ» ÇÇ·Î ¾ó·èÁö°Ô ÇÏ¿´´Ù´Â °ÍÀ» ´À³¢±â ½ÃÀÛÇÑ´Ù. ¡°À§´ëÇÑ úãê(ÇؽÅ)ÀÇ ¸ðµç ¹Ù´å¹°ÀÌ ÀÌ ÇǸ¦/ ³» ¼ÕÀ¸·ÎºÎÅÍ ±ú²ýÀÌ ¾Ä¾î³¾ ¼ö ÀÖÀ»±î?¡±¶ó°í Macbeth´Â ½ÉÁö¾î ¾Æ³»°¡ ±×¸¦ ²ÙÁßÇÏ°í ¾à°£ÀÇ ¹°ÀÌ ±× ÀÏ(ÇǸ¦ ¾Ä¾î³»´Â °Í)À» ÇÒ ¼ö ÀÖÀ» °ÍÀ̶ó°í ¸»ÇÏ´Â Áß¿¡µµ DuncanÀ» »ìÇØÇÑ ÈÄ¿¡ ¼Ò¸® Áö¸¥´Ù. ±×·¯³ª ±× ÈÄ ±×³à´Â ±×ÀÇ ÇÇ·Î ¾ó·èÁ® ÀÖ´Ù´Â °øÆ÷°¨À» °øÀ¯ÇÏ°Ô µÈ´Ù: ¡°¾ø¾îÁ®¶ó, ¸ÁÇÒ ÈçÀû¾Æ; ¾ø¾îÁö¶ó´Ï±î¡¦ ±× ³ëÀÎ(Duncan)ÀÌ ±×·¸°Ôµµ ÇÇ°¡ ¸¹À¸¸®¶ó°í ´©°¡ »ý°¢ÇÏ¿´°Ú½À´Ï±î?¡±¶ó°í ±×³à´Â ±ØÀÇ ³¡¿¡ °¡¼ àòÀÇ ³ÐÀº ¹æµé(halls)À» ÅëÇؼ ¹æȲÇÏ¸é¼ ¹¯´Â´Ù. ÇÇ´Â Macbeth¿Í Lady MacbethÀÇ ¾ç½É À§¿¡ ¿µ¿øÇÑ çýïÇ(¿ÀÁ¡)ó·³ ¾É¾Æ ÀÖ´Â Á˸¦ »ó¡ÇÏ¸ç ±×µéÀÇ ¹«´ý±îÁö »ç³É°³Ã³·³ ÃßÀûÇÏ´Â ¿ÀÁ¡ÀÌ´Ù.
³¯¾¾
´Ù¸¥ ShakespeareÀÇ ºñ±Ø¿¡¼Ã³·³ "Macbeth"ÀÇ ±â±«ÇÑ »ìÀÎ ÀÜÄ¡ÆÇÀº ÀÚ¿¬°èÀÇ ¸¹Àº ÀÌ»óÇÑ(unnatural) »ç°Ç(occurrences)¿¡ ÀÇÇØ µ¿¹ÝµÈ´Ù. ¸¶³àµéÀÇ ÃâÇö¿¡ µ¿¹ÝÇϴ õµÕ°ú ¹ø°³·ÎºÎÅÍ DuncanÀÌ ÇÇ»ìµÇ´Â ¹ã¿¡ ±¤¶õ(rage)ÇÏ´Â °¡°øÇÒ Æødz¿¡ À̸£±â ±îÁö À̵é ÀÚ¿¬ Áú¼ÀÇ À§¹ÝÀº µµ´öÀû, Á¤Ä¡Àû Áú¼ÀÇ ºÎÆи¦ ¹Ý¿µÇÑ´Ù.
±ØÀÇ ´ëºÎºÐÀÇ ÁÖ¿ä »ç°ÇÀº, ºñ·Ï ±× ¾Ï½Ã´Â ºÒ¿ÏÀüÇÏ°í ¿ÀµµÀûÀÏ ¼ö ÀÖÁö¸¸, ÀϾ±â Àü¿¡ îñð¼(ÀüÁ¶) µÈ´Ù. ¿¹¸¦ µé¸é, ¸¶³àµéÀÌ Macbeth¸¦ óÀ½ ¸¸³¯ ¶§, ±×µéÀº ±×°¡ ¾ðÁ¨°¡´Â ¿ÕÀÌ µÉ °ÍÀ̶ó´Â °ÍÀ» ¹àÇôÁÖÁö¸¸ ±×µéÀº ±×°¡ DuncanÀ» »ìÇØÇÏ°í ±× ÁöÀ§¸¦ ȹµæÇÏ°Ô µÉ °ÍÀ̶ó°í ÀÚ¼¼ÇÏ°Ô ¸»ÇÏÁö´Â ¾Ê´Â´Ù. ÀüÁ¶ÀÇ ºó¹øÇÑ »ç¿ëÀº ¶ÇÇÑ ¼·¸®(½ÅÀÇ)¿Í µµ´öÀû Ã¥ÀÓ¿¡ ´ëÇÑ Àǹ®À» Á¦±âÇÑ´Ù; Macbeth´Â ±×ÀÇ ¼±Åðú Çൿ¿¡ ´ëÇؼ ¾î´À Á¤µµ±îÁö Ã¥ÀÓÀÌ ÀÖÀ¸¸ç ±×¸®°í ¾î´À Á¤µµ±îÁö ±×´Â ´Ü¼øÈ÷ ÀÌ·± ƯÁ¤ ÇàÀ§¸¦ Çϵµ·Ï ¿î¸í Áö¿öÁ® Àִ°¡?
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¥´. Foreshadows
The rebellion of the first Thane of Cawdor
The play opens with the Thane of Cawdor, a Scottish nobleman, attempting to raise a rebellion against Duncan and gain the throne for himself. The rebellion is defeated, but these events hint that the political state of the kingdom is unstable and foreshadow Macbeth¡¯s own plot to seize power. The foreshadowing becomes even more explicit when Macbeth is awarded the title of the disgraced nobleman, becoming the Thane of Cawdor himself. The audience suspects that Macbeth is going to follow in the traitorous footsteps of the man who previously held the title.
The witches¡¯ prophecies to Banquo and Macbeth
When they first encounter Banquo and Macbeth, the witches predict that Macbeth will become Thane of Cawdor and eventually King of Scotland, and that Banquo will become the ancestor to a line of kings without actually ruling himself. These prophecies foreshadow events that will happen later in the play, such as the murder of Duncan and the escape of Fleance. Macbeth does not simply wait to see if the predicted events will come to pass, but shapes his actions toward either encouraging them to happen or trying to prevent them (for example, he plans to kill Banquo and Fleance to make sure the prophecy does not come true).
Macbeth hearing a voice cry ¡°Sleep no more!¡±
When Macbeth tells his wife about his experience murdering Duncan, he says that he thought he heard a voice cry out ¡°Sleep no more!¡± This statement implies Macbeth will never again be at peace or have a clean conscience, and will never be able to rest easy. The statement foreshadows the guilt and paranoia that will torment both Macbeth and his wife for the rest of the play. It also more literally foreshadows Macbeth¡¯s insomnia and Lady Macbeth¡¯s sleep-walking as symptoms of their guilty consciences.
¥´. ÀüÁ¶
Cawdor ÀÇ Ã¹Â° ¿µÁÖÀÇ ¹Ý¶õ
±ØÀº Scotland±ÍÁ·ÀÎ Cawdor¿µÁÖ°¡ Duncan¿¡°Ô ÚãÐý(¹Ý±â)¸¦ µé°í ½º½º·Î ¿ÕÁ¸¦ Â÷ÁöÇÏ·Á°í ½ÃµµÇÏ¸é¼ ½ÃÀ۵ȴÙ. ¹Ý¶õÀº ÆйèÇÏÁö¸¸ ÀÌ »ç°ÇÀº ¿Õ±¹ÀÇ Á¤Ä¡»óȲÀÌ ºÒ¾ÈÁ¤ÇÏ´Ù´Â °Í°ú MacbethÀÚ½ÅÀÇ ±Ç·ÂÀå¾Ç À½¸ð¸¦ ÀüÁ¶ÇÏ°í ÀÖ´Ù´Â °ÍÀ» ¾Ï½ÃÇÑ´Ù. ±× ÀüÁ¶´Â Macbeth°¡ ±× ÆĸéµÈ(disgraced) ±ÍÁ·(Cawdor¿µÁÖ)ÀÇ Á÷À§¸¦ ¹°·Á¹Þ°í ±× ÀÚ½ÅÀÌ CawdorÀÇ ¿µÁÖ°¡ µÉ ¶§¿¡ ´õ¿í´õ ¸í¹éÇØÁø´Ù. °üÁßÀº Macbeth°¡ ±× ¿µÁÖÀÇ Á÷À§¸¦ °¡Á³´ø »ç¶÷ÀÇ ¹Ý¿ªÀÇ ¹ßÀÚ±¹À» µû¶ó°¥ °ÍÀ̶ó´Â »ý°¢À» ÇÏ°Ô µÈ´Ù.
Banquo¿Í Macbeth¿¡ ´ëÇÑ ¸¶³àµéÀÇ ¿¹¾ð
±×µéÀÌ Banquo¿Í Macbeth¸¦ óÀ½À¸·Î ðäéç(Á¶¿ì)ÇÒ ¶§ ¸¶³àµéÀº Macbeth´Â ¸ÕÀú CawdorÀÇ ¿µÁÖ°¡ µÇ°í ±×¸®°í´Â °á±¹ ScotlandÀÇ ¿ÕÀÌ µÉ °ÍÀ̶ó°í ¿¹¾ðÇÏ°í ¶Ç Banquo´Â ÀÚ½ÅÀÌ ½ÇÁ¦·Î ÅëÄ¡ÇÏÁö´Â ¾ÊÁö¸¸ èÝÊ«(¿Õ°¡: a line of kings)ÀÇ Á¶»óÀÌ µÉ °ÍÀ̶ó°í ¿¹¾ðÇÑ´Ù. ÀÌ ¿¹¾ðµéÀº DuncanÀÇ ÇÇ»ì°ú FleanceÀÇ µµÇÇ °°Àº, ±Ø¿¡¼ ÈÄ¿¡ ÀϾ »ç°ÇµéÀ» ÀüÁ¶ÇÏ°í ÀÖ´Ù. Macbeth´Â ¿¹¾ðµÈ ÀÏÀÌ ÀϾÁö ¾Æ´ÒÁö¸¦ º¸±â À§Çؼ ´Ü¼øÈ÷ ±â´Ù¸®Áö ¾Ê°í ±× ¿¹¾ðµéÀÌ ÀϾµµ·Ï ÃËÁøÇÏ´Â ÂÊÀ¸·Î, ±×°ÍµéÀ» ¿¹¹æÇϱ⠿ìÇؼ ³ë·ÂÇÏ´Â ÂÊÀ¸·Î ÇൿÀ» ÃëÇÑ´Ù (¿¹¸¦ µéÀÚ¸é, ¿¹¾ðÀÌ ½ÇÇöµÇÁö ¾Êµµ·Ï Çϱâ À§Çؼ Banquo¿Í Fleance¸¦ Á×ÀÏ °èȹÀ» ¼¼¿î´Ù.)
ÇÑ ¸ñ¼Ò¸®°¡ ¡°´õ ÀÌ»ó ÀáÀÚÁö¸¶!¡±¶ó°í ¼Ò¸® Áö¸£´Â °ÍÀ» µè°í ÀÖ´Â Macbeth
Macbeth°¡ DuncanÀ» Á×ÀÎ °æÇèÀ» ¾Æ³»¿¡°Ô ¸»ÇÒ ¶§¿¡ ±×´Â ÇÑ ¸ñ¼Ò¸®°¡ ¡°´õ ÀÌ»ó ÀáÀÚÁö¸¶!¡±¶ó°í ¼Ò¸® Áö¸£´Â °ÍÀ» µé¾ú´Ù°í »ý°¢Çß¾ú´Ù°í ¸»ÇÑ´Ù. ÀÌ ¸»(statement)Àº Macbeth´Â °áÄÚ ¸¶À½ÀÌ ÆòȷӰųª ÀǽÄÀÌ ¸¼Áö ¾ÊÀ» °ÍÀ̸ç, ±×¸®°í ±×´Â °áÄÚ ÆíÈ÷ ½¬Áö´Â ¸øÇÒ °ÍÀ̶ó´Â °ÍÀ» ¾Ï½ÃÇÑ´Ù. ±×ÀÇ ¸»(the statement)Àº Macbeth¿Í ±× ÀÇ ¾Æ³»¸¦ ±ØÀÇ ³ª¸ÓÁö ºÎºÐ µ¿¾È °í¹®ÇÒ ÁË¿Í ÆíÁýÁõÀ» ÀüÁ¶ÇÏ°í ÀÖ´Ù. ±×°ÍÀº ¶ÇÇÑ ±×µéÀÇ ÁËÀǽÄÀÇ Áõ»óÀ¸·Î¼ MacbethÀÇ ºÒ¸éÁõ°ú Lady MacbethÀÇ ¸ùÀ¯º´À» ´õ¿í´õ ³ë°ñÀûÀ¸·Î(literally) ÀüÁ¶ÇÏ°í ÀÖ´Ù.
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Macbeth¡¯s bloody hands
When Macbeth first meets his wife after murdering Duncan, his hands are covered in blood. This image foreshadows the fact that Macbeth is going to commit more violent acts. It also foreshadows how Lady Macbeth¡¯s guilt will eventually drive her mad. Later in the play, she will hallucinate that she is perpetually washing her hands, unable to clean them, which symbolizes her inability to find peace after her involvement in the murder. When Lady Macbeth states, ¡°What, will these hands ne¡¯er be clean?¡± (5.1.39), she demonstrates that she is suffering the torment foreshadowed on the night of the murder.
Predictions about threats to Macbeth
In Act 4, Scene 1, the witches make a number of predictions that Macbeth interprets as being in his favor. For example, they predict that no one borne of a woman will harm him. These predictions serve as ironic foreshadowing because they hint at events to come later, including Macbeth¡¯s death at the hands of Macduff, and show how Macbeth misinterprets prophecies based on his own arrogance. Because he wants to believe that he will be able to maintain power, he makes assumptions about what the prophecies are predicting and then uses these assumptions to justify continuing to commit crimes. Foreshadowing does not simply hint at what events will come, but shapes the events of the plot based on how characters respond to what they believe is being predicted.
MacbethÀÇ ÇÇ ¹¯Àº ¼Õ
Macbeth°¡ DuncanÀ» Á×ÀÎ ÈÄ¿¡ ±×ÀÇ ¾Æ³»¸¦ óÀ½ ¸¸³¯ ¶§, ±×ÀÇ µÎ ¼ÕÀº ÇÇ·Î µ¤¿© ÀÖ´Ù. ÀÌ À̹ÌÁö´Â Macbeth°¡ ´õ ¸¹Àº Æø·ÂÀûÀÎ ÇൿÀ» ¹üÇÒ °ÍÀ̶ó´Â »ç½ÇÀ» ÀüÁ¶ÇÑ´Ù. ±× °ÍÀº ¶ÇÇÑ Lady MacbethÀÇ ÁË°¡ °á±¹ ¾î¶»°Ô ±×³à¸¦ ±¤±â·Î ¸ô¾Æ°¥ °ÍÀ̶ó´Â °ÍÀ» ÀüÁ¶ÇÑ´Ù. ±ØÀÇ µÚ¿¡ °¡¼, ±×³à´Â ¼ÕÀ» ±ú²ýÀÌ ÇÒ ¼ö ¾øÀÌ, ¼ÕÀ» ¿µ¿øÈ÷ ¾Ä°í ÀÖ´Ù´Â Âø°¢À» ÇÒ °ÍÀ̸ç, ÀÌ°ÍÀº ±×³à°¡ »ìÀο¡ °¡´ãÇÑ ÈÄ¿¡ Æòȸ¦ ãÀ» ¼ö ÀÖ´Â ´É·ÂÀÌ ¾øÀ½À» »ó¡ÇÑ´Ù. Lady Macbeth°¡, ¡°¹«¾ù? ÀÌÁ¦´Â ÀÌ ¼ÕµéÀÌ °áÄÚ ±ú²ýÇØÁöÁö ¾ÊÀ» °ÍÀ̶ó´Â ¸»Àΰ¡?¡±¶ó°í ¸»ÇÒ ¶§ ±×³à´Â »ìÀÎÀÇ ¹ã¿¡ ÀüÁ¶µÇ¾ú´ø °í¹®À¸·ÎºÎÅÍ °íÅëÀ» ´çÇÏ°í ÀÖ´Ù´Â °ÍÀ» ³ªÅ¸³»°í ÀÖ´Ù.
MacbethÀÇ À§Çè¿¡ ´ëÇÑ ¿¹¾ð
4¸·1Àå¿¡¼ ¸¶³àµéÀº Macbeth°¡ Àڽſ¡°Ô À¯¸®ÇÏ´Ù°í »ý°¢ÇÏ´Â ¸¹Àº ¿¹¾ðµéÀ» ÇÑ´Ù. ¿¹¸¦ µé¾î, ±×µéÀº ¿©ÀÚ¿¡°Ô¼ ÅÂ¾î³ ÀÚ´Â ´©±¸µµ ±×¸¦ ÇØÄ¥ ¼ö ¾øÀ» °ÍÀ̶ó°í ¿¹¾ðÇÑ´Ù. ÀÌµé ¿¹¾ðµéÀº Macbeth°¡ MacduffÀÇ ¼Õ¿¡ Á×´Â °ÍÀ» Æ÷ÇÔÇؼ ±× µÚ¿¡ ¿À´Â »ç°ÇµéÀ» ¾Ï½ÃÇϱ⠶§¹®¿¡, ±×¸®°í Macbeth°¡ ±× ÀÚ½ÅÀÇ ¿À¸¸À» ¹ÙÅÁÀ¸·Î ¿¹¾ðÀ» ¾î¶»°Ô è¦æ»(¿À¿ª)ÇÏ°í Àִ°¡¸¦ º¸¿©Áֱ⠶§¹®¿¡ ÚãåÞîÜ(¹Ý¾îÀû: ironic) ÀüÁ¶·Î¼ ¿ªÇÒÀ» ÇÑ´Ù. ±×°¡ ±Ç·ÂÀ» À¯ÁöÇÒ ¼ö ÀÖÀ» °ÍÀ̶ó°í ¹Ï±â¸¦ ¿øÇϱ⠶§¹®¿¡ ±×´Â ¿¹¾ðÀÌ ¿¹»óÇÏ°í ÀÖ´Â °Í¿¡ ´ëÇؼ »ç½ÇÀ̶ó°í °¡Á¤ÇÏ°í(makes assumptions) ±×·¯°í ³ª¼´Â ÀÌ °¡Á¤À» ¹üÁ˸¦ °è¼ÓÇÏ´Â °ÍÀ» Á¤´çÈÇϱâ À§Çؼ ÀÌ¿ëÇÑ´Ù. ÀüÁ¶´Â ´Ü¼øÇÏ°Ô ¹«½¼ ÀÏÀÌ ÀϾ °ÍÀΰ¡¿¡ ´ëÇؼ ¾Ï½Ã¸¸ ÇÏ´Â °ÍÀÌ ¾Æ´Ï°í Àι°µéÀÌ ¿¹¾ðµÇ°í ÀÖ´Â °Í¿¡ ¹ÝÀÀÇÏ´Â ¹æ¹ý¿¡ ¹ÙÅÁÀ» µÐ ÁٰŸ®ÀÇ »ç°ÇµéÀ» Çü¼ºÇÑ´Ù.
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¥´. Tone
The tone of the play is fatalistic, creating the sense that the natural world has been thrown out of order by Macbeth¡¯s unnatural ascension to the throne. Violence or the possibility of violence exists throughout, and there are very few light or playful moments. The play opens in the aftermath of a bloody battle, and even though the rebels have been defeated, this opening creates an unstable and threatening atmosphere and a tone of justified fear. The appearance of the witches suggests that the world of the play is one where supernatural elements can torment humans and unleash dark forces against them. The first time the witches appear, their references to ¡°fair is foul and foul is fair,¡± and ¡°fog and filthy air¡± convey the sense of an impending storm, and the elements in conflict with each other. The setting, the references to battle, and the natural phenomena all serve to quickly create a tone suggesting that the world is a hostile place.
After Macbeth murders Duncan, the tone becomes even more foreboding, as Macbeth¡¯s guilt causes him to become paranoid. Rather than appearing triumphant when he returns to his wife in Act 2, Scene 2, Macbeth is horrified. He worries that he was unable to say the word ¡°Amen¡±, indicating that he has possibly damned his soul, and he also reveals that ¡°methought I heard a voice cry, ¡°Sleep no more!¡± (2.2.38). This moment could have been triumphant for Macbeth and his wife, but instead is the turning point after which neither of them will ever be able to feel a sense of peace again. Adding to Macbeth¡¯s own paranoia and guilt, the world itself seems to have come unhinged from reality. Immediately after Duncan¡¯s death, an Old Man reports that a falcon was killed by an owl, and Duncan¡¯s horses ate each other.
¥´. ëåðà
±ØÀÇ À½Á¶´Â MacbethÀÇ ºÎÀÚ¿¬ÇÑ ¿ÕÁ µî±Ø¿¡ ÀÇÇؼ ÀÚ¿¬°è°¡ ¹«Áú¼ÇÏ°Ô µÇ¾ú´Ù´Â ´À³¦À» ¸¸µé¾î³»¸é¼ ¼÷¸íÀûÀÌ µÈ´Ù. Æø·ÂÀ̳ª Æø·ÂÀÇ °¡´É¼ºÀÌ ±Ø Àüü¿¡ Á¸ÀçÇÏ°í ¹à°Å³ª ¸í¶ûÇÑ ¼ø°£Àº °ÅÀÇ ¾ø´Ù. ±ØÀº ÇÇ ºñ¸°³» ³ª´Â ÀüÅõ Á÷ÈÄ¿¡ ¿¸®°í ºñ·Ï ¹Ý¶õ±ºÀº ÆйèÇÏ¿´Áö¸¸ ÀÌ °³¸·Àå¸é(opening)Àº ºÒ¾ÈÇÏ°í À§ÇùÀûÀÎ ºÐÀ§±â¿Í ÃæºÐÇÑ ±Ù°Å°¡ ÀÖ´Â(justified) °øÆ÷ÀÇ À½Á¶¸¦ âÁ¶ÇØ ³½´Ù. ¸¶³àµéÀÇ ÃâÇöÀº ±ØÀÇ ¼¼°è´Â ÃÊÀÚ¿¬Àû ¿äÀεé(elements)ÀÌ Àΰ£µéÀ» °í¹®ÇÏ°í Àΰ£¿¡ ´ëÇ×Çؼ ¾îµÎ¿òÀÇ ¼¼·ÂÀ» Ç®¾î ³õÀ» ¼ö ÀÖ´Â ¼¼°è¶ó´Â °ÍÀ» ¾Ï½ÃÇÑ´Ù. ¸¶³àµéÀÌ Ã³À½ ³ªÅ¸³¯ ¶§ ¡°¿¹»Û °ÍÀº ÃßÇÑ °Í, ÃßÇÑ °ÍÀº ¿¹»Û °Í. ¾È°³¿Í ´õ·¯¿î °ø±â.¡±¶ó´Â ±×µéÀÇ ¾ð±ÞÀº ÀÓ¹ÚÇÑ ÆødzÀÇ ´À³¦°ú »óÈ£ °¥µîÇÏ°í ÀÖ´Â ¿äÀεéÀ» Àü´ÞÇÏ°í ÀÖ´Ù. ¹è°æ, ÀüÅõ¿¡ ´ëÇÑ ¾ð±Þ, ±×¸®°í ÀÚ¿¬Çö»ó ¸ðµÎ´Â ¼¼°è´Â Àû´ëÀûÀÎ Àå¼Ò¶ó´Â °ÍÀ» ¾Ï½Ã ÇÏ´Â À½Á¶¸¦ »¡¸® âÁ¶ÇÏ´Â µ¥ ±â¿ªÇÏ°í ÀÖ´Ù.
Macbeth°¡ DuncanÀ» Á×ÀÎ ÈÄ¿¡ MacbethÀÇ ÁË°¡ ±×·Î ÇÏ¿©±Ý ÆíÁýÁõ¿¡ ºüÁö°Ô ÇÏ´Â ¿øÀÎÀÌ µÊ¿¡ µû¶ó À½Á¶´Â ´õ¿í´õ ºÒ±æÇÏ°Ô µÈ´Ù. 2¸·2Àå¿¡¼ ±×°¡ ¾Æ³»¿¡°Ô µ¹¾Æ ¿Ã ¶§ Macbeth´Â ÀDZâ¾ß¾çÇÏ°Ô º¸À̱⺸´Ù´Â °øÆ÷¿¡ Áú·ÁÀÖ´Ù. ±×´Â ±×°¡ ¾Æ¸¶µµ ¿µÈ¥À» ÀúÁÖÇÏ°Ô µÇ¾ú´Ù°í ÁöÀûÇÏ¸é¼ ¡°Amen¡±À̶ó´Â ´Ü¾î¸¦ ¸» ÇÒ ¼ö ¾ø¾ú´Ù°í °ÆÁ¤ÇÏ°í ¶Ç ¡°ÀÌÁ¦ ºÎÅÍ´Â ÀáÀ» ÀÌ·çÁö ¸øÇÑ´Ù! ¶ó´Â ¼Ò¸®¸¦ µé¾ú´ø °Í °°¼Ò¡±¶ó°í ¹àÈù´Ù. Macbeth¿Í ±×ÀÇ ¾Æ³»¿¡°Ô´Â ÀÌ ¼ø°£ÀÌ ½Â¸®°¨À¸·Î µµÃëµÉ ¼ö ÀÖ¾úÀ» Å×Áö¸¸ ´ë½Å ÀÌ ¼ø°£Àº ÀÌÈķδ ±×µé ÁßÀÇ ´©±¸µµ ´Ù½Ã´Â Æòȸ¦ ´À³¥ ¼ö ¾ø°Ô µÉ ÀüȯÁ¡ÀÌ µÈ´Ù. Macbeth ÀÚ½ÅÀÇ ÆíÁýÁõ°ú ÁË¿¡ ´õÇÏ¿© ¼¼»ó ÀÚü°¡ ãùî¤(½ÇÀç)·ÎºÎÅÍ ¶³¾îÁ® ³ª¿Â °Íó·³ º¸ÀδÙ. DuncanÀÇ »ç¸Á ÈÄ Áï½Ã ¸Å°¡ ¿Ã»©¹Ì¿¡ ÀÇÇØ »ìÇصǰí DuncanÀÇ ¸»µéÀÌ ¼·Î¸¦ Àâ¾Æ¸Ô¾ú´Ù°í ¾Ë¸°´Ù.
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At the banquet in Act 3, Scene 4, Macbeth is tormented by visions of Banquo¡¯s ghost, leaving him panicking that ¡°the time has been/That, when the brains were out, the man would die/And there an end. But now they rise again¡± (3.4.78-80). The rules of nature no longer apply: sleep disappears; the dead re-appear; animals become cannibals.
By the end of the play, the tone has devolved from fearful and foreboding to deeply pessimistic. Both Macbeth and Lady Macbeth disintegrate from the charismatic and keenly intelligent characters we see at the beginning of the play into shadows of their former selves. Lady Macbeth kills herself, tormented by guilt. ¡°What¡¯s done cannot be undone, she says,¡± (5.1.60-61) reflecting her despair. While Lady Macbeth began the play as a woman who believed she could change the course of her destiny, she ends it without any sense of agency, resigned to the consequences of her tragic mistake. Macbeth persists in his arrogant belief that the witches¡¯ prophecies mean he is indestructible until he is confronted by the actual truth of their words. When a messenger reports that Birnam Wood is in fact approaching Dunsinane, Macbeth realizes all is lost, and resolves to face his death, seeming to even welcome it. ¡°I ¡®gin to be aweary of the sun/ And wish th¡¯ estate o¡¯ th¡¯ world were now undone,¡± he says. By the time he meets Macduff in battle, he seems fatalistically curious about how a man ¡°not of woman born¡± will kill him, no longer convinced he is actually invulnerable. The final scene has a fatalistic tone as Macbeth finally accepts his mortality and realizes he is not above the laws of nature.
3¸· 4Àå æÃüå(¿¬È¸)¿¡¼ Macbeth´Â BanquoÀÇ À¯·ÉÀÇ È¯»ó¿¡ ÀÇÇؼ °í¹®´çÇÏ´Â °íÅëÀ» ¹Þ°í À¯·ÉÀº ±×¸¦ ¡°±×·¯³ª ¿¹Àü¿¡´Â/ °ñÀÌ ÅÍÁ® ³ª¿À¸é »ç¶÷Àº ±×¸¸ Á×¾î¹ö¸®°í/ ³¡ÀåÀÌ ³ª°í ¸»¾Ò´Âµ¥, Áö±ÝÀº °ñÅëÀÌ ½º¹« ±ºµ¥³ª Ä¡¸í»óÀ» ¹Þ°íµµ ´Ù½Ã »ì¾Æ ³ª¿Í¼, »ç¶÷À» ÀÇÀÚ¿¡¼ ¹Ð¾î³»´Ù´Ï, ÀÌ°ÍÀº ±×·± »ìÀκ¸´Ùµµ ´õ ±«ÀÌÇÑ ÀÏÀ̷δÙ.¡± ¶ó¸ç °øȲ»óÅ¿¡ ºüÁöµµ·Ï ¹æÄ¡ÇÑ´Ù. ÀÚ¿¬¹ýÄ¢Àº ´õ ÀÌ»ó Àû¿ëµÇÁö ¾Ê´Â´Ù: ÀáÀº »ç¶óÁø´Ù; Á×Àº ÀÚ°¡ ´Ù½Ã ³ªÅ¸³´Ù; µ¿¹°µéÀÌ µ¿Á·À» Àâ¾Æ¸Ô´Â µ¿¹°ÀÌ µÈ´Ù.
±ØÀÇ ³¡¿¡ °¡¸é À½Á¶´Â ¹«¼·°í ºÒ±æÇÑ °ÍÀ¸·ÎºÎÅÍ ¸Å¿ì ºñ°üÀûÀÎ °ÍÀ¸·Î ¾çµµµÈ´Ù. Macbeth¿Í Lady Macbeth µÑ ´Ù ±ØÀÇ Ãʱ⿡ ¿ì¸® ´«¿¡ ºñÄ¡´Â ÏíÒö(±Ç´É)ÀÌ ÀÖ°í ¸Å¿ì ÁöÀûÀÎ Àι°·ÎºÎÅÍ ±×µé ì¤îñ(ÀÌÀü) ÀÚ¾ÆÀÇ ¸Á·ÉÀ¸·Î ºØ±«µÇ¾î ¹ö¸°´Ù. Lady Macbeth´Â ÁË·Î °í¹®À» ¹Þ¾Æ¼ ÀÚ»ìÇÑ´Ù. ±×³àÀÇ Àý¸ÁÀûÀÎ ½ÉÁ¤À» ¹Ý¿µÇÏ¸é¼ ±×³à´Â ¡°Çѹø ÀÏ¾î³ ÀÏÀº µÇ µ¹ÀÌų ¼ö ¾ø½À´Ï´Ù,¡±¶ó°í ¸»ÇÑ´Ù. Lady Macbeth´Â ±ØÀÇ ÃÊ¿¡´Â ¿î¸íÀÇ Áø·Î¸¦ ÀÚ½ÅÀÌ ¹Ù²Ü ¼ö ÀÖ´Ù°í ¹Ï´Â ¿©ÀÎÀ¸·Î¼ ±ØÀ» ½ÃÀÛÇÑ ¹Ý¸é¿¡ ¾î¶² Èû(agency)ÀÇ ´À³¦µµ ¾øÀÌ ±×³à°¡ ÀúÁö¸¥ ºñ±ØÀû Âø¿ÀÀÇ °á°ú¿¡ ü³äÇÏ¸é¼ ±ØÀ» ³¡³½´Ù. Macbeth´Â ¸¶³àµéÀÇ ¸»ÀÇ ½ÇÁ¦Àû Áø½Ç°ú ¸¶ÁÖÄ¥ ¶§ ±îÁö ±×°¡ ºÒ¸êÀ̶ó´Â ¸¶³àµéÀÇ ¿¹¾ðÀº Áø½ÉÀ» ³ªÅ¸³»´Â °Í(mean)À̶ó´Â ¿À¸¸ÇÑ ¹ÏÀ½¿¡ ³¡±îÁö ÁýÂøÇÑ´Ù. ÇÑ ÞÅíº(»çÀÚ)°¡ Birnam½£ÀÌ ½ÇÁ¦·Î DunsinaneÀ¸·Î Á¢±ÙÇÏ°í ÀÖ´Ù°í º¸°íÇÒ ¶§ Macbeth´Â ¸ðµç °ÍÀÌ »ó½ÇµÇ¾ú´Ù´Â °ÍÀ» ±ú´Ý°í Á×À½À» ¸ÂÀÌÇÒ °á½ÉÀ» ÇÏ°í ½ÉÁö¾î Á×À½À» ȯ¿µÇÏ´Â °Íó·³ º¸ÀδÙ. ±×´Â ¡°Çظ¦ º¸´Â °Íµµ ½È¾îÁ³´Ù. ÀÌ ¿ìÁÖ(th¡¯ estate o¡¯ th¡¯ world: the universe)°¡ ´Ù ºÎ¼Á® ¹ö¸®¸é ÁÁ°Ú´Ù.¡±¶ó°í ¸»ÇÑ´Ù. ÀüÅõ¿¡¼ Macduff¸¦ ¸¸³¯ ¶§Âë¿¡´Â, ±×´Â ±×°¡ ½ÇÁ¦·Î Á×Áö ¾ÊÀ» °Í(invulnerable)À̶ó°í´Â ´õ ÀÌ»ó È®½ÅÇÏÁö ¾ÊÀ¸¸é¼µµ, ¾î¶»°Ô ¡°¿©ÀÚ¿¡¼ žÁö ¾ÊÀº¡± ³²ÀÚ°¡ ±×¸¦ Á×ÀÏ ¼ö ÀÖ´ÂÁö¿¡ ´ëÇؼ ¼÷¸íÀûÀ¸·Î È£±â½ÉÀ» °¡Áø´Ù. ¸¶Áö¸· Àå¸éÀº Macbeth°¡ Á×À½ÀÇ ¿î¸í(mortality)À» ¹Þ¾ÆµéÀÌ°í ±×´Â ÀÚ¿¬ÀÇ ¹ýÄ¢À» ÃÊ¿ùÇÒ ¼ö ¾ø´Ù´Â °ÍÀ» ±ú´ÞÀ¸¸é¼ ¼÷¸í·ÐÀûÀÎ À½Á¶¸¦ °¡Áø´Ù.