Ancient Psychology, Philosophy, And Macbeth

Heather Brodie 12/21/08 Pd. 7

Ancient Psychology, Philosophy, and Macbeth

Throughout Macbeth it is apparent that the storyline, produced by William Shakespeare, displays a latent paradigm of his own life, as well as certain social affairs of the time period. During the age of Shakespeare and his tragedy, Macbeth, “psychology” was virtually unheard of. Many people questioned the associations of the body, mind, and actions, and often times related them to aspects of their religion and faith. In addition, new scientific breakthroughs helped pave the way for how these relationships were viewed, and ultimately contributed to what we study, and continue to study in psychology today. One can infer that psychological issues were not readily cared for during the Elizabethan era, which can be seen in Shakespeare’s Macbeth through the biles of the body, the Wyrd sisters, and the emotional, mental, unbecoming transformation of Macbeth. According to the earliest Greek philosophers, the human body consists of four basic humors, or biles: black bile, red bile (blood), yellow bile, and phlegm. A balance of these four humors results in adequate health. However, an imbalance of one or more of the humors could lead to disease, mental instability, or personality changes for the individual. A number of possible situations involving the biles could have easily been influential on Shakespeare, either consciously or subconsciously, during his writing. Macbeth’s struggles with morality and ethicality are evident throughout the story, and are comparable to Arab psychologist Ishaq ibn Imran’s studies of excesses of black bile. What Imran found is that an excess of black bile results in “malikhuliya” which translates to English, melancholia. Sudden movement, foolish acts, fear,

delusions, and hallucinations, were said to be the most common symptoms, according to Imran (Melan.). “Lennox

Here, my good lord. What is’t that moves your highness? Macbeth Which of you have done this? Lords What, my good lord? Macbeth (to Ghost) Thou canst not say I did it. Never shake Thy glory locks at me. Ross Gentleman, rise. His highness is not well.” (III, iv, 51-55)

At the sight of Banquo’s ghost sitting in his seat, Macbeth displays more than one of the previously stated symptoms. Hallucinations, delusions, fear, and foolish acts all appear to manifestly portray Macbeth’s illness in this trifling scene. Thus, it is possible that Shakespeare used the relativity of the biles and human functioning to render themed temperaments for a number of the characters. Known for her power and persuasiveness over Macbeth, perhaps Lady Macbeth’s role throughout the tragedy is an anecdote as well. Her possible choleric disposition may be signifying the result of an excess of yellow bile (Four Temp.).

Shall sun that morrow see! Your face, my thane, is as a book where men May read strange matters. To beguile the time, Look like the time. Bear welcome in your eye, Your hand, your tongue. Look like th' innocent flower, But be the serpent under’t. He that's coming Must be provided for; and you shall put This night's great business into my dispatch, Which shall to all our nights and days to come Give solely sovereign sway and masterdom.

“Lady Macbeth O, Never

Macbeth We will speak further. Lady Macbeth Only look up clear. To alter favor ever is to fear. Leave all the rest to me.” (I, v, 51-65) It is plain to see that Lady Macbeth holds some form of power over Macbeth. She has just instructed him on how to greet King Duncan, and is careful in explaining the details, all the while Macbeth listens to her. A choleric tempered person does in fact gain pleasure from having power over others, as well as by holding leadership roles. Hence, how Lady Macbeth tells Macbeth that he can rely on her for the affair to run smoothly. In addition to biles and humors, the Wyrd sisters play a fundamental role in the story of Macbeth as well. The idea of the Wyrd sisters comes along with fate and destiny, which are crucial to the tragedy. Because a man’s “weird” is his destiny, there is no doubt the Weird sisters are key factor of the outcome of each individual character, as well as the outcome of the story as a whole. Shakespeare felt that it was necessary to include the witches at various points throughout Macbeth, to emphasize their role. However, Macbeth’s fate is questionable. Was Macbeth destined to murder, gain power, and withstand his dissolving morals? This was his destiny according to the witches, and they were sure to make him aware of it. Oppositely, was it Macbeth’s destiny to remain in his role as thane of Glamis, until the witches came along and put opposing ideas into his head? The dispute over which of the opposing fates is the original remains argumentative. Whether the sisters were advocates of Macbeth’s true destiny, or simply three witches out to meddle with human fate still challenges many. In addition to Macbeth’s, the destinies of many other characters spur out of the weird sisters prophecies as well.

“First Witch All hail, Macbeth! Hail to thee, thane of Glamis! Second Witch All hail, Macbeth! Hail to thee, thane of Glamis! Third Witch All hail, Macbeth, that shalt be King hereafter!” (I, iii, 49-51) When Macbeth and Banquo come across the three witches in the woods, the witches immediately begin predicting the future and putting ideas into Macbeth’s head. Macbeth is flattered, and at the same time unduly confused by the comments. He realizes what these witches are suggesting is that something will happen to King Duncan, and Macbeth will succeed him. Another idea suggests that the witches are merely a figment of ones imagination. Possibly appearing as they please, for who they please. “Lennox What’s your grace’s will? Macbeth Saw you the weird sisters? Lennox No, my lord.” (IV, i, 141-143) Macbeth is shaken and bemused considerably by this statement by Lennox, ultimately causing Macbeth to become frustrated with the Wyrd sisters and their unreliability. Throughout the tragedy of Macbeth substantial factors define Macbeth’s transformation from a nobleman to madman, such as the biles and foretelling of the Wyrd sisters. More importantly, the one thing that has the chief role in this transformation is Macbeth himself. Focusing on ancient philosophical and psychological ideals, it is seen that these ideas are not so

far off from ideas of more modern theories. Ibn Rushd, a Muslim philosopher of the Middle Ages stated that “the human mind has two aspects. There is a passive intellect, which is composed of the potential for thought and carries the details that make one personality different from another, both physically and psychologically. It is a part of the body and dies with it. And there is an active intellect, which energizes the passive intellect. It is actually the same in each person, is the only part of us that survives death…” (Boeree). In reference to Shakespeare’s psychological demotion of Macbeth, this theory makes perfect sense. Macbeth begins the story with “both aspects” of his mind free and clear. Macbeth’s passive intellect, which is unique to himself and his own personality, eventually falls victim to the prophecies of the witches. Henceforth, the active intellect, which fuels it, serves as a form of encouragement. The first murder occurs. King Duncan. Macbeth is in a state of content; both aspects of his mind are in agreement. However, when the time comes to kill Banquo and Fleance, disagreement flairs. The clear, thought provoking, passive intellect is almost being forced to continue by the words of the witches. At the same time, the stimulating active intellect is experiencing feelings of guilt and remorse. While these feelings remain strong, the passive intellect remains completely submissive to the Wyrd sisters. This cognitive conflict results in hallucinations, delusions, and on a larger scale, Macbeth’s spiral into insanity. Menteith What does the tyrant? Caithness Great Dunsinane he strongly fortifies. Some say he’s mad, others that lesser hate him Do call it valiant fury. But, for certain, He cannot buckle his distempered cause Within the belt of rule. Angus Now does he feel

His secret murders sticking on his hands. Now minutely revolts upbraid his faith-breach. Those he commands move only in command, Nothing in love. Now does he feel his title Hang loose about him, like a giant’s robe Upon a dwarfish thief.” (V, ii, 12-22) Not only is Macbeth aware of his degrading transformation, but others clearly are as well. At this point in the story, Macbeth has fallen completely victim to the overpowering, conflicting thoughts that quarrel in his mind. He is now delusional, power-hungry, and deranged, all of which could have been prevented if he did not let himself pay attention to the ideas in the first place. “Macbeth Accursed be that tongue that tells me so, For it hath cowed my better part of man! And be these juggling fiends no more believed, That palter with us in a double sense, That keep the word of promise to our ear And break it to our hope. I’ll not fight with thee.” (V, viii, 17-22) When he realizes he is face to face with the one person the witches told him he could not defeat, Macbeth immediately loses all hope and courage. He lets this feeling of defeat and remorse get the best of him, and he loses his final battle. Macbeth’s struggles cost him much more than just his sanity. His torturous feelings costs many others’ lives, as well as his wife’s and his own, in the end. Macbeth can be seen in many different ways at the end. As Shakespeare intended, it is considered a tragedy. In other ways however, it is a story of hope and lessons learned. Macbeth becomes too caught up in his power and will, and eventually becomes a victim of himself. Occurring simultaneously, Lady Macbeth undergoes a transformation as well. Early on, she is a bright, enthusiastic leader. Nevertheless, by the end of the story she has lost all power. She is

haunted at night by terrible thoughts and dreams, and is forever scarred by bloody guilt. The balance of biles and humors, the Wyrd sisters and destiny, and Macbeth’s psychological transformation are all defining factors of the story in various ways. Macbeth represents the archetype of the lovable leader who got too caught up and lost sight of what was realistic, becoming a symbol of hate to his people. While just the opposite, Macduff displays the hero archetype. From philosophical symbols, such as Wyrd, and psychological evidence pertaining to the biles and the psyche, there is no doubt Shakespeare’s work is much more than a simple tragedy, but rather a journey involving endless amounts of triumph, defeat, glory, and misfortune.

Bibliography

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Tolman, Albert Harris. “The Weird Sisters”. The Views About Hamlet and Other Essays. New York: Houghton, Mifflin and Co., 1904. pg. 89-95.

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