The Treatment of the Lower Class in Macbeth

Issues regarding social class often tend to stem from innate human desires for power and influence. Throughout history, power has been shown to be a very dangerous tool for those who are not fit to hold it, and this topic is extremely prevalent in the tragic play, Macbeth, written by William Shakespeare. Throughout the play, Macbeth’s gradual transition from a brave and noble soldier to a corrupted king, is initially heavily influenced by his manipulative wife, Lady Macbeth, who pressures him to kill Duncan after hearing of the witches’ prophecies. However as time goes on, Macbeth is seen to break free from the influence of Lady Macbeth, and starts to make cruel and treasonous decisions of his own. Macbeth’s treatment of the lower, unnoble class directly reflects the shift in power and control that he undergoes in regards to his relationship with Lady Macbeth, as well as his changing interpretations of the witches’ prophecies. Therefore, characters of lower-class in Macbeth are mistreated and taken advantage of by Macbeth, for the purpose of demonstrating an ironic shift in Macbeth’s power and confidence throughout the play.

Firstly, the three murderers are convinced by Macbeth to kill Banquo and Fleance, in a similar fashion to how Lady Macbeth once convinced Macbeth to kill Duncan. A prevailing topic in this play is the idea of deviation from and conformation to traditional gender roles, and Macbeth effectively uses this idea to belittle the three murderers by saying, “Ay, in the catalogue ye go for men, As hounds and greyhounds… are clept All by the name of dogs: the valued file Distinguishes the swift, the slow, the subtle…” (3. 1. 95 - 99). Macbeth’s use of simile compares men to breeds of dogs, and explains that within the male gender, there are further sub-categories, such as the strong, the weak, the fast, and the slow. Here, Macbeth is directly attacking the murderers’ masculinity and implying that they are of the weak “breed” if they do not kill Banquo and Fleance. Macbeth’s intimidating and emasculating attitude towards the murderers is an ironic reminder, however, of when Lady Macbeth had attacked his own masculinity in an effort to convince him to kill Duncan, saying, “When you durst do it, then you were a man; And to be more than what you were, you would Be so much more the man.” (1. 7. 53 - 55). This demonstrates an ironic shift in power between him and Lady Macbeth throughout the play, with Macbeth now withholding information regarding Banquo’s murder from the woman who once had strong manipulative influence over his actions.

Furthermore, Macbeth takes advantage of his power over the murderers by saying, “And thence it is, That I to your assistance do make love…” (3. 1. 129 - 130). Macbeth’s sudden shift from using an emasculating and demeaning persuasive technique towards the murderers, to using flattery and kind diction such as “make love”, portrays the manipulative power that Macbeth has over the murderers to gain their trust, but is yet again an ironic reflection of the persuasive techniques that Lady Macbeth had once used on him. For instance, in Act 1 Scene 5, Lady Macbeth calls Macbeth, “Great Glamis” and “Worthy Cawdor”, in an effort to flatter him using his correctly prophesied titles, and help him imagine how “great” he could be if he gained the title of king. Therefore, the three murderers of lower-class are manipulated by Macbeth, for the purpose of showing Macbeth’s shift in power through ironic parallels regarding Lady Macbeth.

In the final act of the play, Macbeth can be seen treating his castle workers with increasing aggressiveness and anger, for the purpose of demonstrating the gradual loss in confidence he has in the witches’ prophecies regarding the English army’s invasion upon him. While initially Macbeth is completely reassured by the witches’ most recent prophecies, when a servant approaches him warning of the English army having ten thousand soldiers, he angrily replies, “The devil damn thee black, thou cream-faced loon! … Go prick thy face and over-red thy fear Thou lily-livered boy.” (5. 3. 11 -17). Here, Macbeth bursts into a fit of rage towards the servant, using colour imagery to comment on the lack of colour in the servant’s cheeks, signifying fear and cowardice, although the servant was merely doing his job to report information to Macbeth. Macbeth’s aggressiveness towards the servant is indicative of his paranoia, and the gradual and ironic realization that the witches have misled him, when not long before, he was certain he was completely safe.

This ironic shift in confidence within Macbeth is further shown through his treatment towards the messenger who warns him about Birnam Woods starting to move closer to the castle, with Macbeth calling him a “Liar and slave!” (5. 6. 37). Macbeth’s demeaning language towards the messenger, further proves his ironic revelation that he was fooled by the witches, but refuses to believe it. He then threateningly says, “If thou speak’st false, Upon the next tree shall thou hang alive Till famine cling thee” (5. 6. 42 - 43). This blatant death threat towards the messenger further demonstrates the gradually diminishing confidence in Macbeth, and can be seen as his effort to gain the last bit of power he has left, until he heads into a battle he now ironically knows he is bound to lose. Therefore, the demeaning treatment of Macbeth’s workers serves to reveal his gradual loss in confidence regarding the attack against him in the final act.

Overall, Macbeth highlights themes regarding the dire consequences of untamed power and corruption as the audience follows Macbeth through his treasonous acquisition and maintenance of power. Throughout the play, Macbeth can be seen treating various characters of lower-class in manipulative and demeaning ways, which serve to demonstrate an ironic shift in power from Lady Macbeth to him, as well as demonstrating his ironic loss in confidence regarding the witches’ final prophecies. Although written during the Renaissance, Macbeth continues to teach many important lessons regarding power, morality, and the conscience.