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Jacquelyn DiMarco
Introduction to Shakespeare: Neelakanta
Final Paper
3 December 2009
The Analysis of Blood in Macbeth
In literary works, authors use symbolism to reveal truths and ideas in the plot. A common
symbol utilized is blood. The interpretation of blood varies accordingly, many times signifying
both good and bad. In William Shakespeare’s Macbeth, the mark of blood is arguably the most
dominant throughout all of the play. “Blood punctuates so many of the melancholy, twisted
events in Shakespeare’s Macbeth” (Als). On the surface, the excessive amount of blood in this
play represents the many murders committed by Macbeth, but in addition, it stands for qualities
of human nature and shows the full transformation of the Macbeth’s characters. “As it happens,
nowhere in ‘Macbeth’ is blood blood” (Als). In Macbeth, the inescapable surplus of blood
symbolizes courage, greed for power, fear, and guilt.
At the beginning of the play, blood denotes Macbeth’s bravery. When fighting for
Scotland, Macbeth cuts the enemy open in half from his navel to his chin killing the opponent
instantly. As a result, Macbeth is recognized as a hero. His eagerness to kill in battle is a sign of
valor. King Duncan states, “Brave Macbeth -well he deserves that name- [d]isdaining fortune,
with his brandish’d steel [w]hich smok’d with bloody execution” (Shakespeare qtd. in Long 31).
“This ‘bloody execution’ sounds brutal; but the epic rhetoric also makes it sound magnificent”
(Long 31). Macbeth’s actions deem him a courageous soldier. In addition, Macbeth’s sword is
stained with blood that speaks of honorable fighting for the king and his country. The king
shouts to Macbeth, “Oh valiant cousin! Worthy gentleman” (Shakespeare I. ii. 26)! Macbeth is
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promoted in the social hierarchy to the “Thane of Cawdor” because of his ability to fight. The
brutality and ease of Macbeth’s killing is irrelevant because a soldier is automatically associated
with greatness. The loss of blood in this instance shows Macbeth’s strength of character and the
exceptional skill of a soldier.
Another characteristic indicated by blood is the Macbeths’ greed for power. Macbeth
learns from the witches’ prophecies that he will one day be crowned king. Despite his desire
to gain the title, he does not take action until his wife, Lady Macbeth, urges him to do so.
“Lady Macbeth finds herself dreaming of the blood yet to be spilled-of the rivers that will
flow if only she can guide Macbeth to power” (Als). Together, the two of them devise a plan
to murder the king, Duncan. Lady Macbeth’s ambition for power is so great she feels that,
“the blood that will stain her husband’s hands is less offensive to her than her own menstrual
blood-the symbol of her femininity” (Als). Lady Macbeth wishes she were manly enough to
commit the murder herself. “Make thick my blood; / Stop up th’access and passage to
remorse, / That no compunctious visitings of nature/ Shake my fell purpose” (Shakespeare
qtd. in Als). In this case, blood represents not only greed and lust for power, but the
masculinity needed in order to achieve the status of king and queen. Lady Macbeth ridicules
her husband’s lack of masculinity by telling him that she would rather nurse a smiling baby
and smash its brains out, than have a husband who could not kill Duncan (Friedlander). The
Macbeths’ gluttony for power leads to extreme violence and overrides their moral
consciences. Blood in this case stands for human nature at its darkest hour. It is the point in
one’s mind where control of conscience is lost due to a constant throbbing desire. The
aftermath and consequences yet to come are recognized, but their impact is not fully
grasped. Consequently, Macbeth, who is encouraged by his wife, murders Duncan in his
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sleep. The blood spilled from Duncan’s murder corresponds to the Macbeth’s innate hunger
for the throne and the “masculinity” needed to effectively reach their desires.
In addition, shown through the Macbeths’ yearn for power is the notion that blood
represents lineage. It occurs to Macbeth that he could never have been chosen to rule the
throne so his need to kill Duncan and other possible threats becomes that much greater.
Fleance’s escape is one more sign that the noble bloodline lives on and has the ultimate
power. Macbeth says in response to Fleance’s escape, “Then comes my fit again. I had else
been perfect, Whole as the marble, founded as the rock, As broad and general as the casing
air. But now I am cabined, cribbed, confined, bound on to saucy doubts and fears.”
(Shakespeare III. vi 23-27). Macbeth is fully aware that his blood is not the blood of a
potential king. He comes to terms with this fact and uses it in a very small way to validate
his fears and actions. During Shakespearean time, heritage and more literally, one’s blood
determine the extent of one’s privileges and status in society.
A third quality of humankind shown through the use of blood is fear. Macbeth
smears blood on the guards hired to look after Duncan while they are sleeping. He does this
to make it seem as if the guards were Duncan’s actual murderers. Blood is used as a means
of protection, a way for Macbeth to hide his actions. Furthermore, Macbeth steals daggers
and murders the guards in their sleep to finish his “frame-up” (Friedlander). The bloody
daggers personify his fear of being caught. Macbeth also hires murderers to kill Banquo
because Macbeth is afraid that Banquo’s sons will take his place as king, due to the witches’
prophecies. Macbeth says, “To be thus is nothing, But to be safely thus. Our fears in Banquo.
Stick deep, and in his royalty of nature Reigns that which would be feared. ‘Tis much he
dares, And to that dauntless temper of his mind He hath a wisdom that doth guide his valor
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To act in safety. There is none but he whose being I do fear” (Shakespeare III.i. 52-60). In
addition, Macduff’s innocent wife and son are slaughtered too by reason of Macbeth. The
fear of losing power and getting caught overwhelms Macbeth and pushes him to the point of
no return. He goes on a savage killing rampage taking down potential threats one right after
the other. The amount of spilled blood that Macbeth has caused has lost meaning to him.
Macbeth’s first thought is to protect himself and his title. The bloody murders symbolize
Macbeth’s paranoia and deepest fears.
Lastly, the most prominent representation of blood in the play is the Macbeths’
guilt. After murdering Duncan, Macbeth and Lady Macbeth cannot sleep regularly. David
Bender, the author of Readings on the Tragedies of William Shakespeare writes, “They lie
on the torture of the mind…” (166). Both of the Macbeth’s are emotionally disturbed as a
result of their actions. Following the murder, Macbeth hears the echo of his own conscience
telling him, “Sleep no more! Macbeth does murder sleep, - the innocent sleep” (Shakespeare
qtd. in Bender 164-165). Lady Macbeth believes that she “has definite stains upon the palms
she rubs and rubs” (Doren 224). Lady Macbeth states, “Yet here’s a spot… What, will these
hands ne’er be clean? … Here’s the smell of the blood still; all the perfumes of Arabia will
not sweeten this little hand” (Shakespeare qtd. in Doren 224). She sleepwalks and imagines
that she is unable to remove the blood from her body. It can be inferred that Lady Macbeth is
emotionally unstable and eventually dies because of her guilt. In addition, Macbeth is so
ashamed of having Banquo killed, he hallucinates a gory image of Banquo’s ghost. “The
blood that Macbeth spills in his pursuit of power speaks of and to his ultimately
unconquerable guilt, his inevitable haunting” (Als). Macbeth’s mind is completely unsettled
and fragile. Macbeth speaks to his wife after seeing the vision of Banquo’s ghost, “It will
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have blood, they say; blood will have blood. Stones have been known to move, and trees to
speak; Augurs and understood relations have By maggot pies and choughs and rooks brought
forth The secret’st man of blood.-What is the night?” (Shakespeare III. Iv 151-157). The
Macbeths’ live in and out of reality because of their guilty consciences. Macbeth says “I am
in blood,” and this blood marks his insurmountable guilt (Shakespeare qtd. Doren 223).
Blood is a powerful symbol throughout Macbeth. It represents may qualities of
human nature, both good and bad. In the beginning, the spilled blood is idolized and
recognized as a sign of Macbeth’s honor. As the play unfolds, blood represents the
transformation of the Macbeth’s characters. The loss of blood takes on a whole new
meaning. The blood that was once noble becomes dirty and tainted because it represents
greed, lust, and the inability to regain moral consciences. Finally, the blood signifies the
aftermath of the Macbeth’s actions, intense guilt and paranoia. In addition, blood not only
symbolizes the change of the Macbeths’ characters, but one of the underlying themes of the
plot. The human mind and soul has innate desires that can take over one’s actions when
manipulated and threatened repeatedly. The plot comes full circle through the use of blood
one last time as Macduff kills Macbeth in the last act. Macduff says, “I have no words; My
voice is in my sword, thou bloodier villain Than terms can give thee out.” (Shakespeare V.
viii 8-10) Blood stands for justice and Macduff’s revenge. On a broader scale, it corresponds
to the idea that good will win over evil.
Blood is a dominant symbol throughout the play Macbeth. It paints the pages red,
representing courage, greed, fear, and guilt, many of the traits in human nature. Blood also
shows the full transformation of the Macbeth’s characters and the plot. Mark Van Doren, the
author of Shakespeare writes, “The world of the play quite literally bleeds…” (224).
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Works Cited
Als, Hilton. “Unsexed.” The New Yorker. 10 July 2006. CondeNet. 03 December 2009
<http://www.newyorker.com/archive/2006/07/10/060710crth_theatre>.
Bender, David. Readings on the Tragedies of William Shakespeare. Greenhaven Press, Inc,
1996.
Doren, Mark Van. Shakespeare. Henry Holt and Company, Inc, 1953.
Frielander, Ed. Enjoying “Macbeth”. 30 Jan. 2005. Homepage. 03 December 2009
<http://www.pathguy.com/macbeth.htm>.
Long, Michael. Twayne’s New Critical Introductions to Shakespeare; Macbeth. Boston:
Twayne Publishers, 1989.
Shakespeare, William. Macbeth. The Folger Shakespeare Library. 1992.