Moreover, in making reference to “milk”, Lady Macbeth insinuates that Macbeth is ‘milky’; a renaissance term used to describe cowards. Having recently returned from battle, Macbeth abolished any “fear”, to fight in Duncan’s name. Insinuating he is a “milky” creates further “ambition” to prove his wife wrong, therefore, in attempt to persuade Macbeth, Lady Macbeth labels him and questions his loyalty to her, his “dearest partner in greatness”.
Anaemia
In describing her husband as “green and pale”, Lady Macbeth continues to criticise and undermine him. Such a pallor would betray green sickness, and in the sixteenth century, more commonly known as hypochromatic anaemia; symptoms included weakness and lack of energy, showing that Lady Macbeth believes her husband to be lacking both the capability and motivation to carry out the murder. Furthermore, the sickness was associated with woman, specifically due to blood loss during childbirth, linking to her previous allusions from Macbeth to a new mother, who would be “full of.....milk”. “Green” being a colour commonly associated with envy, presents Macbeth as inferior to other men, defying Lady Macbeth’s desire for his superiority and kingship. By revealing her husband’s jealousy- and therefore his insecurity regarding his own influence- Lady Macbeth questions whether he has the qualities required to rule, such as confidence in his own power. Lady Macbeth’s description of her husband is persuasive by routinely emphasising the qualities he lacks and his negative aspects, presenting him as unfit to achieve his destined kingship.
“Take my milk for gall”
Although the witches are depicted as the only paranormal beings in the play, Lady Macbeth attempts correlates with the witches’ supernatural mannerism and pleads to the “spirits”, demanding them to “take her milk for gall” to further eradicate her femininity and assert her desired power of the supernatural. The meaning of “take is ambiguous, either implying Lady Macbeth wishes to be rid of the “milk”, that she perceives as “gall”, poisoning her with compassion and nurture, hence preventing her from assisting Macbeth in the “deed”. Moreover, she denotes that her “gall” is pre-existing in her “breasts”, suggesting she already holds an element of “cruelty”, too shown in the witches’ nature. Correlating with the witches, thus convincing herself she is somewhat supernaturally powerful, allows Lady Macbeth to rid herself of any submission shown to Macbeth, as a weak, delicate woman and like the witches, gain supremacy over her husband to then persuade him to “catch the nearest way”. As a woman, Lady Macbeth would be “full of milk” appealing to her nurturing attributes and impeding her from committing the “cruelty” needed to succeed to greater power. She begs the spirits to “take” her “milk”, therefore ridding her of her feminine attributes and affection she may have held for her guests, as their “honoured hostess”, presenting a sense of false hospitality which is also shown in the image of the “poison chalice”.
As his “kinsman and his subject”, Macbeth offers his hospitality and loyalty to Duncan, represented through the image of the “chalice”, only to be “poisoned” by the supernatural expectations and Lady Macbeth’s hunger for superiority. Having plotted against the king, a man appointed by God, Macbeth displays his remaining religious principles, describing Duncan as “heaven’s cherubin” expressing admiration of Duncan’s leadership and is almost worshipful of him; perhaps in the attempt to save himself from “deep damnation” that may follow if the supernatural realm should fail him. Nevertheless, as Lady Macbeth gains further influence over him, she alters his “golden opinions”, turning him into a “beast” who wholly disregards any respect he had for Duncan. Lady Macbeth further accentuates Macbeth’s negative qualities, such as his indecisive nature and refers to him as “coward in thine own esteem”, questioning his masculinity and implying he is too afraid to act upon his desire to achieve his destined kingship. Macbeth’s “esteem” shows his strong desire to be king and how highly he values the crown. Despite his high regard of the crown, Lady Macbeth believes having “esteem” and “ambition” within is not enough to gain him the “ornament of life”; implying the crown “wouldst be” his greatest asset and achievement. Calling Macbeth a “coward” further emphasises the struggle Lady Macbeth faces in gaining all of her husband’s loyalty, as he begins to review the Duncan’s “virtues” and favourable attributes, thus creating doubt in his ability to murder him. However, by stating Macbeth is too afraid to “catch the nearest way”, Lady Macbeth allows him to deny her initial claim, reinstating his “hope” of killing the king and deliberately using her doubt to convince him to kill Duncan as he wishes to “become a man”.
Lady Macbeth de-genders
The “strange sisters” being the most powerful influence over her husband, sustains Lady Macbeth’s desire to disassociate herself from gender and be affiliated to the witches’ power. Mid-sixteenth century productions of “Macbeth”, presented the witches as bearded, powerful characters who consequently opposed their female characteristics. Appearing neither male nor female, grants the witches superiority over Macbeth. They are liberated from the stereotypes of female subordination and expectations of masculinity, like strength and dominance. This gives them freedom and the power to do as they please and therefore dominance over all other beings. To take the authoritative role in the relationship and become equivalent to the witches’ influence, Lady Macbeth begs the spirits to “unsex” her, removing her feeble, feminine qualities that may “bring forth” compassion she once had for Duncan, as her guest and subsequently becoming “more than man”.
Employing her new found supremacy over her husband, Lady Macbeth becomes a source of strength and inspiration who “pours her spirits in thine ear”; an image holding both supernatural and medicinal significance. Most commonly associated with Egyptian healing methods, pouring homeopathic remedies in people’s “ear”, was thought to heal them of psychological and physical ailments; in Macbeth’s case, his weakness, cautious nature and sentimental attachment to Duncan. On the other hand, the image opposes the concept of healing, due to the supernatural connotations of. Lady Macbeth influences her husband with her corrupt intensions by “poisoning” him with the “spirits” who posses her “gall” and hence eradicating Macbeth’s remaining sentiment possessed for Duncan.
Modality
When reasoning with herself, Lady Macbeth avoids directly complimenting her husband, and only saunters on the potential that he “wouldst be great” taking a patronising tone in attempt to draw out his feminine attributes, and disapproval of being seen as inferior to a woman. Macbeth’s own uncertainty is prominent, as he “fears” the religious and lawful outcome if he “should fail”. Lady Macbeth is eminently frustrated by his indecisive nature and angst, and with regard to the witches’ prophecies, she specifically highlights Macbeth’s expectations, and too expresses her own doubts in his capability to kill and become king. Lady Macbeth suggests he “wouldst” be “highly”, using modal references to imply the possibility of alternative outcomes. In doing so, she taunts him and “dares” him to oppose her, consequently diminishing her doubts. Furthermore, his expectations were appointed to him by women, the “strange sisters” whom held power over him and foresaw his fate. Lady Macbeth re-raises the fact he was inferior to them, contributing to his desire to prove her wrong.
Cat i’th’adage
Heightening his inferiority to Duncan, Lady Macbeth likens him to a “poor cat i’th’adage”. Using to a common aphorism of the cat who wanted fish but did not want to get wet, expresses Macbeth’s unwillingness to dirty his hands to “catch the nearest way” and taunts his lack of desire to seize the “ornament of life”. By calling him “poor” displays Lady Macbeth’s supercilious demeanour and her value of her power over him, mocking him with pity and encouraging him to ascend to greater power. Describing Macbeth as a “cat” degrades his status and “dares” him to oppose her claims, while also alluding to Duncan’s ownership of him. Cats are commonly associated with witchcraft and are under the witches’ power- as is Macbeth, who is under their influence and expectations to consummate the prophecies. Furthermore, cats are easily startled, re-raising Macbeth’s fear and distinct awareness of the consequences of treason, further accentuating his weakness and lack of “ambition”.
