Macbeth Act 1.7.1-28

Again the opening stage directions are worth noting–hautboys and torches–so once more we have the plaintive, haunting tone of the “oboe”, and it is a night-time scene. This is a prologue to a famous soliloquy from Macbeth, opening with:

“If it were done when ’tis done, then ’twere well
It were done quickly.”

What ambiguity! An accurate reflection of Macbeth’s state of mind (which is, of course, what an soliloquy is all about, an opening up of a character’s mind for the audience’s benefit. It’s not really addressed to the audience, even when the actor might look at the audience. The audience just “happens” to be there, almost like eavesdroppers.) And how it the ambiguity achieved? Note the use if “it” (in various forms); “it” is repeated four times in a line and a half. Macbeth knows what “it” is, but we have yet to know definitely. In fact, the revelation does not come until Macbeth uses the crucial word “assassination.” While the word “assassin” had been in use for a long time, it would appear (on the evidence of the OED, which cites this line in Macbeth as the first usage) that Shakespeare may have actually coined “assassination.” In any event, Shakespeare’s own audience would have been struck additionally by the word itself because of its novelty, and because it has now defined what “it” is. Moreover, although the word can be used loosely, it frequently is reserved for the murder of an important public or political figure. Again, this would alert Shakespeare’s own audience because of the attempt on the life of King James by the Gun Powder plot conspirators.

But back to the ambiguity. The first line and a half has two meanings. First “if the murder is done then that would be well [good]”–i.e., stopping the sense at the end of the line. Second, “if the murder is to be done then it would be a good thing to do it quickly”–i.e. the complete sentence. Having established that, Macbeth elaborates quickly in lines 2-7: if the murder could tie everything thing up, and finish off everything (“be the be-all and the end-all”–a homely adage to make all plain), then he’s willing to risk everything. However, Macbeth is a thinker with qualms, not to mention something of a conscience, and he moves on to present arguments why he should do the foul deed, arguments that would resonate strongly with Shakespeare’s own audience. Duncan is Macbeth’s relative, his king, and Macbeth the king’s subject; and to boot, Duncan is Macbeth’s guest–in short, Macbeth “should against his murderer shut the door, / Not bear the knife myself.” All these are more than conclusive arguments against murder, but Macbeth’s imagination is fertile (at least in Shakespeare’s hands), and comes up with a striking extended metaphor that should persuade anyone. This is the personification of “pity, like a naked new-born babe / Striding the blast.” Whether the metaphor is entirely explicable is neither here nor there (especially since an audience in the theatre doesn’t have time to dwell on all the nuances). What does matter is pity, new-born babe, tears as opposed to the horrid deed. So Macbeth has almost convinced himself not to murder Duncan since he recognizes it is only “vaulting ambition” that has caused him to think thus. Enter Lady M!!!!!

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