Neha S. Remanan. LEC052034. Critical analysis of the significance of 'Equivocation' in Macbeth

 

    Macbeth, one of the remarkable tragedies of Shakespeare encircles around this prominent theme of equivocation. Equivocation can be stated as a deliberate use of “ambiguous words, omitting a crucial piece of information, playing with words and gestures, and mental reservation” (Shapiro 158) to mislead others. This paradigm has a reflection upon the religious and political references of Shakespeare’s time. The chief equivocators are represented by mostly all the main characters such as Macbeth, Lady Macbeth, three witches, Malcolm etc., In this play equivocation is mainly used as a device to transmute their vaulting desires to reality.

    

    Shakespeare introduces the word equivocator by the tipsy words of an inebriated Porter as he says, “Faith, here’s an equivocator that could swear in both the scales against either scale, who committed treason enough for God’s sake, yet could not equivocate to heaven” (Shakespeare 2.3.) This phrase is popularly connected to Father Grant's work, The Treatise of Equivocation, which had him prosecuted for the practice and support of equivocation. This treatise written 1598 defends “the doctrine of mental reservation, which allowed a Roman Catholic undergoing legal questioning to hold back part of an incriminating testimony, or to speak ambiguously, so long as in his heart he affirmed truth.” (Bloom) in order to cover for the Gunpowder plot of November 1605.

     

    The witches are groomed by Shakespeare in an equivocal nature with occult promise creates a mental ambiguous image. The paradoxical words manipulate Macbeth’s mind, as “propositions are true with mental reservation: Macbeth will be king – if he is willing to commit murder; Banquo’s children will be kings – if Duncan and he himself, but not his son are murdered” (Huntley 397). Macbeth is thus been manipulated by such equivocatory amphibology in façade of fruitful auguries.  The disillusioned state of Macbeth can be understood by his utterance, “…nothing is, But what is not” (Shakespeare 1.3.) which reverberates the popular opening lines “ Fair is foul and foul is fair” (Shakespeare 1.1.). Such ambiguous and contradictory statements portray the duplicity hidden and the difference between the appearance and reality. As Bloom comments about Macbeth, “though still a fantasy, so agitates his unaided state of man that function, or potential action, is smothered in surmise, or censored by imagination”(ibid).

              

                Equivocation is a device used by the characters to transmute their vaulting desires to reality. Lady Macbeth ignites his ambition by questioning his virility, “Be so much more the man” (Shakespeare 1.7.). Whereas Malcolm disguises as an equivocator in order to test Macduff’s loyalty. The illustration of three apparitions imply evil omens but Macbeth fails to be enlightened the equivocal nature and falsely interprets it. These advents of equivocation proceed the play from the start of the witches prophecy to the Macbeth wistful comprehension leading to his death.

         Works Cited:

            Bloom, Harold. Macbeth: A Dagger of Mind. Vol. 5. Scribner, 2 April 2019.

            Huntley, Frank L. Macbeth and the Background of Jesuitical Equivocation. PMLA 79. 4: 390-                400.

           Shakespeare, William. Macbeth. New York: Cassell & Company Limited, 1889.

           Shapiro, James S. The Year of Lear: Shakespeare in 1606. Simon and Schuster, 2015.