The Gunpowder Plot and Macbeth
Shakespeare’s Macbeth was likely written in 1606 in the aftermath of the foiled Gunpowder Treason. Along with its responsive nature, it is known that Shakespeare wrote the play with the intent of honoring and displaying to King James I. Ribner asserts “that Macbeth was written specifically for a performance at court before King James I cannot be doubted“ (202). Jane Jack, as written in MacBeth, King James, and the Bible, backs up the statement made by Ribner by stating “The play is to a considerable extent an occasional piece, shot through with compliments to the reigning monarch” (173). As such, it is a natural venue for Shakespeare to make reference to pieces of the King’s ancestry, life, and known legacy, all of which have been influenced by regicidal acts. With the Gunpowder Plot such a near catastrophe and a recent event given the time of Macbeth’s performance, the Scottish play takes considerable influence from the failed regicide.
Considering that King James I has been documented as a prolifically published writer, it is of no doubt that Shakespeare could have had access to his works (Jack, 174). As such, Shakespeare would have known about James’ beliefs, such as those on witchcraft derived from his published Daemonologie, in order to incorporate them into the play. Did Shakespeare incorporate the interests of James I as a means to honor him? Was he wishing to inform his people of the nature of their king? Or was the play meant as a barbed jab toward the king? Considering that Macbeth’s plot follows a Scottish usurper who commits violent regicide and wanton murder, it is difficult to accurately say. Regardless of intent, much of the play can be connected to Shakespeare’s regent.
King James I has expressed, through his Daemonologie and the sermon on Revelation, to believe that “the kingdom of evil lies very close to Christendom” (Jack, 175). Though this, combined with his views on witchcraft, is a likely cause for Shakespeare to place the three meddlesome witches within Scotland, it could be interpreted as a fear of treason. James I’s parents were both killed in regicides, and his history is dotted with violent attempts on his life and the lives of others from within England. As such, the gunpowder plot would be a prime example of a fear from within. In fact, Shakespeare includes a very obvious reference to the event in his play. In act 1.5, Lady Macbeth implores Macbeth to “look like th’ innocent flower / But be the serpent under’t” (I.v). Lady Macbeth’s words are meant to encourage her husband in his usurping of Duncan, but they also make a reference toward the Gunpowder Plot. Following the foiling of the treason, a medal was struck in commemoration that held the image of a snake amongst flowers in embossed detail (Gerard, 236). The inclusion of this allusion implores the certainty of the treason’s influence upon Shakespeare’s Macbeth.
Another, although more slant, reference is made in act II, scene III by the Porter character. “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” (II.iii) This makes reference to the supposed religious nature of the Gunpowder Treason’s conspirators motivation. To commit treason enough for God’s sake speaks to the belief that Fawkes and his comrades intended to commit the sin of murder in order to secure greater favor for Catholics, ironic given the peaceful tenants of Christianity’s bible and the fact that the attempted coup caused them all to be executed. This can be connected to Macbeth’s titular character’s actions within the play. As Macbeth commits increasingly tyrannical acts, he further endangers his ambition in holding the throne. As such, Macbeth is connected to the conspirators in that his struggle to hold the throne is analogous to the conspirator’s killing for reasons of religious acceptance.
Macbeth’s beheading at the end of the play is significant. The heads of the conspirators were placed on spikes outside of parliament shortly after their executions (Herring, 74). Such a grisly sight is not one to be easily forgotten by those unfortunate enough to view. With the character of Macbeth as a tyrannical regicide, it could be a parallel symbol with the fate of those who opposed King James I and the political establishment.
Considering how close the powder treason came to ending the lives of himself and the other leaders of England, James was astute to hold some fear of “evil”. When musing on the fate of Duncan and considering himself as a target for regicide, Macbeth speaks of his fatiguing paranoia.
After life's fitful fever he sleeps well;
Treason has done his worst: nor steel, nor poison,
Malice domestic, foreign levy, nothing
Can touch him further! (III.ii)
Though a morbid thought, the dead King Duncan need no longer fear the conspiring enemies lurking amidst the shadow. Considering the recent, within context of the play’s writing, attempt on his life, this is likely not a peace that James I may know.
With regard to Shakespeare’s intent to honor and entertain King James I with Macbeth and the likelihood that the play was written after the event, there is no doubt that the Gunpowder Plot has been of a huge influence to the diegesis within Shakespeare’s play.
Works Cited:
1. Ribner, Irvine. "Political Doctrine in Macbeth." Shakespeare Quarterly, 4.2 (1953): 202-05. JSTOR. Andrew W. Mellon Foundation. Web. 05 May 2013.
2. Jack, Jane H. "MacBeth, King James, and the Bible." ELH 22.3 (1955): 173-93. JSTOR. Andrew W. Mellon Foundation. Web. 05 May 2013.
3. Gerard, John. What Was the Gunpowder Plot? The Traditional Story Tested by Original Evidence. London: Osgood, McIlvaine &, 1897. Project Gutenberg. 1 Jan. 2011. Web. 6 May 2013.
4. November the 5. 1605. The quintessence of cruelty, or, master-peice of treachery, the Popish pouder-plot, invented by hellish-malice, prevented by heavenly-mercy. / Truly related, and from the Latine of the learned, religious, and reverend Dr. Herring, translated and very much dilated. By John Vicars ; by Herring, Francis 1641. Early English Books Online. Web. 5 May 2013.
Shakespeare’s Macbeth was likely written in 1606 in the aftermath of the foiled Gunpowder Treason. Along with its responsive nature, it is known that Shakespeare wrote the play with the intent of honoring and displaying to King James I. Ribner asserts “that Macbeth was written specifically for a performance at court before King James I cannot be doubted“ (202). Jane Jack, as written in MacBeth, King James, and the Bible, backs up the statement made by Ribner by stating “The play is to a considerable extent an occasional piece, shot through with compliments to the reigning monarch” (173). As such, it is a natural venue for Shakespeare to make reference to pieces of the King’s ancestry, life, and known legacy, all of which have been influenced by regicidal acts. With the Gunpowder Plot such a near catastrophe and a recent event given the time of Macbeth’s performance, the Scottish play takes considerable influence from the failed regicide.
Considering that King James I has been documented as a prolifically published writer, it is of no doubt that Shakespeare could have had access to his works (Jack, 174). As such, Shakespeare would have known about James’ beliefs, such as those on witchcraft derived from his published Daemonologie, in order to incorporate them into the play. Did Shakespeare incorporate the interests of James I as a means to honor him? Was he wishing to inform his people of the nature of their king? Or was the play meant as a barbed jab toward the king? Considering that Macbeth’s plot follows a Scottish usurper who commits violent regicide and wanton murder, it is difficult to accurately say. Regardless of intent, much of the play can be connected to Shakespeare’s regent.
King James I has expressed, through his Daemonologie and the sermon on Revelation, to believe that “the kingdom of evil lies very close to Christendom” (Jack, 175). Though this, combined with his views on witchcraft, is a likely cause for Shakespeare to place the three meddlesome witches within Scotland, it could be interpreted as a fear of treason. James I’s parents were both killed in regicides, and his history is dotted with violent attempts on his life and the lives of others from within England. As such, the gunpowder plot would be a prime example of a fear from within. In fact, Shakespeare includes a very obvious reference to the event in his play. In act 1.5, Lady Macbeth implores Macbeth to “look like th’ innocent flower / But be the serpent under’t” (I.v). Lady Macbeth’s words are meant to encourage her husband in his usurping of Duncan, but they also make a reference toward the Gunpowder Plot. Following the foiling of the treason, a medal was struck in commemoration that held the image of a snake amongst flowers in embossed detail (Gerard, 236). The inclusion of this allusion implores the certainty of the treason’s influence upon Shakespeare’s Macbeth.
Another, although more slant, reference is made in act II, scene III by the Porter character. “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” (II.iii) This makes reference to the supposed religious nature of the Gunpowder Treason’s conspirators motivation. To commit treason enough for God’s sake speaks to the belief that Fawkes and his comrades intended to commit the sin of murder in order to secure greater favor for Catholics, ironic given the peaceful tenants of Christianity’s bible and the fact that the attempted coup caused them all to be executed. This can be connected to Macbeth’s titular character’s actions within the play. As Macbeth commits increasingly tyrannical acts, he further endangers his ambition in holding the throne. As such, Macbeth is connected to the conspirators in that his struggle to hold the throne is analogous to the conspirator’s killing for reasons of religious acceptance.
Macbeth’s beheading at the end of the play is significant. The heads of the conspirators were placed on spikes outside of parliament shortly after their executions (Herring, 74). Such a grisly sight is not one to be easily forgotten by those unfortunate enough to view. With the character of Macbeth as a tyrannical regicide, it could be a parallel symbol with the fate of those who opposed King James I and the political establishment.
Considering how close the powder treason came to ending the lives of himself and the other leaders of England, James was astute to hold some fear of “evil”. When musing on the fate of Duncan and considering himself as a target for regicide, Macbeth speaks of his fatiguing paranoia.
After life's fitful fever he sleeps well;
Treason has done his worst: nor steel, nor poison,
Malice domestic, foreign levy, nothing
Can touch him further! (III.ii)
Though a morbid thought, the dead King Duncan need no longer fear the conspiring enemies lurking amidst the shadow. Considering the recent, within context of the play’s writing, attempt on his life, this is likely not a peace that James I may know.
With regard to Shakespeare’s intent to honor and entertain King James I with Macbeth and the likelihood that the play was written after the event, there is no doubt that the Gunpowder Plot has been of a huge influence to the diegesis within Shakespeare’s play.
Works Cited:
1. Ribner, Irvine. "Political Doctrine in Macbeth." Shakespeare Quarterly, 4.2 (1953): 202-05. JSTOR. Andrew W. Mellon Foundation. Web. 05 May 2013.
2. Jack, Jane H. "MacBeth, King James, and the Bible." ELH 22.3 (1955): 173-93. JSTOR. Andrew W. Mellon Foundation. Web. 05 May 2013.
3. Gerard, John. What Was the Gunpowder Plot? The Traditional Story Tested by Original Evidence. London: Osgood, McIlvaine &, 1897. Project Gutenberg. 1 Jan. 2011. Web. 6 May 2013.
4. November the 5. 1605. The quintessence of cruelty, or, master-peice of treachery, the Popish pouder-plot, invented by hellish-malice, prevented by heavenly-mercy. / Truly related, and from the Latine of the learned, religious, and reverend Dr. Herring, translated and very much dilated. By John Vicars ; by Herring, Francis 1641. Early English Books Online. Web. 5 May 2013.