Essay: Explore The Elizabethan Perception of Imagination and Macbeth’s Imprisonment Through His Mental Constitution

An all too strong imagination was, according to Elizabethan psychology, perceived as negative and, therefore, had to be avoided by all means since it was thought “that successful action depends upon a well regulated soul and that any departure from the governance of reason is dangerous, […].” (Anderson, p.162, l.10-12).
The imaginary is quite autonomous towards the world of sensual perceptions and its categories of time and space. Its setting is determined as an act of freedom, implemented by a certain way of being-in-the world, by a certain ‚situation‘ (Ritter, p.220, Imagination / see Sartre, p.185, l.27ff.).
If one now compares the views of two great epochs, the Renaissance and Romanticism, regarding imagination, it becomes clear, as already mentioned, that especially the Elizabethans perceived it rather negatively since, according to the Elizabethan understanding, it was regarded as the ‘enemy’ of reason and therefore simply had to be avoided due to possible fatal impacts on state and society which imagination necessarily entailed.
In contrast, the Romanticism’s perspective concerning imagination was quite positive since, as an absolute mental strength, it seemed virtually indispensable for the Romantic poets.
Similar to today’s understanding of the term, imagination is first referred to as the counter-pole to “raison” (reason) and “bon sens” (common sense) by René Descartes (see Ritter, p.219, Imagination).
According to Joachim Ritter and Karlfried Gründer, the earnings for the most detailed and profound analysis1 of imagination and its correlate, the imaginary, belong to Jean-Paul Sartre. It is marked by the phenomenological duplication of intentional act and undogmatic awareness of oneself.
In Macbeth, too, the vanitas theme comes into effect, as already mentioned in the specific context above, since Macbeth also has secret desires and wishes; nevertheless, they ultimately do not come true. Instead, he sees himself betrayed in his hope. It begins to crumble not later than when it is reported that the forest of Birnam is moving towards his castle Dunsinane.
That is why Macbeth decides, out of fear of him and for his own safety’s sake, to have him killed.
After having his horrifying vision of Banquo’s ghost he fervently wants to learn more about his destiny and, therefore, once again seeks out the witches, who ought to predict him the future. Because of the first prophesying vision, which insistently warns him of Macduff, he orders, without further ado, the murder of his family in order to punish him, since he cannot dispose of him himself due to his escape.
Simultaneously to his further murders and cruelties, his inner destruction progresses as well.
As king, he then ultimately finds himself in a state of growing isolation and alienation from society, which Shakespeare illustrates through numerous monologues and his gradual loss of communication – even with his wife, whom he now basically no longer needs.
The process that Macbeth now has to endure after murdering Duncan can be described with one word: “imprisonment.
He is incapable of understanding his visions as well as himself (Bradley, p.295, l.16-24).
Even though his wife calls him a “coward” (Macbeth, Act 1, Scene 7, l.43), Macbeth’s bravery is in reality appalling since he proceeds from one crime to another, even though his soul attempts to hinder him in his progression through frightening visions or imaginary voices which shout into his ear that, with the misdeed, he is also murdering his own peace (Bradley, p.295, l.28-32).
Nevertheless, his power of imagination also has its boundaries.
“His language and his imaginings are those of a seer, which heightens the horror of his disintegration into the bloodiest of all Shakespearean tyrant-villains.” (Bloom, p.533, l.8-10). He possesses a particular mental constitution, since due to his exceptional sensitivity he is agitated by the horror of the crime from the very moment of his first temptation. His restless imagination, which grows to being compulsive and pathological, makes him see the consequences of the deed visually before his eyes (Suerbaum, p.129, l.1-6).
and lastly, Lady Macbeth who becomes his biggest temptress and who manages to eliminate all of her husband’s doubts and inhibitions concerning the murder of the king – which however, as stated above, are of selfish and practical nature (Deutschbein, p.244-248). All these forces turn out to be a temptation for Macbeth; this temptation, then, becomes the destiny of Macbeth who, through a win of the irrational powers of his subconsciousness, ultimately has to succumb to it .
His development in the drama can now be summarized as follows:
Macbeth’s natural predispositions, or more precisely an extraordinary impressionability, an intensive suggestibility and, in connection with it – as pointed out repeatedly – productive imagination; and lastly, Lady Macbeth who becomes his strongest temptress and who manages to eliminate all of his doubts and inhibitions concerning the murder of the king – which however, as stated above, are of selfish and practical nature (Deutschbein, p.244-248). All these forces turn out to be a temptation for Macbeth; this temptation, then, becomes the destiny of Macbeth who, through a win of the irrational powers of his subconsciousness, ultimately has to succumb to it .
After all she does not need to fear impulses of a good heart (see Schücking, p.78, l.33ff.). In the process, she skillfully uses the accusation of cowardice in order to persuade him to performing the deed since, ultimately, she can be almost completely certain that Macbeth – who, in accordance with his self-conception, perceives his manfulness and military honor as his highest virtues – will by no chance tolerate such an accusation and that he probably would want to prove her the opposite whenever possible.
She is well aware that the unjust good cannot be achieved with righteous means and vice versa (see Deutschbein, p.239, l.14-20).