Dramatic tragedies are by definition plays that dramatize the struggle and fall of their main character or characters. "The Tragedy of Macbeth", by William Shakespeare, is a perfect example of this; the entire play portrays the fatalistic misadventure of Macbeth. This Shakespearean work is emblematic for the omnipresent feeling of uncertainty it brings with it. Indeed, almost every situation brings with it paradoxical elements that vitiate moral judgments. What presents itself as auspicious often ends up being terrible. The world is presented as irrational, which can be observed in many aspects of the work. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay This feeling of uncertainty is conveyed to the audience at the very beginning of the show with the first of the strange and confusing scenes in which the We... III Sisters participate. After a brief dialogue in which they declare that they will have to meet Macbeth after the battle, the witches exit the scene with their famous paradoxical line: "Beautiful is ugly, and ugly is beautiful [. . .]" (1.1.11). This contradictory statement has a heavy impact on the essence of the work as it returns very often in different forms. It essentially means that appearances are not what they seem; they are imperfect and it is not possible to form an adequate judgment about them. It's interesting to see how this idea ties together many other aspects of the work. For example, the literary device of irony, which is used repeatedly as we will see later, is defined by the Oxford Dictionary as “the expression of meaning through the use of language which normally means the opposite”; takes us back to the witches' declaration and the falsehoods it brings with it. The consequences of these ambiguities are significant for the outcome of the work; they imply that no moral judgment will be helpful in rightly clarifying the plot and that in some moments the events may seem nonsensical. As explained above, witches' prophecies play an important role in providing the ever-present impression of the mist; not only do they deceive the audience with their contradictory statements, but they also deceive Macbeth by reciting his first prophecy to him: Macbeth will become Thane of Cawdor and eventually King of Scotland (1.3.48-50). At first glance, this prediction must be a good omen for Macbeth's faith as it promises him kingship. However, when studying the impact of the prophecy on Macbeth, the confusion becomes clear. How could he react to a forecast that grants him so much and at the same time foresees its revocation? Naturally it becomes difficult for him to decide whether the omen should be considered good or bad: "This supernatural solicitation / Cannot be ill, cannot be good" (1.3.131-132). Above all, the prophecy misleads Macbeth into a diabolical hunger for the crown: "My thought, whose [Duncan's] murder is yet but fantastic, / So shakes my only state of man [...]" (1.3 .140-141). What begins as a clear foreshadowing suddenly becomes a dark and dark vision of Macbeth's faith. Another example of the witches' participation is found in the second prophecy which they essentially "show" to Macbeth. In this scene, Macbeth goes to the We¿rd Sisters "to know / By the worst means the worst [his faith]" (3.4.135-136). Upon his arrival, Macbeth quickly receives his second prophecy: firstly he must protect Macduff (4.1.85-86), secondly no man born of woman shall harm him (4.1.94-95) and thirdly he will do. he will never be vanquished "until / the Great Birnam Woods to the high hill of Dusinan / come against him" (4.1.107-109). At the same timeLike the first prophecy, the second is quite simple and clearly conveys its content. Once again, the prophecy lacks details to understand it as a whole. This brings back the inherent confusion. Why should Macbeth fear Macduff if it is physically impossible for a forest to march? Or for a man not to be born of a woman? As a consequence of these predictions and the resulting confusions, Macbeth believes himself almost invincible as he logically assumes that Macduff was born of a woman (4.1.96) and that it is impossible for Birnam Forest to "loose its earthly roots" (4.1.109 -111). However, what positively motivated Macbeth will end up being the cause of his downfall. His behavior highlights the dramatic irony as he will ultimately be slaughtered by Macduff who was not born from his mother's womb (5.7.45-46) and the marching forest of Dusinan which will only hide Seyward's army (5.4.4- 7). Therefore, the witches' prophecies, due to their ambiguous nature, led Macbeth to his downfall by convincing him that they were a good omen. According to the Oxford English Dictionary, equivocate means “to use words that can be understood in more than one way to avoid the truth.” It is interesting how the evocation reflects the ambiguity of the work and how often it is used. The first example is obviously the prophecies. As we discussed earlier, they continually deliver their predictions in such a way that Macbeth is unable to accurately understand their true meaning. A second example is seen when Thane Macduff argues with Ross after Duncan's death:ROSS. How's the world now, sir? MACDUFF. Why, can't you see it?ROSS. No one knows who committed this more than bloody act?MACDUFF. Those whom Macbeth killed.RED. Alas the day, what good could they pretend? (2.4.21-24)This passage can be divided into three different parts that individually highlight the verbal irony of their discussion. The tone with which Macduff responds to Ross' first question is rather sarcastic and reveals his thoughts on the current situation well; he seems struck by Ross's passivity and turns the question around with a tone that suggests "isn't it obvious enough?" The second part is notable for its significant irony. Macduff's response to Ross apparently means that Duncan's murderers were his servants since Macbeth executed them; if observed correctly we see that it could also imply that "Macbeth has killed" (2.4.23) the king, which reveals an evocative accusation and irony. Finally, Ross's statement that the servants had no advantage in slaughtering their master is another argument that supports Macbeth's guilt and completes the irony. Next, another case of misunderstanding can be seen during Macduff and Malcolm's meeting. At the beginning of their dialogue, Malcolm is on his guard and intentionally deceives Macduff to test his loyalty. Malcom states that "black Macbeth / Will will seem pure as snow" (4.3.52-53) when compared to him. His lust for women will have no end (4.3.60-61) and his greed will be insatiable (4.3.78). Macduff's reaction to these proclaimed vices causes him to lose hope "Since the truest question of thy [Scotland's] throne / By his own interdiction [Malcolm] is accused, / And blasphemes his race?" (4.3.106-108. After this statement by Macduff, Malcolm is satisfied and finally explains that he has defiled himself to test the integrity of his companion and adds that he has none of these vices (4.3.114-133). Also if Macduff can now cooperate fully with Malcolm, there are indications to suggest that he becomes indecisive whether or not to do so: "Things so difficult, welcome and unwelcome at once / 'Tis hard to reconcile" (4.3.138-139, perhaps). a result of the ambiguity of Malcolm's words;after so much filth, how can he be certain that his sudden change towards correctness is true and eternal. Could this distrust be justified since at the end of Malcolm's redemption there is a hint of dishonest virtue residing? in him: I am still unknown to the woman, I have never been perjured, I have scarcely coined what was mine, at no time have I broken my faith, I have not wanted to betray the devil to his fellows, and I delight no less in the truth than in life (4.3.125 -130). In this passage Malcolm presents himself as perfectly free from all the vices he has previously enumerated. This statement of his does not necessarily mean that he is as diabolical as Macbeth is, but his lack of humility is an indication that he may be deceptive in future times. For these reasons, using words that can be understood in more than one way is a great method of misleading both the audience and the characters in a play, as they face situations in which they must rely on ambiguous facts. ambiguity can also be observed through the staging conventions and settings of his work. The "Gate of Hell", represented by the Inverness goalkeeper (2.3.1-19) is quite evocative for the Christian audience of the time; remembers St. Peter who was the gatekeeper of the Gates of Heaven (Brooke 79-80). By reversing the roles of the judge of Heaven to that of the judge of Hell, Shakespeare is probably parodying the need for a judge in Heaven since there would be more to do in Hell. In reality, if we consider all the characters in the work, it is striking how many characters show perceptible "evil" traits at least once; the only character free from any form of malice is King Edward, who acts as a foil. Darkness is a scenic convention that well symbolizes the irrationality of the world of "Macbeth". Ross, during his dialogue with the Old Man, well reveals the extent of darkness in the play: According to the clock it is day, Yet the dark night strangles the traveling lamp; Is it not the predominance of the night, or the shame of the day, that darkness buries the face of the earth when the living light should kiss it? (2.4.6-10)The personification of light is used to highlight Macbeth's illegitimate and evil reign and foreshadows the "darkness" that will follow the times to come. The principle of ambiguity can be observed when Ross asks whether it is "the [evil] predominance of the night, or the [good] shame of the day" (2.4.8) that is responsible for the supremacy of evil. Ross is at least able to identify the advent of evil, but is unable to explain it. He is lost in the fog of uncertainty, just as the audience is. The behaviors and relationships of Shakespeare's characters in "Macbeth" follow the unwritten logic of uncertainty. The most obvious contradiction is the one implemented by Macbeth and his wife. Although we can initially sense the presence of tainted evil in Macbeth, when he kills his enemies without hesitation (1.2.7-23), we can assume from his fearful reaction to the idea of ​​killing Duncan (1.1.140) that his conscience keeps him on the "good" side. On the other hand, his wife clearly reveals her "fires" and asks the evil spirit to "sex me here" (1.5.40), revealing his evil intentions. She seems to know that her husband will fail to fulfill his destiny and clearly states that she will push him: "[. . .] That I may pour out my spirit in your ear, / And chastise with the valor of my tongue / All that you prevents from the golden rounds, [.]" (1.5.25-27). However, as the play progresses, Macbeth and his wife switch places. This change becomes evident when Macbeth chooses not to tell his wife of his intentions to kill Banquo (3.22.48-59) and when she,1962.