Арабистоннинг бутун мушки анбар –
лариям шу кичкина қўлчалардан бу исни аритолмайди! (IV. I. 123 б)[6]
This reveals without doubt who is responsible for the crimes, and shows that Lady Macbeth is no more able to free herself from conscience than her husband is.
She is not seen again. A cry of women is heard when Macbeth is pufting in order the defences of his castle so as to be ready to face a siege, and this cry announces her death. She, too, has been unable to sleep, and her mind has become disturbed. (Malkolm and others believe that she took her own life). To Macbeth, when he hears the news, life seems puzzling and without value. He has lost his best support and from now on he must fight alone.
Lady Macduff plays a small but much – loved part in the tragedy, since in a world of evil she and her son represent confused and lovable simplicity. Her husband has left her, she does know why. Rosse tries to explain that Macduff has fled for his country’s good, but Lady Macduff is unconvinced, and bitterly grieved:
All is the feat, and nothing is the love;
As little is the wisdom, where the flight
So runs against all reason. (IV.II. 12–14)
Rosse himself does not seem to be really convinced, and is near to lears. He leaves and there is an exchange between Lady Macduff and her son in which the tragedy of the situation is heightened by what at first seems artful word – play on the subject of husbands and fathers, although this is really a cover to feelings of tender love. The confusion reaches its height when Macbeth’s agents Murder Lady Macduff, although she has done no harm.
The Witches represent the most important supernatural element of the play, but «witch» is not a good word to denote them, for they are much more powerful and more evil than the simple, stupid old women who as «witches» were supposed (stupid old) by some to do harm to individuals through the use of magic powers. The word witch is, in fact, used only once in Macbeth (other than in the stage directions): the sailor’s wife mentioned by the first witch (I.III.) called her «witch» and was evidently severely punished for it. Elsewhere the women are called «the weird sisters», i.e. the sisters of fate. But even this file is unadeguate, since, whatever they claim to have done to their other victims, they do not bring fate to Macbeth.
In stead they try to persuade him to do wrong, or invite him to do it by deliberately deceiving him about what the future will hold. They embody evil and the respect which normal human beings give to good; they chant together «Fair is foul, and foul is fair» at the end of the first scene. For Macbeth they represent the bad forces struggling for his soul; his conscience warns him against them, and by wordplay, which is one form of deception.
To Banquo, who is less inclined than Macbeth to ignoble ambitions, they are content to prophecy, and their prophecies are favourable; his children are to be kings even though Macbeth, not he, will win the throne. To Macbeth they give some much needed encouragement; in he demands to know what they are doing, perhaps in order to find out if their influence can be furned to good account. In reply they bring up apparitions which foretell the future. The first warns him that Macduff will be a sourse of trouble to him; the second and third deceive him with hopeful prophecies which prove with evil forces, for before his last visit to the weird sisters tells his wife:
2.1.2 Sadulla Akhmad’s translation
Macbeth himself is as humane in his reflections as he is inhumane in his acts. Like lago he is a woralizing villain, but his moralizing is not clever aphoristic display. It comes from his heart sometimes like an echo of ancient folle beliefs, If will have blood, they say: blood will have blood. Stones have been known to more and trees to speak; angures and understood relations have (forth). By maggot – pies and choughs and rooks brought forth. The seevet’st man of blood – what is the night? (III. 4. 122–126)
Макбет:
Он хочет крови. Кровь смывают кровью.
Преданье есть: сходили камни с мест,
Деревья говорили, и по крику
Сорок, грачей и галок колдуны
Разыскивали скрытого убийцу.
Который час?
Макбет:
Ҳа, қонсираб келибди, у, қонни қон ювар.
Ровийлардан эшитганман: қачон тош кўчиб,
Дов – дарахтлар тилга кирса, қрға қағиллаб,
Олашақшақ шақилласа, – жодугар фолбин
Кушанданинг яширинган жойин очармиди.
Кеча ярим бўлдимикан, бунча чўзилди? (С.А.) (III. 482 б)
Макбет:
У хун сўрар, талаб қилар яъни қонга қон,
Авваллари бундай пайтда тошлар суриниб,
Тилга кириб, сўз қотарди ҳатто оғочлар.
Қотил қайга бекинмасин, уни муқаррар
Қарға – қузғун зағчаларнинг изидан бориб.
Ихқуварлар топишарди. Хўш, соат неча? (С.А.) (III. 234 б)
Macbeth:
Sometimes like religious revalition, virtues. Will
plead like angels, trumpet – tongned against. The
deep damnation of his faking – off;
And pity, like a naked alu – born babe
Striginy the blast, or heaven’s cherubin housed
Upon the sightless carriers of the air,
Shall blow the horrid deed in every eye
That’s fears shall drown in wind. (I. VIII. 19–25)
Макбет:
И, наконец, Дункан был как правитель
Так чист и добр, что доблести его,
Как ангелы, затрубят об отлищенье.
И в буре жалости родится вихрь,
И явит облака с нагим младенцам,
И, с этой вестью облетев весь мир,
Затопит морем слез его. Не вижу. (стр. 496)
Macbeth:
No voice in literature has sounded with greater sadness!
I have lived long enough. My way of life
Is fall’n into the sear, the yellow leaf,
And that which should accompany old age,
As horror, love, abedience, troops of friends,
I must not look to have; but, in their stead,
Curses not loud but deep, month – honor, breath,
Which the poor heart would fain deny, and dare not
Макбет:
Я пожил на своем веку. Я дожил
До осени, до желтого листа
На то, что скрашивает нашу скорость –
На преданность, любовь и круг друзей, –
Не праве я рассчитывать. Проклятья
Прикрытые трусливой лестью, – вот
Что мне осталось до дыханы жизни. (стр. 552)
Макбет:
Ёш бошимга етар менинг, ё қойим қилар.
Давримниғку, сурдим. Фасли хазон бошланди.
Кеч кўзимни кўрдим ўзим очиқ кўз билан;
Аммо кексаликнинг гашти – ҳурмат – эътибор,
Содиқ дўстлар даврасидан умидим ҳам йўқ
Қўрқоқликнинг хушомадга ўралган лаънат,
Жон узилмай, нафас олмоқ – қолган насибам.
Шу ризқдан ҳам воз кечардим, журъатим етса! (V. 3. 128 б)
To say that no one who has become a bloody turant would speak in this way is pointless; he would feel in this way, or so we are convinced.
By feeling the paugs that we would feel if we were in his place, and by passing our judgements upon himself, Macbeth altaches as to him and consequently himself to us. We cannot view him with cold objectivity as something strange and apart. The unnaturalness of his acts is always counterpoised by the naturalness of his actions: his hesitant overtures to Banquo, his volubility after Duncan’s death, his dazed petulance at the appearance of the ghost.
The time has been
That, when the brains were out, the man woald die,
And there an end. But now they rise again,
With twenty mortal murders on their crowns,
And push us from our stools. This is more strange
Then such a murder is. (III. 4. 78–82)
Макбет:
Когда у жертвы череп разможен,
Кончался человек, и все кончалось.
Теперь, имея даже двадцать ран
На голове, они встают из гроба,
Чтобы согнать нас с места за столом
Что пострашней, чем ужасы убийства. (стр. 524)
Макбет:
Аммо шуки, бош суягин пачоғи чиққач,
Ўлик қайтиб тирилмаган, ўликдай ётган.
Энди бошда йигирмата жароҳат билан
Гўрдан чиқиб, тирик жонга таҳдид солмоқда. (79 б)
There is something here both grimly humorous and affecting, this Killer’s speaking in the accents of a hurt child. We should not ascribe Macbeth’s humanity to the automatic working of Shakespeare’s sympathetic nature. There is nothing casual about it. If Macbeth were other than he is, less like ourselves, he would be a less powerful symbol of our own worst potentialities and the abyss we have escaped. There is nothing of him in Edmund or lago for all of Shakespeare’s sympathetic nature.
if is hard to believe that so universal a work was calculated to the meridian of any particular person, but there are orgunuents favoring the possibility. James Stuart, who had ascuded the English throne and become the nominal patron of Shakespeare’s company a few years before «Macbeth» was written, was supposedly descended from Banquo and was intensely interested in witchcraft; moreover he had assumed in 1605 the prerogative of curing the «king’s evil» instituted by Edward the confessor and mentioned somewhat irrelevantly in the play. On the other hand, one way argue that, had Shakespeare’s primary concern been to please the manaroh, he might have dramatized more creditable episodes in Scottish history, night have drawn a more flattering portrait of Banquo, might have seized the opportunity to enlogize James as first holder of the «treble sceptes», mentioned in the show of kings. (IV.I.)
Possibly Shakespeare was responding in his own way to the urgings of his dramatic company; he was in some respects the most reticen writer of his times, and his allusions even to Elizabeth had been his and restrained.
Whether or not «Macbeth» may be considered in a sense «topical» it contains elements that are, or might have been; mere theatrical entertainment If combines with its great theme the working out of a puzzle, and offors us the pleasure of watchiny pieces dropping into place.
And he lives long enough to see how bad they were. When Birnam wood appears to move, something which seemed an impossibility, he begins
To doubt the equivocation of the fiend,
That lies like truth. (V–V. 43–4)
Макбет:
Теперь я начинаю сомневаться
Я веровал в двусмысленность. Меня
Поймал на правде дьявол, обнадежив: (стр. 556)
Макбет:
Қаттиқ шубҳа оралади энди ичимга,
Шайтоннинг сўз ўйнига учибман, билсам;
У гўлликдан илинтириб, ишонтирдики. (135 б)
for it seems that the weird sisters have sold their souls to the fiend, the devil. When Macduff says that he was not born of woman. Macbeth knows for sure that he ahs put his faith in evil, and has been betrayed:
Macbeth:
Acensed be that tongue that tells, me so,
For it hath cowed my better part of man!
And be these juggling fiends no more believed,
That palter with us in a double sense,
That keep the word of promise to our ear,
And break it our hope. (V.VIII. 19–22)
Макбет:
Язык отсохни, это возвестивший!
Он сразу мужество во мне сломил!
Не надо верить прорицаньям ада,
Проклятье им за их двоякий смысль!
Слова их не обманывают слуха,
Чтоб тем полней надежды обмануть.
Я не дерусь с тобой. (V.VIII. стрю 560)
Макбет:
Ҳоҳ, шу гапни айтган тилинг тагдан қурисин!
Шаштим синди! Минбаъд шайтон башоратига
Ишонмайман. У дўзахнинг сўз ўйинидир.
Лаънат ёғсин, икки тилли иблис жинсига!
Эшитганда, ширин сўзи қулоққа ёвар,
Аммо тшонч хайф бу сўзга, илондай чақар.
Йўқ сен бтлан савашмайман. (V. 8. 140 б)
Act III, Scene V, shows the witches as different in some ways from this description of the part they play in the rest of the tragedy: but this scene is generally considered not to be part of the original play. But this does not concern our theme, of course.
That Macbeth would be king but no father of kings, that he would reign until; Birnam would be uncongexerable by any man born of woman were riddling prophecies included in Holinshed, but the manner of presenting them through apparitions was Shakespeare’s invention:
the «Armed Head» instigating the aggression against Macduff probably represents Macbeth himself; the «Child Crowned, with a tree in his hand» certainly represents young Malkolm, deviser of the tactics as Birnam Wood; the «Bloody Child» represents Macduff, who was «from his mother’s womb untimely ripped». These ingenlities might well have been intrusive in a play so elemental; as haundled by Shakespeare they contribute to the master plan by allowing us to watch Macbeth gradually stripped of hope by those juggling fiends» upon whom he has relied.
Such lines us
Hecate:
O, well done! I commend your pains
And every one shall shave: th gains.
And now about the cauldron sing
Like elves and fairies in a ring.
Enchanting all that you put in. (IV. 1. 39–43)
Геката:
Вы все сварили к кутежу.
Я вас за это награжу.
Но надо цель иметь в виду:
Попеть, сплясать и на ходу
Заклясть, заговорить бурду. (стр. 531)
Ҳеката:
Ишратга тайёр газак.
Энди ишни кўзласак: –
Айланиб, айтинг тилсим,
Бўтқангиз тилга кирсин! (IV.1. 91 б)
make us appreciate the more the magical rancousness of the language that Shakespearehimself gave his witebes. The authenticity of the Porter’s speech was questioned by Coleridge a useful purpose, in evoking from De Quincey a gem of literary appreciation.
No one who has read the play will ever forget the hardy characters who struggle to readmit light into their murky world, and certainly not that incandescent couple who kill together and die apart. The style has the vigor, condensation and imaginative splendor of Shakespeare at his greatest, when he seems to be pressing upon the very bounds of the expressible. Blood and darkness are constantly invoked and jarring antitheses, violent hyperbole, and chaotic imagery give the lines the quality demanded by the action. But there also moments of unforsettable hush. Some of the speeches seem to express the agony of all manking.
Macbeth:
Cure her of that!
Caust thou not minister to a mind diseased,
Pluck from the memory a rooted sorrow,
Raze out the written troubles of the brain,
And with some sweet oblivious antidote
Cleans the stuffed bosom of that perilous staff
Which weighs upon the heart? (V.III. 40–45)
Макбет:
Избавь ее от этого. Придумай,
Как удалить из памяти следы
Гнездящееся печали, чтоб в сознанье
Стереть, воспоминаний письмена
И средствами, дающими забвенье,