In the beginning of the play, an injured captain reports on the battle against Macdonald, a rebel, in which Macbeth played a crucial role. He is presented as a hero, and someone to look up to, throughout Act 1 Scene 2. At one point, the battle looked as though it would turn in Macdonald’s favour, but it was left to the brave warrior Macbeth, "disdaining Fortune," to reverse this situation. Macbeth succeeds.
The introduction of Macbeth as a warrior hero is crucial to the play, for tragedy depends on our witnessing the downfall of an already great man. Phrases such as "Valour's minion" (the servant of Courage) and "Bellona's bridegroom" (the husband of War) exemplify Macbeth's superheroism. His strength is underscored by the captain's graphic account of Macbeth's actions on the battlefield. Macbeth did not simply kill Macdonald; he "unseam'd him from the nave to the chops, / And fix'd his head upon our battlements" (22-23) — a reference that foreshadows Macbeth's death at the end of the play, while painting an illustrious, yet excessively violent picture of Macbeth’s character.
Macbeth's reputation on the battlefield is further enhanced by the similes of the Captain's second report, in which Macbeth and his fellow-captain, Banquo, are compared to "eagles" and "lions" unafraid of the timid Norwegians, who themselves are likened to "sparrows" or "a hare." Symbolically, the lion appears on the royal coat of arms of the kings of Scotland. Macbeth's and Banquo's fighting is compared to the action of artillery pieces (even though, historically, this battle would have been a sword fight, which emphasises the unprecedented superiority of Macbeth’s ability and character). Macbeth is credited with nothing less than recreating "Golgotha," the scene of Christ's crucifixion, which also foreshadows the tragic happenings of the play later on.
After Macbeth receives word of his new title, Thane of Cawdor, he cannot reconcile the fact of the truth of the first prophecy with his intense and unnatural fear, or what he calls his "horrible imaginings." He admits to being so shaken by the news that he feels that his reason has been taken over by his imagination. The line "Nothing is, but what is not" is ambiguous. The expression could indicate confusion between the world we think of as real and the world of dreams, a neat summary of a confused mind. But how confused is Macbeth at this point? If he is capable of arguing that the prophecies are neither evil nor good, he is capable of accepting that nothing that exists has any existence or meaning. This interpretation could open Macbeth to dangerous and unjustifiable deeds. If he can make himself believe that "Nothing is, but what is not," then Macbeth's respect for order, for hierarchy, for the King, is also nullified. He can, literally, get away with murder. These are the beginnings of Macbeth’s ambition taking control of his actions.
At the end of Act 1 Scene 5, Macbeth commands: “Stars hide your fire, let light not see my black and deep desires.” His ambition is unquestionably portrayed in this quote, as he admits to himself that he yearns for that which is yet impossible, and has desires to achieve it. Lady Macbeth notices: “What thou wouldst highly, that wouldst thou holily, wouldst not play false, and yet wouldst wrongly win”, showing that he is indeed full of ambition. The question remaining is whether this ambition is enough to persuade him to “catch the nearest way”.
In Act 1 Scene 7, the imagery of Macbeth's soliloquy reveals the intentions he would like to achieve ("assassination," "success"
, but its construction shows the workings of a mind still very much in confusion. There is an insistent repetition of individual words — if, were, done, be, but, and here — each repeated two or three times within the first few lines. Within the fluid construction of this soliloquy, words and sounds constantly attract and suggest each other, giving the impression of a train of thought. All this begs the question of whether Macbeth, able to rationalize and express his thoughts, is thereby revealed as an intelligent, poetic soul. If that's the case, he appears more human, less capable of sinning, and, is therefore more capable of winning their sympathy.
It is the thought of something after death that puzzles Macbeth. Macbeth wonders whether the act of murder itself must, by necessity, carry consequences in "the life to come" or whether judgment will await him in this life. Macbeth is simultaneously aware of the duplicity and imbalance of the proposed murder (he is Duncan's relative, subject, and host, yet he is to be his killer) and of the equality and balance of earthly and heavenly law: "this even-handed Justice / Commends the ingredients of our poison'd chalice / To our own lips" (11-12).
Of further concern to Macbeth is the disparity between his own reputation and the world's perception of Duncan as a good and virtuous king. The final section of the speech contains an apocalyptic vision in which he imagines Duncan's virtue and pity proclaimed as if by angels and cherubim from a storm-filled sky. This doom-laden vision, whose imagery (for example, "trumpet-tongued"
reflects that of the biblical Day of Judgment, gives way in turn to a nagging self-doubt, as he sees himself as killing someone dear to God, and so going against His will. Whereas he pictures the angels and cherubim "horsed upon the sightless couriers of the air," Macbeth admits that he himself has "no spur / to prick the sides of my intent but only / Vaulting ambition which o'erleaps itself / And falls on the other [side]" (25-28).
Lady Macbeth must immediately detect Macbeth's self-doubt. When Macbeth admits to her that his golden reputation might lose its "gloss," she sets out to strengthen his resolve by mocking his perceived weakness. Her questions drive further the wedge between daring and doing, between courage and action, between desire and fulfillment. To these, she adds a distinction between masculinity and femininity: In contrast to her own self-proclaimed manliness, she pours scorn upon her husband's lack of courage. She tells him he is "green," "a coward," and that he resembles the proverbial "poor cat" who wanted the fish but would not get its paws wet. Finally, and most damningly, she tells him that her own lack of pity would extend to murdering her own child as it suckled at her breast. With this one terrifying example, she confirms that "the milk of human kindness" is absent in her.
The next paragraph commences with a shift in tone — no less pragmatic but even more ruthlessly efficient — as Lady Macbeth switches her attention to the details of the murder itself. Her plan to drug the guards with alcohol is couched in metaphorical language derived from the ancient science of alchemy. The words "receipt," "fume," and "limbeck" specifically refer to this process, whose purpose was to turn base metal (such as lead) into gold. It is heavily ironic that, in the Macbeths' experiment, that which is gold — the king himself — will become base and doubly ironic that Macbeth's golden reputation will be reduced to worthlessness.
Macbeth has been convinced. In words that uncannily recall his wife's, he now puts on the mantle of murderer: the monosyllabic "False face must hide what the false heart doth know" has a certainty to it that completely overturns his earlier vacillation.