Macbeth the Development and Availability

Macbeth

The development and availability of increasingly sophisticated equipment and consumer goods ever since the Industrial Age has spawned a paradigm of materialism in society that is unparalleled by any other era in history. In the world today, cars, computers and televisions have become the desire of every working-class heart. They have become status symbols to show off to friends and to make them green with envy. The fact that these things have become increasingly available, as money has become more accessible to people, makes it difficult to relate to the words by Aristotle, "Those who want the fewest things are nearest to the gods." Nevertheless, persons who live by a more spiritual paradigm, preach that material things cannot provide happiness. Indeed, Aristotle's words are reminiscent of those by Christ: "Man shall not live by bread alone," where the word "bread" is symbolic of material comfort and wealth. It is also interesting to examine the paradigm of wealth and how this relates to culture as society moves through time. In Shakespeare's world, for example, extreme wealth and comfort were enjoyed at their ultimate peak generally only by royalty. Aristotle's claim regarding materialism is however demonstrated to be true in the play. The same is often true in works of art created for modern people. It is as if there is a general movement away from the extreme materialism induced by the explosion of technological development. People today, like Macbeth in Shakespeare's play, are realizing that material wealth is after all not the ultimate pathway towards true happiness. This is demonstrated in films such as "Bruce Almighty" and "How the Grinch stole Christmas," as well as songs such as "Stairway to Heaven." Modern paradigms of happiness and spirituality relate not so much to the divine manifestation of an external god as to the "god within" of human connections and friendship paradigms. If a modern closeness to the "gods" is understood as a proximity to the fellowship of humanity, Aristotle's claim could also be understood as true in terms of modern-day society.

In Shakespeare's "Macbeth," the object of the main character's desire is kingship. He is tempted to action by a witch's prophesy. Macbeth wants the power of being king so badly that he would do anything to fulfill the prophesy, even if it means sinking to levels that are out of his character. He resolves to kill the existing king, Duncan. When he does obtain his desire, this does not make Macbeth happy, and Banquo, his friend, inquires, "Good sir, why do you start, and seem to fear / Things that do sound so fair?" (Act I, Scene 3). Macbeth is experiencing not only the guilt of the murder, but also the insecurity of his high position. Wealth and power, according to the play, come with incremental proportions of worry and insecurity. These increase the focus on material things and also on the necessity of preserving one's physical life. This removes the focus from higher, spiritual things, substantiating Aristotle's claim.

The claim is further proven by Macbeth's increasingly desperate actions in order to retain his position. He goes as far as committing two more murders; this time his friend, Banquo and even his son, Fleance. Macbeth's motive for the latter murder is sparked by a further prophesy that his son would become king. Still, the illusion of increased security is considerably shadowed by Macbeth's knowledge of what he has become: "To know my deed, 'twere best not know myself." (Act II, Scene 2). In this way, Macbeth faces an inner dichotomy between the innocence he is trying to portray and the guilt he is aware of as he commits murder in order to retain his position of material power and wealth. The sins of selfishness and murder drive him increasingly away from a more spiritually aware existence.

The effort itself of protecting his material possessions has the same effect: it makes of him a man without principle. Macbeth severs completely his connection with the divine in his pursuit of the material world. This effort is rewarded by a false sense of security that eventually brings about Macbeth's downfall. Hecate confirms this with her words: "As by the strength of their illusion / Shall draw him on to his confusion. / He shall spurn fate, scorn death, and bear / His hopes 'bove wisdom, grace, and fear. / And you all know security / Is mortals' chiefest enemy." (Act III, Scene 5).

True to the prophesy of the above words, Macbeth destroys both his security and power by succumbing to the illusion of security. The appearance of extreme wealth and power blinds him to the true danger around him and to the false promises of the witches. In this way the play acts as a warning for the audience: wealth and power are likely to bring more grief and danger than they are worth. They also destroy any meaningful connection that might exist between the human being and the divine.

In modern-day works of art, the same warning is issued, although in a more light-hearted, redeeming fashion. Furthermore, material wealth and the divine come closer to each other than in Shakespeare's play, suggesting a new paradigm of wealth and its relationship to divinity. Aristotle's assertion in terms of modern humankind may therefore hold less truth than may have been the case for the average Shakespearean audience.

The main difference is in the distribution and specific manifestations of wealth. Currently, more people are wealthier than has ever been the case before, mostly thanks to technology and development. Current art forms therefore have to cater for the new paradigms of wealth and spirituality. As such, modern art is generally more complex than the fairly simple plots of plays such as Shakespeare's Macbeth.

In "Bruce Almighty" for example, the main character is unhappy when his material comfort and wealth are removed. In response to his challenge, God provides Bruce with the opportunity to function as God. Like Macbeth, Bruce throws all caution to the wind and enjoys his newfound power. He uses this to regain his position as anchor at a television station, to romance his girlfriend, and to housetrain his dog. The inherent lesson in the film is however not that these things will provide true happiness, but that meaning in life is found through the connection of the human heart. In this way, divinity is brought in direct contact with humanity. Bruce learns that he can make neither himself nor his girlfriend happy by personal material gain, but rather by displaying a transcendent propensity for love and inherent humanity.

The same lesson is demonstrated by "The Grinch." Jim Carey's character in this film is ostracized from humanity because of his looks. He lives a life of grumpy unhappiness, which he has become comfortable with and learned to almost enjoy. This life, separated and cold as it is, is demonstrated as a kind of hell. The Grinch is rescued from this existence by the persistent visits of a little girl. Despite his resistance, the girl befriends the Grinch and teaches him the "true meaning" of Christmas. The film demonstrates this true meaning to lie in togetherness, friendship, and generosity, rather than a purely divine paradigm.