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Banquo

Banquo is a character in William Shakespeare's tragedy Macbeth, first performed around 1606, portrayed as a loyal Scottish thane and general serving under King Duncan who encounters the Three Witches alongside Macbeth and receives a prophecy that, though he will not become king himself, his descendants will rule Scotland.^[1] In the play, Banquo serves as a moral foil to Macbeth, embodying virtues of honesty, restraint, and resistance to supernatural temptation, in contrast to Macbeth's descent into ambition-driven tyranny.^[2]^[3] Shakespeare drew Banquo from Raphael Holinshed's Chronicles of England, Scotland, and Ireland (1587), but significantly altered the character: in Holinshed's account, Banquo is an accomplice to Macbeth in assassinating Duncan and seizing power, rather than a victim of Macbeth's paranoia.^[1]^[2] This revision likely aimed to honor King James I, Shakespeare's royal patron, whose Stuart dynasty claimed legendary descent from Banquo through his son Fleance, thereby legitimizing James's rule by associating it with noble forebears untainted by regicide.^[3]^[2] Banquo's most defining dramatic moments include his skepticism toward the witches' equivocal prophecies, his murder by Macbeth's hired assassins during a ride, and his subsequent apparition as a bloodied ghost at Macbeth's banquet, which exposes the king's unraveling psyche and foreshadows his downfall.^[1] These elements highlight Macbeth's exploration of guilt, fate versus free will, and the generational consequences of violence, with Banquo's line symbolizing the restoration of rightful order through Malcolm's eventual victory.^[4]

Origins and Historical Context

Prototype in Scottish History

The figure of Banquo emerges not from verifiable 11th-century Scottish records but from 16th-century historiography, first documented in Hector Boece's Scotorum Historiae (1526–1527), where he is portrayed as Thane of Lochaber and a co-conspirator with Macbeth in the assassination of King Duncan I circa 1040. Boece describes Banquo as actively aiding the regicide to advance Macbeth's ambitions, only to be murdered by Macbeth shortly thereafter, with his son Fleance escaping pursuit and fleeing to Wales. This account lacks attestation in earlier medieval sources, such as the Annals of Ulster or the Prophecy of Berchán (composed around the late 12th century), which detail Macbeth's usurpation and 17-year reign (1040–1057) as a mormaer of Moray without reference to any companion named Banquo or equivalent thane involved in the plot.^[5]^[6] Boece's invention of Banquo served to fabricate a noble lineage linking the Stuart dynasty to ancient Scottish royalty, positing Fleance as the progenitor whose descendants intermarried with Welsh nobility and produced Walter FitzAlan (d. 1177), the first hereditary High Steward of Scotland and founder of the Stewart line. This genealogy traces Stuart kings, including James VI and I (r. 1567–1625), back to Banquo, thereby legitimizing their rule through purported descent from pre-Christian thanes rather than Norman or Breton origins. However, no contemporary 11th- or 12th-century charters or genealogies corroborate this chain; Walter FitzAlan's lineage is documented as deriving from Breton stewards under Alan fitz Flaad, with the Banquo connection appearing only in post-medieval chronicles influenced by Boece.^[6]^[7] Historians assess Boece's Banquo as a literary construct rather than a historical prototype, likely amalgamating traits of anonymous 11th-century mormaers or thanes amid Alba's power struggles, but devoid of empirical specificity. Boece's narrative, while drawing on oral traditions and earlier Latin annals, embellishes for patriotic and monarchical glorification, portraying Banquo as ambitious and treacherous—complicit in Duncan's murder—rather than a paragon of loyalty, a romanticization critiqued in modern analyses for prioritizing dynastic mythology over causal evidence from primary records like Irish annals confirming Duncan's death without Banquo's involvement.^[8]

Sources in Chronicles and Folklore

Raphael Holinshed's Chronicles of England, Scotland, and Ireland, published in 1577 and revised in 1587, serves as the principal historical source for the character of Banquo, portraying him as a thane ambitious for power who conspires with Macbeth to assassinate King Duncan in 1040 before himself falling victim to Macbeth's subsequent treachery.^[9] In the 1587 edition, Holinshed details Banquo's initial loyalty turning to complicity in regicide, driven by prophecies from three weird sisters, after which Macbeth murders Banquo to secure his throne against foretold rivalry from Banquo's lineage.^[10] These accounts derive directly from Hector Boece's Scotorum Historiae of 1527, the earliest textual record of Banquo as a historical figure, where Boece fabricates his role and descent to fabricate a legendary Stuart genealogy linking the dynasty to ancient Scottish kings for political legitimacy.^[5] Boece's narrative introduces the prophetic weird sisters as nymph-like figures foretelling Macbeth's kingship and Banquo's descendants' rule, motifs echoing medieval Scottish superstitions of fateful oracles delivered by otherworldly women, though no empirical evidence supports such events occurring in 11th-century Scotland.^[11] Earlier medieval chronicles, such as Andrew of Wyntoun's Orygynale Cronykil completed around 1420, recount Macbeth's usurpation and defeat without mentioning Banquo or prophetic witches, indicating Banquo's absence from pre-Renaissance historical traditions and his emergence as a Renaissance invention to embellish royal ancestry rather than reflect verifiable 11th-century events.^[12] Holinshed's reliance on Boece, itself a compilation blending sparse empirical records with legendary embellishments to flatter contemporary patrons, underscores the chronicles' limited fidelity to primary historical data, as Boece drew from unverified oral traditions and prior mythologized accounts without access to contemporary 1040s documents.^[13] The witches' prophecies in these sources parallel broader medieval folklore of prophetic sibyls or fate-weaving women in Scottish lore, documented in narratives from the late 14th century onward, but their specific application to Banquo and Macbeth represents a historiographic contrivance rather than attested folklore tied to those figures.^[14] This selective amplification in Boece and Holinshed highlights causal influences of Tudor-era politics on historical reporting, prioritizing dynastic propaganda over empirical reconstruction.^[7]

Shakespeare's Modifications for Political Reasons

![Banquo's ghost appearing at the banquet][float-right] In Raphael Holinshed's Chronicles of England, Scotland, and Ireland (1577, revised 1587), Banquo is portrayed as Macbeth's accomplice in the murder of King Duncan, sharing culpability in the usurpation.^[1] Shakespeare deviates from this account by depicting Banquo as a loyal thane uninvolved in Duncan's assassination, thereby exculpating him of treasonous guilt.^[1] This alteration serves to elevate Banquo's moral character, aligning with King James I's claimed descent from Banquo through his son Fleance, a lineage the Stuart monarchs invoked to legitimize their rule under the doctrine of divine right.^[15] The play's composition around 1606, shortly after James's 1603 ascension to the English throne and amid his patronage of Shakespeare's company (renamed the King's Men), indicates these modifications were motivated by the need to secure royal favor.^[2] By presenting Banquo as virtuous and his lineage as destined for kingship—via the witches' prophecy that Banquo's descendants would inherit the throne—Shakespeare flatters James, whose forebears traced their Scottish sovereignty to this mythic genealogy, reinforcing absolutist ideology over historical fidelity.^[15] Shakespeare further introduces the banquet scene featuring Banquo's ghost (Act 3, Scene 4), absent from Holinshed, to dramatize supernatural retribution haunting the usurper Macbeth.^[1] This spectral manifestation underscores Jacobean beliefs in divine justice punishing regicides, resonating with James's post-Gunpowder Plot (1605) emphasis on monarchical legitimacy and his treatise Daemonologie (1597), which equated witchcraft with threats to ordained order.^[15] Such additions prioritize ideological alignment with the court's absolutist worldview—where supernatural forces affirm hereditary succession—over the chronicles' portrayal of shared culpability, evidencing Shakespeare's strategic adaptation for political patronage.^[2]

Role and Development in Macbeth

Introduction and Relationship with Macbeth

Banquo enters Shakespeare's Macbeth as a thane of Lochaber and general in King Duncan's army, first referenced in Act 1, Scene 2, where a captain praises his and Macbeth's battlefield heroism against Norwegian invaders and Scottish rebels led by Macdonwald and the Thane of Cawdor. The captain recounts how Banquo, alongside Macbeth, "seemed as they would make the hogsheads roll" through the enemy ranks, emphasizing their shared valor and unyielding loyalty to the Scottish crown. This depiction establishes Banquo as a formidable warrior and peer to Macbeth, both having fought valiantly to secure Duncan's realm. Banquo's onstage introduction occurs in Act 1, Scene 3, immediately after the battle, as he and Macbeth converge on a heath and encounter the three witches. Here, Banquo is portrayed as a father—later evident in his concern for his son Fleance—and a figure of stoic composure amid the supernatural. While Macbeth reacts with rapt ambition to the witches' hails, Banquo exhibits rationality, warning, "The instruments of darkness tell us truths, / Win us with honest trifles, to betray's / In deepest consequence," cautioning against potential demonic deception despite the prophecies' initial plausibility.^[16] His skepticism contrasts with Macbeth's fervor, underscoring Banquo's baseline traits of prudence and moral restraint.^[17] The relationship between Banquo and Macbeth is initially one of close camaraderie and mutual respect as fellow generals, forged in combat and service to Duncan. Banquo addresses Macbeth as his "noble partner" upon their reunion, reflecting trust and equality in rank and deed before the witches' interventions sow seeds of divergence.^[18] This bond highlights their shared starting point of loyalty, setting up the play's exploration of how ambition erodes such ties without yet delving into later fractures. The witches briefly prophesy to Banquo that he will be "lesser than Macbeth, and greater," and "not so happy, yet much happier," culminating in the line, "Thou shalt get kings, though thou be none," introducing his lineage's royal destiny.^[16]

Encounter with the Witches and Prophecy

In Act 1, Scene 3 of Macbeth, Banquo accompanies Macbeth during their encounter with the three witches on a heath amid thunder and lightning.^[19] The witches first address Macbeth with prophecies of his elevation to Thane of Cawdor and eventual kingship, prompting his immediate fixation.^[16] They then turn to Banquo, hailing him with paradoxical predictions: "Lesser than Macbeth, and greater," "Not so happy, yet much happier," and "Thou shalt get kings, though thou be none."^[19] These foretell that while Banquo will not achieve Macbeth's titles or immediate power, his descendants will inherit the throne, establishing a lineage of monarchs without his personal rule.^[16] Banquo's response contrasts sharply with Macbeth's agitation and demand for clarification.^[20] Displaying skepticism, Banquo questions the witches' veracity, asking if they can "look into the seeds of time" and foresee outcomes, yet he warns that such supernatural entities may employ equivocation—offering partial truths to ensnare the unwary.^[19] He articulates this caution in his soliloquy: "oftentimes, to win us to our harm, / The instruments of darkness tell us truths, / Win us with honest trifles, to betray’s / In deepest consequence."^[19] This measured restraint underscores Banquo's initial moral caution, resisting the prophecies' seductive ambiguity without outright dismissal, unlike Macbeth's rapt absorption that ignites his ambition.^[21] The prophecy's equivocal nature serves as a moral litmus test, revealing character through response rather than imposing direct causation.^[22] Scholarly analyses note that the witches' words to Banquo, while accurate in foretelling Stuart lineage ties under James I, probe latent desires without coercive force, highlighting how prophecy amplifies preexisting dispositions—Banquo's loyalty prevails over usurpative impulse.^[20] This scene establishes the causal pivot where ambiguous foreknowledge intersects human agency, with Banquo's composure preserving his integrity amid the heath's ominous revelations.^[23]

Murder, Banquet Ghost, and Fleance's Escape

In Act 3, Scene 1 of Macbeth, King Macbeth, fearing the witches' prophecy that Banquo's descendants will inherit the throne, determines to eliminate Banquo as a threat to his insecure rule.^[24] Macbeth reflects on Banquo's virtues—"his courage to the stick and his mind/Teems with great promise"—which rebuke his own compromised genius, heightening the peril posed by Banquo's royal lineage foretold.^[24] He recruits two murderers by exploiting their grievances against Banquo and adds a third to ensure success, instructing them to intercept Banquo and his son Fleance on their way to the palace.^[24] The assassination occurs offstage in Act 3, Scene 3, where the three murderers ambush father and son in a grove near the palace.^[25] Banquo fights valiantly to protect Fleance, urging his son to "Fly, good Fleance, fly, fly, fly!" before succumbing to multiple stab wounds, but Fleance extinguishes his torch and escapes into the darkness, thwarting the complete fulfillment of Macbeth's command.^[25] This partial failure preserves the prophetic line, as Fleance's survival directly links to the future kingship of Banquo's issue without requiring Banquo's ongoing agency.^[25] During the subsequent banquet in Act 3, Scene 4, one murderer reports Banquo's death to Macbeth but confirms Fleance's flight, eliciting Macbeth's tormented exclamation, "Then comes my fit again."^[26] As the feast proceeds with lords in attendance, the stage direction introduces "the Ghost of Banquo" entering silently and occupying Macbeth's seat, visible only to him as an apparition of guilt.^[26] Macbeth reacts with horror—"Thou canst not say I did it. Never shake/Thy gory locks at me"—disrupting the gathering and alarming the guests, while Lady Macbeth attempts to dismiss it as a momentary infirmity to maintain the royal facade.^[26] The ghost departs and reappears, prolonging Macbeth's unseemly outburst until it finally vanishes, leaving the banquet in disarray and underscoring the immediate unraveling of Macbeth's composure before his court.^[26]

Character Analysis and Themes

Contrast with Macbeth: Loyalty versus Ambition

Banquo serves as a foil to Macbeth, embodying restraint and fidelity to moral order in contrast to Macbeth's unchecked pursuit of power through violence. Both characters receive prophecies from the witches foretelling greatness—Macbeth as king and Banquo's descendants as rulers—yet their responses diverge sharply, with Banquo prioritizing ethical caution over immediate gain.^[27] In Act 2, Scene 1, Banquo demonstrates self-mastery by invoking divine aid against temptation, stating to his son Fleance, "Merciful powers, / Restrain in me the cursed thoughts that nature / Gives way to in repose!" This prayer reflects an internal discipline aligned with natural and hierarchical duties, resisting the disruptive impulses that the prophecy might incite.^[28] In immediate juxtaposition, Macbeth's subsequent soliloquy contemplates a hallucinatory dagger guiding him to regicide, marking his surrender to ambition: "Is this a dagger which I see before me, / The handle toward my hand?" This vision propels him toward Duncan's murder, illustrating a causal chain where unbridled will overrides moral restraint, leading to personal and societal upheaval.^[29]^[30] Following the witches' revelations in Act 1, Scene 3, Banquo engages the prophecy with measured inquiry—"If you can look into the seeds of time / And say which grain will grow and which will not"—probing its implications without hastening to manipulate outcomes, thus preserving loyalty to king and order.^[31] Macbeth, conversely, acts decisively on the foretelling by plotting regicide, a breach that unravels his lineage and rule, as evidenced by his barren throne and eventual overthrow. Banquo's inaction on ambition yields empirical vindication: his son Fleance escapes assassination, ensuring the prophecy's fulfillment through enduring progeny, which contrasts Macbeth's self-inflicted isolation and demise without heirs.^[27]^[32] This outcome underscores a realist pattern in the text where fidelity to hierarchical norms sustains legacy, while ambition's violation invites destruction.^[33]

Embodiment of Natural Order and Divine Right

In Macbeth, Banquo embodies the natural order inherent in Jacobean cosmology, where kingship adheres to divine ordinance through hereditary bloodlines rather than conquest or personal merit. The witches' prophecy declares that Banquo will sire kings despite not reigning himself (1.3.65-68), framing his descent as a divinely favored lineage destined for legitimate rule, in opposition to Macbeth's artificial seizure of the throne via regicide.^[34] This succession motif underscores a causal realism: virtuous restraint, as displayed by Banquo's resistance to the prophecies' temptations, sustains familial continuity, while unchecked ambition fractures it, leading to barren tyranny as Macbeth laments his "fruitless crown" (3.1.61).^[35] Banquo's apparition at the banquet functions as retributive justice, a spectral enforcer of cosmic equilibrium disrupted by Macbeth's defiance of hierarchical legitimacy. In the play's metaphysics, this ghost—visible only to the usurper—manifests the inevitable consequences of inverting natural succession, echoing Jacobean views of monarchy as analogous to God's paternal authority over creation, where violations provoke supernatural disorder.^[34] The witches' equivocal truths, promising Macbeth power yet ensuring Banquo's line prevails through Fleance's survival (3.3), illustrate how partial deceptions align with providential outcomes, reinforcing that true kingship flows from ordained genealogy, not egalitarian or merit-based upheavals often romanticized in contemporary interpretations.^[36]^[35] This portrayal aligns with King James I's doctrine in The True Law of Free Monarchies (1598), positing kings as God's lieutenants whose blood-right preserves societal harmony against the chaos of tyranny.^[34] Banquo's unyielding moral fiber thus preserves his progeny’s claim, culminating in the pageant of eight kings descending from him (4.1.112-148), a vision affirming divine predestination over human contrivance and critiquing any notion that disrupts primogeniture as antithetical to the realm's stability.^[36]

Implications of the Prophecy for Kingship

The witches' prophecy to Banquo articulates an equivocal promise of future royal dominion through his lineage rather than personal attainment, stating that he is "lesser than Macbeth, and greater," and "not so happy, yet much happier," while explicitly foretelling, "Thou shalt get kings, though thou be none."^[16] This formulation privileges posterity over immediate sovereignty, positing a causal mechanism wherein biological descent ensures the transmission of kingship, as later reinforced by the Act 4 apparition of eight kings descending from Banquo, culminating in a figure bearing a mirror signifying endless succession.^[37] In juxtaposition, Macbeth's response to his own prophecy precipitates misinterpretation and violent action, fostering paranoia that drives attempts to sever Banquo's line, yet these efforts inadvertently fulfill the foretelling by allowing Fleance's escape and the persistence of the bloodline.^[38] Banquo's restraint—eschewing ambition despite temptation—highlights the prophecy's reliance on providential inevitability over self-fulfilling human agency, where fate operates independently of usurpative intervention.^[15] The prophecy's mechanics thus endorse a conception of kingship rooted in hereditary continuity and divine sanction, aligning with contemporary doctrines of the divine right wherein monarchical authority derives from God through anointed bloodlines rather than contractual consent or conquest alone.^[39] This realist framework of power's biological and providential conveyance counters transient ambition, affirming that legitimate rule endures via natural lineage, as symbolized by Banquo's untainted posterity ascending to the throne in defiance of Macbeth's sterile tyranny.^[15]

Interpretations, Performances, and Criticisms

Traditional and Scholarly Readings

In eighteenth- and nineteenth-century criticism, Banquo was frequently interpreted as a paragon of moral virtue and restraint, functioning as a deliberate foil to Macbeth's tragic susceptibility to ambition. Samuel Johnson, in his 1765 edition of Shakespeare's works, praised the play's structure for directing passions toward their "true end," portraying Banquo's honorable demeanor—particularly his wary yet principled response to the witches' prophecies—as emblematic of loyalty to king and divine order, in stark contrast to Macbeth's envious capitulation.^[40] This reading underscored the tragedy's cautionary intent, warning against the perils of vaulting ambition while affirming Banquo's resistance as a model of ethical fortitude.^[41] Nineteenth-century scholars reinforced this view, emphasizing Banquo's foil role through textual evidence of his deliberate rejection of temptation. A. C. Bradley, in Shakespearean Tragedy (1904), analyzed Banquo's soliloquy following the witches' encounter, noting his explicit recognition of potential "treasonable" inducements yet firm resolve to "keep my bosom franchised and allegiance clear," which highlights his unwavering integrity absent in Macbeth.^[42] Bradley further described the ghost's appearance at the banquet as a dramatic device manifesting Macbeth's internal guilt, serving a causal plot function to accelerate his psychological unraveling and public exposure without necessitating supernatural ontology beyond Elizabethan dramatic convention.^[43] This interpretation prioritized fidelity to Shakespeare's authorial intent, viewing the ghost as an empirical mechanism for illustrating conscience's retributive force rather than inviting speculative psychologization. Traditional analyses consistently tied Banquo's character to broader thematic affirmations of natural hierarchy and legitimate succession, with his murder and Fleance's escape propelling the narrative toward restoration of divine right. Critics like Bradley observed that Banquo's prophesied lineage—culminating in James I's ancestry—reinforces the play's endorsement of hereditary kingship, positioning Banquo not as a passive victim but as an active emblem of moral causality wherein virtue begets enduring legacy.^[44] Such readings eschewed anachronistic impositions, adhering instead to the text's plot-driven logic where Banquo's foil status causally illuminates ambition's self-destructive trajectory, unadorned by later romantic overlays.^[45]

Stage Performances and Actor Choices

William Davenant's operatic adaptation of Macbeth, first performed around 1664 by the Duke's Company, introduced songs and spectacle while retaining the core structure of Banquo's ghost scene, where the apparition appears only to Macbeth during the banquet, emphasizing psychological torment over visible horror for the audience.^[46] This staging aligned with Restoration preferences for clarified supernatural elements through music and machinery, such as potential trapdoor effects for the ghost's entrance, without fundamentally altering Shakespeare's depiction of Banquo as a spectral reminder of betrayed loyalty.^[47] In the 19th century, producer Samuel Phelps at Sadler's Wells Theatre revived Macbeth starting in 1843 with a commitment to textual fidelity, as evidenced by promptbooks directing Banquo's ghost to rise slowly on a trapdoor while initially masked, preserving the invisibility to other characters and underscoring Macbeth's solitary guilt.^[48] These choices minimized interpretive liberties, focusing on mechanical staging to evoke the ghost's silent, accusatory presence, which reinforced the play's portrayal of natural order disrupted by regicide. Phelps' approach influenced subsequent traditional productions, where actors selected for Banquo prioritized dignified restraint to contrast Macbeth's unraveling, avoiding comedic or exaggerated traits that could undermine the character's noble lineage.^[49] Promptbook records from 17th- to 19th-century stagings consistently show deviations limited to practical effects like traps and lighting for the ghost's appearances, ensuring Banquo's role highlighted prophetic kingship without modern psychologizing or subversion of monarchical themes.^[50] For instance, in Phelps' versions, the ghost's physical manifestation—bloodied and seated at the table—relied on actor discipline to remain mute and reactive only to Macbeth, maintaining the scene's causal realism of conscience-driven apparition over audience-visible spectacle.^[48] Such actor choices, favoring stoic physicality, preserved Shakespeare's intent amid evolving theatrical technologies.

Screen Adaptations and Modern Critiques

Orson Welles's 1948 adaptation of Macbeth portrays Banquo, played by Edgar Barrier, as a steadfast ally whose spectral appearance during the banquet scene employs innovative visual techniques, such as rapid cuts to an empty table to evoke Macbeth's hallucination, heightening the psychological tension of guilt without overt supernatural effects.^[51] This approach underscores Banquo's innocence as a foil to Macbeth's descent, amplifying dramatic causality by linking the murder directly to Macbeth's unraveling conscience.^[52] Roman Polanski's 1971 film depicts Banquo's murder with graphic realism, showing the assailants' brutal ambush in a forest, where Banquo fights back before succumbing, emphasizing the visceral consequences of ambition-driven violence.^[53] The scene's explicit bloodshed, departing from the play's offstage implication, serves to ground the tragedy in physical causality, portraying Banquo's loyalty and demise as stark warnings against moral transgression.^[54] Justin Kurzel's 2015 adaptation highlights Banquo's lineage through scenes focusing on his son Fleance and the prophecy's implications for future kingship, with Paddy Considine's portrayal emphasizing paternal resolve and the generational threat to Macbeth's rule.^[55] This fidelity to the play's themes of succession achieves visual depth via stark Highland landscapes, reinforcing Banquo's role in the natural order of inheritance.^[56] Modern critiques praise these adaptations for enhancing accessibility through cinematic spectacle, such as Polanski's unflinching realism and Kurzel's atmospheric fidelity, which clarify causal chains like prophecy leading to murder.^[56] However, some fault recent versions for prioritizing visual effects over textual precision, risking dilution of the tragedy's core moral hazards—ambition's unchecked consequences—by overlaying interpretive layers that obscure Shakespeare's emphasis on individual agency.^[57] Critics note that while Welles and Polanski maintain tension via Banquo's amplified innocence, contemporary retellings occasionally inject sympathetic victimhood onto secondary figures like Banquo, potentially softening the play's stark realism of power's corrupting logic.^[58]

Debates on Shakespeare's Intent and Bias

Scholars debate whether Shakespeare's portrayal of Banquo reflects deliberate alterations to historical sources for political flattery, particularly toward King James I, who ascended the English throne in 1603 and claimed descent from Banquo's line as presented in the play's prophecies. In Raphael Holinshed's Chronicles of England, Scotland and Ireland (1587), Banquo conspires with Macbeth in King Duncan's murder and shares in the ensuing tyranny before being killed by Macbeth, portraying him as morally compromised. Shakespeare, however, exonerates Banquo entirely, depicting him as a loyal thane who resists temptation despite the witches' prophecy of his descendants' kingship, a change widely attributed to the playwright's need to honor James's Stuart lineage and secure patronage for his company, the King's Men, granted royal status in May 1603.^[1]^[59] This revision aligns with broader elements tailored to James's interests, including the expanded role of witchcraft drawn from his 1597 treatise Daemonologie, which condemned sorcery and equivocation—practices echoed in the play's equivocating witches and the Porter's scene, likely composed around 1606 amid the Gunpowder Plot aftermath. Traditional critics, such as those emphasizing Jacobean absolutism, argue this evidences Shakespeare's intent to reinforce hierarchical order and divine right, with Banquo symbolizing virtuous restraint against Macbeth's disruptive ambition, thereby affirming monarchical legitimacy over usurpation.^[15]^[38] Postmodern deconstructions, prevalent in late-20th-century academia, have contested this by positing subversive undercurrents, such as ironic critiques of power structures or proto-egalitarian sympathies in Banquo's ghostly return disrupting the banquet, interpreted as haunting the establishment rather than endorsing it. Such readings often draw from theoretical frameworks questioning authorial intent, yet empirical contextual evidence— including the absence of textual variants in Macbeth's sole early printing, the First Folio of 1623, and the play's performance under royal auspices—favors patronage-driven conservatism over subversion, as quarto-folio differences in other works (e.g., Hamlet) reveal revisions for clarity or censorship but none here undermining hierarchy.^[60] Critiques of modern egalitarian interpretations highlight their imposition of anachronistic lenses, such as claims of class or gender subversion through Banquo's arc, which ignore the play's causal emphasis on natural order: Banquo's fidelity preserves his lineage's prophesied rule, contrasting Macbeth's violation of feudal bonds and divine sanction, without textual support for democratizing kingship. Academic sources advancing proto-feminist or anti-absolutist views, often from institutionally left-leaning perspectives, underweight historical patronage realities, where Shakespeare's adaptations demonstrably prioritized monarchical realism to navigate courtly expectations rather than implicit rebellion.

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[25]
Macbeth - Act 3, scene 3 - Folger Shakespeare Library
A third man joins the two whom Macbeth has already sent to kill Banquo and Fleance. The three assassins manage to kill Banquo. Fleance escapes. Enter three ...
[26]
Act 3, scene 4 - Macbeth - Folger Shakespeare Library
Three “Weïrd Sisters” appear to Macbeth and his comrade Banquo after a battle and prophesy that Macbeth will be king and that the descendants of Banquo will ...
[27]
Banquo Character Analysis in Macbeth | SparkNotes
Banquo is Macbeth's brave and noble best friend, as well as his second victim. Banquo enters the play with Macbeth after both have fought valiantly for Duncan' ...Missing: basis | Show results with:basis
[28]
Macbeth - Act 2, scene 1 | Folger Shakespeare Library
Left alone by Banquo, Macbeth sees a gory dagger leading him to Duncan's room. Hearing the bell rung by Lady Macbeth to signal completion of her preparations ...
[29]
Macbeth Act 2 Scene 1 Is this a dagger which I see before me
Banquo is on his way to bed, accompanied by his son, who bears the torch. On his way he hands over to Fleance his sword (line 4) and perhaps his dagger (line 5) ...
[30]
Macbeth Act 2: Scenes 1 & 2 Summary & Analysis - SparkNotes
Banquo and Fleance leave, and suddenly, in the darkened hall, Macbeth has a vision of a dagger floating in the air before him, its handle pointing toward his ...
[31]
Macbeth Act 1, Scene 3 Translation | Shakescleare, by LitCharts
The sound of thunder. The three WITCHES enter. The sound of thunder. The three WITCHES enter. FIRST WITCH.
[32]
Theme Of Banquo's Ambition In Macbeth - 890 Words - Cram
Macbeth chooses to kill Banquo so that his descendants will not become king. He kills Banquo, and attempts to kill Banquo's son Fleance so Macbeth can ...
[33]
Macbeth Vs Banquo Analysis - 704 Words - IPL.org
Banquo continues to be a foil of Macbeth, as even in his suspicious thoughts, his values remain important to him. His suspicion towards Macbeth and how he gains ...
[34]
Corruption and Theories of Kingship in Macbeth - Inquiries Journal
Keywords:Shakespeare Macbeth Kingship Divine Right Shakespeare. In England ... Just after Lady Macbeth's death—after she can no longer threaten the natural order— ...
[35]
[PDF] The Temporality of Legacy in Macbeth
Particular to Macbeth, however, is the focus on inheritance and lineal succession. Macbeth's attempts to prevent the lineal rule of Duncan and Banquo, while ...
[36]
[PDF] Macbeth Background and historical context
Shakespeare's play explores the consequences of people in power whose ambition goes unchecked and this theme of ambition is often linked with tragedy. However, ...Missing: basis | Show results with:basis
[37]
Macbeth - Act 4, scene 1 | Folger Shakespeare Library
Macbeth approaches the witches to learn how to make his kingship secure. In response they summon for him three apparitions: an armed head, a bloody child, and ...
[38]
A Modern Perspective: Macbeth | Folger Shakespeare Library
In the same vein of polarized morality, Shakespeare departs from the Holinshed account in which Macbeth is joined in regicide by Banquo and others; instead, he ...
[39]
[PDF] The Divine Right of Kings in Macbeth - Douglas Wise
James I conveniently believed that monarchs derived their power from God and he was keen to emphasise this doctrine to those around him. He wanted people to ...
[40]
Samuel Johnson: Notes to Shakespeare. - Project Gutenberg
Dr. Johnson's reaction to Shakespeare's tragedies is a curious one, compounded as it is of deep emotional involvement in a few scenes in some plays.
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Tragedies by Samuel Johnson: Macbeth - The Literature Network
The authour might mean, It is better that Banquo's blood were on thy face, than he in this room. Expressions thus imperfect are common in his works. III.iv.33 ( ...
[42]
A. C. Bradley's Shakespearean Tragedy, p. 492
I do not think the suggestions that the Ghost on its first appearance is Banquo's, and on its second Duncan's, or vice versa, are worth discussion. But the ...
[43]
A. C. Bradley's Answers to Frequently Asked Questions About Macbeth
Q: Is the Ghost of Banquo a hallucination? A: Yes, but Shakespeare knew that most of his audience would think of it as a real ghost. See Note FF. Table of ...
[44]
[PDF] SHAKESPEAREAN TRAGEDY BY A.C. BRADLEY
Oct 30, 2005 · Banquo's answer shows three things,—that he fears a treasonable proposal, that he has no idea of [384]accepting it, and that he has no fear of ...
[45]
Banquo's Ghost: The Shared Vision - jstor
The later embodiment onstage of. Banquo's ghost is, therefore, nothing less than the visible consequence of every motion by Macbeth to realize the "future in ...
[46]
[PDF] A Case Study of Davenant's Macbeth
Mar 1, 2022 · Abstract. Focusing on a case study of William Davenant's Macbeth (c.1664), this article sets out to explore how and why Restoration ...
[47]
THE STAGE-HISTORY - Macbeth
These lines, spoken by Jasper 'with his face mealed', were clearly intended to recall the apparition of Banquo on the stage, and suggest that the stage business ...
[48]
Samuel Phelps' Staging of "Macbeth" - jstor
-masking Banquo as he rises on the trap. Banquo's entrance is described in the prompt books. Pull for trap. Banquo rises ...
[49]
The Shakespeare promptbooks; a descriptive catalogue
... promptbooks is to promote new studies in the history of staged Shakespeare. When this history can be written entire, it will touch upon nearly everything ...
[50]
Shakespearean prompt-books of the seventeenth century, vol. 5 ...
In the collation I have compared the Smock Alley Macbeth with the following stage or stage related versions: (1) the Padua prompt-book (see Volume 1 of this ...
[51]
Macbeth (1948) - Movie Musings
May 30, 2023 · He is haunted not only by Banquo's ghost, but Duncan's as well, Welles camera cutting to reveal his cavern dining room empty of everyone but the ...<|separator|>
[52]
[PDF] The Gift or the Denial of Sight in Screen Adaptations
the two renowned Macbeth versions by Orson Welles (1948) and Roman Polanski (1971) ...
[53]
Roman Polanski's Macbeth: a clip from the gory 1971 Shakespeare ...
May 5, 2016 · ... murder by the Manson 'family'. In this clip, we see Finch's Macbeth ... scene. The Tragedy of Macbeth (Criterion Collection) is ...
[54]
Macbeth (1971) - IMDb
Rating 7.4/10 (15,774) So what happens offstage in the play, happens onstage in the film: the murders of Duncan, Banquo, Macduff's family. Murder is nasty and bloody and Polanski ( ...Full cast & crew · Parents guide · Macbeth · Filming & production
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Patriarchal Succession in Justin Kurzel's Adaptation of Macbeth (2015)
Macbeth's focus on Banquo's heirs combines with his word choices to further suggest his hope for future offspring.
[56]
Adaptation and Cultural Apologetics: Sin, Guilt, and Cosmic Justice ...
Dec 14, 2022 · When Macbeth and Banquo meet the witches, they reveal the figure wearing a crown. The figure appears again in several intercut scenes throughout ...
[57]
Justin Kurzel's Macbeth is Everything that is Wrong with Modern ...
Mar 26, 2016 · Macbeth is allegedly an adaptation of my favorite Shakespeare play and I had no idea what was going on most of the time.
[58]
The Persistence of Fidelity in Reviews of Kurzel's Macbeth
Despite being praised for its breathtaking pictorial appeal, the film has also been denigrated in the popular press for its purported failure to capture the ...
[59]
Shakespearean Praise for King James | Better Living through Beowulf
Feb 8, 2023 · James, who had recently ascended to the throne, believed he was descended from Banquo, and Shakespeare reshaped the historical record to flatter ...
[60]
Shakespeare and Post-Modernism - Literary Theory and Criticism
Jul 20, 2018 · Under postmodernism, Shakespeare undergoes theorizing, deconstruction, textual criticism, political and cultural criticism and clarifies hitherto undiscovered ...Missing: hierarchical Banquo