How to assess Shakespeare's presentation of conflict in Macbeth

This Tragedy, which was believed to have been performed in 1606, highlights numerous conflicts within its structure. The chronological nature of events allows for the pace to increase naturally, gradually building momentum from the exposition, to the inevitable catastrophe as following the model designed by Gustav Freytag. Initially the conflict established is set in a supernatural environment. The three ‘Weird Sisters’ establish this theme of conflict in their affirmation that, “fair is foul and foul is fair” (10). The paradoxical nature of the statement perfectly highlights the numerous tensions within the play. From the inner conflict of morals, the external military conflict of ambition, to the supernatural versus the mortal, these three main conflicts instigate, catalyse and ultimately triumph in Shakespeare’s Tragedy. The stage directions, which could usually offer a glimpse into the dramatic intentions of the playwright, instead offer very little. Indeed, scholars deducing what they could from the First Folio (pre-1623 quartos), found the stage directions to be rather sparse indicating only when the character would enter or exit. (Miss Bradbrook) While it makes reconstructing these masterpieces difficult to the reader, in some respects, it allows for a freedom for artistic and creative ingenuity. However, it could also prove a means of control for Shakespeare. He encompasses everything into the dialogue, rather than the stage directions which can be altered by directors. Just as the witches act as both agents of and witnesses to the Tragedy of Macbeth, Shakespeare by encasing his intentions for the characters through direct address and monologue, ensures ultimate posthumous control.