Analysis of Shakespeare's Macbeth base on the theory of

Actantial models
Sahar Javadian Salemi

Abstract: In this research, I focus on the theory of Actantial models, which

have different types. They are based on the morphology of a fairy tale by
Vladimir Propp, on which Algirdas Julien Greimas theory is based, and I have
used both of them to analyze Shakespeare's Macbeth.

Greimas’s Actantial model analysis

In the analysis of actant models, I will focus on the analysis of relationships. It is
necessary to point out that the analysis by actant models is rather schematic and
instructive. It doesn't cover the psychological aspects of the characters, just their basic
motivations. It is also important to emphasize the information that in the analysis of
actant models, characters do not only have single function. The basis for the analysis is
the relationship between the subject and the object and the factors that influence this
relationship both positively and negatively. Because in the drama the characters influence
each other, they fulfill the functions of several actants at the same time. The subject is
also simultaneously the Recipient (Addressee) of the Sender (Addressee). According to
actante theory, the subject is the most modeled and develops through the desire for the
object.

In the case of Macbeth, on an abstract level, this object is position-power, or perhaps

also the fulfillment of his wife's wishes. But this desire for the Object is personified by
the character of Duncan, as the current king. Duncan is thus the Object of Macbeth as a
Subject.
it looked like this:

Subject Macbeth

Object Power: Duncan

Macduff (Banquo)

Helper Lady Macbeth

Opponent Malcolm
Macduff

Sender Witches

Receiver Macbeth

We can thus describe this table as follows. The Subject Macbeth longs for the Object—
that is, the power personified by Duncan whom he must eliminate. This basic motivation
of Macbeth develops and portrays this character. The personification of the Object, as the
Subject's desires, changes during the play, according to its gradual fulfillment. The desire
for power thus calls for the gradual elimination of Duncan, Banquo and Macduff. The
role of Helper is played here by Lady Macbeth, but in this model we no longer deal with
her motivation, her primary role is to help the Subject on the way to the Object. Thus,
Malcolm becomes the opponent of Macbeth, because this character from the beginning to
even is able to really destroy Macbeth, and also take his place, even if Macbeth does not
admit it (but that is already a psychological aspect). Next, he becomes an adversary
Macduff, who is also the Object of Macbeth's murderous list of people standing between
him and the throne. The sender is the witches, they give the Subject an option that is a
fulfilling prophecy. Macbeth takes this opportunity into his own hands. In the event of a
change in the Object of the given Subject, which Banquo and Macduff become after
Duncan's death, the witches (Senders) are joined by murderers. Recipient Gifted of
Sender (Witch) so is Macbeth the Subject again.
 Lady Macbeth is generally considered to be a figure standing in the shadow of
Macbeth, at the same time, he is the person who guides Macbeth. In its case, the schema
table looks like this as follows.:

Subject Lady Macbeth

Object Power: Macbeth

Helper Witches

Opponent Duncan (Banquo)

Sender Witches
Macbeth

Receiver Lady Macbeth

In the case of Lady Macbeth as the Subject, she is also the Object of her desire above
all, power in the hands of the royal crown. However, Power is represented in her by the
character of Macbeth. I consider Macbeth as the Object of this Subject's desire because
the Subject continues to develop through it until its end. In my opinion, Lady Macbeth's
assistants are the Witches, who, although they do not interact with her, are helpful to
Lady Macbeth in making Macbeth start thinking about murder. Duncan is the opponent
because he stands between her and power, Banquo can also be considered an opponent
for this Subject because he also stands between her and her purpose. This is a fact that
after his death, Lady Macbeth herself does not think of any other murder, this is
Macbeth's initiative, also contributes to the establishment of Duncan as the opponent. The
sender in this case is the witch and Macbeth, who is helping Lady Macbeth to destroy the
Adversary. The recipient is then the Subject, i.e. Lady Macbeth.

Both tables show the basis of the relationship between the characters of Macbeth and
Lady Macbeth, namely the desire for the Object, which is Power. However, the
personification of this Object is different, as in Macbeth it is Duncan and in Lady
Macbeth it is Macbeth. A common goal is more built up by Lady Macbeth because her
character is developed through him to the extent that is given to her in the drama.

The difference in the table in the case of Macbeth, is because this character deals the
problems rather marginally. Meaning Macbeth takes responsibility for his other actions in
the coronation feast and does not tell Lady Macbeth that he has hired assassins to kill
Banquo.

Application of Propp's morphology theory

First, I determine what circle the characters could belong to in seven character types;

1) Circle-villain - (W) - Macbeth

2) Circle-Donor (Gives) - Witch

3) Circle-Helper (P) (eliminates misfortune-K) Lady Macbeth

4) Circle-a sought-for a person (Ho)

5) Circuit-Dispatcher (O)-Malcolm

6) Circle-Hero (H) - Macduff

7) Circle-False Hero (Nh)

List the functions of action from 31 situations;

I. Separation (From) - going to war 1

IV. Reconnaissance (E) (interrogation) 4

V. Information (I) (disclosure) 5

VI. Trick (Ú)-deceiving the victim 6 and using magical means 6a

VII Aiding the enemy (7)

VIII. Villain damage (A), kill 8 and declare war 9

VIIIa. Lack-the character does not get something 8a

X. Hero's counteraction (.C) - kill the pest 10

XI. Hero leaves home-departure (^)

XII. The hero is put to the test (D) - the donor puts the hero to the test 12

XVI Hero fights villain (or vice versa) (B)-hero and villain clash

in direct combat 16

XVIII villain is defeated (V) villain is defeated in direct combat 18

XXI Hero is Pursued (Pr) pursuers try to kill the hero 21

XXII. Hero saves himself from pursuit (Rs) - Hero hides on the run 22

XXIV. False Hero Makes Unwarranted Claims (L)

XXVIII. A false hero or villain is exposed (Ex)

XXXI Hero ascends the throne (W)

If I try to fit the characters into this model, I have to assign the hero's situations to the
villain as well, because I view Macbeth as a Villain, not a hero.

According to Propp's model, Macbeth's actions as a Villain (Š) would correspond to the
following formula: Separation + Information + Trick (6 + 6a) + Harm + Ascends the
throne + Harm + Disclosure + Trial + Fight + Defeat

Lady Macbeth corresponds to the Helper role, her formula would look like this:
Information + Lack + Benevolence + Rescue the pest + Enthronement + Disclosure

Macduff-hero: Detecting the villain + Leaving home + Hiding + Passing

trial + Fights a villain (Hero's Counteraction)

Malcolm dispatcher: Detachment + Hiding + Reconnaissance + Hero Counter +

He ascends the throne

In this case, the witch plays the role of the Donor.

From the above-mentioned plot axis, we could then make these simple descriptions of the
actions of the functions to these points:

• Scotland is a Christian country ruled by King Duncan for many years.

• It is divided into territories under the administration of individual clans and their heads
they are relatives of the king.

• Macbeth is the Thane of Glamis, he is the king's cousin and an excellent warrior.

• Duncan has two sons.

• Scotland is troubled by Norwegian raids.

• Thén Macdonald rebels against Duncan's rule.

• In 1040, the Norwegians invade Scotland and the Scots fight against them.

• Macdonald joins forces with a Norwegian jarl.

• In August 1040, the great battle of Fife takes place, where Scotland wins, in the lead

Macbeth. From 1

• Peace is confirmed in Inchelm.

• The king will not participate in the battle because of his old age.

• It's summer.

• The morning after the battle, Macbeth and Banquo go to the king.

• Meets three witches who foretell their fate. I5

• Coming to Forres.

• He is given the title Thén of Cawdor. The prophecy is fulfilled I

• Macbeth sends a messenger to Glamis with a letter for Lady Macbeth. AND

• Departs for Glamis

• Lady Macbeth decides that Macbeth will kill the king. A8a

• In the evening, a victory celebration is held at Glamis Castle.

• Everyone will gather there.

• Lady Macbeth persuades Macbeth and plans everything. 7

• At night Macbeth kills the king. Ú6 A 8

• The next morning the dead king is discovered

• Duncan's sons flee to England and Ireland. Rs

• Burial to follow in Colmelkill.

• After the funeral, Macbeth is proclaimed and crowned king. W

• Malcolm reunites with his uncle in England.

• Macbeth begins to go mad with guilt.

• After the coronation, there are celebrations and an evening feast.

• Banquo is a murderer. And 8

• Macbeth sees Banquo's ghost at a feast

• Macduff refuses to come to pay homage to the king. Ex

• Macbeth meets witches who foretell his fate. D

• Macbeth decides to kill Macduff's family

• Summons assassins

• The murderers go to Macduff's castle.

• For now, Macduff will go to England to Malcolm. Rs

• Macduff's family is murdered. And 8

• Ross leaves to tell Macduff the sad news.

• Macduff teams up with Malcolm and they decide to pull out with the English

army against Macbeth C

• The situation in Scotland is getting worse.

• Queen Macbeth falls ill. Insanity manifests in her. Ex

• It cannot be cured.

• Malcolm's army marches from England

• The Théns rebel against Macbeth and join Malcolm.

• Queen Macbeth dies the night before the battle.

• Macbeth confronts Macduff, who beheads him. B

• Malcolm is summoned by the king. W

Propp's formula:

Macbeth = Od1 + I5 + I + Ú6 +A8 +W+A8 +Ex+D+A8 +V

References
Propp, Vladimir. Morphology of the Folktale. 2nd edition. Laurence Scott, Trans. Austin:
University of Texas Press, 1968.

Greimas, A. J. Semantique Structurale. Paris: Presse Universitaire de France,

1966 [1980].

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‫ساختار تأویل متن‬.‫ بابک جلد اول تهران نشر مرکز‬،‫احمدي‬.

‫ چاپ اول‬،‫ نشرماهی‬:‫ تهران‬،‫ ابوالقاسمی‬1‫ ترجمهي محمدرضا‬.‫مبانی نظریهي ادبی‬.‫ هانس‬،‫برتنس‬

،‫ انتشارات طرح نو‬:‫ تهران‬،‫ ترجمهي عباس مخبر‬.‫راهنماي نظریهي ادبی معاصر‬.‫ رامان؛ پیتر ویدوسون‬،‫سلدن‬
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