Modern Age - Fall 2015 - 145

THE ART OF POLITICAL HEALING IN MACBETH

That fled the snares of watchful tyranny;
Producing forth the cruel ministers
Of this dead butcher and his fiend-like queen,
Who, as 'tis thought, by self and violent hands
Took off her life; this, and what needful else
That calls upon us, by the grace of Grace,
We will perform in measure, time and place:
So, thanks to all at once and to each one,
Whom we invite to see us crown'd at Scone.
(Macbeth, 5.8.60-77)1

These stirring words are preceded by Macduff's and the lords'
acclamation and fitting prelude to Malcolm's speech: "Hail, King
of Scotland!" (5.8.59).
Strangely-and I find it very strange indeed-Jack Gold, director of the BBC production, follows Malcolm's speech with the
camera panning from the face of one Scottish lord to another, but
notably to Donalbain's, Malcolm's younger brother. What do we
see? A grim, vindictive, perhaps vicious aspect, barely concealing
bloody thoughts. The point, one may infer, is that Scotland had
better get ready for the next Macbeth, the murderous qualities
of the deceased tyrant being latent and ready to explode in one
who happens to be the next in line to the throne after Malcolm,
or in any and all the country's lords-become-earls. I have personally heard at least one professor argue that this presentation of
the ending was exactly right.
But how persuasive is such an interpretation? If Shakespeare's
point is that all men are so hopelessly corrupt that they cannot
help surrendering to their wickedest ambitions, then no one can
seriously complain that Macbeth himself does. But is that what
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