Macbeth and Lady Macbeth feel the consequences of the murders they commit very differently, initially. In the end, however, they both have similar, uncontrollable, and powerful visions which are manifestations of their overwhelming guilt. Macbeth and Lady Macbeth are extremely different characters. One clear difference is that Macbeth feels exceedingly guilty after Duncan’s murder, while Lady Macbeth seems to feel no remorse. Macbeth shows his guilt by refusing to return to Duncan’s room because he is “afraid to think what [he has] done” (11.ii.54).
Lady Macbeth, however, does not let her emotions stop her from finishing their evil deed, entering Duncan’s room herself and smearing the bloody daggers onto the faces of the King’s grooms. During his wife’s absence, Macbeth proclaims, “All Great Neptune’s ocean” (1L.i.63) would not wash him clean of this act, but instead he would turn the “multitudinous seas incarnadine” (II.ii.65-66) with the blood on his hands. When Lady Macbeth returns, she has a completely different feeling about their soiled hands, claiming confidently, “A little water clears us of this deed.” (I.i.70) Lady Macbeth later contemplating the murder, shows some weakness, admitting to herself, “”Tis safer to be that which we destroy than by destruction dwell in doubtful joy.” (11.ii.6-7) She is not able to enjoy being queen because she fears her machinations will be discovered. The statement does not reveal any feeling of guilt. She is merely regretting killing Duncan because his death has not brought the happiness she expected.
Lady Macbeth only admits this distress to herself. When she speaks to her husband, she tells him without emotion, “Whatť’s done is done.” (IIL.ii. 13) She says this to try to make Macbeth share in her seeming lack of regret. Macbeth, however, is letting his fears show, admitting to “terrible dreams that shake us nightly” (IILii.21-22). He dwells on Duncan in his grave, while he should be, according to his wife, “bright and jovial among [his] guests” (1I.i.29) to protect his secret from the nobles. Several murders later, Macbeth’s guilt is so overpowering that he can no longer separate reality from the workings of his tormented mind. His guilt has manifested itself into Banquo’s ghost. The king is understandably terrified to see the ghost of a man he had murdered appear before him at a formal banquet, and his horror is shown to all when he exclaims the ghost would “appall the devil.” (II,4 L.61)
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The newly-crowned king is so consumed by his fear that he forgets the secret that must be concealed amongst all his noble guests. He speaks of ancient “murders […] too terrible for the ear” (II.iv.78-79) committed by kings, and then connects them with the ghost he sees sitting in his stool. This connection allows Macbeth’s guests to infer he has committed terrible murders. Lady Macbeth remains in absolute control of her emotions as she sneers at Macbeth, “These flaws and starts […] would well become a woman’s story at a winter’s fire.” (1IL.iv.63-66) Moreover, Lady Macbeth shows no fear at the prospect of Banquo’s “gory” (1IL.iv.52) ghost drifting in and out of their banquet. The Lady even retains enough composure to give an explanation to her guests for her husband’s hallucinations, claiming that Macbeth is “often thus, and hath been from his youth.” (Il.iv.54-55) Her lack of fear and retention of self-control through this whole scene demonstrate that Lady Macbeth does not show any remorse for the murders in which she has participated. It is not until the final act of the play that Lady Macbeth’s guilt finally overcomes her.
A gentlewoman and doctor witness the Lady sleepwalking, “a great perturbation of nature” (V.i.6) It becomes clear that this “slumb’ry agitation,” (V.i.11) is a manifestation of Lady Macbeth’s guilt when she tries to clean her hands, saying, “Yet here’s a spot.” (V.i.31) When Lady Macbeth remarks, “Who would have thought the old man to have had so much blood in him?” (V.i.39-41) she reveals that she was complicit in Duncan’s murder. This lack of secrecy is indicative that Lady Macbeth has reached the same point emotionally as her husband. Macbeth was overcome by the manifestation of his guilt, Banquo’s ghost, and unknowingly revealed to his guests at the banquet that he committed murder. Now, Lady Macbeth has lost all the self-control she retained for so much of the play. Her guilt forces her to relive scenes of Duncan’s murder, and unknowingly reveal the secret she fought so hard to protect.
As Lady Macbeth continues to feverishly rub her hands together, she exclaims, “All the perfumes of Arabia will not sweeten this little hand.” (V.i.50-51) This is a direct parallel to Macbeth’s claim in Act II that, “all Great Neptune’s ocean” (I.ii.63) would not cleanse the blood from his hands, but instead he would turn the “multitudinous seas incarnadine.” (11.ii.64) Both of these hyperboles demonstrate their knowledge that cleansing themselves of their wicked deeds would be impossible. Although initially, Lady Macbeth controlled her emotions while her husband was overwhelmed by remorse, guilt ultimately drives both characters insane. Their visions of the ghost of Banquo and permanently bloodstained hands are manifestations of their overwhelming guilt.
