William Shakespeare never wrote a comedy without writing a drama, and he never wrote a drama without writing comedy. MacBeth is a tragedy written around the decisions of the Thane of Glamis. This tragedy was written specifically for King James I of Great Britain (Asimov, Asmiov's Guide to Shakespeare 149). He was an orphan by regicide and considered that crime to be assassinating God's representative on Earth, the ultimate crime. (Greenblart et al, The Norton Shakespeare 2556) The murder of King Duncan is never dealt with on stage but is discussed by MacBeth and his Lady. They are interrupted by the knocking of MacDuff and Lennox, who are delayed by the drunken Porter. (MacBeth 2.3.1-31) This scene is pivotal in the enjoyment of the play as it provides the audience with a comic relief after the realization of the crime that MacBeth has committed.
The two different types of enjoyment in the theater are symbolically represented by two contrasting masks, one sorrowful, the other jovial. These two established symbols represent not only the two unique types of traditional theater, but two important separate mind sets in observing the world. A tragedy is effective by highlighting life's sorrows. It is usually brooding and solemn. It usually ends in the unfortunate death of the hero. (Bender et al, Readings on the Tragedies of William Shakespeare 19) The important effect in a tragedy is catharsis, the purgation of the emotions. Both genres of theater serve their purpose within the realm of modern and classical theater. Functionally “the world is a comedy to those who think and a tragedy to those who feel.” (qtd. in Bender et al. 29) The speech by the Porter in the initial portion of Act two, Scene three of MacBeth is a comic element to engage those who think, and console the emotions of the sensitive person who just witnessed the aftermath of the murder of King Duncan.
The Porter's comical speech serves the functional aspect of allowing MacBeth and Lady MacBeth to change into night clothing while delaying MacDuff and Lennox. It also is highly relevant when the content of the speech is considered. The Porter is symbolically the gatekeeper to hell. MacBeth communicates through the Porter's speech when he points out the admonition of MacBeth. The thoughts of MacBeth are revealed Porters rambling curiosity when he considers “...who committed treason enough for God's sake, yet could not equivocate to heaven.” (MacBeth 2.3.10-11) Court of MacBeth resembles hell in many ways “But ... [it] is too cold for hell.” (MacBeth 2.3.18)
The world of Beelzebub is fully described in the Porter's speech. At the end of Act Two, Scene Two Lady MacBeth and MacBeth are engrossed with their own affairs concerning the murder of King Duncan. They are isolated within the castle, in an inhuman state suspended from all reality and the rest of human society. Lady MacBeth fulfills the prophecy by proclaiming to the messenger “unsex me here." (MacBeth 1.5.40) In this proclamation she is fulfilling the prophecy of the three sisters by removing the possibility of MacBeth having legitimate successors to the throne.
The knock of MacDuff and Lennox represents two very important concepts. It is the call of humanity from the fantastical world of King Duncan's homicide calling to Lady MacBeth and MacBeth, where they must face the repercussions of the night's deeds. (Bender et al, 168) It is also a “Knocking within” the consciousness of Lady MacBeth and MacBeth representing the realization of what deeds they have performed and great crimes that they have committed. (MacBeth 2.2.85)
Dramatically the Porter's speech serves the function of beginning the falling action of the play. The climax of MacBeth occurs when MacBeth and Lady MacBeth are discussing the murder of King Duncan. In addition to establishing the falling action it provides a foreshadowing of what is to await MacBeth. The Porter gives a vivid description of hell describing a farmer and a tailor's personal hell. The audience is being readied to witness MacBeth's personal hell created by his conscious and the mental pains of realizing that he was under the control of the weird sisters and destined to fulfill the prophecy, that he would become King but Banquo's descendants will rule Scotland for decades to follow.
The grim humor of the Porter's description of hell also serves to furnish the audience that just witnessed a weighty scene involving MacBeth, Lady MacBeth and the death of King Duncan, with a temporary relief from the stress of this scene. King James I was an intended audience member, considering he lost both his parents to regicide, the scene involving the discussion of the death of King Duncan would be traumatic for him to witness (Asimov, 149).
The humor within MacBeth serves the important function of balancing the weighty tragedy that the audience is presented. Shakespeare in writing this drama realized the importance of the audience's reaction to the work of art and considered their reactions and concerns in advance and compensated for them. Even in 1998, over three hundred years after the first performance of this play for King James I, the considerations that Shakespeare has made for his audience are noticeable and appreciated by the innumerable number of people that have witnessed this tragedy in countless stage productions and over twenty-six theatrical productions (Greenblart et al 2555). The true genus of William Shakespeare is timeless, along with his ability to predict the responses of audiences for over three hundred years and adjust for them. Shakespeare wrote a magnificent play that was a grim comedy for those who think, and a tragedy for those who feel.