CAITHNESS Who knows if Donalbain be with his brother?
LENNOX For certain, sir, he is not. I have a file
Of all the gentry. There is Siward’s son,
And many unrough youths that even now
Protest their first of manhood.
MENTEITH What does the tyrant?
CAITHNESS Great Dunsinane he strongly fortifies.
Some say he’s mad. Others that lesser hate him
Do call it valiant fury. But for certain
He cannot buckle his distempered cause
Within the belt of rule. (5.2.7-16)
More setting up of the action of the next few scenes: is Donalbain (who went into exile in Ireland, rather than England) with his brother Malcolm? Definitely not. That may reflect historical fact (I’m not looking it up) but it also establishes that the ensuing battle is going to be about Malcolm and Macduff—and also that the Donalbain actor will be doubling another role (not impossibly young Siward, specifically named here). There’s a vivid sense, swiftly established, of an English army of young, fresh-faced, idealistic men, seeking to prove themselves, unrough (that is, unbearded) youths that even now protest their first of manhood—a contrast to the grim, grizzled, experienced Macbeth. This could be a moment of generational change (although also of anxiety for the thanes: will this young army be enough?) But at least they’re organised: Lennox has a list of the army, or rather of all the gentry, those of rank and note in the English forces. So there have been communications already between the rebel thanes, the Scottish resistance, and the English power.
Next crucial thing: what does the tyrant? Where’s Macbeth and what’s he up to? Important to reinforce once again that he is a tyrantas well as a usurper and a regicide. His deposition is justified. He’s digging in: great Dunsinane he strongly fortifies. He’s in his castle (where so much of the action has taken place, that place of inner rooms and stairs and gates and doors) and he’s preparing for a siege. Some say he’s mad. Gossip, but also suggesting spies—and mostly increasing suspense: what state’s Macbeth going to be in when he finally reappears? To say that he’s mad suits his enemies, although others that lesser hate him do call it valiant fury. It has to be acknowledged that Macbeth’s brave, if fool-hardy—and he’s enraged, and ready to fight. But for certain he cannot buckle his distempered cause within the belt of rule. A strange and disturbing image: Macbeth’s wholly disordered and out of control. His cause, any justification he might make for what he’s done, any plans that he has, are unbalanced, unjustifiable. It’s an image of a body politic (and a mind) that’s diseased, damaged, unable to be contained or managed. An image of a bloated body, and also an identity, a garment, that’s no longer able to be properly worn, that can’t be made to fit within the belt of rule, an image of strain and discomfort. The conceits of the diseased body and the ill-fitting garment have run through the play; here they also set up a later scene where Macbeth will call for his armour and have it put on him, as if he’s trying to contain his body and his mind within a familiar, defining carapace of steel. According to Caithness, that battle is already lost; Macbeth has already lost control, of Scotland and of himself.
