BANQUO And when we have our naked frailties hid
That suffer in exposure, let us meet,
And question this most bloody piece of work
To know it further. Fears and scruples shake us.
In the great hand of God I stand, and thence
Against the undivulged pretence I fight
Of treasonous malice.
MACDUFF And so do I.
ALL So all.
MACBETH Let’s briefly put on manly readiness,
And meet i’th’ hall together.
ALL Well contented.
Exeunt [all but Malcolm and Donalbain] (2.3.120-128)
Banquo’s taking charge: maybe a look of resentment from Macbeth, even a backwards warning glance, a meaningful look at her husband, from Lady Macbeth, as she exits? Don’t let him take over, you’ve got to lead, you’ve got to seize the initiative. Banquo’s being practical: a number of them have just got out of bed, they’re not fully dressed, they’re unarmed. They need to conceal their naked frailties, get dressed, arm; they also need to compose themselves, because they’re all vulnerable, all feeling shocked, suffering in exposure, confronted with treason and murder—and mortality. Once they’re dressed, they must meet and question this most bloody piece of work to know it further. They have to find out what’s happened, get to the bottom of it. There’s no possibility of an outside intervention who will come and solve the murder, no deus ex machina detective: all Scotland’s leaders are here, and it’s up to them. Most bloody piece of work keeps blood to the fore, in case anyone’s forgotten what’s being imagined as just off stage: Macbeth remade Duncan’s body in silver and gold, but Banquo’s reminding them of the horror. They are all full of doubts, shaken by fears and scruples. They’re all frightened, deeply shocked. But Banquo is going to make a stand for right and truth: in the great hand of God I stand, and thence against the undivulged pretence I fight of treasonous malice. He’s more or less swearing an oath, to do right in the sight and fear of God, and he will confront treasonous malice—not simply treachery and betrayal, which might be thought of as a political calculation, but active evil. It’s a striking intervention, to suggest that there might be something at work here beyond human ill will and self interest. The undivulged pretence is loaded: it could suggest the as yet unknown motivation, the reason behind this terrible murder, even a larger plot—or it could carry the sense of pretending to the throne, in which case Banquo is suggesting that he’s suspicious of Malcolm, the heir apparent, in particular. So far as Banquo’s concerned, perhaps (and the others too) it’s Duncan’s sons who have the most obvious motive. Exactly what Malcolm’s just said he’s afraid of. And the others are eager to affirm: we’re all fighting against treasonous malice! Macduff, we might want to infer, is genuine in his eagerness to affirm that he’s on the side of right; perhaps some of the others (Macbeth?) are a beat behind, but anxious to be seen to agree.
Finally Macbeth intervenes—this is, after all his house. Let’s briefly put on manly readiness (insecure, much? I am manly, I will be ready, I will be ready and manly), that is, let’s quickly arm ourselves (and finish dressing, is implicit) and meet in the hall together. Well contented, they—all? reply. But how long will it take for this consensus to shatter? So much tension; who’s going to emerge as the leader?
