Comparing Shakespeare's Macbeth to Caravaggio's Gruesome "Judith Beheading Holofernes"

Comparing Macbeth and Caravaggio’s Judith Beheading Holofernes

Although it might not be apparent at first glance, William Shakespeare’s Macbeth and Michelangelo Merisi da Caravaggio’s painting Judith Beheading Holofernes, have a lot in common. Macbeth is a tragic story of power and its consequences, and Judith Beheading Holofernes is a portrayal of the Biblical story of Judith’s seduction and slaying of an Assyrian general in his sleep – in order to save her people. As with all comparisons, there are both obvious, literal similarities between this play and painting, and those that require more open mindedness and analysis. The similarities that are easy to see connect the two pieces, while the more figurative similarities leave readers or observers with feelings of familiarity that are harder to describe. Both the scene depicted and emotion evoked by Caravaggio’s Judith Beheading Holofernes can be connected to Shakespeare’s Macbeth.
Despite differences in context, medium, and length, these works of art have a number of noticeable literal similarities. The most obvious similarity is, well, the whole beheading thing. Though the victim being beheaded in Caravaggio’s painting is Holofernes and not Macbeth, this method of murder is used in both instances, and stands out immediately. Choosing to paint the blood spraying from Holofernes’ neck captures the true brutality of the act, much like Shakespeare’s description of Macbeth’s head being impaled upon a spear. Another apparent aspect shared by both pieces is the involvement of women in violent situations. In Caravaggio’s painting, Judith is carrying out a beheading herself, an action usually thought of as “unwomanly.” In Macbeth, in regards to the murder of King Duncan, Lady Macbeth resorts to convincing her husband to do what she believes her femininity won't allow. After hearing of Lady Macbeth’s desire to be more masculine –and therefore able to murder Duncan herself– it's easy to imagine Judith as Lady Macbeth in this painting. This desire is expressed in the famous soliloquy in Act 1, Scene 5 of Macbeth: “Come you spirits / That tend on mortal thoughts, unsex me here / And fill me from the crown to the toe top-full of direst cruelty. Make thick my blood.” The passage continues on to express Lady Macbeth’s hatred towards her feelings of guilt. She believes that her capacity for empathy and guilt, an inherently feminine quality, is holding her back from committing the murder that she so badly wants to commit.

Hidden among these visible, literal similarities, are comparisons that might be harder to draw connections between. In Judith Beheading Holofernes, Judith’s maid Abra is advising her, peering over her shoulder with an intense, calculating gaze. This action is reminiscent of Lady Macbeth’s persistence in advising her husband to carry out the murders she plans. It’s as if Lady Macbeth were watching over his shoulder, convincing him to accept her advice, and confirming that he was successful. In this comparison, Judith would be Macbeth, and her maidservant would be Lady Macbeth. Another aspect worthy of interpretation is the likeness of Judith’s maid to one of the three witches. This is a total coincidence, as Judith Beheading Holofernes was painted eight years before Macbeth was performed for the very first time, but it allows for speculation about the witches’ involvement in the events of Macbeth. If Caravaggio’s painting were in the context of Macbeth, this “weird sister” would be in charge of foretelling fate, and her appearance in this scene could mean that she was overseeing the fate she predicted for Holofernes. This is completely up to the interpretation of the observer. The literal darkness of the painting –a quality found in many of Caravaggio’s works– adds to its grim effect, and evokes a solemn, dismal feeling. This same feeling can be felt while reading or watching certain parts of Macbeth as well, for instance when the imagery is particularly dark, or there is a powerful expression of a character’s despair. Feelings aren’t as much of a basis for comparison, as they can be felt in separate and unrelated instances, but emotions evoked by works like these can also provide a connection between them. Many people remember things because of the feelings that were evoked in them, as emotion plays a part in our processing of things. Also, when considering small details, it's important to analyze the characters’ visible emotion. Caravaggio is able to portray incredibly realistic emotion in Judith Beheading Holofernes, as demonstrated by the mixture of repulsion and determination painted on Judith’s face. One might imagine that Lady Macbeth would have a similar mixture of emotions on her face as she committed an act of such cruelty (but one she was so intent upon committing). 
Although some similarities between Macbeth and Judith Beheading Holofernes are easily noticeable and quite literal, others are less distinguishable, but can be discovered through analyzing the smaller details and even feelings evoked by the two pieces. Both types of comparisons are valid, even if they are based more on interpretation of the works than on fact. Comparing works of art and literature helps us process and appreciate them. Making comparisons also demonstrates our ability to analyze and think critically about things. Though the stories behind these two works of art are vastly different, the murder, murderers, and overall darkness of Caravaggio’s fascinating painting are reminiscent of Shakespeare’s tragic play Macbeth.