Macbeth comes from a disciple of Duncan, and from this great follower he becomes a ferocious being who willingly kills, whether it be a single person or of an entire family. Macbeth gets many different themes. One of the most important themes is Macbeth's transition to darkness. His revolution becomes visible from his first murder until his death. Macbeth transforms into a dark and menacing being. Macbeth's transition is deep and dark; he evolves from a loyal follower to a rebellious murderer. Macbeth's first murder is surprising, but this act of murder sets off his murderous ways that will eventually rule his life. Macbeth is not sure he wants to commit this murder; however, Lady Macbeth persuades him anyway. Lady Macbeth must convince Macbeth to kill Duncan. “But test your courage/And we will not fail.” When Duncan sleeps” (1.7.70-71). She places such a burden on Macbeth that he begins to question whether or not he should kill Duncan in a soliloquy. “I go, and it’s done. The bell beckons me./Listen not, Duncan, for it is a toll/It calls you to heaven or hell” (2.1.75-77). Curran even begins to delve deeper into Macbeth's thought process in these scenes. The murder of a thought will extend to the murder itself, a thought will eventually result in the physical act of murder, and murder cannot be contained in a guilty mind (Curran 392). The guilty mind with which Macbeth is inhibited eventually carries out his actions. The first action of murder is only the beginning of Macbeth's vicious ways. Macbeth kills Duncan, but he is unwilling to trap the guards, so Lady Macbeth is forced to return to the room and frame the guards. She is afraid, but she feels that if they want... middle of paper ... At first, when Macbeth questioned Duncan's murder, he initially showed some self-respect. But like most of his other murders, he doesn't think twice before "pointing the finger" and killing his enemies. He turns into the worst person possible, not only by killing, but also by killing on purpose. Works Cited Cox, John D. “Religion and Suffering in Macbeth.” Christianity and Literature 62.2 (2013): 225-240. Literary reference center. Internet. January 14, 2014. Curran, Kevin. “Feeling criminal in Macbeth.” Critique 54.3 (2012): 391-401. Literary reference center. Internet. January 13, 2014.Shakespeare, William. The tragedy of Macbeth. New York: Simon and Schuster, 2013.Print.Szigeti, Balázs. "The dialects of sin: in Shakespeare's Macbeth and Francis Ford Coppola's The Godfather trilogy." Anachronistic 14. (2009): 24-46. Literary reference center. Internet. January 14. 2014.