It is evident that both the play "Macbeth," and the novel, "Wuthering Heights," are driven by the protagonists' incessant fixations with forces that are destructive to their existence; thus ultimately establishing obsession as a critical element in defining both works in the gothic genre. Macbeth's obsession is based upon his thirst for power, whereas Heathcliff and Cathy's is centered on their ceaseless desire for one another. However although both novels have been constructed with the characters' fixations playing a significant role, it is arguable that their obsessions aren't innate, and are rather the products of preceding events influencing their desires and disposition.
Arguably the defining moment that commences Macbeth's obsession for power occurs in Act 1, Scene 3 when the witches relay their prophecies to both him and Banquo, naming him "Thane of Glamis," "Thane of Cawdor" and "King Hereafter." Shakespeare portrays Macbeth to display initial disbelief in the news, indicated by his rhetorical question, "But how of Cawdor? " thus implying that he views their prophecies a folly, and is not yet allured towards the power. He only begins to consider the possibilities of their divinations further on in the act when Ross reveals he has gained the title "Thane of Cawdor," as with the current thane, "treasons capital, confess'd and prov'd /have overthrown him." Macbeth's initial skepticism therefore demonstrates that his obsession isn't innate and is developed throughout the play.
Furthermore, Macbeth requires a considerable degree of persuasion from Lady Macbeth prior to murdering Duncan, this is shown by his apparent apprehension in Act 1, Scene 7 when he chooses to "proceed no further in this business, " however she manages to convince him by insulting his masculinity, suggesting that, "When you durst do it, then you were a man. " Lady Macbeth therefore represents an additional destructive force to the witches that aids in the creation of Macbeth's obsession for power.
