Macbeth is as much aobut signs or signification as about ambition or any other theme. Equivocation, a salient topic in the play, is a special kind of signification. Modern semiotics has provided us with applicable terms and truths for our study of Shakespeare’s semiotic vision as shown in the play. The equivocators in Macbeth are not limited to the Witches and those clearly referred to in the text. The Macbeths are in fact two other main equivocators. With so many equivocators the play naturally full of equivocal or dual signs which render various ambiguities. Six types of ambiguity forming three contrasting pairs are found in the play: lexical vs. syntactical, verbal vs. situational, and intentional vs. affective, ambiguities. Macbeth’s tragic flaw lies primarily in his rash habit of interpreting signs. That rash habit results not only in his downfall but also in his nihilistic view of signification. Shakespeare’s semiotic vision seems to be a world in which people and things are all interacting signs, and such signs are often dual sings employed to fulfill people’s will to power and sex, the frustration of which then leads to the tragedy of people acting as floating signifiers finding no stable signified or interpretants to mate.