The most crucial question posed William Shakespeare in his work Macbeth is that of ambition, and whether it aids or hinders one's success. Crazed ambition is seen by the audience especially through Macbeth and his lady.
Ambition, however, cannot be easily isolated. When it consumes one, as expressed through the Macbeths, it transcends into a sickening avarice, forcing them to do anything they believe will satisfy their greed.
Although single examples are difficult to find, if the play is seen as a whole, it is easy to perceive this characterization. Originally, Macbeth , described through his companion, is revered as compassionate and virtuous. His wife describes his gentle nature as well, "...thy nature...is too full o' the milk of human kindness,"(1.5.16-17). These connotations made early on with the character are what provide such a heavy contrast with his later transformation; his later disposition is easily seen, "Lay on, Macduff! And damned be him that first cries, 'Hold enough!'" (5.8.33-34) Macbeth puts forth a battle against his very friends, who know see Macbeth's transmogrification as irreversible, all caused by his ambition for the throne, expressing absolute disregard for his previous life, forgetting his friends and values.
2. Shakespeare does not directly answer the question of whether ambition is a positive or negative attribute, but he creates an entire work providing a warning of how devastating it can be in excess. Yet as it is know that anything can prove disastrous in excess, Shakespeare simply paints an illustration of proof for this ultimate truth.
viernes, 27 de marzo de 2009
jueves, 26 de marzo de 2009
Macbeth LRJ #5
1. The most manifested theme in Act 5 of Macbeth has to be that of revenge. It seems that most of the cast pursues some sort of vendetta against the ill-fitting ruler. The audience finds this most profusely through Macduff, If thou be'st slain, and with no stroke of mine,/ My wife and children's ghost will haunt me still," (5.7.16-17). The crowd then conceives Macduff's revenge not simply for his own pleasure, but as something he must do in order for his family to be at peace. It must be carried out at least partly by him in order to exalt the proper vengeance.
2. The image pattern of blood plays a particularly strong usage in this Act. One prime example is seen with Lady Macbeth, " Out, damned spot[of blood]!"(5.1.34) Lady Macbeth's true feelings of regret are finally revealed, with the use of blood. Her frantic sleepwalking provides a keyhole into her true character, along with proof of the Macbeth's crime. Another instance is when blood is used to foreshadows the battle and fighting that is to come, " [trumpets] clamorous harbingers of blood!"(5.7.10) This is what sets the stage for bloodshed between Macbeth and his friends-turned-archenemies, along with the saturated thirst for revenge.
2. The image pattern of blood plays a particularly strong usage in this Act. One prime example is seen with Lady Macbeth, " Out, damned spot[of blood]!"(5.1.34) Lady Macbeth's true feelings of regret are finally revealed, with the use of blood. Her frantic sleepwalking provides a keyhole into her true character, along with proof of the Macbeth's crime. Another instance is when blood is used to foreshadows the battle and fighting that is to come, " [trumpets] clamorous harbingers of blood!"(5.7.10) This is what sets the stage for bloodshed between Macbeth and his friends-turned-archenemies, along with the saturated thirst for revenge.
Macbeth LRJ#4
1. The collective purpose of this scene is to vividly reflect Macbeth's downfall into insanity and cruelty; "He[hired murderer] has killed me mother[Lady Macduff]!" (Shakespeare, Macbeth 4.2.8). For Macbeth to have his friend's wife and child killed at their most vulnerable state expresses his desperation and derangement. This action on Macbeth's part also sets him indefinitely against his previous friends, especially Macduff. This marks the beginning of Macbeth's demise, caused completely by his own exertions.
2.Macduff becomes a much more active character in his pursuit of vendetta. After he hears of his family's slaying, the audience can easily perceive his anger, determination, and lament. " Within my sword's length set him. If he scape/ Heaven forgive him too!"(5.1.263-237) Macduff becomes the symbol for the group of friend's devotion to Scotland and to overthrow the tyrant there friend has become.
3. As described in the first point, Macbeth has even more crazed, no longer expressing any traits of his original character. He longer expresses any sort of guilt or remorse, in it place a more murderous disposition. Another characteristic which is attached to the new Macbeth is arrogance; as the witches tells him he will not be harmed by any man born of a woman while at the same time they forewarn him to be wary of Macduff, he scorns and poses the next rhetoric, "...live Macduff, what need I fear thee?"(4.1.82) This is an omen of his collapse, as throughout writing and history, figures in power who express arrogance are quick to fail.
2.Macduff becomes a much more active character in his pursuit of vendetta. After he hears of his family's slaying, the audience can easily perceive his anger, determination, and lament. " Within my sword's length set him. If he scape/ Heaven forgive him too!"(5.1.263-237) Macduff becomes the symbol for the group of friend's devotion to Scotland and to overthrow the tyrant there friend has become.
3. As described in the first point, Macbeth has even more crazed, no longer expressing any traits of his original character. He longer expresses any sort of guilt or remorse, in it place a more murderous disposition. Another characteristic which is attached to the new Macbeth is arrogance; as the witches tells him he will not be harmed by any man born of a woman while at the same time they forewarn him to be wary of Macduff, he scorns and poses the next rhetoric, "...live Macduff, what need I fear thee?"(4.1.82) This is an omen of his collapse, as throughout writing and history, figures in power who express arrogance are quick to fail.
Macbeth LRJ#3
In Act 3 of William Shakespeare's play Macbeth, the audience become aware of shift in Macbeth's and Lady Macbeth's characters. While previously Lady Macbeth appeared in control, now Macbeth begins to kill those he finds in his way, with no sign of repentance. In this passage, Lady Macbeth asks her husband on the following step of the plan, "What is to be done?/ Be innocent of the knowledge, dearest chuck/ Till thou applaud the deed,"(3.3.47-49). The onlookers see as Macbeth completely omits his wife from the scheme and execution. This along with his guilt now apparently replaced by pride in his work, represents his metamorphosis into something less humane. The audience sees his very attempts to quell his insanity, are exactly what kindle it.
2.An image which strikes predominantly in Act 3 is that of sleep and lack thereof. Macbeth addresses the irony of his and his spouse's acts in the following excerpt, "Duncan is in his grave...he sleeps well," (3.4.24-25). Before this, Macbeth states that his guilt along with fear keep him awake; the author uses this image pattern to highlight the irony of Duncan's posthumous death, and Macbeth's distress although that very fact was meant to place him at rest.
3.The idea of "being a man" reoccurs often throughout the play, especially in respect to Lady Macbeth's dialogue with her husband. Whereas earlier we find his wife using the insinuation that he is not a proper man if he does not do something she specifies, we later find Macbeth using the same insinuation in company of the murderers, in order to get what he wants; " Now, if you have a station in the file/ Not i'th'worst rank of manhood, say't," (3.1.103-104). Shakespeare uses this theme to represent a common stereotype in human nature, that of how a male must meet undisclosed guidelines to be a true man. He also shows how easily men can be duped into doing someone's biding by calling out their masculinity.
2.An image which strikes predominantly in Act 3 is that of sleep and lack thereof. Macbeth addresses the irony of his and his spouse's acts in the following excerpt, "Duncan is in his grave...he sleeps well," (3.4.24-25). Before this, Macbeth states that his guilt along with fear keep him awake; the author uses this image pattern to highlight the irony of Duncan's posthumous death, and Macbeth's distress although that very fact was meant to place him at rest.
3.The idea of "being a man" reoccurs often throughout the play, especially in respect to Lady Macbeth's dialogue with her husband. Whereas earlier we find his wife using the insinuation that he is not a proper man if he does not do something she specifies, we later find Macbeth using the same insinuation in company of the murderers, in order to get what he wants; " Now, if you have a station in the file/ Not i'th'worst rank of manhood, say't," (3.1.103-104). Shakespeare uses this theme to represent a common stereotype in human nature, that of how a male must meet undisclosed guidelines to be a true man. He also shows how easily men can be duped into doing someone's biding by calling out their masculinity.
miércoles, 25 de marzo de 2009
Macbeth LRJ #2
Roberto Sande Carmona
10 IB Hour 5
Ms.Peifer
1.Macbeth, some may say as opposed to his wife, still holds a strong sense of what is conceived as right, in Act 2. Although his sense of morality does not seem to prevent him from committing treacherous acts, his guilt is evident to other characters as well as the audience. Yet there is no arguing his faltering into a darker, criminal side. We see him equivocating his actions, attempting to deviate his way through his friends' accusations, "That I did kill them[the guards],"(Shakespeare, Macbeth 2.3.108). He tries to tell his friends he killed the guards in fury of Duncan's murder. This is an alarm to the audience of Macbeth's betrayal to not only Duncan but also the rest of his circle of friends. One can see Macbeth becoming a much darker and more devious characters, using his own wrongdoings as his very excuse.
2. Although Lady Macbeth's mission is one regarded as negative by most, her strong personality is still a positive asset to her goal. Especially in the presence of her husband, she is convincing and unfaltering. She pushes her husband forward, and her determination is expressed through the interactions between them, " my hands are of your color [red with blood], but I shame/ To wear a heart so white,"(Shakespeare, Macbeth 2.2.68-69). She claims to feel no guilt, and scolds her husband for doing so. She chides him to view these as necessary actions in order to gain the treasure they covet so badly. In this scene the audience is given the message that Macbeth is somewhat of a puppet of his wife's, clinging to her biding although unwillingly. Lady Macbeth, however is too athirst. Her eagerness to murder and remove anybody, regardless of previous friendship, is what causes her friends to realize what is truly happen, and to eventually conspire and overthrow the Macbeth's. The ambition consume her entirely, eventually crazing her.
3.The image pattern most prominently used by Shakespeare in Act 2 is that of animals. He uses them to either symbolize an idea, or accentuate a theme. This is particularly vivid after the discovery of Duncan's murder; " A falcon, tow'ring in her pride of place/ was by a mouse owl...killed,"( Macbeth 2.4.12-13). This is a perfect example, both representing the ensuing chaos, and providing a metaphor for Macbeth's acts against his lord, Duncan. The surprise expressed at this sight is equally reflect on the surprise exalted by the assassination.
Shortly after , the audience experiences a second example, "[Duncan's horses] eat each other," (2.4.18). Another reinforcement of the theme of hurlyburly, this passage also provides metaphorical value of the circle of friends. Represented as Duncan's horses, the cannibalism represents each one's suspicion for the others, while creating a sense of instability for the entire scenario and play.
10 IB Hour 5
Ms.Peifer
1.Macbeth, some may say as opposed to his wife, still holds a strong sense of what is conceived as right, in Act 2. Although his sense of morality does not seem to prevent him from committing treacherous acts, his guilt is evident to other characters as well as the audience. Yet there is no arguing his faltering into a darker, criminal side. We see him equivocating his actions, attempting to deviate his way through his friends' accusations, "That I did kill them[the guards],"(Shakespeare, Macbeth 2.3.108). He tries to tell his friends he killed the guards in fury of Duncan's murder. This is an alarm to the audience of Macbeth's betrayal to not only Duncan but also the rest of his circle of friends. One can see Macbeth becoming a much darker and more devious characters, using his own wrongdoings as his very excuse.
2. Although Lady Macbeth's mission is one regarded as negative by most, her strong personality is still a positive asset to her goal. Especially in the presence of her husband, she is convincing and unfaltering. She pushes her husband forward, and her determination is expressed through the interactions between them, " my hands are of your color [red with blood], but I shame/ To wear a heart so white,"(Shakespeare, Macbeth 2.2.68-69). She claims to feel no guilt, and scolds her husband for doing so. She chides him to view these as necessary actions in order to gain the treasure they covet so badly. In this scene the audience is given the message that Macbeth is somewhat of a puppet of his wife's, clinging to her biding although unwillingly. Lady Macbeth, however is too athirst. Her eagerness to murder and remove anybody, regardless of previous friendship, is what causes her friends to realize what is truly happen, and to eventually conspire and overthrow the Macbeth's. The ambition consume her entirely, eventually crazing her.
3.The image pattern most prominently used by Shakespeare in Act 2 is that of animals. He uses them to either symbolize an idea, or accentuate a theme. This is particularly vivid after the discovery of Duncan's murder; " A falcon, tow'ring in her pride of place/ was by a mouse owl...killed,"( Macbeth 2.4.12-13). This is a perfect example, both representing the ensuing chaos, and providing a metaphor for Macbeth's acts against his lord, Duncan. The surprise expressed at this sight is equally reflect on the surprise exalted by the assassination.
Shortly after , the audience experiences a second example, "[Duncan's horses] eat each other," (2.4.18). Another reinforcement of the theme of hurlyburly, this passage also provides metaphorical value of the circle of friends. Represented as Duncan's horses, the cannibalism represents each one's suspicion for the others, while creating a sense of instability for the entire scenario and play.
Macbeth LRJ #1
1. William Shakespeare portrays his character Macbeth already as a dynamic one.The audience finds him at time a noble person, along with various other virtuous characteristics. In the very same act, however, they find him contemplating and conspiring murder of his friend and lord.
Lady Macbeth is introduced immediately as a powerhouse character, even more so if viewed from the perspectives and connotations of women in the author's time period. She is a pivotal figure in regards to her husband, proved by her convincing and encouraging nature. When the two discuss the plot to assassinate Duncan, it ends in Macbeth falling to her argument, "I am settled[to commit the murder],"(Shakespeare, Macbeth 1.7.80). This is a statement to the audience that Lady Macbeth is the force behind the relationship and the force behind their plans. It informs the audience that Macbeth still retains some of his innocence and nobility.
Banquo provides a contrast to his delirious friend's happenings. As the closest friend of the tragic hero, he goes through various of the same scenes, providing a different perspective, like seen in their first company of the witches. He is made up of a wise characterization as well, drawing the audience in, "[ to the witches] speak to me, who neither beg nor fear/ Your favors nor your hate,"( Shakespeare, Macbeth 1.3. 60-61). We see Banquo asking the witches for his predictions, wondering what is of his future fate, as any man would. Banquo is a character the audience can therefore more easily connect with as opposed to Macbeth, who is turning to ideals alien to most.
2. One particular theme reinforced in Act One of Macbeth is that of darkness. Macbeth begins his transition into a macabre personality, conspiring and committing murder, all in the name of stature and power; "...when we had marked with blood of those sleepy two/ of his own chamber and used their very daggers..."(Shakespeare, 7.76-77). The dynamic nature previously addressed is taken farther, expressing Macbeth's words into actions.
3. Shakespeare used vivid imagery (usually violent) to strike his tone through the audience. One such example is found as Lady Macbeth explains her loyalty to her husband, she tells Macbeth that if she had sworn it to him she would do the following, " while it[a baby] was smiling in my face,/Have plucked his nipple from his boneless gums / And dashed the brains out ..."(1.7.57-59).
The image of a mother breastfeeding her child present the picture of a special bond; Shakespeare provides a strong message by shifting this image into his. It shows Lady Macbeth's utter devotion to her husband, and the strength of the bond between the spouses.
Lady Macbeth is introduced immediately as a powerhouse character, even more so if viewed from the perspectives and connotations of women in the author's time period. She is a pivotal figure in regards to her husband, proved by her convincing and encouraging nature. When the two discuss the plot to assassinate Duncan, it ends in Macbeth falling to her argument, "I am settled[to commit the murder],"(Shakespeare, Macbeth 1.7.80). This is a statement to the audience that Lady Macbeth is the force behind the relationship and the force behind their plans. It informs the audience that Macbeth still retains some of his innocence and nobility.
Banquo provides a contrast to his delirious friend's happenings. As the closest friend of the tragic hero, he goes through various of the same scenes, providing a different perspective, like seen in their first company of the witches. He is made up of a wise characterization as well, drawing the audience in, "[ to the witches] speak to me, who neither beg nor fear/ Your favors nor your hate,"( Shakespeare, Macbeth 1.3. 60-61). We see Banquo asking the witches for his predictions, wondering what is of his future fate, as any man would. Banquo is a character the audience can therefore more easily connect with as opposed to Macbeth, who is turning to ideals alien to most.
2. One particular theme reinforced in Act One of Macbeth is that of darkness. Macbeth begins his transition into a macabre personality, conspiring and committing murder, all in the name of stature and power; "...when we had marked with blood of those sleepy two/ of his own chamber and used their very daggers..."(Shakespeare, 7.76-77). The dynamic nature previously addressed is taken farther, expressing Macbeth's words into actions.
3. Shakespeare used vivid imagery (usually violent) to strike his tone through the audience. One such example is found as Lady Macbeth explains her loyalty to her husband, she tells Macbeth that if she had sworn it to him she would do the following, " while it[a baby] was smiling in my face,/Have plucked his nipple from his boneless gums / And dashed the brains out ..."(1.7.57-59).
The image of a mother breastfeeding her child present the picture of a special bond; Shakespeare provides a strong message by shifting this image into his. It shows Lady Macbeth's utter devotion to her husband, and the strength of the bond between the spouses.
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