Throughout the play Macbeth and Lady Macbeth together demonstrate how ambition can turn a loyal soldier into a bloodthirsty murderer
Throughout the play Macbeth and Lady Macbeth together demonstrate how ambition can turn a loyal soldier into a bloodthirsty murderer with his scheming and devious wife turning weak and disturbed as ambition slowly destroys her. Macbeth’s ambition to become king of Scotland turn’s him independent and ruthless. “The dead butcher and fiend-like queen”, is an accurate description as this is all they amount to. At the start of the play Macbeth is a loyal soldier returning from the civil war. The witches tell Macbeth that he will become Thane of Glamis, Thane of Cawdor and King of Scotland. The witch’s prophecies make Macbeth ambitious and tap into pre-existing ambition. Macbeth believes these prophecies as the first of his prophecies has been fulfilled. Afterwards the second prophecy is carried out. Immediately Macbeth thinks of murdering King Duncan so the third of his prophecies will be fulfilled even though he is horrified by the idea. Lady Macbeth’s greed makes her determined the third prophecy will come true. But believes Macbeth is not capable of murdering Duncan but will provoke him. When Lady Macbeth hears the news that that Duncan is coming to visit she believes it is the ideal opportunity to kill Duncan. Lady Macbeth calls on the spirits of darkness and evil to replace her nurturing and feminine qualities with remorseless cruelty. Macbeth is appalled of the
Personal Responce to Hamlet
Essay One - Question 1 Personal response to Hamlet and its enduring power of Shakespeare's Characterization Shakespeare's characterization of the characters allows the exploration of ideals that are relevant to all human beings regards of context. In "Hamlet" Shakespeare uses the characterization of Hamlet to examine the human quest for answers about death, duty and the opposing forces of moral integrity and the need to avenge his father. This essay will bring characterization to the forefront in response to how it has shaped the play of "Hamlet". A great deal of characterization of Hamlet is presented through the use of soliloquies. In his soliloquies, Hamlet shows his true feelings of dejection and disillusionment. The soliloquy starts with a supposition, "O that this too too sullied flesh would melt, thaw, and resolve itself into a dew". Hamlet is clearly seen as an escapist as he wants to run away from his duties and responsibilities. Here, he again gives the audience the impression that he is aware of his flaw. His wish to commit suicide is expressed clearly, but he knows he can't do so as it goes against the laws of God. "That the Everlasting had not fixed his cannon 'gainst self-slaughter." Life has become a very futile exercise for him, where nothing seems to be holding his interest anymore. It has becomes very colorless and meaningless. We notice all this when he
The Title In Much Ado About Nothing
The Title In Much Ado About Nothing Much Ado About Nothing exemplifies a kind of deliberately puzzling title that seems to have been popular in the late 1590s. Indeed, the play is about nothing; it merely follows the relationships of Claudio and Hero, and in the end, the play culminates in the two other main characters falling in love, which, because it was an event that was quite predictable, proves to be much ado about nothing. The pronunciation of the word "nothing" would, in the late 16th Century, have been "noting," and so the title also apparently suggests a pun on the word, "noting," and on the use of the word "note" as an expression of music. In II.2 (l.54), Balthasar is encouraged to sing, but declines, saying, "note this before my notes; there's not a note of mine that's worth the noting." However, Don Pedro retorts, "<sum>Note notes, forsooth, and nothing," playing on Balthasar's words, and also demanding that he pay attention to his music and nothing else. In addition, much of the play is dedicated to people "noting" (or observing) the actions of others (such as the trick played on Beatrice and Benedick by Leonato, Hero and Claudio); they often observe and overhear one another, and consequently make a great deal out of very little. At the beginning of the play, Claudio and Hero eventually come to admire one another, and Benedick and Beatrice play off each
