Macbeth's Likely Suspects: the Practical, Psychological, and Mystical Utility of the Three Murderers
Macbeth's Likely Suspects: the Practical, Psychological, and Mystical Utility of the Three Murderers Erin Connelly English The series of slayings that characterize Macbeth incites an intricate sequence of suspicions and allegations, engendering a leitmotif of culpability. The play's only killers to be identified, unequivocally, as such, arrive in Act 3 scene 1. The Murderers of Macbeth are interlopers; in a cast of opinionated participants, these seemingly emotionless, poorly differentiated desperados are engaged to accomplish a specific, circumscribed task. The object of surprisingly limited recent critical attention, Macbeth's nameless consociates effect one of the play's pivotal actions, Banquo's murder, while serving as figures onto whom Macbeth displaces his own considerable anxieties. Arrival of an enigmatic Third Murderer enlists the three accomplices in the play's tradition of mystic, fate-endorsing trios, including the Weird Sisters and the three apparitions. Addressing the question of why Macbeth involves the three surrogate Murderers, this essay appraises the practical, psychological, and mystical utility of the Murderers vis-à-vis the greater system of murder and murderous accusations at work in the drama. In their Act 3 debut, the First and Second Murderers of Macbeth are presented as disenfranchised itinerants, alleging histories of insurmountable
Mother Courage and her children by Brecht
Mother Courage and her children Exploration notes * Plot and sub-plot Anna Fierling is a canteen woman who bears the name, "Mother Courage" and travels in her wagon along with her children serving the Swedish Army during the Thirty Years War, (1618-1648 ). Although she has been warned that war can never be all take and no give she intends to make a living from the war whilst keeping her children out of it. > Sweden, spring 1624 A truce has occurred in the Swedish-Polish war, a recruiter and his Sergeant are seeking without success to enlist new troops for the Swedish campaign in Poland. The recruiting officer attempts to enlist Eilif, her son, into the army. Courage sees her brave son being seduced by the officer and demands he leaves her children alone. The Sergeant protests and asks why; since Courage wishes to live off the war should she not give it something in return. When Eilif admits he would like to sign up, Mother Courage tells the recruiter's fortune and then prophesises his early death. Manipulating the situation and installing fear into her children, Courage then draws black crosses out of the hat signifying her children's death, telling them that Eilif will die for his bravery, Swiss Cheese for his honesty and Kattrin for her kindness. As the play progresses we find this "prophesy" is fulfilled. Whilst Courage is distracted, the recruiter officer takes
In what ways do the language rituals in "The Homecoming" and "Waiting for Godot" suggest the play wrights' respective perceptions of the human condition?
In what ways do the language rituals in "The Homecoming" and "Waiting for Godot" suggest the playwrights' respective perceptions of the human condition? Introduction The role of language and communication is a central issue in both plays on a purely theatrical level, serving to advance the plot and enhance characterisation, yet it achieves far more than simply forming an entertaining piece of drama. Throughout the plays there are periods where dialogue between the characters manages to display human language's most powerful capabilities, yet others where its shortcomings are dramatically exposed. Behind the conversations, hidden in the silences, both plays offer far more to the audience than can be gathered from the words alone. What is stated, what is implied and what is left unsaid are all of equal importance, as each simple line provokes thoughts on a series of deeper issues. The use of language and language rituals offers an insight into wider thoughts than simply those concerning the characters in the play. Both playwrights' ideas and suggestions concerning the human condition may be interpreted from these rituals; the interaction of the characters and the way they choose to communicate with one another present perceptions of our very existence as human beings. When seeking to compare the ways in which this is achieved by the playwrights, a fundamental difference
The Crucible - character study of Reverend John Hale.
When we first meet or are introduced to Reverend John Hale, we are told that he, Hale is a scholar from Beverly and feels pride in the work he does. He comes to Salem on Reverend Parris' request to investigate the possibility that supernatural causes are causing Betty Parris' suspicious illness. Hale approaches the situation precisely and intellectually, believing that he can find the cause to her illness. Despite his early enthusiasm for finding the presence of witchcraft in Salem, Hale soon grows disillusioned with the witchcraft accusations and then starts encouraging people to testify so that they would not be hung. In Act II, Reverend Hale starts showing sympathy towards the men and women who have been accused of witchery, for it was he who signed their death warrants. He undergoes an internal crisis, feeling guilty that he might be responsible for all of the accusations. Even though this is the case at the end, at the beginning we found that he enjoyed being called to Salem to fix things. It made him proud that his expertise was finally in demand, (obviously in his mind they were not being fully appreciated). However, he was surprised at hearing about Rebecca and Elizabeth's arrest, which reveals that Hale is no longer in control of the predicament. Throughout the play there are many accusers and defenders for the witch trials. There is one man, Reverend John Hale,
Comparison of Two Productions of A Midsummer Night's Dream
GCSE English/English Literature Assignment Shakespeare's 'A midsummer Night's Dream In this assignment I am going to study William Shakespeare's 'A midsummer night's dream'. Which I will watch be performed by two different theatre company's. The first show is to take place at the Royal exchange theatre, on the 8th April. Directed by Lucy Bailey. The second performance is to take place on the 16th May, at the Salford Lowry theatre. Performed by The Royal Shakespeare Company. Directed by Richard Jones. In this assignment I will describe the two different theatre designs. I will also look closely into one chosen key scene, giving a brief plot of the scene and discuss key characters from this scene. I will comment on how the two different directors, directed my chosen scene and the differences between them while commenting on how affective they were. I will then compare the two different productions overall and specifically in my chosen scene saying which one I preferred and why. As well as any other thoughts on the play. The theatre design of the Royal Exchange is a theatre in the round. A road ran from one side of the theatres across to the opposite side. Although this was a fixes scene it was multi-per phased a lamppost stood in one corner of the theatre. This was very affective as it gave the audience the idea of being in the middle of nowhere. A if it was just one on going
Can we write about the tragedy of Hamlet in any meaningful fashion
Can we write about the tragedy of 'Hamlet' in any meaningful fashion? It is highly problematic to use the word 'tragedy' when referring to Shakespeare's works. 'Hamlet' has long been considered the best example of what one would call a tragedy out of all Shakespeare's plays, yet this generalisation, as it proves to be, is the most troublesome of all. Perhaps the reason for this lies in the unknown extent of Shakespeare's familiarity with what one would call traditional tragedy, whose routes lie in the principles set down by the Greeks and Aristotle. Aristotle, in setting down the so-called rules of tragedy in his 'Poetics' talks of an essential element; 'Hamartia', fundamental in the downfall of the prominent (usually this prominence is reflected in a high up hierarchical figure, perhaps of the nobility)'tragic hero' and which, furthermore the character must recognise. This fall from grace marks a reversal of the character's fortune, placing great emphasis on an element of fate; the 'strumpet fortune' that Hamlet so frequently refers to. Aristotle, echoing the Greek view that tragedy is didactic also talks of a fundamental element, Catharsis, at the tragic hero's downfall where the audience's emotions are purged and purified. Taking this into account, the links between Shakespeare's dramatic works and Greek tragedy are nevertheless unproved and tenuous. It is likely,
Iago is a powerful predator who exploits those around him by infecting their perceptions of truth with carefully chosen fallacy.
When the slightest hint of doubt or suspicion is planted into someone's mind, the damaging effect of jealousy is left to ensue. William Shakespeare's "Othello" supports this idea. Jealousy and suspicion are Othello's major flaws throughout the play and foreshadow to the audience the eponymous hero's imminent downfall brought about by his ancient, the manipulative Iago. NP Shakespeare uses the technique of beginning "Othello" at night and in the middle of a conversation to create intrigue. Iago and Roderigo are discussing the elopement of Desdemona, who Roderigo loves, and Othello. Although this conversation takes place at a very early stage in the play, it is evident that Iago is manipulative and cunning as he is already taking full advantage of Roderigo's wealth: NP "That thou, Iago, who hast had my purse As if the strings were thine". NP The first word we hear Iago speak is "Sblood", a powerful word conveying his fury and hate. Iago tells Roderigo the reason he is angry is because Othello has appointed Michael Cassio the position of lieutenant instead of him: "One Michael Cassio, a Florentine... That never set a squadron on the field". It is clear Iago thinks Othello has made a mistake in his decision as Cassio is not only inexperienced, but he is from Florence. NP Iago's inability to contain his rage is further revealed when he vows revenge on Othello: "I follow him
Henry VIII'skey reason for the reformation.
Henry VIII's key reason for the reformation The break from Rome was the ending of Papal rule in England. Up until 1534 the Head of the Church in Catholic Europe (including England) was the Pope in Rome. However for several reasons which I shall discuss in this study, Henry VIII of England in 1534 decided to replace the Pope as Head of the Church in England and appointed himself as the Supreme Head of the Church of England and consequently ruling England as a Catholic country without the Pope. The points needed to be looked at in this study are the state of the pre-reformation church, power and money, and the divorce from Catherine of Aragon. State of the pre-reformation church It has been argued that the pre-reformation church was a corrupt and failing institution and therefore Henry had to totally overthrow the running of the church and appoint himself as the Supreme Head in order to reform church practice. Traditionally many historians have argued that the people of the early 16th century agreed with Henry in his decision because the church in England was a deeply unpopular institution. Anti-clericalism according to this line of argument was widespread. As G R Elton puts it, "People in England thought little of Priests". The clergy were widely despised. At the top, Archbishops and Bishops were disliked for their wealth and ostentation with Wolsey being an obvious
Aristotle and Tragedy
Aristotle and Tragedy A tragedy is loosely defined as an event which ends in calamity or distress. However, Aristotle's Poetics provided us with a more detailed set of guide lines with which to define the genre of Tragedy. He stated that the real pathos is effected by our awareness of some wasted, admirable quality/ies in the protagonist, the realization of which is invariably obstructed by the pride of that character. Thus the final fall, and subsequent death, of the protagonist is also a form of catharsis, the nemesis which counters the character's misplaced pride. In Greek tragedy and even later imitations the plot would generally revolve around the aristocracy, royalty or important members of state. As a result the impact of the fall would be emphasized. In English literature some of our most poignant tragedies of course come from Shakespeare, and his tragedies too move in these same spheres; King Lear, Macbeth, Hamlet and so on. Shakespeare's use of soliloquy was an integral part in his creation of tragic pathos because it was in soliloquy that we were made privy to the private aspirations and emotions of the central character, ones which would often clash with the public picture we had of these men. For example, Hamlet's mental torment is piercingly transcribed in his soliloquies. As a result we see clearly that his public duty to avenge his father's murder and to
Shakespeare's illustrations of Kingship in Richard II and Henry IV pts. I & II
Shakespeare's illustrations of Kingship in Richard II and Henry IV pts. I & II In these plays there is an interesting blend of perspectives towards the issue of kingship. The first is that of Richard II whose claim to the throne is considered just but whose ability to lead is poor; in effect he may be regarded as the complacent king. We then look through the eyes of Henry IV whose claim to the throne in terms of the laws of succession is unstable but who, as a man, has won the support of the people on merit. Finally there is the perspective of Hal. In many respects he has had the benefit of the experience of both his predecessors. He is at once the son of a man who has usurped the throne, but at the same time the son of a man who has earned his crown on merit. Moreover he is at least the legal successor to his father. In these plays Shakespeare embraces these various perspectives and takes us through the pros and cons of each king¹s position. In order to establish Shakespeare¹s views on kingship it is helpful to examine various aspects of the issue in turn. The concept of a king as God¹s minister on earth is most prevalent in Richard II since he is the only king who we shall dicuss who fills this role. It is still an important issue in relation to Henry IV but this time in terms of how having usurped the crown, and consequently not inheriting this role, destabilizes