Tragedy

A common theme of sickness exists in Macbeth; mental and physical struggles between the two main characters Macbeth and Lady Macbeth. The use of sickness as a euphemism for evil and mortality reveals Macbeth’s and Lady Macbeth’s tragic flaw of ignorance. Macbeth’s ill state-of-mind that leads to his demise can be derived from a guilty conscience left from the murders of Duncan and Banquo; Lady Macbeth’s psyche has also been tainted with guilt by the same murders that draw her to suicide.

Macbeth, acquiring the throne and becoming king, forces the country into a dismal and debilitated state; much like his own mindset. Lady Macbeth, mentally ill from deceiving her husband into assassinating his victims, begins talking in her slumber; revealing her involvement in the homicides. Following, these events, Macbeth descends into a state of madness; spiraling down a path of destruction; into a state of paranoia; being ever consumed by the all-knowing fire of Him; the antichrist in all of his glory.

Macbeth suppresses his memories of the homicides further deteriorating his mind which results in his own destruction. In act three scene two, he orders the murder of Banquo in fear of him divulging any information. Speaking to himself, Macbeth says “And with thy bloody and invisible hand cancel and tear to pieces that great bond Which keeps me pale.”

The quote depicts a paranoid Macbeth and an even further deteriorated mind; caused by allusions that Banquo could possible find out; that Banquo might kill him in return. In act five scene three, he becomes aware of his current mental state. He calls to Seyton “This push will cheer me ever, or disseat me now. I have lived long enough. My way of life Is fall’n into the sere, the yellow leaf.” In this quote, the yellow leaf represents a sick and dying Macbeth; about to die off to make room for a new king.

Lady Macbeth, distraught by her involvement with the slayings of Duncan and Banquo, falls deep into a state of depression; inevitably leading to her self destruction. In act five scene three, the doctor deduces that there is only a physiological problem with Lady Macbeth and there is nothing he can do.

Speaking to Macbeth, the doctor says “Not so sick, my lord, as she is troubled with thick-coming fancies that keep her from her rest.” The quote explains that she feels so guilty that it is causing her to have a physical reaction; likely the result of a disorder such as insomnia. In act five scene five, Lady Macbeth lets out a sorrowful moan; Seyton is then sent by Macbeth to check on her only to find that she is already deceased; ironically relieving her of the sickness that plagued her.

Medea, the famous character, known for killing her two sons to take revenge for her husband Jason’s betrayal, is a foreign woman in both Euripides’s and Seneca’s version of the play Medea. Although both plays are based on the myth, the idea of foreign woman, the Barbarian, is different when the two plays are compared.

Medea, in mythology, is from the land of Colchis, the south coast of Black Sea, close to the land of Amazons, traditionally considered an area populated by warrior women. Today it is located in the north of Turkey. Medea’s father is the king of Colchis. They are known as Barbarians by the Greek.

Jason, after pursuing the Golden Fleece for a long time, arrived in Colchis and asked the Golden Fleece from the king but the reaction of the king was brutal. Edith Hamilton adds a further insight to our understanding of how King Aeetes’s reaction and how he and the Greeks felt about the foreigners:

” A great anger filled King Aeetes’s heart as he listened. He did not like foreigners, any more than the Greeks did; he wanted them to keep away from his country, and he said to himself, “If these strangers had not eaten at my table I would kill them.”

The image of the Barbarian king and Medea in this myth is frightening. Irrational, magic and supernatural powers have almost no place in Greek mythology, and Medea is one of the only two known witches in all Greek Mythology. Of course, as a foreigner Medea could expect all the special suffering, since the myth was most probably created in a Greek poet’s image of a Barbarian woman.

Euripides (c. 485-c. 406 B.C.) was the first person to use the myth of Medea as a basis for tragedy. He was also born in exile and died in exile.

it is obvious that during the time Euripides wrote Medea, the Greeks regarded the non-Greeks as inferior. There is no doubt that Euripides addressed this arrogance in his version of Medea, as the very first lines of the Prologue inform the audience that Medea is a non-Greek, a barbarian from Colchis, and the play takes place in Corinth where Jason and Medea are in exile. Medea is the first fully developed female character in a Greek play. It is no coincidence that she is a non-Greek, the strong willed, self-determined woman is a Barbarian. Medea, is an independent character in the play. She is not treated as Jason’s wife or as someone’s mother; she stands to be herself. Athenians were prejudiced against foreigners and women and felt both were inferior to Greek men.

Euripides used the myth of Medea as a basis for his play but altered the story to suit his purposes. By looking at the alterations made, it may be right to suppose that he disapproves of the attitude of Greek society toward the foreigners and questions their values, and reminds them of their mistakes.

One of the major changes he made was the decision of giving an emphasize on Medea being a barbarian and choosing not to stress on the inhuman, witch, half god qualities of her. He chose to portray her as “other” not just by being a foreigner but by being a woman who doesn’t except her fate.

What has happened to her could have happened to any other woman, betrayal and abandonment, but no other woman would have the fire of her words and reaction. As well as she is not a typical woman in this foreign land, she can not be considered typical for her own land either, as she is the murderer of her own father and brother. She is a woman in Greece but not just one of them as she is the unknown from the east and she can not be accepted to her land anymore as she is uprooted from her own country as she herself puts it.

It is hard to decide which character is good or bad in Euripedes’s Medea. Medea could have been much less sympathetic, more witch like or even more crazy but Euripides chooses to add human qualities to his famous barbarian character.

Medea, gets the most extreme revenge in Greek Drama. Would her revenge be the same if she was Greek? Jason in the play says “…You married me, bore my sons, and murdered them through jealousy of love. No woman in the whole of Hellas would have dared so much…”. It can be assumed that some Greek audience would think like Jason but this play is modern as well as ancient and so it can also be assumed that today’ s audience would think differently, she did what she did because she was deeply oppressed in many ways.

The inner fire which makes Medea to perform her violent murders is not only a savage desire. Medea’s sons are not from a Greek mother so they can never be Greek citizens and she herself says “…Shall I leave my children for my enemies to trample down…”. As herself is a barbarian and has been trampled down, she prefers death for her sons. She believes her sons belong to them only and death from the mother’s hand is better than being a. inferior foreigner for a lifetime.

Euripides, to strengthen the human qualities of Medea, used the chorus as a support, friend to her. The chorus is formed of Corinthian women and in many parts of the tragedy, we see empathy between the chorus and Medea and we witness them trying to help her.

Seneca was born in Spain and brought to Rome as an infant. It is implied that he probably had tuberculosis and because of his poor health, was sent, to Egypt, in his youth.Seneca was an exception to his times. He dedicated his life to become a virtuous person. His plays are full of blood but not he was not warlike at all. Many scholars claim that Seneca’s plays were written to be read and were never staged even during his time. Considering the common Roman entertainments, even Seneca’s plays were staged, the audience would be limited with intellectuals of the time.

Seneca’ s Medea is different to Euripides’s version, content wise as well structural wise. There are more monologues, the nurse’s (the stoic character who has the common sense in Seneca version) role is enlarged while the role of chorus (who empowered the friendship between the women of two different cultures in the Euripides’s version) is decreased. Seneca’s Medea is less human when compared to Euripede’s Medea.

Euripides’s character is a woman betrayed by her husband and would not do the things she had done unless she had not been torn apart by despair and anger. On the other hand, Seneca’s Medea, is a vengeful sorcerer. Her superhuman magical powers are given great prominence. She is driven to evil. Just as there was a vast difference between the Medeas of Euripides and Seneca, as there were great differences between the things they envisioned, the societies in which they lived, the audience for which they performed, the democracy / monarchy they practiced.

The idea of a foreigner in the Roman world was quite different from the idea of a foreigner in Ancient Greece. Seneca’s characters, although not as often as the Euripides characters, express concerns about cultural differences and conflicts. But the Roman writer concentrates more on other issues, because the monarchy he lives in, has different problems with its borderlands, imperialism, loss of traditional Roman identity and the corrupt emperors.

The tale of Medea has been told countless times in various ways. The two most well-known versions are those told by Seneca and Euripides. The two playwrights used the same myth of Medea and created two different worlds, both based on the barbarian child-murderer. The idea of a foreigner, even today, is a complicated issue. We need borders between the countries and can only travel with passports and visas. The tale of Medea is the story of a woman betrayed by her husband, of a woman who killed her sons and also of a woman who was alienated because she was a foreigner.

Oedipus the Decent King Sophocles’ Oedipus Rex is a classic Greek tragedy that tells the story of a king with an unavoidable fate. Oedipus, the king of Thebes, unknowingly marries his mother and kills his father, thus cursing his kingdom with a terrible famine. The tragedy follows the king’s journey to find the truth and make things right in his kingdom, his actions eventually leading to his downfall. Much controversy surrounds the character of Oedipus, however, as academics cannot decide whether he is a good man burdened with a terrible fate, or if his fate was brought upon him by his actions. Robert Hull takes up the former view in his article, “Hamartia and Heroic Nobility in Oedipus Rex”. In his article, Hull employs Aristotle’s thoughts on hamartia to support his views of Oedipus Rex. Hull claims that, rather than having a motive of self-preservation, Oedipus’ actions are a result of “a commitment to values,” a desire for the truth. The tragedy, he claims, is “a triumph over nihilism,” as everything is “an illusion from the beginning”. The author’s reasoning is that Aristotle’s view of Oedipus Rex is not “a sin-and-punishment tragedy” with “hamartia as a moral flaw”.

To put it simply, Oedipus is a good man with a tragic and unavoidable fate. To support his case, the author defends the king’s character, saying that the treatment of the blind seer Tiresias is just, as “Oedipus sees himself as a paternalistic king, as his references to the people of Thebes as his children” and that, in refusing to tell the king what he sees, “Tiresias is failing the people in their direst moment”. Once Tiresias discloses the information, however, Oedipus reacts in a very extreme manner and claims that the seer is plotting against him. Again, the author supports the king, declaring that his reaction is just, as he has “no idea of the truth of Tiresias’ accusations”. Hull’s article has a good perspective on Oedipus, as it gives the protagonist the benefit of the doubt.

The King of Thebes, indeed is not a completely rotten character. Although he has a somewhat rocky start, he is repentant once he discovers his wrongdoings and banishes himself from his own kingdom to save the citizens from famine. Some may argue that his motives in discovering the truth are merely those of a self-preservative nature. While this is a possibility, he still takes the time to look into the situation and deals with the consequences, rather than hiding the truth from his people. While Oedipus is not the best king, he has the interest of his people in mind, making him one of the more decent rulers of the day. Another interesting perspective to look at in the story of Oedipus would be that of his wife and mother, Jocasta. A psychoanalysis on her character would be a fascinating subject to study. Killing Snow Filicide, or child murder, is a surprisingly common theme in fairytales, considering how outraged the public reacts to it. Snow White is “arguably the most well-known” of the fairytales depicting homicide. Most adults and children are familiar with the plot: a beautiful girl is murdered three times by her evil step-mother, but in the end is saved by a handsome prince and lives happily ever after. Despite the widespread knowledge of the fairytale, many are ignorant of the origins of the story. In her article, “The Fact and Fantasy of Filicide in ‘Snow White’”, Michelle Abate discusses the roots of the popular story and the motives for murdering the heroine. Abate starts off her article by reminding her readers that fairytales were originally intended for an adult audience, thus giving reason for the gruesome and somewhat perverse nature of the stories. She later uses the origin to explain the homicidal nature of the step-mother, claiming that the telling of these stories “serve a function that is as freeing and empowering as it is cathartic and therapeutic”.

The queen’s persecution of Snow White “reveals that the mistreatment often comes at the hands of the men and women who are supposed to love, nurture, and protect young people the most: their parents or guardians”. The author later discusses the reasons for the intense jealousy of the step-mother. Abate’s reasoning is that Snow’s beauty rivals not only the queen’s appearance, but also her power. In a patriarchal society, a woman’s beauty and skillfulness is her only value. Without either, she is useless in a “male- dominated society”. Her “loss of the title of the fairest one of all constitutes not simply a threat to her ego but also a threat to her influence, agency, and even socioeconomic means of survival”. In the text, Abate also includes the research of psychologists on filicide, as to prove that homicidal thoughts towards children are not uncommon, but rarely acknowledged because of guilt and shame. What is not normal, however, is acting upon those thoughts, like the queen did. Because of her filicidal actions, which serve as an outlet for the fantasies of the adult audience, there is a dire need for her actions “to be not simply rebuked but horrifically punished”. The result of this need is being forced to wear hot iron shoes and dance until she dies, a punishment administered by none other than the queen’s victim, Snow White, at her wedding to the prince who saved her.  A public humiliation such as this is only fitting for such a heinous crime as murdering children. Abate’s point of view of the story is an interesting one, as it still depicts the queen as a villain, but also brings light to the normalcy of a desire for filicide in parents. Although the thought is sickening, it is logical that thoughts of filicide would be normal, considering how common a theme it is in fairytales. The author also uses her text to highlight flaws in the societal system in explaining how a patriarchal system could cause competition between women, even to the point of killing a young girl seen as a threat. Looking at the story of Snow White and her homicidal step-mother through a feminist lens is another interesting take on the story, one that I would like to research in more detail.

Everything, Everything By Nicola Yoon is all about Relationships and . Maddie has a sickness and has never been able to experience the world that all changes when she meets Olly. Some of the most trusted people can make the most hurtful decisions is shown when Maddie falls for Olly, when Maddie runs away to Hawaii, and when Maddie finds out what her mother did. Maddie soon realizes that she has fallen in love with Olly. At this time Olly is and his come over with a bundt cake as a meet the neighbors gesture, but Maddie’s mom can’t accept the cake without revealing the Maddie is sick with SCID. That night Olly’s dad gets upset because Maddie’s family didn’t accept the bundt and Olly climbs to the roof to think. Olly comes back down and shuts his shade when he sees Maddie.  I’m not moping, I say, though I’ve been moping a little. Olly’s rejection has made feel like a little again. For seven nights Olly’s pretends the Bundt is alive, night 1 Bundt commits suicide. Then Maddie doesn’t look at the window for a while. Night four the Bundt has bandaids on it, night five the Bundt has alcohol, pills, and cigarettes. Night six Olly pretends the Bundt is in the hospital and dies, “Olly appears wearing a white jacket and stethoscope. He’s frowning down at the Bundt and listening for a heartbeat. Olly looks up and shakes his head solemnly. Night seven he is a priest during a service, then Maddie finally laughs He’s performing last rites of the Bundt. Finally, I cannot help it. I laugh and laugh and laugh and he writes on his window his email. They email and she tells him a joke recipe for a bundt made out of concrete.

Maddie wants to experience the world so that when she dies she died seeing the world not sitting in her room. Maddie buys plane tickets to Hawaii for her and Olly. Olly is really concerned for Maddie but she lies to him and tells him that she has these experimental pills that will have her SCID. What if something happens to you? Nothing will But what if it does? I have the pills, Olly. They’re going to work’ He squeezes his eyes shut and puts his hand on the key.” Olly and Maddie are in Hawaii now and they arrived at the hotel. Maddie and Olly is super excited about it too, Welcome to Maui, Mr. and Mrs. Whittier says the woman at the desk. He doesn’t correct her mistake, just pulls me closer and gives me a loud smack on the lips. Maddie’s mom is going crazy worrying about her and so Maddie emails her mom after her mom emails her a bunch and says that she is ok and nothing’s wrong, “Please don’t worry, Mom. And please don’t come here. I’m really OK and it’s my life too. I love you. I’ll see you soon. So they are having a great time in Hawaii till Maddie wakes up from a nap and goes to the bathroom to look in the mirror and collapses on the floor and then Olly rushes Maddie to the hospital.

Maddie comes back from the hospital and back into her old house, Olly comes back too and tries to contact Maddie. She is upset with the situation and wants nothing to do with Olly even though she loves him. A couple days later she gets an email from Dr. Melissa Francis who helped her in Maui. Dr. Francis says that she doesn’t think Maddie has SCID. “You need to know that I’ve studied your case very closely. I don’t believe you have, or have ever had, SCID”. So Maddie asks her mom and she tells Maddie that not everybody understands SCID and that the doctor shouldn’t have given Maddie’s hopes up. The next day Maddie get suspicious and goes through her mother’s files and sees the one labeled Madeline she goes through it and finds nothing about her being diagnosed with SCID. “ Where are all the papers’I demand. Madeline Whittier what are you talking about? You have records for everything, but there’s nothing about SCID in here. Why can’t I find anything?’ I grab the red folder from the ground and shove it at her.

You have everything else. What are you talking about’ she asks. ‘Of course, it’s in here. Did you look carefully? I keep everything. Did you take them? I know they were in here.’ Her voice is thick with confusion and, also, fear. And that’s when I know for sure. I am not sick and I never have been. She finds this out and her mother explains to her why she told Maddie she was sick. It’s because her mother lost her husband and son passed away and after they did Maddie got extremely ill and her mother jumped to conclusions and said it was SCID but Maddie finally found out from Dr. Chase that she for sure doesn’t have SCID. At this point Maddie has started a new life, she has been awoken and now is experiencing new things. Maddie fell for Olly hard, she also fled to Hawaii with him, and to top it off she found out her secret. Maddie’s life was an adventure, she had a blast with Olly and she also when through the hardship with her mother, but overall she learned trusted people don’t always make happy, cheerful decisions including herself.

Antigone, the main character in Sophocles‘ renowned tragedy of the same name, is often praised as a figure of integrity and heroism. However, Sophocles’ intentions may not have been so simple. By taking a deeper look into Antigone‘s words and deeds, one realizes that she may not be the loving, moral character she is often portrayed as Under her tragic heroine facade, Antigone is selfish, proud, and spiteful. Creon’s decision to forbid Polyneice‘s burial is objectively wrong It was an act of hatred and spite, as seen clearly when Creon says, “Leave him unburied, leave his corpse disgraced, / a dinner for the birds and for the dogs.” (205-206)‘. The Greeks believed that until burial, one cannot enter the afterlife, and instead is trapped between worlds in endless suffering.

To most moral people, it is completely unethical to inflict this punishment on a fellow human. It follows that Antigone’s desire to bury her brother is rational and loving. However, the intentions behind her deed were not all virtuous Although Antigone’s actions are, to the outside eye, selfless, her attitude points out that despite the fact that she sacrifices herself for her brother, she still has selfish motivations She says to her sister lsmene, “And yet what greater glory could I find / than giving my own brother funeral?” (502-503) Instead of focusing on her brother, Antigone is concerned with her own well—being. When Ismene tries to convince Antigone to follow the king’s decree for her own sake, Antigone replies, “Sister, I pray, don’t fence me out from honor,” (544). Antigone desires recognition and glory more than her own life In fact, believes that her life is useless, instead of a gift to be treasured, Since Antigone cares little for her own life, she sees it as dispensable in favor of honor and renown.

She would do anything for recognition, She even mentions, “I shall suffer nothing so great, as to stop me dying with honor,” (96797) In the end, her desires are fulfilled. When her fiance’e, Haemon, is defending her to Creon, he mentions that the city is in her 1 All parenthetical citations are taken from Sophocles’ Antigone, translated by Richard favor, to which Creon promptly replies, “15 the town to tell me how I ought to rule?” (734) Thebes is consumed with anger at Antigone’s sentence, which is exactly what she wanted, As Antigone is being led to her doom, the chorus laments, “My tears will not be checked / I see Antigone depan / to the chamber where all must sleep” (803-805), At this point, Antigone has succeeded in winning the pity and admiration of the throngs. Antigone’s persistence in making her situation seem as tragic and pitiful as possible can be seen as an annoying cry for attention.

All she wants is fame and prestige, whether she has to die to get it or not. When lsmene swears to protect Antigone by keeping her actions secret, Antigone harshly replies, “,,,I shall hate you more / if silent, not proclaiming this to all,” (87). This truly shows Antigone‘s twisted desires for recognition. Her family is trying to protect her from a torturous death, but Antigone is pushing them out of her life with insults and self-righteousness, Some of Antigone’s defiance and longing may have grown from her oppression as a woman in ancient Greece Sophocles may be trying to make a statement by writing a tragedy primarily concerning a woman. Ismene makes it clear that she has been oppressed when she reminds Antigone, “We must remember that we two are women, so not to fight with men” (60), Creon also makes a statement about gender roles when he protests, “I am no man and she the man instead / if she can have this conquest without pain,” (4847485) Through this outcry, Creon implies that women are meant to be controlled and dominated.

The repression of free will often leads to dangerous acts of defiance, as in the case of Antigone. However, her selfishness and pride are not to be condoned because of her past According to Antigone, her death was long awaited, She mourns to Ismene, “Who lives in sorrows many as are mine, how shall he not be glad to gain his death?” It follows that Antigone‘s death is just another selfish desiret Since she already covets her demise, Sophocles makes it clear that it is not a sacrifice for her to give up her life for her  Lattimore. brother: Antigone is not intended to be the self»sacrificing heroine she is often seen as She is a prideful, self—serving woman. AnLigone’s suicide is just another aspect of her pride. After going through all the trouble of setting up an “honorable death”, she does not want to take any chances. As soon as she is sealed inside the cave, she kills herself. Most likely, she knew there was a chance that Creon would change his mind and come back for her.

This would ruin her scheme. Her suicide is also a final act of defiance against authorities. They condemned her to death, but even in her final hours she would not let go without proving her independence. Defying a king in such a manner makes her renowned for courage and piety, since she claims to value the gods’ opinions more than man’s. Of course, this is exactly what Antigone wants. Antigone’s value of the gods and the dead can be seen as admirable, but one of her flaws is that she puts the dead before the living. She has no concerns for the pain she leaves behind after her death. Haemon, her fiancee, is deeply in love with her, as seen when he begs Creon to spare her life. After Creon refuses, and even threatens to kill Antigone in front of her fiancee, Haemon cries out, “Not at my side! Don’t think that! She will not / die next to me. And you yourself will not / ever lay eyes upon my face again“ (762-764).

Antigone, on the other hand, does not mention Haemon once throughout the play. Her disregard for the love of her fellow humans is repelling. She goes through the same ordeal with her sister, Isrnene, who loves Antigone dearly, but is shown no regret for the sorrow inflicted upon her. The chorus, although primitively in Antigone’s favor, eventually sees her for her true self. They make their opinions clear when they proclaim, “You showed respect for the dead / So we for you: but power / is not to be thwarted so, / Your self-willed temper has brought you down.” (8727875). The chorus recognizes her egotistical attitude through her mask of unfair tragedy. At the close of the play, the chorus laments, “Our happiness depends / on wisdom all the way,” (1347-1348).

If only Antigone had relied on her wisdom instead of her passions, there would have been three fewer deaths in her family. Antigone is almost always analyzed as a beautiful, long-suffering role model. However, through closer examination of her character traits, it is obvious that she has far too many fatal flaws to be a true hero. As lsrnene says, “Wrong from the start, to chase what cannot be,” (92). Antigone is pursuing a daydream of glory that is so falsely attractive to her, she would give anything to reach it, On the brink of suicide, Antigone is already damaged and pathetic before the play begins. Her story is tragic and her character is pitiful, but she is not in any way a hero.

This essay will examine the context of Shakespeare’s Macbeth and primarily delve into the relationship of Macbeth and Lady Macbeth as a partnership to determine whether, or not, their marriage is based on equal terms, or how this emphasizes her strength of mind that often overpowers his moral beliefs. As well as interpreting one another’s attitudes when not in scenes together and how they differ when separated. It will also analyse their personalities varied stances and how they express them through vocabulary from the beginning of the first act throughout the course of the play until their inevitable demise. This will ultimately define the quote, “my dearest partner of greatness”.

Before Macbeth is seen and Lady Macbeth is mentioned, their characters are built on the compliments of others. In Act 1 Scene 2 the captain says “For Brave Macbeth-well he deserves that name”. Explaining early of Macbeth’s brave and ruthless prowess in battle, later in this scene Ross describes him as “Bellona’s Bridegroom”, more of a remark directed at Lady Macbeth and is in fact the first mention of her in the play. Bellona is the ancient Roman goddess of war and is not the only reference to ancient Rome in the play. The other obvious boasting of Macbeth comes in Duncan’s constant gratitude and awe, frequently describing him as “Noble Macbeth” or “O worthiest Cousin!”, Act 1 scene 2 and act 1 scene 4, respectively.

Therefore when the audience first meet Macbeth in the scene 3 of the first Act and he confronts the witches, it is his reputation that proceeds him as he’s not quite timid but hesitant to communicate with the mystical strangers that confront him before Banquo addresses them. He is also doubtfully sceptical whether to believe their foretelling: “Not within the prospect of belief”, as one would be in a situation until his evidence is disclosed in the form of Ross and Angus’ confirmation of him being crowned Thane of Cawdor, “as happy prologues to the swelling act of the imperial theme”. He believes that now the first prediction has come true also him being Thane of Glamis that surely they were just the stepping stones to his ultimate goal.

When the audience first encounter Lady Macbeth in Scene of the first act she is speaking the words of her husband’s letter. In this letter he describes her as “my dearest partner of greatness, that thou mightst not lose the due of rejoicing, by being ignorant of what greatness is promised thee.” Suggesting they are a partnership and he has thought to inform her of the news so she shares in his pride, he also knows that she will scheme their next move.

After reading the letter she contemplates his convictions, despite his widely respected bravery and manliness in battle she debates whether he can act in the same manner when fighting for personal gain against his former compares – “yet do I fear thy nature; It is too full o’th’ milk of human kindness”. However unfounded her doubts they are correct because after hearing the witches prophecies two scenes earlier, “If chance will have me king, why, chance may crown me, without my stir”, he became Thane of Cawdor with nothing but honourable service and so he’s unsure whether to act unmorally in this circumstance.

In Scene 4, when Macbeth and Banquo arrive at Duncan’s camp, Macbeth’s attitude is courteous and faithful towards the king but once Duncan confirms that his heir will be his eldest, Malcolm, Macbeth’s true intentions are revealed in an aside, a language devise common in plays similar to a monologue in which a character will often speak his genuine mental thoughts while acting or saying differed points in his real conversation.

“The Prince of Cumberland! That is a step on which I must fall down, or o’er leap, for in my way it lies. Stars, hide your fires! Let not light see my black and deep desires: The eye wink at the hand; yet let that be which the eye fears, when it is done, to see.”

Macbeth mentions that Malcolm is an obstacle in which he must overcome if he should become king and then Shakespeare uses the first of many rhyming couplets in the play. In the play, “Macbeth” a rhyming couplet is commonly used before a major event or when someone is thinking aloud to inform the audience of a characters’ thoughts.

In Act 1 Scene 5 Lady Macbeth says,

“That I pour my spirits in thine ear, and chastise with the valour of my tongue”.

Indicating her wishes to inspire him to do betraying deeds with her passion for their royal goal. She is not commanding him to do so that may have been intimated to sound as though she is in control. However, this passage is a vital one at this point in the play, which verifies Lady Macbeth is not in complete command but still has a voice in matters. It infers she makes her suggestion then persuades him to follow through using her manipulative nature and sexuality. It is a rarity that a woman in this Elizabethan society would have any say in her husband’s, particularly a soldier’s, decisions. Primarily for the misogynistic views harboured by physically strong alpha male’s with housebound wives.

In Act 1 Scene 5 Lady Macbeth confirms that at the beginning of the play she not cruel nor amoral, nor insensitive; it is purely that she is complete and utterly strong minded and committed to her aspirations;

“make thick my blood; stop up th’ access and passage to remorse, that no compunctious visitings o nature shake my purpose, nor keep between the effect”

Lady Macbeth deliberately becomes remorseless so she can govern her husband to his power which will also benefits her. These chosen sacrifice pay their price later in the play:

“Thy letters have transported me beyond This ignorant present, and I feel now The future in the instant”.

Macbeth’s letters have aroused her devious nature and she has plotted and schemed. She has pictures herself as queen to him and is now relentlessly obsessing to crown herself, metaphorically and literally, with her achievement.

“look like the innocent flower but be the serpent lying under’t”

Lady Macbeth is adamant that Macbeth carries out her wishes.

“and you shall put this night’s great business into my dispatch”

She commands and takes control of the situation due to her continuing doubts about his moral beliefs and willpower interrupting their mission.

“We will speak further”

Macbeth remains unconvinced:

“To alter favour ever is to fear”.

She ignores his pleas insisting, on the danger that his feelings may bring to this tentative position.

Macbeth’s uncertainty can be partly due to not just being made Cawdor but the previous affiliation and favours Duncan has bestowed on him.

“Your majesty loads our house: for those of old,”

Implying Duncan’s favours go beyond his recent praise further evidence for this can be cited in Act 1 Scene 4

“The service and the loyalty I owe, In doing it, pays itself. Your highness’ part Is to receive our duties; and our duties Are to your throne”.

In Act 1 Scene 7 Macbeth’s soliloquy, another monologue like language device preferred by Shakespeare in “Macbeth”, often express his characters deepest desires and overly negative thoughts of the people around them:

“If it were done when ’tis done, then ’twere well it were done quickly”

Macbeth expresses that he doesn’t want to torture Duncan and a quick and painless sleeping death would be all he could deliver all be it he feels it’s unjust to murder such an honourable man in his sleep.

“this blow Might be the be-all and the end-all here”

He further expresses his reluctance to the task at hand but still sees it’s importance; he indicates that if and when he kills Duncan that would be the be all and end all and no acts would follow, then he would barely hesitate. However, he knows this isn’t the case and must find strength for this is just a step to his path of greatness:

“as I am his kinsman and his subject, strong both against the deed; then, as his host who should against the murderer shut the door, not bear the knife myself”.

Macbeth’s feelings of guilt intensify as not only as his loyal server to the king and country but as his host, is not a righteous path to walk down.

“I have no spur to prick the sides of my intent, but only vaulting ambition, which o’erleaps itself and falls on the other.”

He has no motive but the selfish wishes and ambitions of himself and his wife. Therefore he feels it can only be a unsatisfactory reason for creating such a cowardly and despicable act of murder.

In Act 1Scene 7 Lady Macbeth’s pride and utter determination is unreserved, she is overpowering Macbeth’s guilt and with sheer will. She is not afraid of what outcome may follow and she is ordering him to do as she pleases:

Macbeth: “we will proceed no further in this business”

Lady Macbeth: “Was the hope drunk wherein you dress’d yourself? Hath it slept since?”

She accuses him of being cowardly and expresses that his determination has died since they last spoke of their plans:

“Art thou afeard to be the same in thine own act and valour As thou art in desire?”

In claiming his fear of acting on his ambitions, she is hoping to touch a nerve by the continuous raging mockery; she is solely hoping to spur him on to do the deed she craves him to act on:

“And live a coward in thine own esteem”

Macbeth’s response is ferocious; he knows he has to silence her at once:

“Prithee, peace: I dare do all that may become a man; who dares do more is none.”

He insists he as a worthy man and will act on any bravery expected of a man. This line implies he is as noble as a soldier could be but he cannot do an unjust duty, possibly subconsciously is not only that the king hasn’t ordered but that a woman has.

“What beast was’t, then, that made you break this enterprise to me? When you durst do it, then you were a man; And, to be more than what you were, you would be so much more the man.”

Lady Macbeth’s questions his manhood. This point proving if maybe more than any that Lady Macbeth’s marriage to Macbeth is more equal than most. A typical woman in Elizabethan society to raise her voice to her husband, a soldier, a thane, and question his manly judgement, would not be permitted:

“while it was smiling in my face, Have pluck’d my nipple from his boneless gums, And dash’d the brains out, had I so sworn as you Have done to this”.

Lady Macbeth continues insisting the strength of a man’s word and that it cannot be broken.

“We fail! But screw your courage to the sticking-place, And we’ll not fail.”

Her wondrous dreams conclude that winning is all that matters; she wants and needs to be queen or die trying imploring him to commit himself to the act albeit treasonous.

In Act 2 Scene 1, Macbeth’s soliloquy revolves around imagining a dagger placed in front of him although knowing it is imaginary and just a fragment of his guilt stricken imagination:

“Is this a dagger which I see before me”

“Alarum’d by his sentinel, the wolf, Whose howl’s his watch, thus with his stealthy pace.”

Shakespeare compares Macbeth to an animal of the night; he must follow out his deed with conviction to take charge of his pack. In the animal kingdom such an act would regularly occur and not be looked at twice as is natural to those. Macbeth must hunt like the wolf, the original dog, and deny his conscience in order to become the ultimate predator.

At the end of the soliloquy, in scene 7 of the first act, are two separate rhyming couplets; Shakespeare’s use of rhyming couplets is usually to depict the characters thoughts just before a major event:

“Whiles I threat, he lives: Words to the heat of deeds too cold breath gives.”

Macbeth is summoning himself to stop his ranting and perform hastily, which is quite true. The longer he thinks about it the less likely he is to do it.

“Hear it not, Duncan; for it is a knell That summons thee to heaven or to hell.”

The audience now presumes after this act that the deed was carried out.

The first lines in Act 1 Scene 2 are of Lady Macbeth discussing alcohol; “That which hath made them drunk hath made me bold; What hath quench’d them hath given me fire.”

The negative effect on them has had the effect on her she craves, and enabled her to feel no guilt on the assassination.

When Macbeth returns bearing the good news, in her mind, she makes a pitiful excuse of why she has not carried out the deed she relished more than him.

“Had he not resembled My father as he slept, I had done’t.”

Thus more evidence suggesting Lady Macbeth is not a psychopath as her ambitions that have been manifested in aggressive and murderous behaviour, she could not follow through personally for she is not a warrior like Macbeth and has probably never taken a life. Yet, after the murder, Macbeth’s panicking paranoiac behaviour is ignored by Lady Macbeth

Macbeth: “‘Glamis hath murder’d sleep, and therefore Cawdor

Shall sleep no more; Macbeth shall sleep no more.'”

Lady Macbeth: “Why, worthy thane, You do unbend your noble strength, to think So brainsickly of things.”

Macbeth’s is instantly driven mad after the murder of Duncan. He cannot yet control his acts; he’s in a frenzy of hysteria. He believes he will never wash his hands of the deed:

“Will all great Neptune’s ocean wash this blood Clean from my hand?”

Lady Macbeth’s attitude is very different:

“Your constancy Hath left you unattended.”

She is now in complete control and he relies on her commands to get through the night and she scornfully scrutinizes his behaviour.

In Act 2 scene 3, Shakespeare uses dramatic irony after the king has been murdered. Lady Macbeth is told of the news by Macduff:

“O gentle lady,’ Tis not for you to hear what I can speak: The repetition, in a woman’s ear, Would murder as it fell”

Later in the scene, Macbeth is verbally burbling over the murder of the guards and arousing suspicion from the on looking Thanes; Lady Macbeth faints out of sheer concern of their task being ended by the clumsiness of her husband. This indicates her aiding him is not only for her own interests but implying that their relationship is a partnership.

Since Act 1 Scene 3 the relationship of Banquo and Macbeth has altered immensely. At the beginning of Act 3, Banquo is aware of Macbeth’s actions but doesn’t tell his former noble accomplice in case he himself is murdered:

“Thou hast it now: king, Cawdor, Glamis, all, as the weird women promised, and, I fear, Thou play’dst most foully for’t”.

After Macbeth talks neighbourly to Banquo and wishes him farewell, while transparently finding the details of his departure, his true thoughts are known

“There is none but he Whose being I do fear”

Shakespeare also makes another Ancient Rome reference as

“Mark Antony’s was by Caesar.”

In Act 3 Scene1, when Macbeth orders Banquo’s murders, this could be considered the pivotal moment in the play. He does not consult his wife and grows independent in amoral sin. This role reversal is made increasingly imminent in the following scene where Lady Macbeth is seen weary and weak, symbolizing Macbeth’s turn in ability to be able to carry out evil acts without doubt. Lady Macbeth from this point on is weakened and without need to control her husband and she soon loses the ability to control herself. Macbeth emblazoned with power before he goes insane with guilt “Lady Macbeth: what’s to be done?

Macbeth: Be innocent of the knowledge, dearest chuck,

Till thou applaud the deed.”

In Act 3 scene 4 when Macbeth is asked to sit yet he sees the ghost of Banquo in his chair his guilt and paranoia is blatant, he is instantly on the defensive though not being challenged

“Thou canst not say I did it: never shake Thy gory locks at me.”

Lady Macbeth reaches in as in fainting to distract attention, she claims an excuse before expressing her rage to Macbeth

“Are you a man?” and “What, quite unmann’d in folly?”.

Ever questioning his manhood

“Blood hath been shed ere now, i’ the olden time, Ere human statute purged the gentle weal; Ay, and since too, murders have been perform’d…but now they rise again,”

Historically, most people viewing the play “Macbeth” when it was first acted, would have generally believed in the supernatural, therefore Shakespeare is adding a supernatural element that people would be famililar with. In the modern day, Banquo’s ghost would be like the dagger and just a symbolic prop hinted as a piece of imagination. However then like the witches, they would genuinely believe that the dead would be joining the hosts at dinner. Macbeth is trying to claim a manliness that would be true to his valour as a soldier, under the mockery of his wife, “Take any shape but that, and my firm nerves Shall never tremble”, inferring nothing will scare him but his conscience.

At the end of Scene 4 of the third act, Lady Macbeth is found asking about what he is going to do about Macduff and generally what next? For now Macbeth is in control and she is doing what he wishes despite the incident with Banquo’s ghost, he is firmly now placed as the man in their relationship.

In Act 4 Scene 1 Macbeth is confronted with three apparitions whose predictions reveal:

“Macbeth! Macbeth! Macbeth! beware Macduff; Beware the thane of Fife. Dismiss me. Enough.”

Macbeth was originally worried about Macduff but now this has been confirmed he is thankful.

“Be bloody, bold, and resolute; laugh to scorn The power of man, for none of woman born Shall harm Macbeth.”

Macbeth foolishly decides this means no one can kill him and he forgets his initial fears of Macduff.

“Macbeth shall never vanquish’d be until Great Birnam wood to high Dunsinane hill

Shall come against him.”

This further comforts Macbeth as he now thinks he is invincible because no one can physically move a forest. However, the witches ploy is to meddle and Shakespeare has written these as trickery, Macduff was born of a caesarean section and is not according to Shakespearian audience not of woman born. By Birnam Wood coming to Dunsinane, he means the wood moves in leaves and camouflage. Hecates orders of mischief were carried out for their previous prophecies were factually beneficial. Now they are misleading him into believing he is immortal and will not be defeated:

“Time, thou anticipatest my dread exploits:”

Macbeth knows he has not much time but must act on the news of Macduff gathering an army but does not seek his Lady’s help he is instead overly casual of the situation relating to his recent news.

In Act 5 Scene 1, Shakespeare uses Lady Macbeth’s sleepwalking sequence to relive the events of the couples past for the audience, which puts subsequent scenes into perspective for them:

“a soldier, and afeard?”

She speaks of her husband’s nerves but also of her own remorse

“What, will these hands ne’er be clean?”

Lady Macbeth’s initial empowerment has been deadened by guilt and driven her to the brink of insanity; she who criticized Macbeth for his lack of conviction is now whimsical and helpless and her death is imminent.

“What does the tyrant?” and “confident tyrant”

Menteith describes Macbeth as a tyrant, abusing his power, cheating and lying. His former colleagues feel none but disdain for his actions.

“Some say he’s mad; others that lesser hate him Do call it valiant fury”

These two statements of madness and bravery display hatred with mutual respect. His wrath is now coming to a close but he cannot turn back now he must die like a noble soldier as he lived most of his adult life but he is still not completely aware of his soon departure for the words of the three witches gave him false hope.

“Bring me no more report”

“Shall never sag with doubt nor shake with fear.”

Macbeth is in complete power; he has become the evil dictator his wife aspired him to yet she is not in the health to see it.

“Bring it after me. I will not be afraid of death and bane, Till Birnam forest come to Dunsinane.”

This rhyming couplet represents Macbeth’s loss of doubt; everything he feared before he has embraced and it has empowered him as a king to fight, not for his country, for himself and only himself.

“Were I from Dunsinane away and clear, Profit again should hardly draw me here.”

The Doctor’s self-sympathy in aside rhyming couplet is representative of all the servants and unlucky servers of the King who have been forced to loyalty under his emphatic regime.

In Act 5 Scene 5

“I have almost forgot the taste of fears; The time has been, my senses would have cool’d To hear a night-shriek”

This is Macbeth’s admitting his change in character but know his life has been so corrupted by murders of the innocent.

“She should have died hereafter; There would have been a time for such a word.”

When Lady Macbeth dies, Macbeth is almost emotionless as he soon discovers his confidence was unjust and his life will soon be over as well.

“If this which he avouches does appear, There is nor flying hence nor tarrying here. I gin to be aweary of the sun, And wish the estate o’ the world were now undone. Ring the alarum-bell! Blow, wind! come, wrack! At least we’ll die with harness on our back.”

Macbeth is now prepared for immortality, he can take back his sins and treacheries for now he can only fight till death and die with the honour of a soldier albeit a corrupt one.

“Why should I play the Roman fool, and die On mine own sword?”

Macbeth again references Ancient Rome, he expresses the urge to die fighting. His wife is dead as well as his best friend and that was at his hands and also his king.

Macbeth’s death was always inevitable.

“Of this dead butcher and his fiend-like queen”

I don’t believe Malcolm’s comments are entirely accurate way to describe Macbeth and Lady Macbeth because even though there are some elements of truth there, in the end, they regretted their actions and regret is not something a “butcher” or a “fiend” might feel. A “butcher” and a “fiend” are the alter egos of Macbeth and Lady Macbeth. The starting point of Macbeth and actions are the witches’ prediction. This is the cause of their actions because the predictions were already planted in their minds. Macbeth cannot be described as a butcher because individually he would not of been able to kill the king.

Although Lady Macbeth manipulated him into murdering Duncan, she was drunk on royal fantasies, and the next day her guilt became unbearable and led to her loss of sanity and subsequently, her death. Macbeth could also not bring himself to murder Banquo or Macduff’s family personally so ordered assassins to kill them instead.

In conclusion, Macbeth and Lady Macbeth can be described as partners. However were never in equal roles. One needs to be stronger and dominant at each given time although this position is exchanged throughout the course of the play.

“Tragic heroes are so much the highest points in their human landscape that they seem the inevitable conductors of the power about them… great trees more likely to be struck by lightning than a clump of grass. Conductors may of course be instruments as well as victims of the divine lightning. ” Tragic heroes are characters of notoriety; held in high regard but are struck with misfortune through their own error. The most noble of men can succumb to their own flaws until driven to the brink of insanity, as illustrated in Shakespeare’s play, King Lear.

King Lear represents all qualities of a tragic hero and in the end is ruined by his own vice, by driving himself to the point of full-blown insanity as a result of his actions. As all tragic heroes, Lear is a man of nobility. He is the King of England; he has power and is held in high regard. As King, Lear is generally well liked and well respected. As a tragic hero, King Lear has the ability to inflict fear and pity into readers, proving that he is in fact a well-liked character.

He frightens the audience into falling into the same pattern of mistakes, for he is evidence that even the best of men can fall from grace as a result of their own actions. Much like the tallest trees of the forest, Lear stands tall amongst all others in his kingdom. He is the strongest, most powerful tree in the forest; a wealthy, noble, and respectable man. Despites Lear’s qualities that identify him as greater man, he, as all tragic heroes, possess that one flaw that will destroy him. As he ages, King Lear believes it may be best if he passes his kingdom down to his daughters.

He has the land divided into thirds; one piece for each of his daughters. He tells them that whoever proves they love him the most will receive the biggest share. Goneril and Regan, his two oldest daughters, shower Lear with words of false flattery and love solely to receive the biggest piece of land. When it is Cordelia’s turn to profess her love for her father, the youngest and favorite of Lear’s daughters, she merely says that she loves him as any daughter should; no more, and no less.

Lear is outraged when Cordelia does not lavish him in kind words like he had expected her too and as a result banishes her from the kingdom. This action shows the reader insight to what will be Lear’s downfall. What he does not realize just yet is that Cordelia is the only daughter that actually does love her father, but his rash judgment and arrogance blinded him from seeing this. As time passes by, Lear tries to live out the remainder of his life under the care of his two oldest daughters, who are supposed to love him the most.

It is not long until they begin to abuse their “beloved” father and treat him like a piece of trash. They lock him out in the rain, order their servants to be rude to him, and make him reduce his army. It does not take long after that for Lear to realize that he had made an enormous mistake, and the Cordelia was the one that truly loved him the most. The lightening had struck when Lear’s arrogance led him to believe Cordelia would say more to show her love for him, and his tree had caught fire once his rash judgment resulted in Cordelia’s banishment.

Once Lear had recognized the monstrosity of the mistake he had made and bewildered by the betrayal of Goneril and Regan, his madness started to set in. He flees the home of his evil daughters and is left wandering through a great storm, completely consumed in his insanity. The French army, led by Cordelia, is on its way to Britain to save her father’s kingdom from her evil sisters. Battle breaks out, and Lear and Cordelia are both captured. Cordelia is executed in prison, and her father dies shortly after as a result of grief for his lost daughter and the remorse he felt for the mistakes he had made.

Lear is the perfect example of a tragic hero. He is powerful and well liked, but ends up ruining himself. He exhibits the traits as a tragic hero, coming from wealth and nobility. He is arrogant and makes rash judgments, direct causations to him banishing Cordelia, which is the biggest mistake he could have ever made. He recognized the error of his ways, and then drove himself into a state of madness as a direct result. In the end, his tragic flaw led to him losing his power, the one daughter that actually cared about him, and his own life.

The tallest trees are the most vulnerable when lightening strikes; closest to the storm. They act as conductors of the electricity, but are likely to be burnt down themselves. Lear was the tallest tree; the wealthiest and most powerful. When his arrogance and rash judgment kick in, the lightening strikes and his tree catches fire. It is slowly burnt down as Lear ruins himself completely with insanity; until all that remains is the ashes of a once prosperous tree.