William Shakespeare

The concept of gender is a predominate theme throughout many of Shakespeare’s greatest plays. In some of his works, Shakespeare supports the derogatory stereotypes and limited roles that women served in early society. In other plays, he challenges and reinvents those gender roles; something rarely seen and publicized for an audience in the early 1600s. When comparing the components that define these gender roles at the time the plays were written to the much more diversely accepting age of the 21st century, the differences are profound. The presence of courageous, blood-thirsty warriors seems to perfectly capture the true essence of a man, while women represent more subservient virtues such as obedience, chastity, and silence. Defining the distinct characteristics that cultivate masculinity and femininity can be evidently seen throughout many of Shakespeare’s most notable plays, including the timeless works of Coriolanus and Troilus and Cressida. In both the text and film versions of Coriolanus, Volumnia challenges the stereotypical archetype of a woman, as well as a mother. “To a cruel war I sent him, from whence he returned, his brows/ bound with oak. I tell thee, daughter, I sprang not more in joy at first hearing he was a man-child/ than now in first seeing he had proved himself a man.”

In the eyes of Volumnia, Coriolanus truly becomes a man only once she has sent him to face the “cruel war” where he can prove his valor and bravery on the battlefield. Similar to the perspective of the male gender as a whole, she equates the essence of a man exclusively with the violence and brutality of war. This theme is originally emphasized by Volumnia throughout Coriolanus’s childhood, which likely left a perpetual mark on his psychological development. “When yet he was but tender-bodied and the only son of my womb, when youth with comeliness plucked all gaze his way. I, considering how honor would become such a person… let him seek danger where he was like to find fame. To a cruel war I sent him”.

She not only embraces, but applauds herself for sending her only son off to war while he was still young, which in turn sculpted him into one of the deadliest warriors in all of Rome. Her notion of men being defined by their military accomplishments was embedded into the mindset of Coriolanus from his youngest years, and likely contributed to his strong-willed and unyielding sense of character as an adult. Volumnia abandons her role as a nurturing and assisting mother in the beginning acts of the play, while relying on the scars of her son to solidify his stance in society. She no longer fulfills the task of a caretaker, but embodies a driving force that perpetually pushes Coriolanus towards opportunities that will only enhance his masculinity, regardless of the potential risks that he may encounter. Coriolanus blindly follows his mother’s perspective on the significance of warfare relative to masculinity, and solely relies on violence to be the distinguishing factor that separates a man from a boy. His automatic and absolute loyalty to Volumnia’s expectations and influence, with complete disregard towards the anxiousness and concern constantly experienced by his wife, could be due to the absence of a father figure.

With a natural longing for a dominate male presence throughout his childhood and adolescence, he instinctively clings to any sliver of an assertive, masculine aura; one that is conveniently and significantly embodied by Volumnia. According to the stereotypical gender roles created within this play, men should rely solely on their machismo and masculinity to guide their actions, as they are perceived as the ones who dominate the many realms of society. A man who has earned his name through violence and courage on the battlefield should never depend on the expectations of a woman to construct his next move—the inferior status of women as a whole simply does not warrant such relevance. The fact that Coriolanus values Volumnia’s influence and validation so intently defies the typical relationship between the two genders, as well as introduces a weakness within his character. A sense of vulnerability becomes apparent when analyzing the ultimate power that Volumnia holds over her son, which can be evidently seen in both her commanding dialect, as well as Coriolanus’s recognition and adherence towards her principles. Volumnia: “Away, you fool! It more becomes a man.

Than gilt his trophy. the breasts of Hecuba. When she did suckle Hector, looked not lovlier. Than Hector’s forehead when it spit forth blood At Grecian sword, contemning.” Volumnia states that violence, bloodshed, and carnage are far more beautiful and pure than a mother nursing her own child. “Volumnia thrills with pride when she learns that her son has been victorious against the Volsces and has singlehandedly taken the city of Corioli. But she delights even more in the news of her son’s wounds and conceives of them as stepping stones to further public glory.” These radical viewpoints once again align with the childhood that she gave Coriolanus, or lack thereof. This excerpt speaks volumes towards the mental and psychological state of Volumnia, and could even allude to the notion that she withheld basic means of nurture, even nursing, during Coriolanus’s childhood. Volumnia is the main driving force behind her son’s many achievements, and constantly pushes him to attain perfection. Although her reinforcement is relentless and inspiring, she sometimes blurs the lines between inclination and personal accreditation. She says to Coriolanus, “Thy valiantness was mine, thou suck’st it from me”.

As a woman living in a man’s world, she is constantly surrounded by the prevalence of war and combat, with no opportunity to participate simply due to her gender. War is seen as far too dangerous, hazardous, and unpredictable for a fragile woman to engage in, and should ultimately be left to the men to address. With the value of one’s status and prestige being completely reliant on their involvement in these violent acts, Volumnia has no realistic opportunity to earn her societal status through a victorious combat, and is forced to remain socially stagnant along with the other women. Her relentless ambition for warfare, politics, and leadership unfortunately cannot be used to benefit her in any way, which leads to the conveyance of these bold traits onto her only son. She lives vicariously through Coriolanus’s achievements due to the restraints that accompany her gender, which can be clearly reflected in her incessant drive to transform a valorous Roman soldier into an affluent politician, despite Coriolanus’s lack of intrigue towards the position. Valeria states, “ my word, the father’s son! I’ll swear tis a very pretty boy. My troth, I looked upon him Wednesday half an hour together. H’as such confirmed countenance. I saw him run after a gilded butterfly, and when he caught it, he let it go again, and after it again, and over and over he comes, and up again, catched it again. Or whether his/ fall enraged him or how ‘twas, he did so set his/ teeth and tear it. I warrant how he mammocked it! Volumnia: One on’s father’s moods. Valeria: Indeed, la, tis a noble child.”

In this excerpt, Valeria introduces another layer to the perceived image of masculinity, aside from the reliance on brutality within the battlefield. Masculinity can also be associated with something as insignificant as a state of vexation, impatience, or small everyday acts of violence. The act of young Martius becoming “enraged” and crushing a delicate butterfly between his teeth is not only encouraged, but praised with the title of “a noble child.” From a young age, these small yet violent acts are considered to be conventional and commended, and only progress with time and severity to form a man that embodies the ideal essence of masculinity. A contrast to the presence of strong women that defy quintessential feminine stereotypes is Virgilia. Evidently seen in both the original text and the film by Ralph Fiennes, Virgilia places the safety and well being of her husband above all else, and never equates his masculinity to his victories or triumphs on the battlefield. Unlike Volumnia, Virgilia detests seeing Coriolanus leave for war, but never vocally expresses her disapproval due to her mother-in-law’s overwhelming authority within the family. Valeria: “You would be another Penelope. Yet they say all the yarn she spun in Ulysses’ absence did but fill Ithaca full of moths.”

Valeria mocks the mental anguish and stress experienced by Virgilia during Coriolanus’s absence by referencing the iconic literary character Penelope, wife of the daring, adventurous, and audacious Odysseus. While patiently awaiting the arrival of her husband, Penelope pretends to spin yarn to pass the time while Odysseus is out enjoying an exhilarating adventure. Penelope and Virgilia feel lost and subdued without the presence of their husbands, for they both represent the perfect example of a subservient housewife, and they both live to solely benefit their partners. Similar to Penelope, Virgilia is confined within the borders of her home and procrastinates with a tedious hobby to distract herself from the unbearable distress caused by Coriolanus’s absence. Valeria, an assertive woman who perceives men in the same fashion as Volumnia, sees Virgilia’s worrying as pathetic, pitiful, and as an interference towards the righteous duties of her husband. The women in Coriolanus present two juxtaposing archetypes; they either embody the aggressive, outspoken, direct nature of Volumnia, or act as the silent, obedient, ideal house wife represented by Virgilia. During the time that this play was originally written and performed, a woman who is chaste and obedient towards her husband would have been seen as the typical representation of femininity, while any female who deviates with vigor and force is seen as defiant and extremely rare. These stereotypes have vastly progressed with time, and are almost elusive when placing them within the 21st century. Although Coriolanus offers two polarizing representations of women, there seems to be only one socially acceptable archetype of a man; one that is sculpted with savagery and bloodshed, both in and out of combat.

“When Coriolanus returns from the wars “man entered,” it is because his once blank body now bears on and about it perceptible marks of masculinity: oaken garlands, noble titles, fresh wounds, unfeeling scars. Ostensibly, these superficial inscriptions are only tokens, externally representing a reality within, but the determinative value they acquire over the course of the play indicate that they are more than just symbols of manhood. They might be the thing itself.” In the film version of Coriolanus, Ralph Fiennes did an outstanding job of embodying these gender roles, specifically through the physical portrayal of his actors. Set in a modern rendition of a crumbling Rome, Fiennes perfectly captured the twisted expectations of masculinity and femininity. Opening with Aufidius aggressively sharpening a knife on a wet stone, the mere sound of the metal sliding with forceful rage as he intently focuses on an image of Coriolanus creates an unmistakable tone of violence, power, and vengeance. The actresses that played Virgilia and Volumnia flawlessly personified their juxtaposing attitudes, mannerisms, and characteristics. Vanessa Redgrave, who played Volumnia, utilized an unwavering and relentless wave of authority with her monotonous speaking, limited movements, and obstinate actions. Jessica Chastain, who played Virgilia, acted in a much more frantic, emotionally driven fashion throughout the film, especially when in the presence of her husband.

Coriolanus, played by Fiennes himself, and Aufidius, performed by Gerard Butler, both embody the picturesque image of masculinity—both are valiant, decorated warriors in impeccable shape, with a thirst for bloodshed and vanquish. While watching these actors interact and perform, it truly brought to life not only the original text of the play, but also the conflicting gender roles originally intended by Shakespeare. Another play that I found to reinforce, challenge, and reinvent the concept of gender is Troilus and Cressida. Similar to Coriolanus, both the men and women in this play are expected to act in mannerisms that align with the stereotypical nature of the two genders; men should revel in their successes within combat, politics, and power, while women should remain subservient and effeminate towards their partners. Although the gender roles constructed within this play have seemingly limited room for public deviation, many characters seem to drift from these strict roles within the confines of their own personas. “If there be one among the fair’st of Greece That holds his honour higher than his ease, That seeks his praise more than he fears his peril, That knows his valour, and knows not his fear, That loves his mistress more than in confession, With truant vows to her own lips he loves, And dare avow her beauty and her worth In other arms than hers, to him this challenge. Hector, in view of Trojans and of Greeks, Shall make it good, or do his best to do it,/ He hath a lady, wiser, farier, truer, Than ever Greek did compass in his arms, And will to-morrow with his trumpet call/ Midway between your tents and walls of Troy, To rouse a Grecian that is true in love.”

In this excerpt, Hector initiates a virile, rugged, testosterone-fueled brawl with a Greek soldier, and asserts that the victor’s prize is simply the privilege of claiming that his woman is superior. This directly challenges the perceived reason for combat within Shakespearian plays; to prove one’s power and masculinity, supposedly with no incorporation or influence from the female gender whatsoever. This poses the question of Hector’s subconscious motives when we remove the enticement of establishing personal masculinity through brutality, and replace it with an emphasis on the seemingly irrelevant female gender. His actions and suggestions completely contradict the expected male conduct that revolves around and revels in violence, and implies a possible outlet that socially masks his underlying intrigue towards homosexuality and homosociality. “ Whereas in the modern context nonpublic but non-dangerous sexual relationships might simply be located in a private sphere characterized by intimacy, Shakespeare presents sexuality as a category of unique public relationships that are neither social nor antisocial, but which proceed at a tangent to normal social conventions, including homosocial ties.”

“The great Achilles, whom opinion crowns The sinew and the forehead of our host, Having his ear full of his airy fame, Grows dainty of his worth, and in his tent Lies mocking our designs. With him Patroclus Upon a lazy bed the livelong day.” Throughout Troilus and Cressida, there is a constant pressure on the male gender to engage in battle whenever and wherever possible. “The great Achilles,” an icon of exceptional strength and force, is criticized by Ulysses for not fulfilling the typical representation of a man when he refuses to rise to action for the Trojan war. Ulysses claims that he “grows dainty of his worth” when the powerful soldier chooses to be with his lover, rather than fight on the battlefield, which ultimately leads to the degradation of his character as a whole. Gary Spear, author of Shakespeare’s “Manly” Parts: Masculinity and Effeminacy in Troilus and Cressida states, “The play repeatedly challenges our notions of masculinity and draws attention to the effeminacy and emasculation of nearly every male figure.” The presence of an overpowering patriarchy accompanies the standard gender roles associated with masculinity. Shakespeare repeatedly references the concept of using and selling women as commodities, rather than referring to them as individuals with social and civil rights. In the Greek Camp, Cressida’s father, Calchas, asks the Greek General, Agamemnon, to exchange Antenor for Cressida so that he may be reunited with his daughter. Calchas explains that the Greeks “shall buy my daughter; and her presence/ Shall quite strike of all service I have done/ In most accepted pain”. The Trojans take Cressida from her husband to return her to her father, but in its bare essence, this exchange simply represents business and satisfying the desires of men at the expense of the degradation of women.

The gender roles and themes incorporated within this dialogue and transaction are represented by the concept of marriage as well. Once Cressida is in the presence of the Greeks, Troilus vulnerably professes his undying love for her, although he is unable to regain her love and devotion. Earlier in the play, Shakespeare alluded to the notion of marriage between a man and a woman as purely being a representation of contractual ownership. Hector asks, “Nature craves All dues be rendered to their owner. Now, What nearer debt in all humanity Than wife is to the husband?” Not only is love and affection completely detached from the sacredness of marriage, but a level of infatuation that is so deeply rooted and vivid is seen as a threat to the law of marriage. “this law Of nature be corrupted through affection”. Love is seen as being too delicate and frail when placing it within the ventures of men—the ultimate law of nature. Shakespeare is undoubtedly one of the most influential writers in history, and has set a permeant precedent for all writers that follow him. Coriolanus and Troilus and Cressida are two of his most prominent plays that not only represent the brilliance behind his work, but also deconstruct the concept of sexuality and gender within Elizabethan society to its barest form; one that is malleable, impressionable, and can in fact be broken.

Ambition may be the secret to a successful life, or the secret to its end. If that is the case, where is the line drawn between ambition being the silent motivator and ambition being the silent killer? Aspirations are essential in life, they force an individual to strive for success and consistently refine their skills. If one does not have any goals for the future, they float through life, never accomplishing anything to be proud of. For some people, these goals may give them a purpose by being the motivation to get out of bed each morning. Some desires may even make an individual a better person by forcing them to have courage or personally develop. It is completely healthy to pursue goals, but it becomes unhealthy once the longing for success becomes an obsession rather than a passion.

An obsession may drive people to perform acts they would not normally do in order to achieve a goal they have been yearning for. In “Macbeth”, Shakespeare uses Lady Macbeth’s ambition to prove that strong desires overshadow morals, damage relationships, and consume an individual to the point of self-destruction.

First of all, ambition has the ability to cloud morals and become the sole priority. Before Lady Macbeth had been consumed with the hunger to help her husband become king, she was a woman who stayed true to her morals. Not only did she have a husband whom she loved dearly, but Lady Macbeth was also a well-respected member of royalty. It is clear the woman had a pure heart because she mentioned her desire to be “unsexed” and filled “from the crown to the toe topful of direst cruelty!” (I.v.38-43) This implies that Lady Macbeth had a moral sense, and did not have what it took to perform a dishonorable act. Her wish to be filled with “direst cruelty” strongly suggests that she was not a wicked individual because if she was, she would not be praying for a change in character.

Eventually, the desire for her husband to be crowned king won the battle against her moral compass. Lady Macbeth wanted so badly to see her husband get what she believed he deserved, she was willing to do anything, even if it meant killing an innocent man. As this fantasy grew, her morals shrunk, gradually becoming obscured by her thirst for success. It was tough for Lady Macbeth to think sensibly, which caused her to act out aggressively, oftentimes insulting and belittling her husband to get what she so badly wanted. Lady Macbeth would mentally manipulate her husband by uttering shrewd comments such as “Wouldst thou have that Which thou esteem’st the ornament of life, And live a coward in thine own esteem, Letting “I dare not” wait upon “I would …” (I.vii.41-44) Lady Macbeth was solely concerned with power and not the repercussions of her actions. She was completely single-minded, and lost all judgment of right from wrong which made it easier for her to help commit a merciless homicide.

Secondly, ambition is capable of spoiling relationships. When ambition becomes an obsession rather than a passion, (otherwise) meaningful and valued relationships may be given a back seat. Lady Macbeth prioritized her craving for success more than she did her relationship with her husband, Macbeth. She spent more time scheming than she did loving him, and in return hindered their relationship by weakening the trust between the two of them. In the end, Lady Macbeth unfortunately realized this was not what she wanted, and began to feel culpability rather than the original, short-lived pleasure and satisfaction, hence “Naught’s had, all’s spent, Where our desire is got without content. ‘Tis safer to be that which we destroy Than by destruction dwell in doubtful joy.” (III.ii.6-9)

Once the high had worn off, Lady Macbeth was left with a relationship that would never quite be the same. After experiencing a heavily traumatic event, the couple would surely have some problems to sort through, specifically guilt. Although Lady Macbeth felt guilty for forcing her husband into a situation he wanted no part of, she could not put her pride aside and admit she had been wrong. This made it difficult for the couple to talk through their problems, which in turn, created tension and a toxic environment to sort through the guilt. Ambition created an unfixable issue between Lady Macbeth and the one she loved most.

Lastly, fierce ambition can lead to failure. Lady Macbeth’s guilt caused by the crime she had committed literally killed her. After trying to live with the guilt, she made the decision to end her life because she felt as though death was better than the life she had created for herself. Her fierce ambition to kill King Duncan had originally clouded her morals, and once those clouds had cleared, she began suffering from inescapable feelings. Ambition had been a trap, silently dragging Lady Macbeth towards her end. It had jaws so tight she had no choice but to give in to her strong urges and feed the monster that had surrounded her. Once that monster abandoned her, she was left with wounds so deep and pain so sharp, Lady Macbeth had no choice but to escape it all by the only way she knew, death.

To conclude, ambition is a powerful feeling that has plenty of potential when placed in the hands of the right person. Determination is a great quality to possess, and can oftentimes take partial credit for the success of an individual. However, if one is not capable of keeping a level head when experiencing subconscious pressures, they may pose a threat to themselves and others. Ambition can be the innocent angel on one’s shoulder, but quickly turn sour if given too much attention. Fierce desires have the ability to alter one’s moral compass, cause strain on relationships, and lead an individual to their own destruction. If ambition is not controlled, it will slowly destroy an individual’s sanity.

Shakespeare uses the witches in Macbeth for two main reasons. Firstly, to show how desire, ambition and greed are often more powerful than reason, and secondly for dramatic effect which comes from the confusion surrounding their identity and the vagueness of their prophecies. These two reasons, and the characters they represent, can be seen as two of the main, but somewhat hidden, factors behind Macbeth.

The witches are fundamental characters because they are able to prophesize the future. In many situations, characters are faced with the decision of whether or not to rely on faith that these prophecies are true, or to act upon them to ensure that they do come true. Shakespeare uses the witches to show how people act when there is the possibility of obtaining more power. In these situations, avarice and aspiration usually cloud the minds of the characters. Shall he dwindle, peak, and pine (Act 1, Scene 3, Line 23), shows the heinousness that the weird sisters can cast upon those they wish. The witches first plant the seeds of greed and ambition in Macbeth when they meet him after the battle. They promise him that he will be Thane of Cawdor and, later, King of Scotland.

Once he becomes Thane of Cawdor, he thinks only of soon becoming the King. Even shortly after becoming Thane, his thoughts are already on murder. If chance will have me king, why, chance may crown me, without my stir. (Act 1, Scene 3, Lines 143-144). Macbeth says this because he does not wish to take any action. If it is his destiny to be King, then fate will determine that regardless of his actions. However, Macbeth does not stick to this plan. Instead he is persuaded by his wife, whos judgment is clouded by the witches prophecies and dreams of being Queen of Scotland, to murder Duncan. It can be said that both Macbeths actions and those of Lady Macbeth, are a result of the prophesy of the weird sisters and that when the sisters told Macbeth that he would one day be king, they were meddling with his mind. All the rest of Macbeths evil deeds can be traced back to the prophesies of the witches.

The closer Macbeth comes to living out the predictions of the weird sisters, the more greedy and heartless he becomes. It comes to the point where Macbeth is willing to murder one of his friends. He has Banquo killed so that he can have no more children because the witches predicted that Macbeth would be succeeded by Banquos children. He also tries to murder Banquos son, Fleance, but is unable. When Macbeth returns to the witches for a second time, he is told to fear Macduff.

Upon hearing this news, Macbeth takes a bond of fate, and decides that he must kill Macduff to make sure that fate keeps its word. When Macbeth finds out that Macduff has fled Scotland, he sends some of his men to kill Macduffs wife and children because he believes that Macuffs children may harm him. The weird sisters role is best summed up by Banquo, The instruments of darkness tell us truths, win us with honest trifles, to betray [us] in deepest consequence. (Act 1, Scene 3, Lines 124-126). The instruments of darkness are the witches who tease Macbeth by forecasting power and then convincing him that everything will come true. Macbeth then decides he must ensure the rest of the prophecy, and by doing so, betrays everyone, including himself.

The second use of the witches is first indicated by Banquo. What are these so witherd and so wild in their attire, that they look not like the inhabitants o the earth, and yet are ont (Act 1, Scene 3, Lines 40-43) shows how Banquo observes the physical state of the weird sisters and it also shows the confusion that surrounds them. The weird sisters seem to inhabit the gray areas. The witches are classed between the supernatural and the physical worlds. The witches are categorized between the nobility and peasantry. The witches are classed between human and non-human. This basic ambiguity stretches even to gender. You should be women, says Banquo, and yet your beards forbid me to interpret that you are so (Act 1, Scene 3, Lines 45-47). This extreme uncertainty is the main reason why the Sisters are such strong figures of evil in the play.

The witches are powerful, and yet powerless. They cannot directly kill anyone, but they can introduce thoughts and ideas to someone, such as Macbeth in the case of Duncan. They cannot murder anyone, but they can create situations where the person is harmed. When the soldiers wife is rude to one of the weird sisters they do not harm the woman, but rather cast a spell on her husband. Ill drain him dry as hay: sleep shall neither night nor day. (Act 1, Scene 3, Lines 18-19). They avoid, because of their indefiniteness, the classification which is necessary for a government like that of Macbeth, based on distinctions between nobility and peasantry and between man and woman. At the same time, they are bad subjects, plotting the downfall of the rightful King, and bad citizens, who take revenge for any act against them and cook their spells out of everything that is considered foul. In Macbeth, treason is considered feminine.

Macbeths act of murder under Duncans trust was considered womanish and it is associated with Lady Macbeths, unnatural influence over her husband. Since the Weird Sisters are neither one thing or the other and because they are shaped by so many different elements, they are coincidentally the opposite of all concepts of a good kingdom at this time. They are seen as symbols of rebellion against the natural order, which is Duncan. The Sisters are unnatural because they refuse to, and cannot be fit into any category defined by the views of this time. So, with the views of this time, witchcraft changed from being an act of rebellion against God and an act of rebellion against the King, to being an act of rebellion against the very nature of the universe. In this way, although the witches never actually commit any of the crimes of the play, they become perhaps its ultimate villains.

Basically, much as the witches commit a deed without a name, they are themselves nameless. The reason why they provoke such consternation in the other characters, and subsequently in the audience, is that it is as impossible to decipher exactly what they are, or what theyre doing. They are possibly, as a result of this ambiguity and its effects upon the other characters, the perpetrators of all the evil deeds in Macbeth.

It has been said that power corrupts absolutely, and absolute power is kind of neat. Irony regularly appears, ironically, in the strangest of places. The mere fact that one of the most corrupting forces on this planet is also one of the most intriguing displays that irony is joke meant for God. The tobacco lobbyist that dies of lung cancer, The gay activist that catches AIDS, and, my favorite of all, the pro- choice advocates that are never born, are all ironic twists of fate. In Shakespeare’s tragedy: Macbeth Irony is evident in the power that is sought after by Macbeth. The one thing he craves is what brings him to his doom. Power is the delicious fruit that burns a hole in the guts of its consumer.

In the tragedy Macbeth the main character, Macbeth seeks to attain the throne through all means necessary. Ambition is the addictive force that drives Macbeth to lunacy (Beckham 61). Macbeth is told by the witches of a prophecy that he shall be king (I.iii.36-70). Macbeth sees these prophecies as instructions to pursue his fantasy of becoming king through any means necessary. This green light to lie, cheat, and steal is like throwing a ham-bone before a dog. Macbeth is also directed to kill the king by his wife (1.v.65-75). Macbeth feels the power of victory and the ability to control his destiny in his own hands. He begins to feel that killing the king is the right thing to do because Kingship is the desire of both Mr. and Mrs. Macbeth. Macbeth still has his own fortune in his hands but the lure of power looms ever greater within his mind.

Once Macbeth kills Duncan, he begins to ignore the moral issue of murder; it is only a way to eliminate enemies to his Kingship. Macbeth has Banquo murdered (III.İ.80-139). Banquo is one of Macbeth’s closest friends. The witches claim that Banquo will father a king. This shows that Macbeth will go to any lengths to preserve his power. Macbeth also orders that an entire family be executed because their patriarch flees to England (IV.ii.80-86). The murder of the Macduff clan cannot help Macbeth one iota. This senseless act just soils his reputation even more. Lady Macbeth is pushing Macbeth no longer, as she must deal with her own guilt (Klugger 97).

Macbeth is now feeling less and less guilt as he finally goes to seek the Witches to ease his mind. Macbeth interprets the second prediction of the Witches as holy writ. He is told that no man born of woman can harm him (Iv.i.80). Fear and strength offer a dangerous environment for allies (Beckham 101).Macbeth now feels as sword-proof as an Iron giant. Macbeth believes that no man is alive not born of a woman. He feels like he finally has gained total control of his Scotland. Macbeth is now so calloused that the death of his wife does not even faze him (V.v.16-17). Macbeth is no longer a human being but a machine that has no feelings other than greed. He cannot even feel remorse when his life mate is taken from him. Macbeth’s destruction is made complete by his own actions.

Power was given to Macbeth and power makes him hungrier for more. His moral foundation crumbles with every opportunity to advance himself. He is not the first person to allow power to corrupt him. Nor will he be the last. Macbeth will forever be remembered as a weak-minded king who had no righteous bones in his body. He was not always such, but his ambition drove him there. Power ravaged Macbeth like heroine does to an addict, leaving only a corpse.

He who busies himself with things other than improvement of his own self becomes perplexed in darkness and entangled in ruin. Macbeth’s own ambition, influence from the witches, and rampage or murder has resulted in a central theme that atrocious actions, that are incapable of being altered, can lead to a character’s downfall. Macbeth, by William Shakespeare, is composed of substantial content. The knowledge that will be dissected, will be built upon and shall establish an enlightenment of Macbeth’s tyrannical behavior.

Macbeth’s Vaulting ambition to achieve sovereignty, is subsequently followed with the calamity of his life. After Malcolm is named the successor of Duncan, Macbeth is faced with an obstacle which he must, “fall down, or else o’erleap,” for in his way it lies. The action of falling down or over leaping is a representation of the chain of being symbolizing a ladder. Malcolm, the prince of Cumberland, is located above Macbeth in the chain of being. Ambitious to overtake the throne by treason, he kills Duncan, only to corrupt the hierarchy of nature. Known as pathetic fallacy, occurrences in nature reflect those in human affairs, creates suspicion among the nobles of Scotland, that later leaves Macbeth overthrown. Macbeth is a character that not only wants his prophecies to be fulfilled, but wants to guarantee the success when he ironically says, ” If chance will have me king, why, chance may crown me, without my stir.”. The witches watered a seed of ambition inside of Macbeth’s mind, leaving it to grow and thrive.

In order to ensure his fate of becoming king, Macbeth accomplices his wife. Like a serpent beneath a flower, Macbeth tricks the king with his hospitality, leaving him vulnerable beneath Macbeth’s maniacal hands. Macbeths vaulting ambition carries him along a point of no return, disturbing the chain of being by “overleaping” what is higher ranked, and aggressively associates himself in the murder of Duncan to fulfill his prophecy only to reach his downfall. Ambition is the characteristic that is partially hidden, only to be sparked by influences such as the three witches in Macbeth.

Ambition, a key factor that leads to the death of Macbeth, is nearly entirely due to the influence from the witches. Macbeth’s first encounter with the witches results with them winning Macbeth with honest trifles. On the second encounter, the witches tell Macbeth, “None of woman born shall harm Macbeth”, foretelling his future. Not fully understanding the meaning behind the riddle, Macbeth is overwhelmed with confidence and fearlessness. The information provided by the witches, provokes him to devise a plan to kill Macduff and his family to ensure his fate. Macbeth’s false courage and awful actions later lead to his downfall.

Knowing that, “Macbeth shall never be vanquish’d be until great Birnam wood to high Dunsinane hill shall come against him”, that is prophesied by the witches, Macbeth is no longer willing to change his course of actions. Macbeth is filled with the logical idea that the forest will never move from its current position, and is certain that he will be secure from all apposition. Macbeth is influenced by the forces of darkness, to only betray him with deepest repercussion. Thriving with absolute security, Macbeth continues his terrible behaviour without concern, leading to his downfall. The influence from the witches promoted the rampage of murders that the protagonist, Macbeth, commits.

The witches influence and Macbeth’s stir to emerge as a king, has created a new task for Macbeth to eliminate all that oppose a threat to his sovereignty. His uncontrollable killing after killing the king. First, the guards were killed to cover the evidence, then he hired murderers to kill his friend Banquo.Afraid of Banquo’s suspicion, and the chance for him to bear kings, bewilders Macbeth, leaving him no choice but to exterminate his friend. The killing of Banquo, an innocent general, prompts Banquo’s ghost to appear at the Banquet. Macbeth, the only character who notices the ghost, is startled and outraged, thus bringing dismal and suspicion to the Banquet.

Macbeth’s actions are later discussed by the lord and Lenox, who discover Macbeth’s appalling behavior, and eventually contribute the downfall of Macbeth. The antagonist in the story, Macduff, is exposed by the witches as a threat, causing Macbeth to assign a task to criminals in order to, “Seize upon Fife; Give to the edge o’ the sword his wife, his babes, and all unfortunate souls that trace him in his live.”( )Macbeth’s rampant killing, which he is unable to halt, leaves Macduff in sorrow and grief. Wanting revenge, Macduff kills Macbeth and restores order to Scotland. unquestionably, Macbeth’s rampage of murder, that was incapable of being altered, has left him dead.

With one error leading to another, Macbeth’s strong desire for success, the influence from the witches, and his turmoil of murder, is above all proven to bring Macbeth to his downfall. Macbeths awful actions, that he was unable to alter, compel deepest consequence leading to his atrophy.

In Macbeth, Shakespeare uses the image of evil to convey the outcome of ambition run amuck. By using evil as a force in the play, audiences get a feeling a loss of control of Macbeth and the sense of fear. Evil is defined in Shakespeares Glossary as, sin, crime, misfortune, calamity and things that are unwholesome. In the beginning the sense of evil in Macbeth is created through the witches. They feed on what is foul and corrupt: When shall we three meet again in thunder, lightening, or rain?(A1. sc1.) This image of the witches was real to the people of these times. To them and King James I, witches did exist.

Fair is foul, and foul is fair: Hover through the fog and filthy air: (A1. sc1.) This quote proves the witches hatred for all things good, and their love for things that are evil. It is clear that the witches are the roots of evil in the play. Evil is spread through them, in the form of ambition to Macbeth, and his wife. The witches cause Macbeth to think of what it would be like to be King of Scotland: All hail, Macbeth, that shalt be king hereafter. (A1.sc.3) In turn the thought of regicide comes into being within Macbeth.

Lady Macbeth sets Macbeths ambition into motion; she persuades Macbeth to take action through her own ambition: Great Glamis! Worthy Cawdor! Greater than both, by all-hail hereafter! Lady Macbeth recognises that her husband is ambitious, but worries that he is without, The illness should attend it (A1 sc.5). She thinks that he is not ruthless enough.

When Macbeth illustrates his fears of failing, Lady Macbeth says: But screw your courage to the sticking-place, And well not fail. (A1 sc.6)

Lady Macbeth is the mastermind behind the killing Duncan, and its Macbeth that commits the evil deed because Lady Macbeth, being a woman cannot. In Macbeth, for although his lady for a time dominates him, and although her tragedy is almost equal to his, in the end he dominates the play (Paul A. Jorgens)

The second evil act is the actual crime of regicide against Duncan. Shakespeare uses the chilling sounds of the night to let you know the evil deed has been done. I heard the owl scream and the crickets cry (Lady M. A2 sc.2)

It is evident that Macbeth uses the symbolism of night to enhance the instance of evil in the play: Darkness we may even say blackness, broods over this tragedy. It is remarkable that almost all the scenes which once recur to memory take place either at night or in some dark spot. The vision of the dagger, the murder of Duncan, the murder of Banquo, the sleep walking of Lady Macbeth all come in night scenes. (Bradley)

With the murder of Duncan comes un-natural happenings, which is recurring in Shakespearean tragedies: And Duncans horses- a thing most strange and certain- Beauteous and swift, the minions of their race, Turnd wild in nature, broke their stalls, flung out, Contending gainst obedience, as they would make war with mankind. Tis said they eat each other. (A2 sc4) Evil acts and wickedness in the play gives way to confusion and calamity.

Our main character, Macbeth, is apart from other tragic characters, Macbeth is a hero who becomes progressively evil, but his wife begins as an evil force and then becomes overwhelmingly regretful. In the beginning of the play he is war hero, who does not care for fortune, but when the witches gives him the idea of being prevailing over all, you see his concealed pride. In turn that gives flight to the evil that lurks within him.

In Act III, Macbeth is feeling strained, but he still continues on his wicked trek of murder to stay king of Scotland. The killing of Duncan had taken too much out of him, he has too much guilt, and so instead of committing the evil deed against Banquo and his son himself, he hires three murderers. Macbeth considers Banquos suitability as a future king and finds himself coming in as a poor second.

He dwells on the prophecy that Banquo will father a line of kings, while he has a fruitless crown and a barren sceptre which will be wrenched by an unlineal hand, No son of mine succeeding (A3.sc1.)

Macbeth has lost any virtues or goodness after he hires murderers to kill Banquo and his son Fleance. Banquo was his best friend, but Macbeth has been blinded by ambition, he wants only power now, and he wants to make sure no one stands in his way.

Shakespeare made Macbeths characters transform before the eyes of his audience. Evil ambitions have enveloped them with a blanket of blood and sin. Lady Macbeth goes so far to succeed ambition that she defeminizes herself in Act I. Macbeth realizes that his actions dooms him, he know that if gets away with murder here, he will not getaway with it in the afterlife.

In Act 1. Sc. 7 Macbeth considers the moral implications of killing a good and virtuous king. His only justification is ambition. As chaos swarms around Macbeth he grows more tyrannical, as king. People question his rule, they sense that he is not the rightful king: Angus uses a clothing image to describe Macbeths kingship: his title, hang loose upon him, like a giants robe, Upon a dwarfish thief (A5 sc1.)

At the end of this play Macbeths evil ambition has been replaced with courage. When he finds that the witches apparitions have tricked him. He embraces his fate when he fights Macduff. This is the end of the play, it is where the evil ambitions have vanished, and Scotland now has a rightful king. Malcolm closes the play as the king, making a speech of hope for a new and peaceful Scotland.

In conclusion Shakespeare shows that evilness can bring down the most heroic and strongest of men, by attacking what is weak within them. In this case Macbeths weakness was his self- condemning ambition.

Lady Macbeth is a woman of great ambition not necessarily towards a particular end. She sees herself as powerful and ambitions and does all that she can to remove any obstacle to her power. She does not want to give nature the power that it demands. Her power consists in going against nature and not receiving the punishment. Lady Macbeth’s ambition to have power outside of natural limitations leads to her suicide. Lady Macbeth’s ambition to have power outside of natural limitations leads to her pray for the removal of her femininity. Lady Macbeth’s prayer for freedom from her femininity leads an impasse where she can neither go forward or backward. Lady Macbeth’s impasse leads to her suicide.

Lady Macbeth’s ambition to have power outside of natural limitations leads to her pray for the removal of her femininity. Lady Macbeth’ fears being without control. Her ambition takes her past the realm of the natural order of life. She would not let the motherly care have power in her heart. All things that have great power within them naturally she sees as restrictions upon her. She fears that Macbeth can not overcome the power of this order when she says, Yet do I fear thy nature. / It is too o’ the’ milk of human kindness / to catch the nearest way. Thou wouldst be great, / art not without ambition, but without/ the illness should attend it.

Human kindness also is another restriction that holds her ambition from reality. She wants to kill King Duncan but does not want humanity’s punishment for murder. She prays that her womanliness, the weakness that can not bring her ambition to fruition, will be replaced with effective power. She says, unsex me here, and fill me from the crown to the toe topfull of direst cruelty. She knows the power that murder has in making the murderer mad and incapable then of continuing in the path towards power. Her prayer takes away the women thought that Macbeth is plagued with and She commands him to be manly saying, These deeds must not be thought/after these ways; so, it will make us mad.3 Lady Macbeth prays for cruelty to replace the womanliness that prevents her from going against nature because it stops her ambition.

Lady Macbeth’s prayer for freedom from her femininity leads an impasse where she can neither go forward or backward. Lady Macbeth has bloodied her hands, lost the womanly weakness, accomplished what she set out to do. She was free but could not stay free. She set an end but could do no more. As her husband continued to murder and grow free from the natural order, Lady Macbeth started to realize what she had done. She says to her husband, ‘Tis safer to be that which we destroy / Than by destruction dwell in doubtful joy. She is saying that it is better to be murdered than to murder and live in the uncertainty of punishment. She can not guaranty herself that she has the power to avoid all natural punishment. Lady Macbeth can not move forward in her ambition to free herself from nature.

Even worse however is her realization that she can not go back either. She has already bloodied her hands and supported her husband in his murdering. Her prayer to take away her weakness and womanliness only could take her so far and it never provides away to get back. What is done can not be undone and what a burden it is not to be able to make right that which has been wronged.

Lady Macbeth’s impasse leads to her suicide. The burden of not being able to right the wrong blinds Lady Macbeth from seeing. Ay, but [her] sense are shut She sees in order to exist but not how to live and to the human, existing is not enough. Lady Macbeth questions her seeming lack of thought in her insanity saying, They Thane of Fife had a wife. Where is she now? In this question she remember the murder of Lady Macduff and how she can not undo that needless murder. And yet she can not move on from it. She can not keep supporting her husband in murder and she can not bring back those who have been murdered. Lady Macbeth is constantly washing her hands, seeing the blood and smelling it.

The cruelty that filled her is not enough to give her the will to dive more fully into the blood of others and it can not be taken out of her. This inability to move, change, tears her apart and givers he no reason to live. Lady Macbeth tries to cheat nature so as to become more powerful but ends up woefullypowerless. She sees the power in nature as power against her and not something to work in harmony with. Her womanly nature has great power like that of a mother’s love but Lady Macbeth sees it as something that hinders her from fulfilling her ambitions and swaying her reason. She sees man as weak under nature when in truth man has great power to move and change himself. In all this she sees and does not see. She sees an unsteady yet immediate and more pleasurable power and does not see the unwavering power of nature. Lady Macbeth started by seeking limitless power and ended up with only one choice to make: when to die.