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Exploring the character of lady macbeth
Exploring the character of lady macbeth
Character of lady macbeth analysis
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The Guilt-trip Within Macbeth
Has any reader ever experienced the likes of such guilt as is found in the pages of Shakeare's tragic play Macbeth? I think not. This paper is an exploration of the many instances of guilt in the drama.
In "Memoranda: Remarks on the Character of Lady Macbeth," Sarah Siddons mentions the guilt and ambition of Lady Macbeth and their effect:
[Re "I have given suck" (1.7.54ff.)] Even here, horrific as she is, she shews herself made by ambition, but not by nature, a perfectly savage creature. The very use of such a tender allusion in the midst of her dreadful language, persuades one unequivocally that she has really felt the maternal yearnings of a mother towards her babe, and that she considered this action the most enormous that ever required the strength of human nerves for its perpetration. Her language to Macbeth is the most potently eloquent that guilt could use. (56)
Clark and Wright in their Introduction to The Complete Works of William Shakespeare explain how guilt impacts Lady Macbeth:
Lady Macbeth is of a finer and more delicate nature. Having fixed her eye upon the end - the attainment for her husband of Duncan's crown - she accepts the inevitable means; she nerves herself for the terrible night's work by artificial stimulants; yet she cannot strike the sleeping king who resembles her father. Having sustained her weaker husband, her own strength gives way; and in sleep, when her will cannot control her thoughts, she is piteously afflicted by the memory of one stain of blood upon her little hand. (792)
In Fools of Time: Studies in Shakespearean Tragedy, Northrop Frye sees a relationship between Macbeth's guilt and his hallucinations:
The future moment is the moment of guilt, and it imposes on one, until it is reached, the intolerable strain of remaining innocent. [. . .] We notice that anyone who is forced to brood on the past and expect the future lives in a world where that which is not present is present, in other words in a world of hallucination. Macbeth's capacity for seeing things that may or may not be there is almost limitless, and the appearance of the mousetrap play to Claudius, though more easily explained, has the same dramatic point as the appearance of Banquo's ghost. (90)
Fanny Kemble in "Lady Macbeth" asserts that Lady Macbeth was unconscious of her guilt, which nevertheless killed her:
Shakespeare’s ‘King Henry IV Part I’ centres on a core theme of the conflict between order and disorder. Such conflict is brought to light by the use of many vehicles, including Hal’s inner conflict, the country’s political and social conflict, the conflict between the court world and the tavern world, and the conflicting moral values of characters from each of these worlds. This juxtaposition of certain values exists on many levels, and so is both a strikingly present and an underlying theme throughout the play. Through characterization Shakespeare explores moral conflict, and passage three is a prime example of Falstaff’s enduring moral disorder. By this stage in the play Hal has ‘reformed’, moved away from his former mentor Falstaff and become a good and honourable prince.
Shakespeare constructs King Richard III to perform his contextual agenda, or to perpetrate political propaganda in the light of a historical power struggle, mirroring the political concerns of his era through his adaptation and selection of source material. Shakespeare’s influences include Thomas More’s The History of King Richard the Third, both constructing a certain historical perspective of the play. The negative perspective of Richard III’s character is a perpetuation of established Tudor history, where Vergil constructed a history intermixed with Tudor history, and More’s connection to John Morton affected the villainous image of the tyrannous king. This negative image is accentuated through the antithesis of Richards treachery in juxtaposition of Richmond’s devotion, exemplified in the parallelism of ‘God and Saint George! Richmond and victory.’ The need to legitimize Elizabeth’s reign influenced Shakespeare’s portra...
Shakespeare, William. Richard II. Shakespeare: The Complete Works. Ed. G. B. Harrison. San Diego: Harcourt Brace Jovanovich, 1948. 430-67.
Guilt plays a strong role in motivating Macbeth, and causes Lady Macbeth to be driven over the edge of sanity - to her death. Throughout the story, there are many different types of guilty feelings that play a role in Macbeth’s fatal decisions and bring Lady Macbeth to commit suicide. Although there are many instances that show the power guilt has played on the main characters, there are three examples that show this the best. One is, just after the murder of the great King, Duncan. Guilt overcomes Macbeth where he can no longer think straight. A second example is soon after that, where all the guilt Macbeth feels at first, changes into hate after he decides that Banquo must be killed as well. The last example is just about at the end of the play, when we see Lady Macbeth sleepwalking, and then later committing suicide; this all because of the burden of her guilt. All of these examples build the proof that in this play, guilt plays a very large role in the characters’ lives.
Shakespeare, William. Henry the Fourth, Part 1. Ed James L. Sanderson. 2nd ed. New York: W. W. Norton & Company, 1969.
Lady Macbeth’s wicked character has an extreme impact towards her husband. Lady Macbeth is responsible for influencing her husband to commit both crimes; she unleashes the dark side of him and motivates him to become an evil and horrendous man. In various parts throughout the story we find that Lady Macbeth strives beyond limits to be converted into a bitter and sour women. The audience is revolted by her horrific actions and although she may seem repugnant, she is an extremely talented actor. In her role, having a deceitful and convincing character is important
After the death of King Duncan, Macbeth becomes the more controlling one, and Lady Macbeth’s guilt eventually becomes too much for her to handle which leads to her death. Lady Macbeth is in fact the one that performs the preparations for the murder of King Duncan, but still shows some signs of humanity by not committing the murder herself because he resembles "My father as he slept". After the murder has been committed, she also shows signs of being a strong person because she calms Macbeth down in order to keep him from going insane.
Shakespeare, William. Henry IV: part one. Ed. P. H. Davison, New York: Penguin Books, 1996.
In Shakespeare’s play Macbeth, the main character, Macbeth, murders King Duncan with the assistance of his devious wife, Lady Macbeth. Although they get away with the murder, they are unable to omit the feeling of remorse, although it affects them in different ways, the outcome is similar for both characters. It is obvious to the reader that killing Duncan inflicted the character’s odd behaviors and unstable mental state because of Shakespeare’s use of imagery related to illness.
In Shakespeare’s Macbeth, the theme of guilt and conscience is one of many explored throughout the play. Macbeth, is a well respected Scottish noble who in the beginning of the play is a man everyone looks up to; however as the play progresses he makes a number of bad decisions. Eventually, as a result of his actions he suffers guilt and this plays heavily upon his character until his personality is completely destroyed. Shakespeare uses a range of techniques in order to develop this theme such as, characters, imagery.
Shakespeare, William. 1 Henry IV. The Norton Shakespeare. Gen. ed. Stephen Greenblatt. 2nd ed. New York: Norton, 2008. 606-672. Print.
A.C. Bradley’s interpretation of Macbeth finds him human, conflicted, and comparable to his wife, Lady Macbeth, in many respects. They share a common ambition and a common conscience sensitive enough to feel the effects of their ambition. But the story, Bradley contends, is built upon the traits that set them apart. He focuses mainly on Macbeth. Macbeth is a character of two battling halves: his reason, or ambition, and his “imagination.” Bradley attributes the hysterical nature of Macbeth’s visions, the dagger, the specter of Banquo, and other ghosts, to his wild imagination. He “acts badly” (Bradley, 136) and loses his composure whenever his imagination triumphs over his practical side; however, Bradley also asserts that Macbeth’s imagination is “the best of him, something usually deeper and higher than his conscious thoughts” (133). Macbeth is therefore unable to make use of the “better” imagination with which he was endowed and instead only appears “firm, self-controlled and practical” when he is “hateful” (136). A product of these clashing sides, Macbeth’s murder of Duncan is borne of his inability to properly acknowledge the conclusions drawn by his imagination. In his soliloquies and in...
Emperor Hadrian in Marguerite Yourcenar's Memoirs of Hadrian and E.L. Doctorow's Everyman figure of Coalhouse Walker, Jr. in Ragtime
The opening scene of Jacob’s Room depicts Mrs. Flanders and Archer searching for a young Jacob along the beach, already showing that the titular character is detached and separate from those around him. Instead of walking with his mother and brother on the shore, Jacob is more interested in the escapades of a crab in a tidal pool, an early indication of his future pursuit of knowledge and his penchant for isolation. Aside from this first mention, Jacob’s biological family is mentioned very rarely throughout the remainder of the novel, as Woolf focuses on his social and academic family instead. However, Jacob’s tendency to distance himself from many of his friends probably stems from the slightly distracted air of his mother, who seems to love and care for him but at the same time is scatter-brained and somewhat unaware of her surroundings. Jacob i...
Walter, J. H. Introduction to King Henry V. Ed. Walter. The Arden Ed. of the Works of William Shakespeare. London: Methuen, 1954. HSU PR.2812.A2.W3.