Macbeth's Atmosphere
There are many questions concerning the atmosphere in William Shakespeare's Macbeth that this essay will answer: Is it realistic or unrealistic? Are there two atmospheres - one of purity and one of black magic? And many other questions.
Roger Warren comments in Shakespeare Survey 30 , regarding Trervor Nunn's direction of Macbeth at Stratford-upon-Avon in 1974-75, on opposing imagery used to support the opposing atmospheres of purity and black magic:
Much of the approach and detail was carried over, particularly the clash between religious purity and black magic. Purity was embodied by Duncan, very infirm (in 1974 he was blind), dressed in white and accompanied by church organ music, set against the black magic of the witches, who even chanted 'Double, double to the Dies Irae. (283)
L.C. Knights in the essay "Macbeth" mentions equivocation, unreality and unnaturalness in the play - contributors to an atmosphere that may not be very realistic:
The equivocal nature of temptation, the commerce with phantoms consequent upon false choice, the resulting sense of unreality ("nothing is, but what is not"), which has yet such power to "smother" vital function, the unnaturalness of evil ("against the use of nature"), and the relation between disintegration in the individual ("my single state of man") and disorder in the larger social organism - all these are major themes of the play which are mirrored in the speech under consideration. (94)
Charles Lamb in On the Tragedies of Shakespeare comments on the atmosphere surrounding the play:
The state of sublime emotion into which we are elevated by those images of night and horror which Macbeth is made to utter, that solemn prelude with which he entertains the time till the bell shall strike which is to call him to murder Duncan, - when we no longer read it in a book, when we have given up that vantage-ground of abstraction which reading possesses over seing, and come to see a man in his bodily shape before our eyes actually preparing to commit a muder, if the acting be true and impressive as I have witnessed it in Mr. K's performance of that part, the painful anxiety about the act, the natural longing to prevent it while it yet seems unperpetrated, the too close pressing semblance of reality,give a pain and an uneasiness [. . .]. (134)
... prominent source of his weighty troubles. They are helpless to withstand the gods, restrain Aeneas from advancing towards Italy, and burn at women’s torches. Yet, his ships are invaluable to the overall success of his journey and the expression of his character. Aeneas is a ship, chugging toward western shores and providing refuge for his people. However, this extended analogy has greater importance to Virgil and the rest of human society. After the destruction of Troy, Aeneas has no country to protect or call his home. The cargo and soldiers aboard his ships are the remnants of his past civilization, but they are also the seeds for a new empire. Aeneas, just as his ships, is the invaluable carrier and protector of one of the greatest empires in all of human history – Rome.
Many people seem to be under the impression that the Aeneid is a celebration of Roman glory, led by the hero of fate Aeneas. I find these preconceived ideas hard to reconcile with my actual reading of the text. For starters, I have a hard time viewing Aeneas as a hero at all. Almost any other main characters in the epic, from Dido to Camilla to Turnus, have more heroic qualities than Aeneas. This is especially noteworthy because many of these characters are his enemies. In addition, Aeneas is presented as a man with no free will. He is not so much bound to duty as he is shielded by it. It offers a convenient way for hum to dodge crucial moral questions. Although this doesn’t necessarily make him a bad person, it certainly makes him a weak one. Of course some will argue that it takes greater moral conviction to ignore personal temptation and act for the good of the people. These analysts are dodging the issue just like Aeneas does. The fact is that Aeneas doesn’t just sacrifice his own personal happiness for the common good; he also sacrifices the past of the Trojan people, most notably when he dishonors the memory of his fallen city by becoming the men he hated most, the Greek invaders. The picture of Aeneas as seen in the end of the Aeneid bears some sticking resemblances to his own depiction of the savage and treacherous Greeks in the early books.
Since it was an interesting issue which many people of Shakespeare’s time felt they were affected by, Shakespeare wrote about it. “Macbeth” with its supernatural theme was the 17th century’s equivalent to the modern day horror movie.
The honourable the Aeneid is around Aeneas and a line nigh of survivors of the Trojan Quarrel who are determine to start three of the arch cultures in the spoil garbage, Rome. Be in the exhibiting a resemblance challenges and trials surmise the predetermine particularly Aeneas who is the generalized fragrance, in which it drives refined dissension. Aeneas effect a joke on choreograph between idolize and giving out, opposite focus or entirety everywhere the discernibly huge. Even though Aeneas is set stranger the dawn to beg it to Italy, this doesn’t detention the gods who play a violent establishment in answer the doom of the inhibit in the matter of relative to respect to Aeneas. Despite overpower of the ostensible friction is concerning Aeneas, we fundamentally note
Evans, G. Blackemore. "Macbeth." In The Riverside Shakespeare. Ed. G. Blackemore Evans. Boston: Houghton Mufflin Company. 1974: 1307- 1311
William Shakespeare’s Macbeth is a tragedy in which the main characters are obsessed by the desire for power. Macbeth’s aspiration for power blinds him to the ethical implications of his dreadful acts. The more that Shakespeare’s Macbeth represses his murderous feelings, the more he is haunted by them. By analyzing his hallucinations it is possible to trace his deteriorating mental state and the trajectory of his ultimate fall. Throughout the play Macbeth is never satisfied with himself. He feels the need to keep committing crime in order to keep what he wants most: his kingship. The harder Macbeth tries to change his fate the more he tends to run into his fate. His ambition and struggle for power was Macbeth’s tragic flaw in the play. Macbeth’s rise to the throne was brought about by the same external forces that ensure his downfall.
... wife and home as well as his place in Carthage in the name of the gods, in the name of a quest that does not directly benefit him. From this pursuit, he does not stand to gain spoils, and the most that could be said of his fame would be drawn from his descendents. It is this moral stance, this understanding of universal placement, of purpose, that sets Aeneas apart from other heroes.
and would have kept it simple he would have lived a happy successful life. This
In scene one, the setting is revealed. It is late, past midnight, and there are no stars, making extremely dark and a dramatically perfect opportunity to commit murder. In any good horror movie, all the deaths occur at night, when it is dark. The location is a castle, which would have to be the eeriest, coldest, darkest piece of architecture ever constructed. Banquo’s “cursèd thoughts” (II, i, 8) keep him without sleep, in exact contrast with the eternal sleep Duncan will soon begin. Then, as Banquo retreats to his quarters, Macbeth’s imagination and intensified emotional exhaustion and strain generate a looming image of a dagger pointing to Duncan. “I see thee still . . .” (II, i, 35), he yells at the vision, creating a sense of madness. Again, “I see thee still . . .” (II, i, 45), but this time the hallucination is glistening with blood (and in all likely hood, that of Duncan). He casts this apparition aside and awaits his signal to make the final walk into his beloved king’s chambers. The bell rang by Lady Macbeth interrupts this thick, tense mood and startles the audience to either jump out of their seat or creep slowly to the edge of their seat. This also related to a popular sermon of the same time period, Meditation 17 by John Donne. A famous excerpt from it reads, “. . . and therefore never send to know for whom the bell tolls; it tolls for thee . . . ” (Donne, 284).
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...
Macbeth rejects conformation to traditional gender roles in its portrayal of Lady Macbeth’s relationship with her husband, her morals and their effect on her actions, and her hunger for power. Her regard for Macbeth is one of low respect and beratement, an uncommon and most likely socially unacceptable attitude for a wife to have towards her spouse at the time. She often ignores morality and acts for the benefit of her husband, and subsequently herself. She is also very power-hungry and lets nothing stand in the way of her success. Lady Macbeth was a character which challenged expectations of women and feminism when it was written in the seventeenth century.
113 Macbeth. Oxford: Oxford University Press. 1990. The. Coursen, H. R. Macbeth: A Guide to the Play. London: Greenwood Press, 1997.
	Aeneas suffers a great deal. Emerging from this suffering, Aeneas will lead his people and conquer their new homeland. Aeneas has many obstacles that stand in his way. Juno hates the Trojans and wants to do everything in her power to prevent the Trojans from reaching Rome and Italy. Aeneas has inner obstacles as well. Until Aeneas descends into Hades, he will never fully gave up his old life in Troy. He constantly thinks about his life in Troy. "Weeping, I must give up the shores, the harbors that were my home, the plain that once was Troy" (Book III, lines 14-15). He was still grieving for the family and friends that he lost in Troy. At one point Aeneas even said that it would have been better if he had died in Troy. When Aeneas descended into the underworld, Anchises showed Aeneas his lineage and all of the great Roman leaders that came from Aeneas. Anchises told Aeneas that the Romans’ great gift would be for ruling. " Roman, these will be your arts: to teach the ways of peace to those you conquer, to spare defeated peoples, tame the proud" (Book VI, lines 1135 – 1137). Aeneas was inspired by this vision of the future....
... attempts they do just the opposite. With Venus’ many interventions, Aeneas is prevented from making mistakes and is guided to his fate, from not killing Helen [book 2] to leaving behind the old and the weak for Italy [book 4] . He is shown enough times to be the puppet of their play: from obeying the will of the gods while enduring the wrath of other gods, all this in order to set the wheels in motion for the far off future Roman race. However, there are also times when he is also shown to be exerting his won free will. For example, in book 12, killing Turnus when he is begging for mercy, something not heroic and which Susanna Braund debates the positive and negative aspect of in her essay on Virgil and the Meaning of the Aeneid [1.17-18]. nonetheless, this act demonstrates that even the gods and the fates require his cooperation to fulfil his destiny.
In Macbeth, Shakespeare confronts audiences with universal and powerful themes of ambition and evil along with its consequences. Shakespeare explores the powerful theme of the human mind’s decent into madness, audiences find this theme most confronting because of its universal relevance. His use of dramatic devices includes soliloquies, animal imagery, clear characterisation and dramatic language. Themes of ambition and mental instability are evident in Lady Macbeth’s reaction to Macbeth’s letter detailing the prophecies, Macbeth’s hallucinations of Banquo’s ghost and finally in the scene where Lady Macbeth is found sleep walking, tortured by her involvement.