more!" (41-42). Lear stands first for the profound intensity of the passion; Macbeth for the wildness of the imagination and the rapidity of the action; Othello for the progressive interest and powerful alternations of feeling; Hamlet for the refined development of thought and sentiment. Obviously, water isn't going to get these two clean. The superstitions of the age, the rude state of society, the local scenery and customs, all give a wildness and imaginary grandeur to his character. Once he kills his friend Banquo, who returns as a ghost, Macbeth tells that "blood will have blood" (3.4.151).
Fate and metaphysical aid conspire against his virtue and his loyalty. Cite This Source, bACK, nEXT, symbolism, Imagery, Allegory, get out the hydrogen peroxide, because this play needs it: there's blood all over. Macbeth is full of 'the milk of human kindness, is frank, sociable, generous.
He is never gay but in the prospect or in the success of his villanies; Macbeth is full of horror at the thoughts of the murder of Duncan, which he is with difficulty prevailed on to commit, and of remorse after its perpetration. First, he believes he has "murder'd sleep." Sleep, he argues, ought to bring physical calm in the same way that prayer soothes the spirit. The lights and shades are laid on with a determined hand; the transitions from triumph to despair, from the height of terror to the repose of death, are sudden and startling; every passion brings in its fellow-contrary, and the thoughts pitch and jostle against each. There is no conflict of opposite feelings in his breast. The Weird Sisters are serious things. For both are tyrants, usurpers, murderers, both aspiring and ambitious, both courageous, cruel, treacherous. These are creatures to whom man or woman plotting some dire mischief might resort for occasional consultation. Macbeth and, lear, Othello and, hamlet, are usually reckoned, shakespeare's four principal tragedies.
The deliberate sacrifice of all other considerations to the gaining 'for their future days and nights sole sovereign sway and masterdom by the murder of Duncan, is gorgeously expressed in her invocation on hearing of 'his fatal entrance under her battlements -Come all you spirits. Duncan is cut off betimes by treason leagued with witchcraft, and Macduff is ripped untimely from his mother's womb to avenge his death. Macbeth, after the death of Banquo, wishes for his presence in extravagant terms, 'To him and all we thirst and when his ghost appears, cries out, 'Avaunt and quit my sight and being gone, he is 'himself again'.
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