It is one of several Shakespeare plays in which the protagonist commits murder. Macbeth is the shortest of Shakespeare's tragedies. It has no subplots.
Examination Questions on Macbeth Question: Describe the character of Macbeth in brief. The development of the character of Macbeth in this play is the history of a struggle, fierce and prolonged, between the power of good and the power of evil found in each human heart.
And a sharp fight it is, too, in this case, before the evil finally prevails. Upon his very first appearance, in the interview with the Weird Sisters, Macbeth displays a signal weakness -- a susceptibility to impressions of the imagination, which by contrast with the matter-of-fact Banquo, is the more marked.
While Banquo, in amazement, questions the report of his own eyes, Macbeth drinks in their words, and when, almost immediately, one prediction is fulfilled, looks forward to the time when "the golden round and top of sovereignty" shall encircle his noble brow.
Now begins the conflict -- "This supernatural soliciting cannot be ill, cannot be good. He thinks that from the moment of meeting with the Weird Sisters, the idea of hastening the fulfilment of the third prophecy by the murder of Duncan was constantly before his mind; that the subsequent hesitation was due to the curious conscience of the man, powerfully active, though hiding itself under the mental disturbance which it occasioned; that there was needful yet another force before conscience could be made to yield -- his domestic affections were enlisted, his manhood and valor impeached by the woman he loved -- than which nothing is harder for a soldier to bear.
When Lady Macbeth has thus made it a theme of domestic war and reduced the matter to this alternative -- he must either do the deed or cease to live with her as wife, then and then only does he fully resolve to murder Duncan. He goes through this first crime with an assumed ferocity borrowed from his wife; but, as soon as this is done, he oversteps her designs and stains his hands still deeper in the blood of the helpless grooms.
From this time forth, conscience, in imaginary terrors, becomes the instigator to new murders.
Having given others cause to suspect him, he, in turn, suspects them, and seeks safety and peace in using the sword -- every thrust of which adds a new wound to the agony he already suffers.
Such is the horrible madness to which crime has driven him. Slaughter is heaped upon slaughter, the most innocent are the chief victims.
Trusting implicitly in the equivocal prophecy of the Weird Sisters, yet never losing sight of his own freedom, he rushes on with the blindness of desperation -- forgetful alike of friends, of wife, of God -- to the dreadful punishment which awaits him.
And when it finally comes, we feel a stern satisfaction in the knowledge that justice, which we saw almost appeased in the restless agony at the death of his wife, is now fully satisfied. In the powerful conscience and vivid imagination of Macbeth, we recognize a tinge of Hamletism, and therefore the comparison and contrast drawn between the two characters by Gervinus, is specially interesting to us.
Herein is brought out strikingly one decided characteristic of Macbeth, upon which Hudson does not dwell. Macbeth is placed over against Hamlet as the man of action, opposed to the man of thought.
Conscience is found equally strong in both, -- but with this difference, that in Macbeth it has not only to reflect and doubt, but to do, to struggle --active to the last. Imagination too -- a common heritage -- while holding Hamlet back, urges Macbeth on, since to him "present fears are ever less than horrible imaginings.
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The contents are: meaning, brief background and thesis statement for the Introduction; for the Body of the discussion is the counter argument; and for the conclusion part: the summary and the restatement of the thesis statement.
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Aristotle: Poetics. The Poetics of Aristotle ( B.C.E.) is a much-disdained book.
So unpoetic a soul as Aristotle's has no business speaking about such a topic, much less telling poets how to . (used relatively in restrictive clauses having that as the antecedent): Damaged goods constituted part of that which was sold at the auction.
(used after a preposition to represent a specified antecedent): the horse on which I rode. (used relatively to represent a specified or implied antecedent) the one that; a particular one that: You may choose which you like.