macbeth Flashcards

1
Q

How are key ideas of ambition are expressed in Macbeth

A

• Ambition is the hamartia (fatal flaw that causes the downfall) of both Macbeth and Lady Macbeth. Their relentless pursuit of desires fuelled by an insatiable ambition becomes the catalyst for their inevitable mental and physical collapse, ultimately culminating in their tragic downfall.
- Ambition is the driving force behind the tragedy in the play. Macbeth is constructed as a tragic hero who undergoes a fall from grace as a result of his overindulgence in ambition
- Ambition deceives individuals into having the illusion that they can transcend social, political and divine constraints. However, this deceptive allure inevitably collides with the harsh realities of existence and the destiny set out for them by God
• Ambition will mentally rot the faculties of your mind whilst making you believe you’re indestructible - it obstructs individuals from seeing their true ephemeral (fleeting/ not permanent) nature.

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2
Q

What are Shakespeares intentions with ambition

A

• Shakespeare utilises ambition as a central theme to underpin the play, revealing its morally corrosive and blinding influence on individuals driven by self-fulfilling and egocentric aspirations.
• Through ambition, Shakespeare allows his audience to examine the inherent flaws and capriciousness (easily changing) of human nature. He illuminates how ambition, when in the wrong mind, can readily justify the belligerent (brutal) pursuit of power, status and
• Through his allegorical (intended to teach) play, he aims to teach the audience that even in the presence of divine authority (God), ambition can be so omnipotent (all-powerful) it wins. He cautions his audience about succumbing to the seductive allure of sinful temptations, warning how this will lead to a life permanently separated from God and one united with the devil.

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3
Q

MACBETH - AMBITION
what is the quote VAWOIAFOTO from Act 1

A

‘Vaulting ambition which o’erleaps itself and falls on th’ other’

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4
Q

MACBETH - AMBITION
‘Vaulting ambition which o’erleaps itself and falls on th’ other’ analysis

A
  • Personification: Macbeth personifies his ambition, portraying it as possessing a potency comparable to a human force that can exert influence and corrupt his formerly innocent mind
  • When he acknowledges its eventual ‘fall’, it indicates Macbeth’s awareness that his all-encompassing ambition is his harmatia destined to lead to his mental and physical decline. Alternatively, this portrayal positions Macbeth as a victim ensnared by his own ambition, showcasing his introspective understanding of its fatal consequences and presenting him as a vulnerable to its relentless influence
  • Metaphor: The metaphorical portrayal of Macbeth’s ‘vaulting ambition’ draws a parallel between him and a jockey who is to manage an untameable, almost animalistic force
  • This metaphor not only depicts Macbeth’s struggle to control his ambitious nature but also suggests self-deception- Macbeth believes that he is able to harness some control over his ambition, enough that he is able to transcend the societal, political and divine limitations place upon him
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5
Q

MACBETH - AMBITION
what is the quote WTRSTHD from act 2

A

‘With Tarquin’s ravishing strides , towards his design’

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6
Q

MACBETH - AMBITION
‘With Tarquin’s ravishing strides , towards his design’ analysis

A

• Contextual link: Macbeth ambitiously strives to emulate Tarquin, the Roman tyrant whom raped his wife, so he can embody what it means to be a ruthless blood-thristy leader.
• Macbeth’s ambition is further fuelled by the lingering emasculation (using his masculinity against him) he experienced at the hands of Lady Macbeth in Act 1. For him, power becomes synonymous (closely linked) with brutality, and this perception is compounded by his insatiable ambition, which propels him towards a relentless pursuit of dominance through brute force.
• Connotations on “design”: The diction “design” connotes intentional creation, mirroring Macbeth’s intentional crafting of his desired position as King through ambitious pursuits. Despite his transgression (going against of natural order in this pursuit, this seductive allure of these temptations of power and authority obstructs him from seeing the permanent and eternal consequences he will face.

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7
Q

LADY MACBETH - AMBITION
What is the quote MTMBSUTANPTR

A

‘Make thick my blood, stop until th’ access and passage to remorse’

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8
Q

LADY MACBETH - AMBITION
‘Make thick my blood, stop until th’ access and passage to remorse’ analysis

A

Imperative : the imperative ‘make thick my blood’ illustrates how she commands for emotional restraint and a callous indifference. Recognising that her aspirations for tyranny require a detachment from femininity and the accompanying emotions, Lady Macbeth seeks to rid herself of these elements to pave the way for her ruthless ambitions
- Femme fatale: This is a seductive and manipulative women who can lure men into danger or sin - it is a common trope within literature and poetry. She is thus a femme fatale as she is not only manipulative but rejects her womanhood and motherhood - a typical trope to a femme fatale

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9
Q

LADY MACBETH - AMBITION
What is the quote ALWCUOTD from act 2

A

‘A little water clears us of this deed’

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10
Q

LADY MACBETH - AMBITION
‘A little water clears us of this deed’ analysis

A

• Litotes (under-exaggeration): Lady Macbeth’s omnipotent (all-powerful) ambitions blind her to the profound mental turmoil Macbeth is experiencing.
• Her callousness (cruelness) becomes apparent as she employs litotes, such as the understatement “a little,” not only to trivialise (make it seem less important) the act of murder but also to emasculate Macbeth, encouraging him further along his murderous path.
• Euphemism: She employs euphemism (substituting a phrase or word with something less harsh or blunt) to characterise regicide as a mere “deed,” highlighting a paradoxical (conflicting) aspect of her character. Despite her ambitions to shed feminine traits and embrace tyrannical brutality, she struggles to articulate the gravity (seriousness of the heinous (evil) act.
• This foreshadows her descent into a melodramatic state of insanity in Act 5, where she grapples with an inability to fully grasp the enormity of the sins committed.

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11
Q

BANQUO - AMBITION
What is the quote RON ( said by Macbeth in act 3)

A

‘Royalty of nature’

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12
Q

BANQUO - AMBITION
‘Royalty of nature’ analysis

A
  • imagery of royalty: the portrayal ‘royalty’ conjures an image of divine ordination, signalling Macbeth’s acknowledgement of Banquo’s moral stature and respectability akin to one chosen by God
  • Foil: Banquo serves as a foil to Macbeth, epitomising an ideal balance between ambition and respectability. As Macbeth descends form being ‘worthy’ to a ‘hell-hound’ he contrasts sharply with Banquo’s ability to retain both ambition and piety
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13
Q

BANQUO - AMBITION
what is the quote HHWTDGHVTAIS said by Macbeth in act 3

A

‘He hath wisdom that doth guide his valour to act in safety’

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14
Q

BANQUO - AMBITION
‘He hath wisdom that doth guide his valour to act in safety’ analysis

A

• 7 deadly sins: Macbeth epitomises the sin of envy, one of the seven deadly sins, as he desires for Banquo’s capacity for courage in tempering ambition and abstaining from succumbing to these “deep desires.”
• Diction + connotation: The diction of term “guide” connotes leadership, revealing Macbeth’s initial attempt to direct and lead his ambition. However, he succumbs to its potent influence, rendering him vulnerable. In stark contrast, Banquo emerges as a figure capable of self-guidance, steering clear of the temptations of sin.
• The ambivalent (uncertain) portrayal of Banquo stands as the antithesis (contrast) to Macbeth’s bloodthirsty depiction, underscoring the contrast in their responses to ambition’s compelling force.

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15
Q

MACDUFF - AMBITION
What is the quote IHNW; MVIMS from act 5

A

‘I have no words; my voice is my sword’

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16
Q

MACDUFF - AMBITION
‘I have no words; my voice is my sword’ analysis

A
  • Violent metaphor: in employing a violent metaphor, Macduff contends that the restoration of Scotlands natural order necessitates physical violence - his ambition is to rightfully restore Scotland. Thus, the initial upheaval, brought about by Macbeth’s violent tyrannical means, mandates a similar force to rectify the natural order that has been disrupted.
  • Macduff is the archetype of the avenging hero, motivated by revenge. Despite his personal motivations rooted in revenge, the notability of his intentions shines through. His ambitious pursuit of dismantling Macbeth single-handedly to restore order is materialising into a reality.
  • Short sentences: The short sentence reflects the short amount of time that Scotland will have to continue to suffer - by slewing Macbeth Scotland can be rightly governed and flourish under divine ordain.
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17
Q

MACDUFF - AMBITION
What is the quote THHT in act 5

A

‘Turn, hell-hound, turn’

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18
Q

MACDUFF - AMBITION
‘Turn, hell-hound, turn’ analysis

A

• Repetition on “turn”: The repetition of the term “turn” symbolises Macbeth’s upheaval of order through his tyrannical rule. Conversely, it also highlights the palpable (almost reachable) nature of Macduff’s ambitions and aspirations to reinstate order in Scotland. Once Macbeth “turns” to face Macduff, Macduff knows he is able to defeat him.
• Epithet “hell-hound”: The infernal (hellish) imagery evoked by the epithet (nick-name)
“hell-hound” accentuates Macduff’s condemnation of Macbeth’s diabolical ambitions and the ensuing turmoil.
• Macduff stands in stark contrast once more as the antithesis to Macbeth. While Macbeth prioritises his own selfish ambitions and desires, Macduff places his country and the people that reside in it at the forefront of his concerns.

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19
Q

MALCOLM - AMBITION
What is the quote AGAVNMR//IAIC said to Macduff in Act 4

A

‘A good and virtuous nature may recoil // in an imperial charge’

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20
Q

MALCOLM - AMBITION
‘A good and virtuous nature may recoil // in an imperial charge’ analysis

A

• Diction on ‘recoil: Malcolm’s statement betrays a deep understanding of human nature. The diction on “recoil” illuminates he recognises the seductive nature of power and the risk of moral compromise, even for the well-intentioned.
• This subtle admission (statement) underscores Malcolm’s wisdom - he recognises that true leadership requires not just good intentions, but also the strength to confront the potential compromises that power demands.
• Enjambment: The enjambment (no punctuation at the end of the line) after ‘recoil makes the line bleed into the next, this physically representing how swiftly an individual with a “good and virtuous nature” can be seduced by the allure of “imperial charge” and power.
• Malcolm is shrewd (good judgement) and wise as he understands the complexities of human nature - how even those divinely ordained, like himself, can be swayed by the satanic temptation of power. Here, Malcolm acknowledges the fragility of faith in the face of immense ambition.

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21
Q

MALCOLM - AMBITION
What is the quote WIAT // ITAMPCTC in act 4

A

‘What I am truly, // Is thine, and my poor countries, to command’

22
Q

MALCOLM - AMBITION
‘What I am truly, // Is thine, and my poor countries, to command’ ANALYSIS

A

Caesura (pause in middle of the line): The caesura after “thine” creates a momentary pause. This silence, delivered by the actor, allows the audience to fully absorb Malcolm’s honest dedication and ambition to be the best King for his people.
There’s no gap between his outward presentation and his inner reality - he is, in essence, the embodiment of a true king.
• Here, Malcolm defines himself through unwavering dedication to his service - serving Macduff and his “poor country.” This selfless declaration positions him once again as the antithesis (contrast) of the tyrannical ambitions of Macbeth.
• Possessive pronoun “my”: Malcolm’s use of the possessive pronoun “my” before “poor countries” reveals more than just ownership. It illuminates a sense of paternalistic (fatherly) tenderness. The word “poor” evokes sympathy for Scotland’s suffering under Macbeth’s dismantling rule.
• By calling it “my peer country. Malcolm portrays himself not as a distant ruler, but as a compassionate protector. This choice of words reinforces his image as a leader with the character and empathy befitting (suitable) a true king.

23
Q

Key ideas of violence shown in Macbeth

A

• Critical theme that is inextricably (closely) linked with a relentless pursuit of ambition.
The allure (powerfully attractive) of power and unchecked ambition inevitably causes violence to be a means of fulfilling this human desire.
• Theme of violence illuminates the psychological and social implications of tyranny (cruel/oppressive).
• Motif (recurring symbol/theme) of blood highlights the consequences of murder and is a poignant reminder of the theme of violence that underpins the play.
• Highlights the erosion of morality when power is tangible (able to touch it)- violence is a way to illegitimately (against rules/law) acquire this power.

24
Q

What are shakespeares intentions with a key theme of violence

A

• Shakespeare constructs a cautionary tale (gives a warning) to highlight the detrimental (negative) consequences on morality when in the face of corrupting power and violence.
• Shakespeare does not outright condemn the concept of violence; rather, he critiques the potential for violence to spiral out of control when driven by personal ambition.
• Initially, Macbeth’s commendable acts of “valour” (courage) and the approval of his justified use of force do not demonise the overarching theme. Instead, they serve as a narrative device to demonstrate the swift transformation of justifiable violence into something abhorrent (disgusting) and devastating.
• Shakespeare constructs Macbeth and Lady Macbeth to personify violence through their tyrannical (cruel/oppressive) actions and bloodthirsty nature. This portrayal serves as a vehicle for conveying a profound message: the true consequences of violent actions are not in the deeds themselves, but the psychological (mental) and physiological (physical) consequences that follow.

25
Q

MACBETH - VIOLENCE
What is the quote DF…SWBE in act 1

A

‘disdaining fortune…smok’d with bloody execution’

26
Q

MACBETH- VIOLENCE
‘disdaining fortune…smok’d with bloody execution’ analysis

A

• “Smok’d “ connotations: smok’d’ could connote to heat and hell, foreshadowing his malevolent nature he will later face moral and psychological ramifications (unwelcome consequences) for.
• The phrase “disdaining fortune” shows a disregard for his fate, and his attempt to manipulate the natural order. This later becomes evident in his disruption of the Divine Right of Kings (the belief that Kings were chosen by God).
• Syntax: Although Macbeth receives commendation for his stoic bravery as a soldier in Act 1, the syntax implies a symbiotic (close and interactive relationship between his downfall and his intrinsic proclivity (a tendency to do something) for violence.
• The positioning of ‘fortune preceding (coming before) ‘execution’ foreshadows
Macbeth’s acquisition of an illegitimate title and wealth through violent means, but how this will also lead to his eventual execution.

27
Q

MACBETH - VIOLENCE
What is the quote IAIB/ SISFTSIWNM,RWAT’ in act 3

A

“I am in blood/ Stepp’d in so far that should I wade no more, returning were as tedious”

28
Q

MACBETH - VIOLENCE
“I am in blood/ Stepp’d in so far that should I wade no more, returning were as tedious”

A

• Motif of blood: Previously, the “blood” (which is a motif (recurring symbol) for the consequences of murder) was merely on his hands, yet now it has enrobed his entire body, and by extension his entire sense of being.
• Macbeth’s response to fear and guilt has transitioned from being horrified to indulging further in heinous acts, murder now becomes his means of self-preservation.
• “Wade” has biblical allusions: Macbeth’s metaphorical wading in blood exemplifies how he acknowledges his conscience (knowing right from wrong) is permanently stained with guilt as a result of his violence.
• Similar to Cain in the Book of Genesis who commits the first murder in the bible, his irreversible act of murder of his brother Abel results in his punishment by God.

29
Q

LADY MACBETH - VIOLENCE
What is the quote DTBO in act 1

A

“Dash d the brains out”

30
Q

LADY MACBETH - VIOLENCE
“Dash d the brains out” analysis

A

Plosive on “dash’d”: The plosive on “dash’d” creates a brutal sound, mirroring her brutal rejection of motherly instincts. Her proclivity (tendency) for violence takes precedence over motherhood, leading to her unapologetic willingness to extinguish human life in the relentless pursuit of unchecked violent ambition.
• Juxtaposition: The deliberate contrast between the forceful verb “dash’d’ and the delicate nature of “brains” serves as a poignant symbol reflecting Lady Macbeth’s character. Despite her seemingly fragile exterior, she harbours a strong desire to instigate violence and chaos.
• Notably, her choice of targeting the vulnerable “brains” of infants signifies a recognition of both the paramount importance and extreme fragility of human existence. Yet this is ironic, as the very organ she seeks to disrupt in her unborn child - the seat of morality and reason - becomes the locus (particular place something occurs) of her own downfall.

31
Q

LADY MACBETH - VIOLENCE
what is the stage direction [EWAT] in act 5

A

(enters with a taper)

32
Q

LADY MACBETH - VIOLENCE
(enters with a taper) analysis

A

• Symbolism of [taper|: As a [taper] provides light, this is emblematic of how Lady Macbeth is seeking light, hope and solace in her eternal mental darkness.
• In Christian symbolism, light often represents hope and divine guidance. Thus, her [entering] with it can be seen as a desperate grasping for solace (comfort) and perhaps even a subconscious plea for God’s redemption (being saved) from the sins that torment her.
• Character development: Her need for light is the antithesis to her earlier presentation in Act l where she calls upon the night, wanting darkness to help fuel her violent and malevolent plans: “come thick night”.
• The motif of darkness and light reinforces how Lady Macbeth’s depraved and dark wants for violence consequently cause her desperation to see the light and seek redemption (being saved from sin).

33
Q

MACDUFF - VIOLENCE
What is the quote IHNW; MVIMS in act 5

A

‘I have no words; my voice is my sword’

34
Q

MACDUFF - VIOLENCE
‘I have no words; my voice is my sword’ ANLYSIS

A
  • Violent metaphor: In employing a violent metaphor, Macduff contends that the restoration of Scotland’s natural order necessitates physical violence. Thus, the initial upheaval, brought about by Macbeth’s violent tyrannical means, mandates a similar force to rectify the natural order that has been disrupted.
    • Macduff is the archetype (perfect- example of the avenging hero, motivated by revenge, but with good intentions.
    • Short sentence: The short sentence reflects the short amount of time that Scotland will have to continue to suffer - by slewing Macbeth Scotland can be rightly governed and flourish under divine ordain.
35
Q

MACDUFF - VIOLENCE
What is the quote BBPC in act 4

A

“bleed, bleed, poor country”

36
Q

MACDUFF - VIOLENCE
“bleed, bleed, poor country” analysis

A

• Personification: Macduff laments (grieves) Scotland, personifying the nation to underscore his profound emotional bond but also reflects the pervasive (quickly spreading) sense of loss and despair that permeates Scotland.
• Macduff’s sorrow, then, becomes emblematic (symbolic) of the collective grief felt by the nation, further highlighting the immense political upheaval and chaos that has befallen Scotland due to Macbeth’s tyranny and violence (cruel/ oppressive leadership).
• Repetition: The recurrent motif (symbol/theme throughout) of “bleed” highlights Macduff’s despair about Scotland’s progressive demise, effectively encapsulating
Macbeths misanthropic (disliking of others) disposition.
• Macduff’s patriotism (love for his country) emphasises Macbeth’s ruthless indifference to dismantling Scotland but also serves as a compelling juxtaposition to the inherent nobility expected of a rightful king.

37
Q

What are key ideas about guilt in Macbeth

A

In Macbeth’s tragedy, we witness how succumbing (giving in) to ambition, a temptation that defies divine order, unleashes a relentless amount of guilt that ultimately consumes the characters.
• The play exemplifies the brutal war between ambition and divinely-sent guilt.
Remorse, a gift from God, offers a chance for reflection and redemption. However, ambition acts as a toxic fuel, propelling characters toward heinous (evil) acts fueled by selfish desires.
• In Macbeth, the stain of guilt proves eternal. A facade of bravery crumbles as it festers within the conscience, leading to a ghastly descent into madness

38
Q

What are Shakespeares intentions with the key theme guilt?

A

In Macbeth, Shakespeare paints a cautionary tale. Those who disrupt the cosmic order, defying the will of Heaven, face brutal consequences. The play suggests an ever-watchful eye, a divine force that punishes those who overstep their place in the Great Chain of Being.
• In Macbeth, Shakespeare crafts a cautionary tale through the ambitious couple. Their unbridled (uncontrolled) desire for power becomes a consuming fiend (demon), blinding them to both morality and religion. As ambition takes over, guilt consumes around their conscience, tightening its grip as their descent from grace unfolds.
• As King James I was a patron to his plays, Shakespeare uses the play as a veiled (indirect) allegory (play intended to teach). He intertwines the act of regicide with tormenting guilt, a potent reminder of the potential consequences for those who disrupt the divinely ordained order. The audience, witnessing Macbeth’s descent into madness, is left with a chilling message: toppling a king, anointed by God, leads not to glory but to a tragic downfall.

39
Q

MACBETH - GUILT
critic DJ Enright

A

Critic D.J. Enright argues that Macbeth is a ‘long distance runner of evil’ compared to Lady Macbeth’s role as a ‘sprinter. Unlike his wife, who succumbs (gives in) to the mental burden of their crimes, Macbeth endures a gradual descent into madness.
• He’s not consumed by a single, overwhelming episode, but rather haunted by persistent guilt throughout his reign.

40
Q

MACBETH - GUILT
What is the quote ‘IHAVC’SNM!MDMS’’ from act 2

A

“Iheard a voice cry ‘Sleep no more! Macbeth does murder sleep’”

41
Q

MACBETH - GUILT
“Iheard a voice cry ‘Sleep no more! Macbeth does murder sleep’” analysis

A

• Motif of sleep: Throughout the play, there is a recurring motif that makes sleep snonymous innocence. Macbeth, troubled by guilt, experiences a disturbed sleep pattern, symbolising his departure from a state of innocence.
• This disintegration of innocence is a direct consequence of his deceitful actions in seizing the throne and committing regicide (killing of the king). Macbeth’s descent into madness is evident, as he no longer issues imperative commands like “stars hide your fires.” Instead, he reflects on the mental anguish and haunting “cries” that torment his troubled mind.
• Exclamative sentence: The exclamative sentence “Sleep no more!” emphasises the enduring and irreversible nature of Macbeth’s loss of sleep and innocence. His disruption of the natural order through his wickedness, masked by a facade of moral piety (religiousness), has forever condemned his mind to the relentless torment of
• Sempiternally (forever), he will battle with moral restlessness, finding no redemption or salvation (being saved from sin) for the sins he has committed as a murderous tyrant who defied the innate moral order and natural order.

42
Q

MACBETH - GUILT
What is the quote ‘IAIB/SISFTSIWNM, RWAT in act 3

A

“Iam in blood/ Stepp’d in so far that should I wade no more, returning were as tedious”

43
Q

MACBETH - GUILT
“Iam in blood/ Stepp’d in so far that should I wade no more, returning were as tedious” ANLYSIS

A
  • Motif of blood: Previously, the ‘blood’ was merely on his hands, yet now it has enrobed his entire body, and by extension of his entire sense of being.
  • Macbeths response to fear and guilt has transitioned from being horrified to indulging further in heinous acts, murder now becomes his means of self- preservation
  • ‘Wade’ had biblical allusions: Macbeths metaphorical wading in blood exemplifies how he acknowledges his conscience is permanently stained with guilt as a result of his violence
    • Similar to Cain in the Book of Genesis who commits the first murder in the bible, his irreversible act of murder of his brother Abel results in his punishment by God.
44
Q

LADY MACBETH - GUILT
critic

A

Critic D.J Enright brands Lady Macbeth as a “sprinter of evil” as her descent to madness is as rapid as her climb to tyranny (cruel leader) - she is quickly transitioned from being a barbaric woman to a carcass of insanity

45
Q

LADY MACBETH - GUILT
WHAT IS TEH W
QUOTE ALWCUOTD

A

“A little water clears us of this deed”

46
Q

LADY MACBETH - GUILT

“A little water clears us of this deed” ANALYSIS

A

Litotes (under-exaggeration): Lady Macbeth’s omnipotent (all-powerful) ambitions blind her to the profound mental turmoil Macbeth is experiencing
• Her callousness (cruelness) becomes apparent as she employs litotes, such as the understatement “a little,” not only to trivialise (make it seem less important) the act of murder but also to emasculate Macbeth, encouraging him further along his murderous
• Euphemism: She employs euphemism (substituting a phrase or word with something less harsh or blunt) to characterise regicide as a mere “deed,” highlighting a paradoxical (conflicting) aspect of her character. Despite her ambitions to shed feminine traits and embrace tyrannical brutality, she struggles to articulate the gravity (seriousness) of the heinous (evil) act.
• This foreshadows her descent into a melodramatic state of insanity in Act 5, where she grapples with an inability to fully grasp the enormity of the sins committed.

47
Q

LADY MACBETH - GUILT
WHATA RE THE STAGE DIRECTS FROM ACT 5

A

(enters with a taper )

48
Q

LADY MACBETH - GUILT

(enters with a taper ) ANLYSIS

A

• Symbolism of [taper): As a (taper) provides light, this is emblematic of how Lady Macbeth is seeking light, hope and solace in her eternal mental darkness.
• In Christian symbolism, light often represents hope and divine guidance. Thus, her [entering] with it can be seen as a desperate grasping for solace (comfort) and perhaps even a subconscious plea for God’s redemption (being saved) from the sins that torment her.
• Character development: Her need for light is the antithesis to her earlier presentation in Act I where she calls upon the night, wanting darkness to help fuel her violent and malevolent plans: “come thick night”.
• The motif of darkness and light reinforces how Lady Macbeth’s depraved and dark wants for violence consequently cause her desperation to see the light and seek redemption

49
Q

BANQUO - GUILT
WHAT IS THE QUOTE
IDOTTWSLN - BANQUO ACT 2
ITNOT - MACBETH ACT 2

A

I dream’d of the three weird sisters last night” (Banquo Act 2)

“I think not of them” (Macbeth Act 2)

50
Q

BANQUO - GUILT
I dream’d of the three weird sisters last night” (Banquo Act 2)

“I think not of them” (Macbeth Act 2)
ANALSIS

A

• Abstract noun “dream’d”: The abstract noun “dream’d signifies Banquo’s affliction (pain) and guilt, suggesting that he is haunted not only in his waking moments but also in the realm of sleep. This implies the intrusion of superstition into Banquo’s consciousness, trespassing on his unconscious mind.
• Motif of sleep: The motif of sleep in the play becomes synonymous with the loss of innocence. As Macbeth grapples with guilt, he declares he “sleeps no more,” also echoing Lady Macbeth’s somnambulant (sleep-walking) state.
• Intriguingly, Banquo retains the capacity to sleep but acknowledges his ability to
“dream.” This contrast illuminates Banquo’s preservation of innocence, as despite his guilt for being entranced by the supernatural, he truthfully admits to being captivated by the supernatural without succumbing to guilt-induced insomnia like Macbeth and Lady Macbeth.
• Foil to Macbeth: Banquo’s sincerity operates as a foil to Macbeth’s deceit, as Macbeth falsely asserts that he does not “think” of the prophecies. Banquo’s moral characterisation is strategically employed to heighten the contrast with Macbeths dishonesty and duplicity (deceitfulness). This deliberate juxtaposition serves to accentuate the moral divergence (dividing) between the two characters.