Macbeth - Ambition Quotes ANALYSED Flashcards
“Vaulting ambition which o’erleaps itself and falls on th’other”
Macbeth
PERSONIFICATION: Macbeth personifies his ambition, portraying it as possessing a potency comparable to a human force that can exert influence and pull him into the allure of acquiring the illegitimate title of king
- When he acknowledges its eventual “fall”, it indicates Macbeth’s awareness that his all-encompassing ambition is his hamartia destined to decline as he will be VIOLATING THE TRUE ESSENCE OF KINGSHIP - the divine right of kings
- Alternatively this portrayal positions Macbeth as a VICTIM ENSNARED (trapped) by his own ambition, showcasing his introspective understanding of its fatal consequences and presenting him as vulnerable to is 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 desires to violate kingship but also suggests self-deception
“With Tarquin’s ravishing strides, towards his design”
Macbeth
CONTEXTUAL LINK: Macbeth ambitiously strives to emulate Tarquin, the Roman Tyrant who raped his wife so that he can embody what it means to be a ruthless blood-thirsty leader
- Macbeth’s ambition is further fuelled by the lingering emasculation he experienced at the hand of Lady Macbeth in Act 1.. For it 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 pursuit. Despite his transgression of natural order in this pursuit, the seductive allure of these temptations of power and authority obstructs him from seeing the permanent and eternal consequences he will face.
- Macbeth clings onto the belief that seizing the crown will fulfill his need to prove his masculinity to his wife. He mistakenly thinks the external validation of kingship will compensate for the internal strength Lady Macbeth seemingly stripped from him.
“Make thick my blood, stop up th’ access and passage to remorse”
Lady Macbeth (Act 1)
IMPERATIVE: the imperative “make thick my blood” illustrates how she commands for emotional restraint and a callous (cruel) 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 woman who can lure men into danger or sin. She is thus a femme fatale as she not only is manipulative but rejects her womanhood and motherhood - a typical trope of femme fatale
“A little water clears us of this deed”
Lady Macbeth (Act 2)
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 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.
“Royalty of Nature”
(said by Macbeth in Act 3)
IMAGERY OF ROYALTY: The portrayal of “royalty” conjures an image of divine ordination (chosen by God to be king), signalling Macbeth’s acknowledgment of Banquo’s moral stature and respectability akin to one chosen by God.
FOIL: Banquo serves as a foil (contrast) to Macbeth, epitomising an ideal balance between ambition and respectability. As Macbeth descends from being “worthy” to a “hell-hound,” he contrasts sharply with Banquo’s ability to retain both ambition and piety (being religious)
“He hath wisdom that doth guide his valour to act in safety”
(said about Banquo by Macbeth in Act 3)
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.
“I have no words; my voice is my sword”
Macduff (act 5)
VIOLENT METAPHOR: in employing a violent metaphor, Macduff contends that the restoration of Scotland’s Natural order necessitates physical violence - his ambition is to rightfully restore Scotland from Macbeth’s violation of kingship. Thus, the initial upheaval brought about by Macbeth’s violent tyrannical means, mandates a similar force to rectify the natural order of the divine right of kings that has been disrupted
Macduff is the archetype (perfect example) of the avenging hero , motivated by revenge. Despite his personal motivations rooted in revenge, the nobility of his intentions shines through as he wants to eradicate the chaos brought about from Macbeth’s immoral kingship
His ambitious pursuit of dismantling Macbeth single-handedly to restore order is materialising into a reality
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.
“Turn, hell-hound, turn”
Macduff (Act 5)
REPETITION ON TERM “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.
“What i am truly, // Is thine, and my poor countries to command”
Malcolm Act 4
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. 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 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 poor 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.
“A good and virtuous nature may recoil // In an imperial charge. But i shall crave your pardon”
Malcolm said to Macduff in Act 4
DICTION ON “RECOIL”: Malcolm’s statement betrays a deep understanding of human nature and how one can appear to have good intentions, yet in reality be swayed by malevolent influences. 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.
