Photo by Tommy Thompson. Antony has his Cleopatra. Even Lear has Kent and Edgar at his bitter end. However, when Malcolm and his English counterparts come to batter down the doors of Dunsinane, Macbeth is utterly alone.
The Theme of Macbeth From Macbeth. The tragedy of Macbeth may be justly ranked as Shakespeare's greatest work. It is true that it lacks the careful elaboration which characterizes the most of his other plays, and is devoid of those finer touches of sentiment and playful humor of which he was so eminently the master.
But here his purpose is too serious, and the motive of the play is too stern and insistent to permit of any digression. From beginning to end it is a profound and philosophical study of the effect of sin upon human life and its resulting degradation and suffering.
Yet it is more than this, for the deadly issues of evil-doing are worked out in all their fearful reality, and temptation with its ever-deepening shades weaves itself into the fabric of human life, before our very eyes. The poet has given us no fancy picture, but with a stern and unfaltering purpose has created for all mankind an episode of the truest life history.
The most consummate traitor of all the ages is no more a real personality than is Macbeth, and no more impressive moral lesson is taught on the pages of the world's literature, than that which comes to us in this the greatest of English dramas.
So serious a purpose admits of no trifling or delay, hence the action of the play is rapid.
Its current of human passion flows swift and black, and, as we follow its rapidly descending course, we shrink with horror from the scenes of violence and of human woe which are disclosed, but a relentless fascination bids us follow on until its dark waters hurl themselves into the final abyss of desolation and ruin.
So intense and unabating is the interest that the sympathies and envotions of the reader are often subjected to a severe and almost painful strain. The one absorbing subject for study and meditation in Macbeth is to be found in its ethical content. Other plays may be studied from literary or critical standpoints, but here the moral lesson is of such surpassing importance that all other considerations sink into comparative insignificance.
The mechanism and movement of the play and its vocabulary should be given only sufficient attention to disclose the artistic skill of the poet, and to make his thoughts luminous. Macbeth should be taught and studied as the most powerful chapter in literature upon the birth and development of evil in the human heart.
The process is complete in detail from the first yielding to temptation until the nature of its victim becomes wholly perverted, and the punishment which he has invited descends upon him. Upon this central theme all the lights and shadows of real life are turned. With consummate art the poet makes his purpose dominate every detail.
There is the background of innocence upon which the shadow of sin is cast. There is the environment of peaceful nature, in the midst of which deeds of tumultuous violence or of secret destruction are wrought.
There are sunny skies, which shine down upon dark passions and cruel ambition; and virtuous natures which forsake purity, and abandon themselves to vice and sin.
But dominating them all the voice of the prophet never ceases its proclamation, "The wages of sin is death. Not content with tracing the outward manifestations of guilt and its human punishment he penetrates the innermost chambers of life, and discloses the purposes and motives which dwell therein.
The gradual loss of reputation, influence, and honor, and the gathering power of vengeance are but the manifestations of a more fearful process which is being wrought in the heart, and is reaching out through all the functions and relations of life.
With unmistakable clearness he shows that the real punishment of the criminal is not that which is meted out to him by the hand of man.
This may be painful, humiliating, terrible, but it is soon over. His true punishment is that which is worked by his own hand into his own life and character for all eternity; a degradation and perversion of nature which he can never struggle against successfully.
A man who yields to temptation and commits a crime may conceal it from all human knowledge; but he has planted the seeds of a retribution in his own breast from which he cannot escape.
Macbeth's punishment was not inflicted by the hand of Macduff, who slew him. This was but an incident in his career.Two Scottish generals, Macbeth and Banquo, are on their way home from successful battles when they encounter three witches.
With the prophecies of power and fame they give him swirling through his head, Macbeth tells his wife that the witches divined that he would become king of Scotland.4/5(2).
Macbeth and Banquo encounter three witches who predict that Macbeth will become Thane of Cawdor, then King; and Banquo’s children will be kings. Almost immediately, King Duncan declares Macbeth the new Thane of Cawdor.
The corruption of having a great deal of power is presented by this play, and Macbeth is brought to his death because of this pursuit of power. I would recommend this book to anyone interested in Shakespeareian plays or the history of the Middle Ages/5().
William Shakespeare’s “Macbeth," also known as “The Scottish Play," is the dark tragedy of a couple devoured by ambition and cruelty, who would stop at nothing on their path to absolute power.
The final scene of the play in which Macduff slays Macbeth guilt toward him. and a Shakespeare and an introduction to the creative essay on the topic of fbi the Uses of Power dont you think that Macbeth macbeths seeking of power leading him to death in the play macbeth by william shakespeare is a great play about an immensely.
Macbeth by William Shakespeare. The protagonist, a Scottish general turned king when he is persuaded to kill the current king. Lady Macbeth. Macbeth's wife, who deeply desires power, and persuades the king to do anything to get it The king at the beginning of the play, killed by Macbeth.
MacDuff. A scottish nobleman, unhappy with.