Alistair Macleod’s No Great Mischief is powerful in its art of storytelling, and provides a clear and concise, yet artistic view into a story told mostly from the first –person point of view of Alexander MacDonald, an orthodontist and member of the Chalum Ruaidh clan. The story centers on two brothers, Alexander more so than Calum. The story takes place during Alexander’s weekly visit to his brother’s, Calum, apartment, where memories of his childhood are provoked. However, tales told to him by his grandparents about his family lineage become entangled with the memories provoked by the visit with his brother. The novel ultimately mixes past with present as it seamlessly switches back and forward between the two, highlighting parts and scenes
Hero or villain? In Alistair MacLeod’s No Great Mischief, Calum commits violent crimes and by all accounts should be considered the antagonist. However, this is not the case. To outsiders he appears violent and rough, but within his clan he is the compass that guides all its members. An intrepid leader who falls victim to his own history, Calum lacked guidance as a young man and this contributed to his later struggles with the law. In fact, Calum’s greatest downfall comes from his goodness. He is stabbed in the back after blindly trusting a stranger on account of their shared lineage. Through anecdotes and flashbacks Calum is revealed to be a sympathetic and multifaceted character. In a novel where bloodlines are revered and respected and devotion
An idea that arises No Great Mischief[, is MacLeod’s ability to prove to the readers that it is impossible to talk about the Scottish-Canadian heritage without mentioning family history, loyalty and bonds. It is common for an individual to discuss all three factors when discussing family or one’s past in general. However, in No Great Mischief, MacLeod successfully manages to highlight each factor and outlines them in great detail. Therefore, the significance of family and identity in No Great Mischief manifests itself through family history, loyalty and typical relationships like family bonds—typically relationships. Together, all three of these components construct Alistair Macleod's No Great Mischief.
Handling the adversity that develops within a character’s life is something that requires ultimate determination, dedication and thought. However, when the given adverse situation is handled in a violent manner, the following occurrences include downfall and destruction. Throughout William Shakespeare’s play, The Tragedy of Macbeth, he is able to convey the realistic negative consequences that may follow the effects of violence on adversity. From the very genesis of the play, Macbeth is constantly handling adversity, which at times results in various dilemmas as a result of his tragic flaw. The violent acting on adversity or challenges placed before main character Macbeth, causes him to build a “snowball effect” of downfall and dismay throughout the play. Initially, Macbeth begins handling his challenges in different manners and is constantly altering his procedure. From handling situations cautiously to thoughtlessly, or having his own opinions to none of his own at all, and finally from fighting the truth to accepting his fate, regardless of the type of task, his violent handlings of them causes his own domino effect of transformations. By applying a variety of literary techniques such as personification and foreshadowing, William Shakespeare is able to effectively prove that acting violently upon adversity has a strong potential of resulting in pure disaster.
Sei Shonagon is most well known for her Pillow Book, a collection of her personal thoughts and observations during her time at court. The structure, or lack thereof, in this work gives the reader a peek at Shonagon's personality. She writes in short bursts, giving the mini-chapters such titles as "The Sliding Screen in the Back of the Hall," "Hateful Things," and "Oxen Should Have Very Small Foreheads." The titles are representative of her tendency to write at length on subjects that may seem inconsequential, or as the author admits in the last segment of the Pillow Book, "most trivial." In fact, these so-called trivial observations provide a s...
Sir Gawain is, undoubtably, the most varied of the Arthurian characters: from his first minor appearance as Gwalchmei in the Welsh tales to his usually side-line participation in the modern retelling of the tales, no other character has gone from such exalted heights (being regarded as a paragon of virtue) to such dismal depths (being reduced to a borderline rapist, murderer, and uncouth bore), as he. This degree of metamorphosis in character, however, has allowed for a staggering number of different approaches and studies in Gawain.
In order to keep our two characters separate, the Shakespearian character will be referred to as Macbeth and the actual historical character as MacBeth or King MacBeth, depending on the time. The following areas will be examined to find the “real” MacBeth: heritage and title, personality, deeds and death. The heritage will determine the legitimacy as heir to the throne and title to reflect rank and class; their personality, deeds and death to illustrate their worthiness of being king. In 1005 MacBeth MacFindlaech was born to Findlaech MacRuaridh and Doada, daughter of Malcolm I, making him in line to be King. It was around this same time that his grandfather (Malcolm II) became king. As was required for the children of important chieftains, M...
The reader finds in Shakespeare's Macbeth that the cunning and machinations of evilly inclined people do not pay off. On the other hand, the progeny of the honest will rule the kingdom. This paper is the story of Banquo the innocent.
The twenty-first century judicial system goes back in time to solve murders in the past. Many high school students before they proceed to college will read the play Macbeth written by William Shakespeare, this play like many have very relatable universal themes such as greed, relationships, and good versus evil. If the play Macbeth was applied in today’s judicial system for killing Duncan the prosecutor would have to look at all the angels of the crime right down to the motivates and the purpose of what drove him to commit the murder.
In today’s society, it is typical for people to make wrong accusations, most frequently about other people. The accusations are usually based on one’s own opinions or one particular situation, rather than an in depth look on the person as a whole. In Shakespeare’s play, Macbeth, the judgment that Malcolm makes towards Lady Macbeth seems to be valid only from a certain incident, in comparison to Lady Macbeth’s character in general. Malcolm’s reference to Lady Macbeth as “fiend-like” is partially valid. The statement is valid when Lady Macbeth wishes evil upon herself, but invalid because naturally she is not field-like and she also has a conscience.
Prior to deciding whether or not conflict is central to the dramatic development of MACBETH, one must consider all the dramatic factors that contribute to the Shakespearean play. The gradual decline of the protagonist , the role portrayed by characters and the order in which the events occur, greatly influence the direction in which the development of the play takes place. After reading the text MACBETH, by Shakespeare and viewing the film version, directed by Roman Polanski, it is logical to see that ambition and the deceptive appearances of what really is, is central to the dramatic development of MACBETH.
Not unlike Shakespeare’s Macbeth, the character of Macbeth in Rupert Goold’s film is a savage, power-hungry politician. In Goold’s film, however, Macbeth finds humor in the tumultuous events leading to his downfall. His chilling laughter upon the announcement of his wife’s suicide and his demeaning attitude towards his fellow rege...
A.C. Bradley’s interpretation of Macbeth finds him human, conflicted, and comparable to his wife, Lady Macbeth, in many respects. They share a common ambition and a common conscience sensitive enough to feel the effects of their ambition. But the story, Bradley contends, is built upon the traits that set them apart. He focuses mainly on Macbeth. Macbeth is a character of two battling halves: his reason, or ambition, and his “imagination.” Bradley attributes the hysterical nature of Macbeth’s visions, the dagger, the specter of Banquo, and other ghosts, to his wild imagination. He “acts badly” (Bradley, 136) and loses his composure whenever his imagination triumphs over his practical side; however, Bradley also asserts that Macbeth’s imagination is “the best of him, something usually deeper and higher than his conscious thoughts” (133). Macbeth is therefore unable to make use of the “better” imagination with which he was endowed and instead only appears “firm, self-controlled and practical” when he is “hateful” (136). A product of these clashing sides, Macbeth’s murder of Duncan is borne of his inability to properly acknowledge the conclusions drawn by his imagination. In his soliloquies and in...
Macbeth’s story highlights the inherent goodness found in all of us, but also the evil that lurks within us, unnourished. Although there is no redemption for Macbeth’s evil sins, he finally comes to acknowledge his crimes and thus can provoke pity in the eyes of the audience. Macbeth’s psychological journey from a courageous general to a “ dead butcher” (5.9.41) is one that truly merits to be called a tragedy.
Elloway, David. A. Tragic Ambition at Macbeth Macmillan Education Limited. 1985. The. Nostbakken,.
...lly as [he] can, using for [his] defence the only arms [he] allow [himself] to use - silence, exile, and cunning" (226-269). By discussing how education affects Stephen from a child to a young man, Joyce has shown the reader Stephen's development as an artist and human being.