[. . .] It marks the turning point, and it introduces the notion of the appeal by faith to Divine Grace which will reverse the evil course of the action when Malcolm and Macduff learn to outrun reason in that way, instead of by responding to the Witches' supernatural solicitations as Macbeth has done. (110) Fanny Kemble in "Lady Macbeth" asserts that Lady Macbeth died as a result of her evil acts: Lady Macbeth, even in her sleep, has no qualms of conscience; her remorse takes none of the tenderer forms akin to repentance, nor the weaker ones allied to fear, from the pursuit of which the tortured soul, seeking where to hide itself, not seldom escapes into the boundless wilderness of madness.
England: Oxford University Press, 2000. Wilson, H. S. On the Design of Shakespearean Tragedy. Toronto, Canada: University of Toronto Press, 1957.
Ed. G. Blakemore Evans. Boston: Houghton Mifflin Company, 1972. Knights, L.C. "Macbeth."
Pp. 177-78. Rpt. in Shakespeare in the Theatre: An Anthology of Criticism. Stanley Wells, ed.
A Collectiion of Critical Essays. Alfred Harbage, ed. Englewwod Cliffs, NJ: Prentice-Hall, Inc., 1964. Mack, Maynard. Everybody's Shakespeare: Reflections Chiefly on the Tragedies.
"Macbeth." Shakespeare: The Tragedies. A Collectiion of Critical Essays. Alfred Harbage, ed. Englewwod Cliffs, NJ: Prentice-Hall, Inc., 1964.
Alfred Harbage, ed. Englewwod Cliffs, NJ: Prentice-Hall, Inc., 1964. Mack, Maynard. Everybody's Shakespeare: Reflections Chiefly on the Tragedies. Lincoln, NB: University of Nebraska Press, 1993.
This essay will focus on the gothic elements of Shakespeare’s ‘Macbeth’ written in 1606, which fully “displays the horror of regicide” due to the unnatural acts that take place throughout, such as; the witches prophecies, nature vs man and Lady Macbeth’s gothic influence. These act as a catalyst for the killing of both King Duncan and Macbeth. However, it could be argued that the main focus of the play is the protagonist’s fall into madness, because of the hamartia, ambition. Poole defines hamartia as “a fatal flaw; as if it were simply an attribute of character. On the other hand it can be argued that “others translate hamartia more simply as a ‘fault’, ‘mistake’ or ‘error’.
Pp. 177-78. Rpt. in Shakespeare in the Theatre: An Anthology of Criticism. Stanley Wells, ed.
"Macbeth." Shakespeare: The Tragedies. A Collectiion of Critical Essays. Alfred Harbage, ed. Englewwod Cliffs, NJ: Prentice-Hall, Inc., 1964.