The Norton Shakespeare. New York: Norton, 1997. 2555-63. Knights, L.C. "Macbeth."
Variety of Evils in Macbeth The tragedy Macbeth by William Shakespeare manifests a rich variety of evils, not only by the main characters of Macbeth and Lady Macbeth, but also by the witches. Clark and Wright in their Introduction to The Complete Works of William Shakespeare interpret the main theme of the play as intertwining with evil: While in Hamlet and others of Shakespeare's plays we feel that Shakespeare refined upon and brooded over his thoughts, Macbeth seems as if struck out at a heat and imagined from first to last with rapidity and power, and a subtlety of workmanship which has become instructive. The theme of the drama is the gradual ruin through yielding to evil within and evil without, of a man, who, though from the first tainted by base and ambitious thoughts, yet possessed elements in his nature of possible honor and loyalty. (792) Roger Warren states in Shakespeare Survey 30 , regarding Trervor Nunn's direction of Macbeth at Stratford-upon-Avon in 1974-75, how the witches represented the evil force of black magic: Much of the approach and detail was carried over, particularly the clash between religious purity and black magic. Purity was embodied by Duncan, very infirm (in 1974 he was blind), dressed in white and accompanied by church organ music, set against the black magic of the witches, who even chanted 'Double, double to the Dies Irae.
Hail to thee, Thane of Glamis! SECOND WITCH All hail, Macbeth! Hail to thee, Thane of Cawdor! THIRD WITCH All hail Macbeth, that shalt be king hereafter!"" 1:3, 57-59 Here we receive the prophecy of the Three Witches.
April 20th –30th, 1999 Jones, Eldred. "Othello- An Interpretation" Critical Essays on Shakespeare’s Othello. Ed. Anthony G. Barthelemy Pub. Macmillan New York, NY 1994.
Supernatural on Stage: The Curse of Macbeth: Its Origins, Background, and History. New York: Taplinger Publishing Co, 1975. 153-211. Lewis, William Dodge. Shakespeare Said It.
Ed. Anthony G. Barthelemy Pub. Macmillan New York, NY 1994. (page 39-55) Neely, Carol. "Women and Men in Othello" Critical Essays on Shakespeare’s Othello.
Northrop Frye on Shakespeare. New Haven: Yale UP 1986. Hunter, G.K. "Shakespeare and the Traditions of Tragedy." Wells, Stanley, ed. The Cambridge Companion to Shakespeare Studies.
Shakespeare's Plagiarism of King Lear In creating the tragedy play King Lear, William Shakespeare plagiarized many sources in getting the base-line story, but it required his genius and intellect to place them together to create the true tragedy with its multiple plot lines that his play turned out to be in the end. The story of King Lear (or as it started, King Leir) is first seen in literature in the year 1135, contained in Geoffrey of Monmouth's Historia Regum Britanniae. Other authors placed King Leir into their stories including; John Higgins in A Mirror for Magistrates (1574), by Warner in Albion's England (1586), by Holinshed in The Second Book of the Historie of England (1577), and by Spencer in The Faerie Queen (1590). The most influential of all was probably The True Chronicle History of King Leir, which was anonymous. This play was performed as early as 1594, which is when it showed up in the "Stationers' Register."
Oxford: Oxford University Press. Solomon, Andrew. “A Reading of the Tempest.” In Shakespeare’s Late Plays. Ed. Richard C. Tobias and Paul G. Zolbrod.
"Clue #7: Revenge Tragedy". Writing Assignment #7: The Question of Revenge in Shakespeare's Hamlet. By Hannusch, Brent. 1999.