Shakespeare created these two characters with a very significant similarity between them; both Macbeth and Antonio have a hunger for power. In the beginning of the play Macbeth, Macbeth hears a prophecy made by the three weird witches, in which they addressed him by three names: the thane of Glamis, thane of Cawdor, and finally the king of Scotland. “All hail, Macbeth! Hail to thee, thane of Glamis! All hail, Macbeth! Hail to you, thane of Glamis! All hail, Macbeth! Hail to thee, thane of Cawdor! All hail, Macbeth! Hail to you, thane of Cawdor!
All hail, Macbeth, that shalt be king hereafter!” (Macbeth Act One, Scene Three, Lines 49-51) This knowledge eventually drives Macbeth into a type of madness and all that matters to him is his hunger for more power. “At least since the days of Alexander Pope and Samuel Johnson, analysis of the play has centered on the question of Macbeth's ambition, commonly seen as so dominant a trait that it defines the character. Johnson asserted that Macbeth, though esteemed for his military bravery, is wholly reviled. This opinion recurs in critical literature, and, according to Carolin...
... middle of paper ...
...like power, wealth, position, etc. These two men are fueled by greed and driven by the need to gain more to prove something; but this thing is not being proven to themselves, however, more to the people around them.
A.C. Bradley. Shakespearean Tragedy. Palgrave Macmillan; 4th edition, 2007.
Billington, Michael (1 January 1989). "In Britain, a Proliferation of Prosperos". The New York Times.
Frye, Roland Mushat (1987). "Launching the Tragedy of Macbeth: Temptation, Deliberation, and Consent in Act I". The Huntington Library Quarterly 50 (3): 249–261.
Paul, Henry Neill (1950). The Royal Play of Macbeth: When, Why, and How It Was Written by Shakespeare. New York: Macmillan. p. 227.
Spurgeon, Caroline, Shakespeare's Imagery and What It Tells Us. In: John Wain (ed.): Shakespeare. Macbeth. A Casebook. Bristol: Western Printing Services (1968), pp. 168–177
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