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macbeth character analysis
macbeth character analysis
the nature of evil macbeth
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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. (283)
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, ...
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...nk. "Macbeth." The Riverside Shakespeare. Ed. G. Blakemore Evans. Boston: Houghton Mifflin Company, 1972.
Knights, L.C. "Macbeth." Shakespeare: The Tragedies. A Collectiion of Critical Essays. Alfred Harbage, ed. Englewwod Cliffs, NJ: Prentice-Hall, Inc., 1964.
Lamb, Charles. On the Tragedies of Shakespeare. N.p.: n.p.. 1811. Rpt in Shakespearean Tragedy. Bratchell, D. F. New York, NY: Routledge, 1990.
Mack, Maynard. Everybody's Shakespeare: Reflections Chiefly on the Tragedies. Lincoln, NB: University of Nebraska Press, 1993.
Warren, Roger. Shakespeare Survey 30. N.p.: n.p., 1977. Pp. 177-78. Rpt. in Shakespeare in the Theatre: An Anthology of Criticism. Stanley Wells, ed. England: Oxford University Press, 2000.
Wilson, H. S. On the Design of Shakespearean Tragedy. Toronto, Canada: University of Toronto Press, 1957.
First, we will start with Goodman Brown. He is the main character in Nathaniel Hawthorne’s short story titled “Young Goodman Brown”. “Hawthorne could not escape the influence of Puritan society” (McCabe). I think that Hawthorne’s own past is and complications are reveled in his story about Goodman Brown. I believe that Goodman Brown has had a rough past and is trying to reach beyond his past in order to reach heaven. Goodman has some major problems with his wife, Faith, and everyone else in his community. I think that he is seeing everyone as perfect people, but he is having impure thoughts about himself and his past. In order to deal with these problems within himself, he is making up that everyone has this awful bad side. When he goes into the forest, he believes he is talking to the devil with looks much like his grandfather. The devil is feeding him bad thoughts about everyone he knows, even his own father and his wife Faith. Next, I believe that Goodman Brown has had a rough past and in order for him to overcome this within himself he must search for attention. This attention may not be needed from his wife or community members, I believe it is needed from him. He is feeling overwhelmed with obligations from his wife and peers that he has no time to decide whether this type of life is right for him. So, in search for the answer to his questions about life, he turns to the devil and takes his...
"Young Goodman Brown" begins when Faith, Brown's wife, asks him not to go on an "errand". Goodman Brown says to his "love and (my) Faith" that "this one night I must tarry away from thee." When he says his "love" and his "Faith", he is talking to his wife, but he is also talking to his "faith" to God. He is venturing into the woods to meet with the Devil, and by doing so, he leaves his unquestionable faith in God with his wife. He resolves that he will "cling to her skirts and follow her to Heaven." This is an example of the excessive pride because he feels that he can sin and meet with the Devil because of this promise that he made to himself. There is a tremendous irony to this promise because when Goodman Brown comes back at dawn; he can no longer look at his wife with the same faith he had before.
The setting of the forest is that of darkness, dreariness, disillusionment, perhaps symbolizing one's path for the journey through life. Faith, Goodman Brown's wife, is a symbol of Goodman Brown's actual faith and purity at the start of his journey. Brown wants to believe he can live his life the way he wants, but investigate "sin," and then come back to Faith when he is ready. This is signified by the statement, "Well; she's a blessed angel on earth; and after this one ...
Mack, Maynard. Everybody’s Shakespeare: Reflections Chiefly on the Tragedies. Lincoln, NB: University of Nebraska Press, 1993.
Nathaniel Hawthorne’s “”Young Goodman Brown” is an allegorical piece that cautions against the potential of human evil. Hawthorne believed the most evil thing a person could do was deliberately harden his heart, to disregard others’ emotions entirely and therefore their humanity. In the story, young goodman Brown commits this unpardonable sin. He through on many separate occasions decided to continue a wicked journey, when it did not end exactly the way he wanted, he ended his relationship with Faith. Hawthorne uses symbols to demonstrate and hopefully prevent people from turning into young goodman Brown. Hawthorne chronicles Brown’s departure, his journey through the woods, and his arrival at the ceremony.
Mack, Maynard. Everybody’s Shakespeare: Reflections Chiefly on the Tragedies. Lincoln, NB: University of Nebraska Press, 1993.
Goodman Brown heads into the forest for an undetermined journey. Which is assumed that he is going out to do one last act of sin then come back and stay faithful to his wife Faith. Goodman Brown 's wife Faith is a symbol for his religious faith. Before his voyage he is held up by Faith. " 'pr 'y thee, put off your journey until sunrise, and sleep in your own bed to-night. A lone women is troubled with such dreams and such thoughts, that she 's afeard of herself, sometimes. Pray, tarry with me this night, dear husband, of all nights in the year!" ' (Hawthorne ). Goodman Brown goes on his journey in the woods and when he talks to the man that he comes across in the forest he says that he knows Goodman Brown 's family. " 'Well said, Goodman Brown! I have been as wee acquainted with your family as with ever a one among the Puritans; and that 's no trifle to say. I helped your grandfather, the constable, when he lashed the Quaker women so smartly through the streets of Salem. And it was I that brought your father a pitch-pine knot, kindled at my own hearth, to set fire to an Indian village, In King Philip 's War. They were my good friends, both; and many a pleasant walk have we had along this path, and returned merrily after midnight. I would fain be friends with you, for their sake. '" (Hawthorne ). Goodman Brown then begins to see all of the
Bradley, A.C.. Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear and Macbeth. New York: Penguin Books, 1991.
At the beginning of his journey, Goodman Brown’s will and pride were both embedded in the belief that he was a pious man. Goodman’s pride in piety evidently fails him, as he discovers that his faith was based on the principles of individuals who had sworn allegiance to the devil. This deplorable truth destroyed his conviction, and in this sense the devil prevailed against Goodman Brown.
Bradley, A.C.. Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear and Macbeth. New York: Penguin Books, 1991.
Mack, Maynard. Everybody’s Shakespeare: Reflections Chiefly on the Tragedies. Lincoln, NB: University of Nebraska Press, 1993.
Goodman Brown, a young man who was only married for three months, left his home and his wife, Faith, to go into the forest and spend the night on some mission that he will not explain. Even though Faith has strong feelings about his journey and begs him not to leave, Brown has made his decision and leaves everything behind. Faith is appropriately named, because she represents Browns faith and what he believes in. The name is genuine, religious and hopeful. It represents the good side of Brown and his hope for life. He feels bad for leaving her because he knows what he is about to do is evil and goes against his faith. Brown swears that after this night he will be good and not do anything evil again and vow his life to Faith. Brown is upset about leaving her because he knows that what he is about to do in the forest is evil and goes against his Faith. Hawthorne describes Browns journey as "crossing the threshold", meaning that he is going from one part of his life to another, he is leaving the genuine good side to go to the bad evil side.
Goodman Brown learns many things about himself when he takes that journey into the woods, among many if his faith.
The next use of symbolism is the setting of the journey and meeting in the woods. Early Americans looked at the woods as a test of strength, bravery and endurance. It took a lot of courage for someone to enter the forest because it was unknown territory and they would not emerge the same. ?He had taken a dreary road, darkened by all gloomiest trees of the forest?that the traveler knows not who may be concealed by the innumerable trunks?he may be passing through an unseen multitude.? (197) Goodman Brown does not face the dangers of Indians but faces the danger of reality and truth.
Clark, W. G. and Wright, W. Aldis , ed. The Complete Works of William Shakespeare. Vol. 1. New York: Nelson-Doubleday