The concept of treason is the idea of a king in many areas of Europe during this period considered as anointed. That is to say, the king was the chosen one by God and thus, going against the king was to go against God Himself. Thus, if the opposite action towards the concept of kingship is so radical, then it mean that kingship weighed down and played the most important role in these setting or/and eras.
In Richard II, the portrayal of kingship is more than just a title. For Richard, his status meant his existence―not precisely because it was his passion, but because it was his identity. His crown was an extension of his body. The mirror reflected more than his reflection―its reflection is his title. Richard could not differentiate himself
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Macbeth escalated titles to reach and possess the ultimate for his identity―to be the best he was able to be and surpass it. The identity issue in this play was not associated with external factors such as world dominance, but rather internal factors instigated by the Lady Macbeth’s prodding and mostly the stimulation of the Weird Sisters’ prophecy.
Through Macbeth the reader can be the witness of the other side of the coin from Richard’s point of view: committing treason―just as Bolingbroke indirectly did; but Macbeth intentionally plotting against the king’s crown and life. It is even shown through a psychological hallucination, since Macbeth’s unconscious desires arise when he decides to act upon his ambition: “Nature seems dead…While I threat, he lives; / Words to the heat of deeds too cold breath gives” (Macbeth 2.1:51,61-2).
Similar to Richard’s concept of kingship, in Macbeth, Macduff shares the same words for kingship once the corpse of Duncan is discovered: “Most sacrilegious murder hath broke ope / The Lord’s anointed temple and stole thence / The life’s o’th’ building” (Macbeth
The suffering of Macbeth throughout the play is a disconsolate process. Throughout the stages of his grievous downfall essential truths about humanity are dubiously displayed. Macbeth’s ordeal reveals the ev...
Dean, Leonard F. "Richard II: The State and the Image of the Theatre." PMLA 67 (1952): 211-18.
William Shakespeare’s Macbeth is a tragedy in which the main characters are obsessed by the desire for power. Macbeth’s aspiration for power blinds him to the ethical implications of his dreadful acts. The more that Shakespeare’s Macbeth represses his murderous feelings, the more he is haunted by them. By analyzing his hallucinations it is possible to trace his deteriorating mental state and the trajectory of his ultimate fall. Throughout the play Macbeth is never satisfied with himself. He feels the need to keep committing crime in order to keep what he wants most: his kingship. The harder Macbeth tries to change his fate the more he tends to run into his fate. His ambition and struggle for power was Macbeth’s tragic flaw in the play. Macbeth’s rise to the throne was brought about by the same external forces that ensure his downfall.
Murder, ghosts, and floating daggers are the usual attractions for most that read William Shakespeare’s Macbeth, and yet there is an important theme that some might overlook. Written in the early 17th century, Macbeth is believed to be based upon historical events listed in Raphael Holinshed’s Chronicles of Scotland and other current events of the time. Shakespeare constructs the memorable world of Macbeth with a mysterious and sinister atmosphere, incorporating diabolical elements into this world with the appearance of Hecate, witches, prophecies and ghostly apparitions. Throughout his story, Macbeth becomes controlled by desire for power, by allowing himself to be influenced, using evil means to gain and maintain power to the point that Macbeth is blinded to all else. In Macbeth, Shakespeare vividly demonstrates a recognizable theme of the weighty pull that power holds over those with authority.
In “Macbeth” written by William Shakespeare the main character Macbeth is a general in the Scottish army. After Macbeth and Banquo another general return from battle they encounter three witches the witches give Macbeth and Banquo three Prophesies. The witches prophesy that Macbeth will be made thane (a rank of Scottish nobility) of Cawdor and eventually King of Scotland. They also prophesy that Banquo will produce a line of Scottish kings although Banquo will never become king himself. King Duncan’s men come to thank the two generals for their victories in battle and to tell Macbeth that he has been named thane of Cawdor. The previous thane betrayed Scotland by fighting for the Norwegians and Duncan has condemned him to death. Macbeth’s wife Lady Macbeth hears about king Duncan coming to their castle and try’s to persuade Macbeth to murder king Duncan. He and Lady Macbeth plan to get Duncan’s two chamberlains drunk so they will black out; the next morning they will blame the murder on the chamberlains, who will be defenseless, as they will remember nothing. While Duncan is asleep, Macbeth stabs him, despite his doubts and a number of supernatural visions, including a vision of a bloody dagger. Macbeth now becomes king and Fearful of the witches’ prophecy that Banquo’s heirs will seize the throne, Macbeth hires a group of murderers to kill Banquo and his son Fleance. They ambush Banquo on his way to a royal feast, but they fail to kill Fleance, who escapes but kills Banquo. Lady Macbeth later kills herself while sleepwalking and Macbeth becomes depressed. Later Macduff comes with his army and beheads Macbeth. And Malcolm becomes king.
Gifted with the darkest attributes intertwined in his imperfect characteristics, Shakespeare’s Richard III displays his anti-hero traits afflicted with thorns of villains: “Plots have I laid, inductions dangerous / By drunken prophecies, libels, and dreams” (I.i.32-33). Richard possesses the idealism and ambition of a heroic figure that is destined to great achievements and power; however, as one who believes that “the end justifies the means”, Richard rejects moral value and tradition as he is willing to do anything to accomplish his goal to the crown. The society, even his family and closest friends, repudiate him as a deformed outcast. Nevertheless, he cheers for himself as the champion and irredeemable villain by turning entirely to revenge of taking self-served power. By distinguishing virtue ethics to take revenge on the human society that alienates him and centering his life on self-advancement towards kingship, Richard is the literary archetype of an anti-hero.
The undeniable pursuit for power is Richard’s flaw as a Vice character. This aspect is demonstrated in Shakespeare’s play King Richard III through the actions Richard portrays in an attempt to take the throne, allowing the audience to perceive this as an abhorrent transgression against the divine order. The deformity of Richards arm and back also symbolically imply a sense of villainy through Shakespeare’s context. In one of Richard’s soliloquies, he states how ‘thus like the formal Vice Iniquity/ I moralize two meanings in one word’. Through the use of immoral jargons, Shakespeare emphasises Richard’s tenacity to attain a sense of power. However, Richard’s personal struggle with power causes him to become paranoid and demanding, as demonstrated through the use of modality ‘I wish’ in ‘I wish the bastards dead’. This act thus becomes heavily discordant to the accepted great chain of being and conveys Richard’s consumption by power.
Among the greatest gifts that the renaissance produced was the eloquent and incredible Shakespearean plays. Written mostly in the 1590s these plays have been performed and admired countless times; entertaining mass audiences by providing interesting tales that explore the depth of human insights and the different universal themes. Among the many Shakespearean plays Macbeth, written in 1606, stands out with its short composition but multiple themes. This tragedy narrates the tale of Macbeth and Lady Macbeth’s quest to grasp ultimate power by ignoring their morals and succumbing to their dark desires, which ultimately leads to their downfall. This tragic play portrays the desires, needs, and temptations that accompany ambition in men and women. However the ambition in Macbeth is blind, it does not abide to the morals, but it allows space for dark actions as means necessary for accomplishment. Blind ambition serves as the main driving force that drives Macbeth to subdue to his dark desires, defy his noble behavior, and ultimately his downfall.
William Shakespeare, one of the greatest English play writers, has had a profound influence upon different societies globally since the fifteenth century, for his plays inspire many contemporary artists to present new scopes reflecting their societies. Considered as one of Shakespeare’s greatest tragedies, Macbeth has a completely disparate interpretation of the movie Scotland, PA, which translates the original play into a black comedy. A Scottish royal and general, Macbeth the protagonist undergoes a demonic transformation in personality, in which he unethically takes the crown by murdering numerous characters. The director of the movie alters the plot while maintaining the basic semblance of power, ambition, and masculinity from Shakespeare’s work. In the movie, the alteration of the process Macbeth usurps the power of Duncan, including his internal and external incentives, gives the audience a fresh perspective on one of the English classical plays.
	Much debate and controversy surround the rise and fall of Richard the Third. It is hard to ignore such subjects due to the bonds and hidden reasons that many of the authors of the middle ages had towards Richard. In keeping an objective approach towards Richard III, the study of his rise and fall will be taken in the perspective of his royal acts and administration of England. Public sentiment over such things as the scandal surrounding the princes did have an effect over the rule of Richard, but there are many other underlying aspects that could have extended Richards rule, and changed the way history looks back on him.
Shakespeare constructs King Richard III to perform his contextual agenda, or to perpetrate political propaganda in the light of a historical power struggle, mirroring the political concerns of his era through his adaptation and selection of source material. Shakespeare’s influences include Thomas More’s The History of King Richard the Third, both constructing a certain historical perspective of the play. The negative perspective of Richard III’s character is a perpetuation of established Tudor history, where Vergil constructed a history intermixed with Tudor history, and More’s connection to John Morton affected the villainous image of the tyrannous king. This negative image is accentuated through the antithesis of Richards treachery in juxtaposition of Richmond’s devotion, exemplified in the parallelism of ‘God and Saint George! Richmond and victory.’ The need to legitimize Elizabeth’s reign influenced Shakespeare’s portra...
The essence of Macbeth lies not only in the fact that it is written by the universal talent William Shakespeare; the royal-conspiracy, the political unethical activity, the killin...
Shakespeare draws an amazing psychological portrait of a man who became a villain by means of ambition, desire and an imbalance of good and evil. “Macbeth” is a play composed of the disintegration of a noble man’s world. The play begins by offering the audience Macbeth, a war hero, with a high regard from Duncan, the king of Scotland. By the end of the play Macbeth transforms into a universally despised man without a place in the social community. Shakespeare draws an amazing face of a man made to be a villain by ambition, desire and an imbalance of good and evil.
Macbeth, who at the beginning of his play’s plot is in a position of some honor and power, obtains position as king of Scotland through secretive foul play, spurred on by some external manipulation as well as personal ambition. “Macbeth’s ambition is unchecked by both moral and legal considerations-he will stop at nothing to get what he desires… Macbeth’s unbridled ambition is the root of the play’s evil because he is willing to throw the world into chaos in order to satisfy his personal desires.” (Thrasher, 92). His rebellion is heinous, but so long undiscovered. His ambition, though present in some degree from the beginning, metastasizes within him through the play as more obstacles to his retention of royal status crop up. “He begins well…but this...
“You either die a hero or live long enough to see yourself become the villain.” (The Dark Knight, 2008). This quote describes the archetypical tale of the tragic hero. As Aristotle had illustrated in Poetica, the tragic hero is defined as possessing hubris and harmartia, arrogance or a tragic mistake respectively. In Shakespeare’s Macbeth, we follow the titular character as we witness his rise to the throne to then see his immediate downfall. Macbeth stands among Shakespeare’s greatest tragedies, showing the effect of power on an individual. His ultimate demise in the story’s resolution gives insight into what catalyzed the supposed events. Without a doubt, Macbeth had transformed from the hero to eventually the villain.