The Theme of Macbeth From Macbeth. It is true that it lacks the careful elaboration which characterizes the most of his other plays, and is devoid of those finer touches of sentiment and playful humor of which he was so eminently the master. But here his purpose is too serious, and the motive of the play is too stern and insistent to permit of any digression. From beginning to end it is a profound and philosophical study of the effect of sin upon human life and its resulting degradation and suffering.
Otherwise, the line scans normally. Come, let me clutch thee.
The trochaic inversion in the middle of this line is another verse technique that Shakespeare frequently employs following a caesura. Straight iambic pentameter here. The unbroken rhythm of the verse works in conjunction with the end-stops of this line and the line above; this is not a throwaway line.
The stresses also highlight the key words in the parallelism have, not, yet, see, still. Note that at this point, he sees a dagger and nothing more. Or art thou but Feeling in this line denotes "the sense of touch.
However, the potent combination of language and Macbeth addressing this dagger as if it were a character onstage forces the audience to visualize that dagger hovering in front of him.
False in this context plays upon a number of meanings. While the primary reading is "unreal," shades of "deceitful, inconstant; not to be trusted" are equally applicable. Keep in mind that Macbeth is asking three questions in the first seven lines, which reflects the struggle that Macbeth is still undergoing in coming to terms with his intended crime.
Macbeth acknowledges that the dagger that has appeared could be a trick of his imagination in this case, perhaps induced by a fever. Fever is a symptom of a disease in its literal meaning. As a metaphor, fever denotes a state of heightened or intense emotion or activity.
The disease, in this instance, is ambition. It creates a rhetorical buildup of tension as Shakespeare creates a little more detail each time, then returns with "I see thee still" or "I see thee yet" as a refrain.
There are two points of interest here. First, the line is only three feet or six syllables. This could point to a corruption in the text as it was transcribed prior to its First Folio edition.
Although some lines throughout the canon are eight, six, or even four syllables, these are usually limited to two situations: Second, notice also how Shakespeare writes stage direction into this speech. Marshall in this context means "to guide or usher," so that Macbeth is saying, "you seem to guide me where I was already headed.
Enough on marshall for now, lest we start beating a dead horse. While the last two syllables of instrument meaning "tool; agent or author" could technically scan as an iamb within the rhythm of the line, it seems a little sing-song here.
However, Shakespeare rarely employs twelve syllables at all in his works. In addition both stylistic analysis and critical consensus largely dismiss the idea that Shakespeare consciously employed the alexandrine line as a variant to his blank verse.
Nor is it a particularly English tradition. When they are employed deliberately in English verse, alexandrine lines typically break at the midpoint with a caesura. There is no such syntactic parallelism in this line.
Both "else" and "worth" tend to take a similar relative stress to each other when the line is spoken, however, which leads me to scan the second foot as a spondee. Macbeth makes yet another address to the dagger, this time signifying the darker turn that the imagery of the speech will take.
Dudgeon Middle English dogeon, from Anglo-French digeon, originally denoting "a wood used especially for dagger hilts" refers to the handle of the dagger; gouts Middle English goute via Old French gout, from Latin gutta or "drop" means "drops.
For a bit of Shakespearean trivia, this line is the only usage of the word dudgeon in the entire canon. Building on the sentiment of the previous line, Macbeth tells himself that his mind is playing tricks on his eyes because of stress and the nature of his intended crime.
Inform in this line denotes "to form or shape; to manifest," although it reflects some of its more common meaning "to communicate or tell" at the same time.
Shakespeare is known to use a trochee at the beginning of a line in blank verse or coming out of a caesura as a standard variant to the meter. Here we have both. The term one half world refers the division between night and day in this case, Macbeth is referring to night.
Although on a purely practical level the verse between "thus to mine eyes" and "thou sure and firm-set earth" might seem superfluous or merely embellishment, it is, after all, dramatic poetry.
The verse in this part of the speech is all about tone, and the shift from emotional to rhetorical can be seen as signaling the change in Macbeth from trusted kinsman to murderer preparing himself for the deed.Giulia It is about Macbeth, a noble who hears a prophecy proclaiming he will be king, and after telling this to his power hungry wife, they both descend into more It is about Macbeth, a noble who hears a prophecy proclaiming he will be king, and after telling this to his power hungry wife, they both descend into suspicion and evil as Scotland is .
Free Macbeth Evil papers, essays, and research papers. You may be asked, "What is the nature of evil in "Macbeth"? Again, you'll need to decide for yourself. Shakespeare only uses the word "evil(s)" in the England scene, and only uses it to refer to bad deeds and bad character traits.
Get an answer for 'Mirror, Mirror: Lady Macbeth in Act 1, Scene 5Characterize Lady Macbeth as she sees herself in Act I, Scene 5.' and find homework help for other Macbeth questions at eNotes. Jo Nesbo, with his Scandi-Noir credentials, reinterprets Shakespeare's Macbeth within the provinces of a police force in the s in a bleak declining town riven with gang warfare, drug addiction, corruption and all other manner of darkest deeds and where little differentiates the cops from the criminals.
A line-by-line dramatic verse analysis of Macbeth's speech in Act II, scene 1.