Untitled Essay Research Paper By Garth BensonThe — страница 2

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distance between her true self and Macbeth. Lady Macbeth has the persuasive capable of humiliating someone into murder, but has no personal capacity to execute ‘the deed,’ though she spoke, at times, as if she would take the opportunity whenever it arose, “Had he not resembled my father as he slept, I had done’t.” (298). Lady Macbeth imagines that she has ability to hide her true emotions, though her mind is as frail as an “egg”. She claims that sh! e can act to “look like the innocent flower/But be the serpent under’t” (287). Lady Macbeth imagines that she has the capability to be a remorseless and determined villain, but she isn’t anything of the like in reality; in actuality, at the end of the play Lady Macbeth is so feeble-minded she becomes overwhelmed

with the guilt that has been set upon her by her husband. In reality, the final results are only accountable to Lady Macbeth. She is the one who convinces her husband to commit the murders, therefore ending in a series of emotional and mental problems. As the play begins, she is a motivated, power-hungry woman with no boundaries; however, as the play moves on, Lady Macbeth begins to fall further and further into a guilt-filled world, ending in her own suicide. Throughout the play, Lady Macbeth’s shifting control over her husband is mainly responsible for aggravating the struggle between Macbeth’s morality, devotion and “vaulting ambition.” In the beginning, she believes matters should be taken into her own hands from the moment she receives the letter about the witches’

prophecies. At the dawn of the play, Lady Macbeth believes that Macbeth doesn’t have the “spirit” to “catch the nearest way” (286). At this moment, she decides that quick action will be the basis of her reasoning and planning. Her spur-of-the-moment orders will affect Macbeth so deeply his character will be forever changed. Lady Macbeth intentionally tries to ignore consequence and concentrates on securing Macbeth’s future as king of Scotland. She looks to the ‘quickest way’ as one that may lack rationality, but shortens their path to the throne. She receives a letter from Macbeth with the news that he was prophesied as the king of Scotland. As soon as he! r eyes ran across the words, she said, “thou. shalt be / What thou art promised” (286). She suggests, by

this quick reaction, her intentions to be a major participant in ensuring Macbeth’s royal success. After the murder is plotted between the two, Duncan decides to make a surprise appearance at Macbeth’s house. Lady Macbeth tells her husband to put the “great business into my dispatch” (287), taking charge and covering for Macbeth, who is defenseless to the overbearing tension residing in himself. As the situation escalates, Lady Macbeth tries to soothe him by explaining that “things without remedy / Should be without regard: What’s done is done” (318). She has changed her technique with Macbeth from shock and intimidation to restraint. She says, “You must leave this”, which sounds calming and unworried. Her control over Macbeth has waned, and over herself, her

control is dwindling as each second passes. The fire she once had, which drove Macbeth forward, is now no more than a minute spark. She is beginning to lose that controlling stiffness . She asks Macbeth, “what’s to be done” (319), which is a drastic change in control. She doesn’t voice any opinions or plans of any sort for the rest of the play. Lady Macbeth is now in awe of Macbeth, a contrast to when Macbeth was in awe of Lady Macbeth’s infanticide analogy. She, by the end of the play, has lost self-confidence by realizing that most of this situation is a result of her impulsiveness and instability. When Lady Macbeth finally recognizes her incompetence, all else crumbles, including her husband. The significance of this dramatic flaw secures her role as the foundation

and authority in the beginning of the play, which plants the seed for failure from beginning to end. Lady Macbeth’s relationship with the supernatural evolves from confidently seeking and obtaining the evilness, to being victimized by its power. At one point, Lady Macbeth demands the assistance of unearthly evil forces: “Come you spirits/ unsex me here, and fill me, from crown to the toe” (287). Being totally rash, Lady Macbeth summons the evil as if she can undermine the power of darkness to her advantage. She asks for the assistance of the evil, implying that she holds no resident evil in her soul. It must act as an additive to fulfill a transformation. Lady Macbeth is creating, instead of magnifying, wickedness that she must manifest in order to propel Macbeth. She