Macbeth Essay features Samuel Taylor Coleridge's famous critique based on his legendary and influential Shakespeare notes and lectures.
How much it were to be wished in playing Macbeth, that an attempt should be made to introduce the flexile character-mask of the ancient pantomime;that Flaxman would contribute his genius to the embodying and making sensuously perceptible that of Shakspeare!
I doubt whether 'enkindle' has not another sense than that of 'stimulating;' I mean of 'kind' and 'kin,' as when rabbits are said to 'kindle.' However Macbeth no longer hears any thing ab extra:
Shakespeare conveys this message through the character of Macbeth by showing how his ambition of gain more power and recognition changed him such as by causing him to murder people and carry out evil deeds.
In Shakespeare's message of the destructive power of ambition, Macduff could be shown as the one who isn't affected by ambition as despite his great strength and qualities he does not sought a higher rank but instead stays loyal to his country.
Macduff as a light of hope within the darkness
Contrasting to Macbeth, Macduff is driven instead by emotion and not Ambition
The emotion he has is grief and the urge to sought revenge for his wife and young son whom were murdered by Macbeth.
Ib. sc. 5. Macbeth is described by Lady Macbeth so as at the same time to reveal her own character. Could he have every thing he wanted, he would rather have it mnocently;ignorant, as alas! how many of us are, that he who wishes a temporal end for itself, does in truth will the means; and hence the danger of indulging fancies, Lady Macbeth, like all in Shakspeare, is a class individualized:of high rank, left much alone, and feeding herself with day-dreams of ambition, she mistakes the courage of fantasy for the power of bearing the consequences of the realities of guilt. Hers is the mock fortitude of a mind deluded by ambition; she shames her husband with a superhuman audacity of fancy which she cannot support, but sinks in the season of remorse, and dies in suicidal agony. Her speech:
As he questions the porter, the porter is quoted to say
“but I requited him for his lie; and, I think, being too strong for him, though he took up my legs sometime, yet I made a shift to cast him.” The torture the porter is recieved could be shown as one of the souls trapped within Macbeth's Castle
Overall Macduff can be seen as a mixture between King Duncan and Macbeth.
Duncan is shown to have feelings but takes no decisive actions while Macbeth has actions without any feelings.
It is with his bravery and strength they are able to lead a crusade against Macbeth.
In Act 2 Scene 3 when Macduff knocks on the doors of Macbeth’s castle, he is portrayed to be like a figure of christ that is knocking on the doors of hell (Macbeth's castle) to release the souls - "
This imagery is called Harrowing of Hell"
Macduff is prepared to leave the country but visits Macbeth's castle.
This is contrasting to the present idea of women being more emotional
Rivalry With Macbeth
Macbeth and Macduff are clearly the two enemies in the play as they each sought to get rid of the other with Macduff resulting the victory in the end
A Scottish Nobleman, also known as the Thane of Fife
Macduff plays the role of the hero in the play as he ends the tyranny of Macbeth's rule of Scotland
Could be seen as one of the key protagonists as without Macduff there wouldn't be a crusade against Macbeth.
Malcolm the son of Duncan and rightful heir to the throne is displayed to be weak as he flees the country right after King Duncan was murdered It was with Macduff beside Malcolm's side that Malcolm was able to have the courage to retaliate against Macbeth
As shown previoulsy Macduff is presented to the audience of the play as the light of hope in the dark rule of Macbeth.
However with Macduff's response as quoted above to feel it as a man indicates the flood of emotion he has.
The audience can compare this to Macbeth who is one who has shown no feelings or emotions even after committing murder
"feel it as a man"
could be interpreted as portraying how in the past, men were actually the ones who were emotional as he has to feel deeply upon the murder.
Ib. sc. 6. The lyrical movement with which this scene opens, and the free and unengaged mind of Banquo, loving nature, and rewarded in the love itself, form a highly dramatic contrast with the laboured rhythm and hypocritical over-much of Lady Macbeth's welcome, in which you cannot detect a ray of personal feeling, but all is thrown upon the 'dignities,' the general duty.
on the entrance of the deeper traitor for whom Cawdor had made way! And here in contrast with Duncan's 'plenteous joys,' Macbeth has nothing but the common-places of loyalty, in which he hides himself with 'our duties.' Note the exceeding effort of Macbeth's addresses to the king, his reasoning on his allegiance, and then especially when a new difficulty, the designation of a successor, suggests a new crime. This, however, seems the first distinct notion, as to the plan of realizing his wishes; and here, therefore, with great propriety, Macbeth's cowardice of his own conscience discloses itself. I always think there is something especially Shakspearian in Duncan's speeches throughout this scene, such pourings forth, such abandonments, compared with the language of vulgar dramatists, whose characters seem to have made their speeches as the actors learn them.