Wuthering Heights top quotes for litb3 Gothic english exam

Hi Guys, I just received an email about my typos on here!! I type without looking most of the time, and the computer I’m using doesn’t have spell check unfortunately so I will definitely correct these tomorrow. For now, make sure you double check the spelling before revising them! Thank you again.

1. a perfect misanthropist’s heaven
2. a range of gaunt thorns all stretching their limbs one way
3. other dogs haunted otherrecesses
4. he is a dark skinned gipsy in aspect in dress and managers a gentleman, an erect and handsome figure
5. guests are so exceedingly rare in this house that I and my dogs, I am willing to own hardly know how to receive them
6. I found him very intelligent
7. It is astonishing how sociable I feel myself compared with him
8. his thick brown curls were rough and uncultivated
9. his whispers encroached bearishly over his cheeks
10. it was impossible that the universal scown they wore was their everyday countenance
11. they had so many queer goings on –  Zillah
12. felt secure against the vigilance of Heathcliff
13. let me in,let me in..terror made me cruel
14. twenty years I’ve been a wait for twenty years
15. burst into an uncontrollable passion of tears>HC trying to call Cathy back
16. It was the name of a son who died in childhood
17. Hindley hated him: and to say the truth I did the same
18. hardened perhaps, to ill treatment
19. he was uncomplaining as a lamb; though hardness, not gentleness made him give little trouble
20. Joseph: the wearisome, self righteous Pharisee that ever ransacked a Bible to rake he promises to himself and fling the curses of the neighbours
21. We don’t in general take to foreigners here Mr Lockwood, unless they take to us first
22. Cathy stayed at Thrushcross Grange five weks
23. I shall be as dirty as I please: and I like to be dirty, and I will be dirty
24. Nelly, make me decent. I am going to be good
25. I wish I had light hair nd fai skin, and was dressed and behaved as well, and had a chance of being as rich as he will be
26. I should be miserable all night, and I won’t be miserable for you! – Catherine to Linton
27. I’ve no more business to marryEdgar Linton than I have to be in heavn
28. It would derade me to marry Healthcliff now: so he shall never know how I love him
29. He’s more myself than I am, Whatever our souls are made of, his and mine are the same, and Linton’s as different as a moonbam from lightening, or frost from fire
30. Nelly, I am Healthcliff
31. He’s a fierce, wolfish man
32. He howled, not like a man but lke a savage beast
33. Be with me always-take an form-drive me mad! Only do not elave me in this abyss where I cannot find you! Oh God! It is unutterable! I cannot vie without my life! I cannot live without my osul!
34. What in the name of all that feels has he to do wit books when I am dying
35. Oh I will die she exclaimed, since no one cares anything about me
36. Heathcliff “wrenched it off the chain and crushed it with his foot”
37. “you are lonely like the devil, and envious like him”
38. they would not shut, they seemed to sneer
39. I’ll choose between these two, either to starve at once(..) or to recover and leave the country
40. Won’t you have me and save me? Linton to Catherine
41. Catherine, his happiest days were over when yours began

42. “I could not picture a father treating a dying child as tyrannically and wickedly as I afterwards learned Heathcliff had treated him”

43. He’s a bird of bad omen- Nelly on HC
44. growling thunder, and the great drops that began to plash around her” pathetic fallacy “

Macbeth top Gothic quotes litb3

Important quotes to learn for Macbeth, LITB3 exam on the Gothic.

1. fair is foul and foul is fair
2. O valiant cousin, worthy gentleman
3. So foul and fair a day I have not seen
4. You should be women yet your beards forbid me to interpret that you are so
5. Why do you start, and seem to fear things that do sound so fear?
6. Thou shalt get Kings, though thou be none
7. Why do you dress me in borrowed robes?
8. The instruments of darkness tell us truths
9. Stars hide your fires, let not light see my black and deep desires
10. Come you spirits that tend on moral thoughts, unsex me here
11. Pall thee in the dunnest smoke of Hell
12. Look like the innocent flower, but be the serpent under’t
13. Who should against his murtherer shut the door not bear the knife myself
14. we will proceed no more in this business
15. I would white it was smiing in my face, have pluck’d my nipple from his boneless gumbs and dash’d the brains out, had I so sworn as you have done this
16. In heaven their candles are all out
17. Is this a dagger which I see before me, handle towards my hand?
18. Had he not resembled my father as he slept, I had done’t
19. I could not say Amen
20. it will “make us mad”
21. Macbeth shall sleep no more
22. Will all great Neptune’s Ocean wash this blood clean from my hand
23. I think thou play’dst most foully for it
24. The devil himself could not pronounce a title more hateful to mine ear
25. This dead butcher and his fiend like queen>Malcolm
26. these deeds must not be thought (..) itwill make us mad
27. wash your hands
28. out damned spot: out I say
29. beware Macduff
30. none of woman born shall harm Macbeth
31. Macbeth shall never vanquished be, until Great Birnham wood to high Dunsinane Hill shall come against him
32. something wicked this way comes
33. when shall we three meet again
34. secret black and midnight hags
35. We have scorch’d the snake, not killed it
36. O full of scorpions is my mind

Angela Carter’s The Werewolf top gothic quotes litb3

One of the shortest, yet useful stories in the collection 🙂

1. cold;temptest;wild beasts in the forest.It Is a hard life.
2. wreaths of garlic on the doors to keep out the vampires
3. [when they find a witch’s nipple on the hand] they soon find it, they then stone her to death
4. take her the oatcakes I’ve baked for her on the hearthstone
5. The good child does as her mother bids
6. Here, take your father’s hunting knife; you know how to use it.
7. She knew the forest too well, but she must always be on her guard
8. She dropped her gifts, seized her knife and turned on the beast
9. any but a mountaineers child would have died of fright at the sight of it
10. she made a great swipe at it with her father’s knife and slashed of its right forepaw
11. the wolf let out a gulp, almost a sob, when it saw what happened to it; wolves are less brave than they seem
12. [the wolf] went lolloping off(..) as well as it could on three legs
13. the child wiped the blade of her knife clean on her apron
14. by the wart, she know it for her grandmother’s hand
15. beating her old carcass
16. pelted her with stones until she fell down dead
17. now the child lived in her grandmother’s house; she prospered

20 Top quotes The Bloody Chamber

Hi, the English exam is on Friday so it’s back to the Gothic posts.. I’ll start with my top quotes for The Bloody Chamber. Somebody emailed me asking how many stories/quotes they should learn for the bloody chamber; it’s hard to give a set number because some will just come to you automatically in the exam from knowing the text pretty well, but  have an aim of around 50 for the entire Bloody Chamber section. Oh and as for the part about how many stories, the examiners’ reports suggest knowing all texts so that you aren’t stuck in the exam and force yourself to use a story, but, to me it seems like far too many too learn in depth and therefore I’m focusing mainly on 5: The Bloody Chamber, Lady of the House of Love(gothic elements mostly), The Erl King(entrapment),The Werewolf(animals) and Wolf Alice (liminality). I tried to choose a handful of different texts that cover different aspects of the Gothic. So, here’s my analysis and top quotes for each of them

The Bloody Chamber;there are 20.
“my little nun has found the prayer books, has she”- here, as readers, we are able to see what the Marquis views as <em>his </em>religion in contrast to the usual connotations of God. It becomes clear that the Marquis worships taboos such a pornography and sadism
“I’m sure I want to marry him”- after continually asking her daughter if she loves the Marquis, the young girl replies that she is sure she wans to marry him, making readers question why she is marrying him, if not for love. Therefore it provides an AO4 point about context; perhaps she is marrying for wealth and security
“All the better to see you with”- alludes to Red Riding Hood, voyeurism
“funeral lilies” – certainly it reveals a lot that the Marquis reminds his wife of funeral lilies due to the strong relationship with himself and death
“inspecting cuts on the slabs”/”connoisseur inspecting horseflesh”-objectifies women”
“it must have been my innocence that captivated him”-she is no longer naïve and recognises why he wanted her
“away from Paris, away from girlhood”- allows for a point about setting. It becomes clear that Paris=civilisation, whilst the Marquis “faery solitude” of the castle is uncanny.
“ceased to be her child in becoming is wife” – she Is aware that by marrying the Marquis, she will lose the bond between her mother
“the dead lips smiled”/”could see the blue imprint of his strangler’s fingers”- shows the brutality of the Marquis using his very hands, but also that the sadomasochistic nature of ‘smiling’ suggests she liked the pain whilst being murdered
“her black skirts tucked up around her waist”- the mother seems valiant and brave, Carter translating her feminist
“leaving his wife and child a legacy of tears” already sets up the negative interpretation of men
“there were streaks of pure silver in his dark mane” / “he moved as softly as if all his shoes had soles of velvet” the marquis appears abhuman and supernatural- perhaps she should have expected this surprise
“into marriage, into exile, I sensed it, I knew it-that henceforth, I would always be lonely
“give it me back, Whore”- the young girl has become a whore after her virginity has been conquered
“He was blind of course; but young, with a gentle mouth and grey eyes” Jean Yves although the love of her life, in the end, appears feminine and submissive
“I had to be content with that” when the Marquis leaves, she has no choice but to accept it=recognises the female role in relationships
“key after key, a key, he said for every lock in the house”- the repetition of the key suggests he is setting her up for temptation
“he dangled the key, tantalizingly above my head”= he tempts her with the key, she becomes damned for curiosity
“[the Marquis will not hang the stained sheets to prove to Brittany] you are a virgin, not in these civilised times”-
“my eagle featured, indomitable mother”/”put a bullet through my husband’s head”- shows the mother as brave and courageous and leaves a lasting impression that females will ultimately succeed. I’ll be doing another post on critics for the Bloody Chamber soon.

To what extent do you agree that gothic writing does lack tension and suspense? Macbeth and The Bloody Chamber

It has been a while since I posted any English material! For those of you who didn’t already know, AQA has uploaded the

“Gothic writing lacks tension and suspense because the end is always inevitable.”

To what extent do you agree that gothic writing does lack tension and suspense?

(40 marks)

 

From the opening lines “I remember,” Carter instantly alludes to a Romeo and Juliet style opening: we know she survives. By telling her recount in retrospect, Carter steals away any form of tension and suspense from the narrator’s possible ending. Whilst Carter’s choice of narrative recount is told in retrospect, the text lacks further its ability to shock readers in the same way that traditional Gothic literature does. Whilst it could be argued that some tension is bought to the collections longest stories “The Bloody Chamber” through the tantalising manner in which the Marquis delivers his keys “one by one” and then revealing “except this one” it becomes clear that the female protagonist is damned for exploration. With all Gothic literature, the discovery of forbidden knowledge inevitably leaves the narrator to revel in sin. Ultimately then, it becomes clear that when the Marquis forbids her from exploring the chamber, there is forbidden secrets hidden there but also that punishment lies ahead if she rebels against “[her] Marquis.” For this reason, it is reasonable to argue that Carter’s Gothic texts bans readers from an exploration into the “unknown”, as Gothic literature once did, through the easily identifiable aspects of a Gothic text: sin, punishment, and even more frequent, death.

Additionally, The Bloody Chamber appears to lack tension through its inevitable ending in the short story of The Werewolf. Carter herself, is known to “extract the latent content of traditional fairy tales” and thus by building upon these household tales, Carter is no longer able to offer readers an option to access an unpredictable narrative. The Werewolf is an extension of the traditional Brother’s Grimm tale: Red Riding Hood, yet the Gothic writer adds a dark, feminist twist on these traditional tales. With this in mind, it becomes clear that the ending of The Werewolf is far from unpredictable: “the young girl Prospered” where the ‘Werewolf,’ was left beaten to death. Despite the Werewolf in actual fact taking the place of the young girl’s grandmother, it is typical that Carter metaphorically murders patriarchy with a young, yet prospering and fearless girl. Carter’s Werewolf by no means builds tension: the short two page narrative allows readers to guess the ending of the story before the narrative has even begun. Even through the opening lines, it becomes clear that the “young girl armed with her Father’s hunting knife” is fearful of anything but the forest.

On the other hand, perhaps Gothic tales only appear deceivingly simple and as a result falsely become labelled as ‘lacking tension’ and suspense. Whist in the 21st century, a reader hardly approaches the text of Macbeth with no external insight to background information in relation to context or plot. However, it Is unreasonable to argue that the text offers no element of suspense.  When first introduced to Lady Macbeth, she appears headstrong and even the dominant one in an unorthodox Elizabethan marriage. Lady Macbeth taunts her husband, questioning his manliness by saying “when you durst do it, then you were a man.” Throughout Act 1 scene 7, the “fiend like queen” is presented as haughty, brash and in control. Therefore, when we see the character’s downfall towards the end of the play, it could be argued as unexpected and therefore Shakespeare builds suspense. Additionally, the use of equivocation to unravel Macbeth’s uncertain fate contributes to the suspense built by Shakespeare. The fact the Witches prophecy deliver outcomes such as “None of Woman born shall harm Macbeth” certainly create tension. The sheer impossibility of the statement and the inevitable ill destine for Macbeth instantly forces readers to question, debate and foresee future event. In short, Macbeth’s death from the suzerain delivered Macduff is far from predictable.

 

 

“Macbeth, of course, was written long before the notion of “the Gothic” was conceived. It is pointless, therefore, to consider Macbeth as a Gothic”

Past exam question from the AQA Litb3 exam. This was done in timed conditions.

‘Macbeth, of course, was written long before the notion of “the Gothic” was conceived. It is pointless, therefore, to consider Macbeth as a Gothic.’

Despite being written long before what is considered the ‘first’ Gothic text, The Castle of Otranto, Shakespeare unveils a play that combines the element of fear, the Supernatural and death in a way that can fit in to no other genre than the Gothic.

Macbeth certainly adheres to a dominating aspect of the criteria in being considered ‘Gothic’ with its ability to instil fear. Whilst the modern audience may not agree, Shakespeare was certainly effective in his ability to frighten the live audience of the Jacobean era. Even in the first act, Shakespeare’s introduction of the witches becomes an exploration of Jacobean taboo, as it presents audience with a visual representation of witches in which the audience would have not previously been exposed to. Considering the witch hunts conducted by King James at the time, Shakespeare invites his contemporary audience to the powerful and dire consequence of practising witch craft. Through the opening lines “when shall we three meet again?” Shakespeare forces the audience to consider the powerful ability of witches by even suggesting that they are superior to nature and natural order through being able to choose when and where they shall collide with Macbeth. Therefore, Shakespeare is successful in his attempt to scare readers by not only facing them with three witches, but encouraging the consideration of what the Witches have the power of doing, so powerful that they defy nature. This undoubtedly adheres to the Gothic genre, as Shakespeare’s craft of terror forces viewers to gain an insight to witchcraft, and perhaps, may even terrorise the audience into the frightful thought that they may one day cross paths with a witch that will determine their entire fate. Whilst the witches promote fear within the narrative to Shakespeare’s contemporary audience, it is unlikely to have the same impact on modern readers and therefore the playwright is unsuccessful in his attempts to fear the audience of the 21st century. Likewise, the English Review article “Carter- the Gothic terrorist” explores the idea of Gothic literature being ineffective in creating fear within readers post-WWII due to the sheer brutality the war had caused, due to fact readers have now been exposed to excessive violence in a way that Gothic literature is no longer an exploration of possibilities, but a mere recount of events. Thus, for the modern reader, Shakespeare’s Macbeth can be viewed as a terrifying story, yet among many others, and therefore Shakespeare is no longer impactful in the same way as meeting the key Gothic criteria of instilling fear.

In addition to creating fear, the Gothic genre is also infamous for its excessive exploration of dark and dismal settings. From abbeys to château , Gothic literature explores settings that allow both characters and readers to become engrossed in the other worldly setting. In the same way, Shakespeare utilises similar settings that contribute to the debate of Macbeth as a Gothic text such as castles and “thunder, lightning” and “rain.” The drunken porter describes himself as guarding the “gates of Hell” and therefore automatically associates Macbeth’s castle with death, darkness and evil. Rightly so, Macbeth’s castle becomes the home to Banquo’s ghost, regicide and ironically the place of both Macbeth and his “fiend-like queen’s” death. Here, Shakespeare uses setting to build upon an extended metaphor: the cruelty of the King and Queen ruling the castle, become responsible in reflecting the events that occur inside the castle. In true Gothic fashion, revenants of Banquo’s ghost are then able to haunt Macbeth in a setting that frequently relishes in evil, death and sin. However, Shakespeare’s use of setting in Macbeth does not always appear uninviting and otherworldly like most texts that are widely expressed as ‘Gothic.’ For example, the castle is once described as offering a “pleasant seat” and having a “delicate air,” – it is clear that Duncan does not fee; uncomfortable or uneasy in the setting in the same way characters often express in traditional Gothic texts. Additionally, Shakespeare’s description of the Castle does not conform to a common Gothic characteristic as being away from civilisation. Whilst the first introduction to the Witches appear in an isolated setting, the main action in the play takes place in Macbeth’s castle, that appears welcoming and homely in numerous acts. Through a number of banquets and dinners that are held in the Castle, Shakespeare rebels against the orthodox isolated setting and thus explores another realm outside of the Gothic.

Although Macbeth written long before the genre of the Gothic; the dismal setting and the use of the supernatural to create fear certainly forces readers to identify the Gothic elements within the play. Ultimately, Macbeth is not a Gothic text due to its frequent repellence against Gothic convention, but can evidently be seen to influence Gothic writing today through its exploration of death and consequence.

 

Consider the significance of darkness and concealment in the play. (Macbeth) June 2012

Recently, I have been feeling as though I’d abandoned Macbeth for The Bloody Chamber on this blog. (Hence, the random jump from Carter to Shakespeare) This question has been taken from the June 2012 paper.

Consider the significance of darkness and concealment in the play. Macbeth – William Shakespeare

Through the use of darkness and concealment, Shakespeare not only serves the purpose of lending the play to the Gothic genre, but both elements also work as a catalyst in order to trigger future events in Macbeth.

Darkness is heavily sighted as being associated with evil in the play, seen in Lady Macbeth’s monologue. The femme fatale character calls “come,thick night” when she asks to be unsexed by “spirits.” Here, Shakespeare associates night time with the unnatural and thus comments on how darkness can sometimes cloak the “human kindness” in a person. Here, night time is used to mask the kindness associated with femininity, and therefore Lady Macbeth is able to cloak herself in “thick” darkness in order to become a key component in Duncan’s death. This is significant in revealing character in Macbeth. It could be argued that Lady Macbeth calling on the “dunnest smoke of hell” to fill her with evil suggests that she incapable of such brutality, and needs the supernatural to assist her. Thus, Lady Macbeth is not wholly corrupted as it is the darkness of the night that gives her the ability to be a bearer of such evil. On the other hand, it may also be argued that this in fact enhances Lady Macbeth’s inner dark side. The idea that she consciously recognises the need for “murdering ministers” to provide her with the support to assist Macbeth in regicide certainly falls in favour of arguing that she willingly has the desire for help from the darker realms, making her more evil for actually wanting to be tainted by the poisonous associations of “darkness” in the play.

In addition, concealment is a significant device employed into the plot of Macbeth. In Act 3 scene 2, Macbeth hides his dark plans away from Lady Macbeth. Through concealment, Shakespeare allows readers to gain an insight to the ever-changing relationship between the couple. Macbeth tells his wife to “be innocent of the knowledge” and thus refuses to reveal any more of the plot. Indeed, it could be argued that Macbeth has developed mistrust in their relationship and has become aware that “loyalty” may not be what it seems; self-acknowledged, shown by his attitude towards Banquo. By insisting that she “present [Banquo] eminence” at the banquet, Shakespeare echoes a similar in tone with the way Macbeth questions Banquo. Through emphasising Banquo’s presence at the feast to both characters, Macbeth learns that loyalty can be deceiving and therefore he needs to keep Lady Macbeth in the dark as she may interfere with his plans. This is mirrored earlier in the scene, where Macbeth says “we have scorched the snake, not killed it” and conclusively reveals he is conscious about the “former tooth” that could hinder his plan.

Acts 17:11 in the Bible quotes that “sin grows in the dark.” Act 3 Scene 3 in Macbeth certainly seems to argue the latter. When the “first Murderer strikes out the light,” Banquo dies. Not only does this provide a technical function to the live play, but symbolises a downward spiral of events for Macbeth’s venture in becoming King. Thus, darkness is significant in foreshadowing Macbeth’s fall as it becomes the setting for many evil events such as murder, witchcraft and the calling upon dark spirits. Banquo’s death symbolises a broken friendship, as well as provides a stimulus in order to trigger redemption in Macbeth. Certainly, it is believed that Banquo’s ghost highlights the guilt in Macbeth, and therefore the metaphorical darkness that Macbeth experiences through the event is important in serving a purposeful function in the play. This is also evident in Lady Macbeth’s monologue, as she cries “Come, thick night, And pall thee in the dunnest smoke of hell.” Here, Shakespeare uses the darkness of the night to equip Lady Macbeth with the ability to persuade Macbeth to murder. In addition, Shakespeare associates night time with the “dunnest smoke of hell” and therefore alludes to the idea of darkness being a place for evil, as the female Gothic uses it to cloak her feminine instincts. It could be argued that through this darkness is used as a matter to reveal character as it cannot be said that Lady Macbeth is wholly evil. The fact Lady Macbeth has to call on the darkness of the supernatural in order to help her, shows that she is not as capable of evil as she appears; shown later in her spiral of madness that leads to her eventual death.

Conversely, it can also be said that although darkness and equivocation play a significant role in the play, it is not as important as the supernatural. Some may say that it is through the weird sisters that these chains of events occur; therefore, if Macbeth had not learned the prophecies from the witches: he would not have to be set on a serial event of murders.

Although it is the witches that ultimately trigger these events, it is the darkness behind the intentions of the weird sisters that are able to contaminate the “milk of human kindness” in Macbeth, and the concealment of inner desires that finally set Macbeth in an inescapable chain of events.

Macbeth Act 3 Revision Quotes

(Please click to see larger)

Hi all! I have created this revision mind map full of quotes from Act 3. It is a really vital scene so to keep up with all the action I have broken the mind map down into: lightness and darkness, supernatural, duplicity, inner turmoil and death. Each section is colour coded, with additional pink nodes on specific quotes that I have briefly explained myself. Happy Revising!

“Some say he’s mad; others, that lesser hate him,Do call it valiant fury” (Caithness: Act 5, Scene 2) Consider Macbeth as a gothic protagonist in the light of this comment.

Some say he’s mad; others, that lesser hate him,

Do call it valiant fury” (Caithness: Act 5, Scene 2) 

Consider Macbeth as a gothic protagonist in the light of this comment.

Honestly, this was my favourite essay to write. I found the question on another WordPress site and could not wait to start formulating my answer to it. There’s a lot to talk about when considering Macbeth as “mad” but also, as our “valiant hero” and therefore it invites a lot of debate. If you have any feedback on how I could improve my essay please let me know 🙂 ..

Although Macbeth was written long before the Gothic genre arose within literature, to hold the view that Macbeth fits into the mould of a typical Gothic protagonist is also fair, as he too shares traits of inner struggle, ambition and progression into madness along with a number of other Gothic protagonists such as Frankenstein and Heathcliff. However, to argue whether Macbeth is ‘mad’ or carries out his actions due to ‘valiant fury’ is open to debate.

Madness is a typical convention seen in Gothic texts, where we often see the protagonist’s progression from ambition slowly transgress into the realms of madness. Macbeth is seen as being driven by his own mental manifestations, as he wonders if “a dagger of the mind” hovers in front of him, and begins to question the likelihood of his “heat-oppress’d” mind being the force behind his vision. Therefore, Macbeth is surely driven by his madness. It could be argued that if Macbeth was certain that a dagger had appeared before him, he could then be seen as showing actions of “valiant fury,” but through his soliloquy, Macbeth projects his infested mind; a typical feature of a gothic protagonist. It is clear that Macbeth has lost the ability to think properly, thus it is unreasonble to argue that Macbeth is acting upon “fury” as these Witches have provided themselves as catalysts to contribute to the vulnerable Macbeth, constantly suseptible to the forces of the supernatural.

Gothic protagonists often possess a credible place on the social hierarchy, which the “noble” Macbeth noticeably adheres to as he works up to the “worthy” position of King. Therefore, it could be argued that regardless of its retaliance against the divine right, which during the Elizebeathean era would have been seen as extremely unnatural and thus mad; a more modern approach to Shakespeare’s play is likely to consider Macbeth’s strive and ambition for more power down to his role as a warrior. Shakespeare sets up the structure of the play so that Macbeth is presented as “worthy” and heroic before Macbeth is actually introduced, showing bravery on the battle field as he ran his sword “from his nave t’the chops.” Here, Macbeth’s “butchery,” described by Malcolm, is an act of bravery and honour and therefore may lead to the view that Macbeth is not “mad” and is fully aware of his potentiality of brutality, and that the root for Macbeth’s actions are infused by his “valiant fury” from the moment he hears the witches’ prophecies.

It is open to interpretation that Macbeth’s madness is driven by a typical feature of a gothic protagonist; being ultimately determined. For Macbeth, it his thirst for power to become King. Some critics may refute this argument and say that Macbeth does not possess such a strong passion, and it is our femme fatale-like female Gothic, the character of Lady Macbeth, that plays the purpose of instilling her ambition into Macbeth, by taunting her husband saying “I would be ashamed to wear a heart so white.” Through her harsh and demeaning language, Lady Macbeth is able to manipulate Macbeth into committing regicide and therefore it is her ability to ‘work’ Macbeth that leads into his one of many murders.

Macbeth’s “madness” is often expressed by the figurative language used by Shakespeare. Macbeth cries “full of scorpions is my mind” and Lady Macbeth tells the audience that she shall “pour [her] spirits in thine ear/And chastise with the valour of [here] toungue.” Here, Lady Macbeth reveals that she is going to poison Macbeth’s mind of all “human kindness.” This reflects the turmoil in Macbeth’s mind, and echoes the chaos and disruption that he is facing as a Gothic protagonist. In addition to his constant “to kill or not to kill” battle that he faced in Act 1 scene 7, Macbeths inner struggles and detachment of his thoughts mirror  the destructive character we are revealed to.

Certainly, it could be said that Macbeth acting upon “valiant fury” echoes his heroic and “noble character.” The word “valiant” suggests a courageous and fearless character, and therefore to say Macbeth’s act of murder was committed that reinforced Macbeth’s bravery would be correct. However, I object. Macbeth displays his struggle by not even being able to say the word ‘murder’ and uses the euphemism of “bloody business.” The idea he cannot even say the words suggests Macbeth cannot come to terms with such sin in his mind and therefore finds himself and his mind detached from one another.  It could be said that Macbeth feels ashamed about his actions, or has completely become ignorant to reality, and therefore presents signs of madness. Anyhow, Macbeths disconnected character definitely meets the criteria of a typical Gothic protagonist.

To say that Macbeth is either acting upon “valiant fury” or “madness” is far too reductionist. A recognised feature of a Gothic protagonist shares the cloak of duality and complexity, and therefore it is fair to say that through his bravery and loyalty shown at the start of Act 1, combined with his brutal murder he presents himself as a “hero.” However, Macbeth’s constant inner battle initiates a debate of “madness” in the character.