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"On the Knocking at the Gate in Macbeth" is an essay in Shakespearean criticism by the English author Thomas De Quincey, first published in the October 1823 edition of The London Magazine. It is No. II in his ongoing series "Notes from the Pocket-Book of a Late Opium Eater" which are signed, "X.Y.Z.". [ 1 ]
Macbeth was a favourite of the seventeenth-century diarist Samuel Pepys, who saw the play on 5 November 1664 ("admirably acted"), 28 December 1666 ("most excellently acted"), ten days later on 7 January 1667 ("though I saw it lately, yet [it] appears a most excellent play in all respects"), on 19 April 1667 ("one of the best plays for a stage ...
Reviewing a production of Macbeth in Beijing in 1980, one Chinese critic, Xu Xiaozhong, praised Macbeth as the story of "how the greed for power finally ruined a great man". [35] Another critic, Zhao Xun, wrote: "Macbeth is the fifth Shakespearean play produced on the Chinese stage after the smashing of the Gang of Four. This play of conspiracy ...
Lord Macbeth, the Thane of Glamis and quickly the Thane of Cawdor, is the title character and main protagonist in William Shakespeare's Macbeth (c. 1603–1607). The character is loosely based on the historical king Macbeth of Scotland and is derived largely from the account in Holinshed's Chronicles (1577), a compilation of British history.
Grosser examples of the effect have been noted in literature ever since people started analyzing double plots and noticing echoing situations and spotting thematic common denominators and sustained patterns of imagery." Close Reading Without Readings. Harold Bloom, 1994: "...Shakespeare is the Canon. He sets the standard and the limits of ...
Lionel Charles Knights (15 May 1906 – 8 March 1997) was an English literary critic, an authority on Shakespeare and his period. His essay How many children had Lady Macbeth? (1933) is a classic of modern criticism. He became King Edward VII Professor of English Literature at the University of Cambridge in 1965.
Some literary critics and historians argue that not only does Lady Macbeth represent an anti-mother figure in general, she also embodies a specific type of anti-mother: the witch. [3] Modern day critic Joanna Levin defines a witch as a woman who succumbs to Satanic force, a lust for the devil, and who, either for this reason or the desire to ...
Macbeth, for example, eagerly accepts the Three Witches' prophecy as true and seeks to help it along. Banquo, on the other hand, doubts the prophecies and the intentions of these seemingly evil creatures. Whereas Macbeth places his hope in the prediction that he will be king, Banquo argues that evil only offers gifts that lead to destruction.