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In the discussion of Macbeth, it is Macbeth's unity of character that is significant. [302] In many chapters, he emphasises the dominant mood, a unifying theme, the "character" of the play as a whole. [303] In, again, Macbeth, the entire play "is done upon a stronger and more systematic principle of contrast than any other of Shakespear's plays."
Helping define the objective correlative, Eliot's essay "Hamlet and His Problems", [1] republished in his book The Sacred Wood: Essays on Poetry and Criticism discusses his view of Shakespeare's incomplete development of Hamlet's emotions in the play Hamlet. Eliot uses Lady Macbeth's state of mind as an example of the successful objective ...
This sonnet contains examples of all three metrical variations typically found in literary iambic pentameter of the period. Lines 2 and 4 feature a final extrametrical syllable or feminine ending: × / × / × / × / × / (×) My most full flame should afterwards burn clearer. (115.4)
Citizens of the empire were circumspect in identifying tyrants. "Cicero's head and hands [were] cut off and nailed to the rostrum of the Senate to remind everyone of the perils of speaking out against tyranny." [24] There has since been a tendency to discuss tyranny in the abstract while limiting examples of tyrants to ancient Greek rulers.
Plato describes a violent tyrant as the opposite of a good and "true king" in the Statesman, [6] and while Aristotle in the Politics sees it as opposed to all other beneficial forms of government, he also described tyrannicide mainly as an act by those wishing to gain personally from the tyrant's death, while those who act without hope of personal gain or to make a name for themselves are rare.
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 ...
[4] [5] No single play marks a change from the traditional to the freer style. Shakespeare combined the two throughout his career, with Romeo and Juliet perhaps the best example of the mixing of the styles. [6] By the time of Romeo and Juliet, Richard II, and A Midsummer Night's Dream in the mid-1590s, Shakespeare had begun to write a more ...
Lady Macbeth in William Shakespeare's tragic history play Macbeth; Miss Trunchbull in the comic book Matilda by Roald Dahl; Annie Wilkes in the book Misery by Stephen King; Dark Lord: An evil, powerful sorcerer. The dark lord is often wounded, though still powerful enough to defile the land.