Reviewing Sage Siclair's Composition 8/9

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Sage composed an analysis that strongly dictates the meaning of the passage.

Forming the composition of the texture found, her message was clearly stated and well supported.

Overall, she lacked only the microcosmic effect of the passage.

Her diction and grammar was well-versed in most of her writing, as well.

Act V, Scene 5: DICTION

     Act V, scene 5, II. 17-28 mirrors Macbeth's depression by briefly mourning his wife's death. 

To explain the fates human create for themselves, Shakespeare designs the ultimatum of Lady Macbeth's life and its numbing effect on her husband. Immediately accepting her fate, Macbeth once again is swept into his cocoon of depression: He sees life as a “brief candle”, and death impossible to avoid. The audience at first may see him heartless, but soon, they realize that it is not unfeeling that enfolds him; rather, it is a swell of darkest depression.

In this passage, Macbeth seems to lose his desire for life as he threatens to take it with the words “out, out, brief candle!” More importantly, he leeches onto the audience’s pity, connecting directly to human's teaching instinct: The audience has seen Macbeth fall from goodness's graces to the pits of a burning darkness...and here is where he seems to long for redemption or perhaps, solace.

Through diction, Shakespeare carves an emotional monologue. Repeating “to-morrow” seems to sculpt the everlasting persistence of a painful life for Macbeth. “Creeps in a petty pace” personifies the dreaded and disgusting stalking of death's greed. An escalation in his thought is observed also here as Macbeth reflects upon philosophies that life is brief and only a step closer to the death that all will die. Bringing fools to a “dusty death”, Macbeth explains the lying light that life seems to give. His grief is even explained in the adjective dusty. Hopelessness seems to construct the life that he sees as he uses “walking shadow” to describe the mirage that life develops. Dropping to less elegant speech in his final statement with the word “idiot”, Macbeth truly seems to be enveloped in change and depression. By ending with “nothing”, Shakespeare even builds the despair in Macbeth's mind into a three-dimensional structure for the audience. Nothing is what life means according to the tone that Macbeth's diction creates.

In microcosmic consequence,  Macbeth's  soliloquy reflects the choices he made and the sadness they delivered to him. Once even considering suicide, Macbeth seems to long for an escape from the torment he has engulfed his world within. The brief time he gives for his wife's death showcases the mortality of choices' consequences when made with evil. The focus is not his heartlessness for his wife; however, it is the immediate acceptance of pain and punishment that are more important.

Reviewing Alyssa Norden's Composition 9/9

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Alyssa wholly compiled a summary of her selection.

Her diction was detailed and enabled in depth interpretation of the passage she described as well as describing how each piece of the composition develops texture.

Creating a vision of the effects of Macduff and Malcolm's decisions, the microcosmic effect is excellently covered.

Overall, Alyssa did a wonderful job on her piece, even incorporating detailed quotations.

Act IV, Scene 1: TONE

      Act IV, scene 1, II. 79-105 highlights the darkness of Macbeth's character that dramatically opposes his original persona. 

Once given the choice between good and evil, Macbeth now submerges his mind within the witches' evil bidding and manifestations, ignoring goodness entirely. To reflect the irony in Macbeth's future, Shakespeare constructed each apparition reflecting the downfall of Macbeth. Intent audience members will notice that the characters portrayed by each apparition foreshadow Macbeth's death.

As Macbeth clings to the fingers of his evil desires, the witches' premonition beckons him back. Within their lair, he is met by three ghosts that tell—through rhyme—his future. The second apparition is that of a small bloody child who warns Macbeth that “none [no man] of woman born” can kill him: To this, the audience thinks that perhaps Macbeth can be killed only by powerful nonhuman being, but a man is mentioned and therefore, a man it must be who kills him. This bloody child both personifies the non-woman-born child as well as the soon to be death of Macbeth's murderer's son. In cold blood, as well, Macbeth then vows to kill Macduff to only secure his future: vowing also to slaughter Macduff's family. The third apparition represents the bloody child (Macduff) bringing the forest to the castle's doors (Great Birnam wood to high Dunsinane hill) and Macbeth will then die; however, Macbeth only hears that he cannot die until the forest comes to his doorstep...which he believes to be impossible. At last, Macbeth begs the witches to verify Banquo's future. The creatures tell this greedy man to “seek to know no more” of that which will cause him fear: He asks anyway.

Showing no second thoughts upon the murder he will commit, Macbeth has fallen far from where we first met him at the exposition's doors. Macbeth displays the taint of evil on the human soul and magnifies the choice we all have in our futures. From now on, only the fall of his character can continue as the tone of the script darkens.

Irony and darkness plague both this passage and this scene as Macbeth's story continues. Irony lies in the idea that Macbeth's downfall is twined within the words and images of the apparitions: Darkness drenches the tone with wicked images and selfish deeds. Through tone, the image of this scene reflects the darkest downfall of even a beautiful soul.

Reviewing Natalie McCafferty's Composition 7/9

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Natalie's writing completely summarizes the passage as well as some extra developments of the scene.

I believe, however, that she should incorporate more specific areas where here "tone" hypothesis is incorporated instead of only stating what tone is developed.

In effect of explaining the importance of this passage to the entire play, Ms. McCafferty could possibly explain how Banquo's suspicions are related later to his death.

Expanding upon the developments outside of the concrete story would aid her in writing and also would allow her writing to become more exact in our writing purpose.

Act III, Scene 1: STRUCTURE

       In Act III, scene 1, II. 1-10 of Macbeth manifests Banquo's newly tainted soul that progresses Shakespeare's thesis of a society that will cause its own wickedness through choice. 

Banquo is gaining desire for power for his children and begins to be drawn into evil. To show that even good men may fall to devilish developments, Banquo's thoughts of evil are composed in order to progress the fate foretold by the witches. Through this passage, the audience becomes fearful of the goodness of man, and they begin to understand the sickness of sins present. 

Beginning as he bathed in wonder of Macbeth's completed fortune, Banquo's speech structures itself into greed and then to awakened interest in evil-doing. The word “all” institutes the sense that Banquo sees Macbeth as the man who has everything: this, in turn, instils his greed and recognition of Macbeth's power in the words “as upon thee, Macbeth, their speeches shine”. In the words “may they not be my oracles as well”, it seems that Banquo may even undertake dark actions to achieve kingship for his children. It seems also, that the free verse delivers Banquo from complete evil taint...as it seems that Shakespeare designs his most powerful and devilish characters to speak in more poetic voice. Through these smooth word inserts and free verse poetic designs, the thoughts of both the audience and Banquo are designed naturally, but thoughtfully.

By showing once again the down fall of a man to evil, Shakespeare reasserts his claim that man will choose his own fate. Banquo still has yet to choose, but his ideas are becoming ever more covered by darkness as the passage pursues the future.

Reviewing Anna Murcko's Composition 7/9

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Although some grammar should be reviewed, Anna developed a strong position in her first sentence, and she shows how this passage defines Macbeth's character as brave and powerful.

Ms. Murcko also construed how the power-greedy desires of Macbeth begin to unfold in this passage, thus poisoning the latter of Macbeth's actions (showing the microcosmic effects).

Understanding the power of the tone utilized and how it affects the audience's interpretation, she included a discussion of figurative language as well and how similes will affect understanding.

In conclusion, Anna strongly analyzed the passage; however, I believe a better organizational structure and a pinch of more detail would have enhanced her purpose. Using some quoted text examples will also strengthen her writing.

Act II, Scene 1: FIGURATIVE LANGUAGE

      Act II, Scene 1, II. from line 42 to the end of the scene sculpts the madness and conflicting desires of Macbeth's mind. 

As he readies himself to kill Duncan, the King, and steal his throne, Macbeth begins to hallucinate that he sees a dagger before his eyes. Blood soon appears upon it, and he convinces his mind that it is truly a figment of his imagination...or perhaps, it is his other senses that are lying to his eyes. Later, Macbeth asks the Gods to watch over him and veil him in a cloak of darkest night to keep heaven from seeing the act of which he will soon commit. As the bell (knell) rings, he tells a far off Duncan “it is a knell that summons thee to heaven or to hell,” and slinks toward his victim.

This passage develops the moment where Macbeth has truly forsaken goodness and decides to choose evil: He is not forced in any way. It also signifies the first sign of Macbeth losing his sanity as he imagines the dagger with “gouts of blood”.

Figurative Language molds this scene into a very visual one: although no dagger is truly present to the audience, imagery makes one materialize. This imagery also intensifies in detail as Macbeth's mind becomes allied with evil. Through personification, murder becomes living and death becomes its weapon of choice in its “alarum'd” state in Macbeth's hands. Personification, however, makes the threat of nature, an overbearing presence, dangerous to Macbeth as he fears “thy very stones prate of my whereabout.” “Words to the heat of deeds too cold breath gives” speaks that voice is no longer a component of the assassination but that action is the only choice, bringing to life the fires of death and the chilling effects of a sharp speaker.

In microcosmic effect, this is most certainly the moment where Macbeth decides to ultimately kill his King. Betrayal and evil now plague the once innocent layers of the Thane's heart. In the end of this scene, Shakespeare shows how it is our own choices that ultimately lead to our undoing...of both our minds and our lives.

Reviewing Madison Harris's Composition: 8/9

      

    8

Madison completely described the context of the play and strongly introduced her subject. 

Through her summary, I could easily understand what she had read. 

Her most powerful inscriptions were those that described the microcosmic importance of her passage with Lady Macbeth. 

Focusing on tone for this, she adequately recognized how the power greedy mood of Lady Macbeth's speech indicates foreshadowing as well as tone. 

Overall, I believe she did an excellent job apart from perhaps eliminating some wordiness and making her ideas more contrite in analyzing.

Act I, Scene 5: CHARACTERIZATION

Act I, scene 5, II. 12/15-27/30 magnifies the evil personality of Lady Macbeth. 

After reading a letter from her beloved husband, she muses over the possibility of his kingship, and she begins to reflect upon his “gutless” nature. Her horrendous nature soon defiles in her mind her husband's image until he is a weak link to her plan: She understands that he would never hurt another in cold blood, as he will always appeal to heaven and therefore, he must be controlled. Knowing that he will not even lie to benefit their cause in becoming rulers, she decides to pursue manipulation of Macbeth so that gentleness will engender great evil. To the play, this is the turning point where Lady Macbeth becomes the voice of the antagonist—evil itself; her charm is sure to confuse and persuade the man with a crowning choice (Macbeth). 


Characterization is direly developed at this point as Lady Macbeth seems to almost personify the evil that will soon plague Macbeth's ultimate decision, thus showing that a beautiful appearance may conceal a hideous and demonic core. Her development as a critical character draws hatred from a wary audience. In this passage, the idea that one decision can change good into bad is reflected and then amplified and reveals the effects upon Macbeth's decision in evilness as well as the weakness in human nature towards greed. Lady Macbeth is truly characterized and then composed into the antagonist's voice at this juncture.

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