Reviewing Anna Murcko's Composition 7/9

7

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.