Monday, April 16, 2012
INTERESTING
And may actually get me into Frankenstein, horrendously.
http://www.victorianweb.org/previctorian/mshelley/pva229.html
The last four or five paragraphs are really fascinating.
Just saying.
http://www.victorianweb.org/previctorian/mshelley/pva229.html
The last four or five paragraphs are really fascinating.
Just saying.
Sunday, April 15, 2012
Faustus describes Mephostopheles as a "bewitching fiend". To what extent do you agree with this view of him?
I agree with this view in that Mephistopheles has the ability to "bewitch" or cast spells upon people and that he is a "fiend" in that he is a demon and displays evil tendencies throughout the play. He can also be seen to get more intensely bewitching and more fiend-like as the play progresses.
There is evidence to suggest that he is bewitching in Act Two, Scene One as he brings forth a devil as Faustus' wife. She is dressed like a woman but is still hideous, which is shown through Faustus' reaction to the dressed up devil. It is possible that Faustus comes towards the devil at this point before seeing it's face, captivated by the thought of having a wife. This is then torn apart by the revelation that she is a devil. Mephistopheles' powers are shown through this scene in that he can both conjure his own devils and portray them as sweet, virginal creatures to entice Faustus, despite the fact that they are actually spirits from hell. Mephistopheles can also be seen as bewitching in this scene as he is using his powers to persuade Faustus of his way of thinking, though not directly onto Faustus himself. Painting a hideous picture of a wife may be Mephistopheles' way of showing Faustus that lechery and sinfulness is the best way to go, rather than through the virtues of marriage. His desire to gain Faustus' soul, as shown earlier in line 73, may be an explanation for why he is so determined to change Faustus into a man of sin, and why he uses his powers to do so.
The term bewitching can also apply to the spells Mephistopheles performs on Faustus and others during the play to change them physically rather than mentally or emotionally. In act 3, scene 1, Mephistopheles changes Faustus so that he becomes invisible to the Pope, allowing him to play tricks on he and his friars. He also changes Faustus physically in act 4, scene 1 when he allows his leg to be pulled off by the horse-courser in order to swindle even more money out of him. This is showing Mephistopheles as getting more bewitching, or using his powers more, as the play progresses, as before he used his powers to turn Faustus invisible but did not stretch to being able to keep him alive as a limb is ripped off. Later on again, in act 5, scene 1 Mephistopheles has power strong enough to create an image of Helen so strong she can kiss Faustus and possibly later make love to him, though there is no literary evidence of this. Previously when he conjured spirits in the shape of the dead, they did not last long and had very little physical contact with the mortal world. This is both evidence to suggest that Mephistopheles is bewitching and that his power is becoming stronger.
The evidence to suggest that Mephistopheles is a fiend can also be taken from some of these scenes, particularly act five, scene one. In act 2, scene one, Mephistopheles tries to convince Faustus that he would be better off with paramours and mistresses instead of taking a wife. As said, he does this by producing a disgusting image of a devil in the shape of a wife to tempt Faustus away. The effects of this are eventually seen in a5, s1 as Faustus sinks in moral character, possibly due to the imminent end of his unnatural life, and takes Helen of Troy as his lover. How far he sinks is not indicated explicitly, but the implication many scholars have found is that they were together very intimately, betraying the need for virginity at the time of marriage. This would likely have been seen as very lecherous and sinful in the context of the time. The only reason that can be found in evidence from the play for Faustus' moral decline is the influence of Mephistopheles.
Mephistopheles is also by dictionary definition a fiend. According to dictionaries, a fiend is "any evil spirit; demon" (http://dictionary.reference.com/browse/fiend). Mephistopheles is certainly either a spirit or demon, and so the only debate is whether or not he is evil.
Mephistopheles' immorality provides support to this claim. Evidence to suggest he is immoral comes from the scene again where he tries to persuade Faustus to take a lover instead of a wife and also when he allows Faustus to become invisible and encourages him to play tricks upon the Pope. The Pope is supposed to be a figure of morality for the Catholic faith and is partaking in a religious festival when he is taunted by Faustus (Act three, chorus, lines 8-11). This is a spectacularly immoral feat that Faustus could not have pulled off if he was not facilitated by Mephistopheles. Mephistopheles also besmirches the name of the church by suggesting that the feasts are events of gluttony, one of the seven deadly sins. The purpose of the Pope and the Vatican City is to provide a virtuous image and perhaps can be aspired to by those of the Catholic faith. Denouncing their holy events as sinful makes the Catholic church look like hypocrites. Although during the time period in which it would have been performed the Catholics were not looked on with respect, in a present context this would be deeply disrespectful and make Mephistopheles seem fiend-like to any Catholic or in fact anyone who believes that religion should be respected.
Depending on the interpretation an actor takes of Mephistopheles, he can be played in many different ways. One of these is of a truly evil character, hurting Faustus behind his back when he is considered by the doctor as his only friend. There is certainly no escaping that at the end of the play, Mephistopheles simply stands by and allows Faustus to be dragged into hell, possibly partaking in the dragging himself. He is definitely there and observes as a man who he has served and accompanied for twenty four years screams and struggles against the inevitable. He offers no vocal comfort to Faustus, no cushioning for his downfall, and because of the desperate tones in Faustus' final three lines of speech this paints Mephistopheles as an evil and unfeeling creature. The audience grows sympathetic towards the plight of Dr Faustus by the end of the play, despite the fact that he has doomed himself, and the rejection of his companion in his final moments of life can cause the audience to feel that Mephistopheles is really an evil character.
In conclusion, Mephistopheles is a bewitching fiend, because of his use of magic and witchcraft throughout the play and his demonic, sadistic personality.
There is evidence to suggest that he is bewitching in Act Two, Scene One as he brings forth a devil as Faustus' wife. She is dressed like a woman but is still hideous, which is shown through Faustus' reaction to the dressed up devil. It is possible that Faustus comes towards the devil at this point before seeing it's face, captivated by the thought of having a wife. This is then torn apart by the revelation that she is a devil. Mephistopheles' powers are shown through this scene in that he can both conjure his own devils and portray them as sweet, virginal creatures to entice Faustus, despite the fact that they are actually spirits from hell. Mephistopheles can also be seen as bewitching in this scene as he is using his powers to persuade Faustus of his way of thinking, though not directly onto Faustus himself. Painting a hideous picture of a wife may be Mephistopheles' way of showing Faustus that lechery and sinfulness is the best way to go, rather than through the virtues of marriage. His desire to gain Faustus' soul, as shown earlier in line 73, may be an explanation for why he is so determined to change Faustus into a man of sin, and why he uses his powers to do so.
The term bewitching can also apply to the spells Mephistopheles performs on Faustus and others during the play to change them physically rather than mentally or emotionally. In act 3, scene 1, Mephistopheles changes Faustus so that he becomes invisible to the Pope, allowing him to play tricks on he and his friars. He also changes Faustus physically in act 4, scene 1 when he allows his leg to be pulled off by the horse-courser in order to swindle even more money out of him. This is showing Mephistopheles as getting more bewitching, or using his powers more, as the play progresses, as before he used his powers to turn Faustus invisible but did not stretch to being able to keep him alive as a limb is ripped off. Later on again, in act 5, scene 1 Mephistopheles has power strong enough to create an image of Helen so strong she can kiss Faustus and possibly later make love to him, though there is no literary evidence of this. Previously when he conjured spirits in the shape of the dead, they did not last long and had very little physical contact with the mortal world. This is both evidence to suggest that Mephistopheles is bewitching and that his power is becoming stronger.
The evidence to suggest that Mephistopheles is a fiend can also be taken from some of these scenes, particularly act five, scene one. In act 2, scene one, Mephistopheles tries to convince Faustus that he would be better off with paramours and mistresses instead of taking a wife. As said, he does this by producing a disgusting image of a devil in the shape of a wife to tempt Faustus away. The effects of this are eventually seen in a5, s1 as Faustus sinks in moral character, possibly due to the imminent end of his unnatural life, and takes Helen of Troy as his lover. How far he sinks is not indicated explicitly, but the implication many scholars have found is that they were together very intimately, betraying the need for virginity at the time of marriage. This would likely have been seen as very lecherous and sinful in the context of the time. The only reason that can be found in evidence from the play for Faustus' moral decline is the influence of Mephistopheles.
Mephistopheles is also by dictionary definition a fiend. According to dictionaries, a fiend is "any evil spirit; demon" (http://dictionary.reference.com/browse/fiend). Mephistopheles is certainly either a spirit or demon, and so the only debate is whether or not he is evil.
Mephistopheles' immorality provides support to this claim. Evidence to suggest he is immoral comes from the scene again where he tries to persuade Faustus to take a lover instead of a wife and also when he allows Faustus to become invisible and encourages him to play tricks upon the Pope. The Pope is supposed to be a figure of morality for the Catholic faith and is partaking in a religious festival when he is taunted by Faustus (Act three, chorus, lines 8-11). This is a spectacularly immoral feat that Faustus could not have pulled off if he was not facilitated by Mephistopheles. Mephistopheles also besmirches the name of the church by suggesting that the feasts are events of gluttony, one of the seven deadly sins. The purpose of the Pope and the Vatican City is to provide a virtuous image and perhaps can be aspired to by those of the Catholic faith. Denouncing their holy events as sinful makes the Catholic church look like hypocrites. Although during the time period in which it would have been performed the Catholics were not looked on with respect, in a present context this would be deeply disrespectful and make Mephistopheles seem fiend-like to any Catholic or in fact anyone who believes that religion should be respected.
Depending on the interpretation an actor takes of Mephistopheles, he can be played in many different ways. One of these is of a truly evil character, hurting Faustus behind his back when he is considered by the doctor as his only friend. There is certainly no escaping that at the end of the play, Mephistopheles simply stands by and allows Faustus to be dragged into hell, possibly partaking in the dragging himself. He is definitely there and observes as a man who he has served and accompanied for twenty four years screams and struggles against the inevitable. He offers no vocal comfort to Faustus, no cushioning for his downfall, and because of the desperate tones in Faustus' final three lines of speech this paints Mephistopheles as an evil and unfeeling creature. The audience grows sympathetic towards the plight of Dr Faustus by the end of the play, despite the fact that he has doomed himself, and the rejection of his companion in his final moments of life can cause the audience to feel that Mephistopheles is really an evil character.
In conclusion, Mephistopheles is a bewitching fiend, because of his use of magic and witchcraft throughout the play and his demonic, sadistic personality.
Sunday, March 25, 2012
Mephistopheles - How Should He Be Played?
The portrayal of Mephistopheles should be as a transition from the character of a servant to that of master through the duration of the play, but also as a transition from something of a father figure to an enemy.
In the beginning, as he is summoned, Mephistopheles seems pliant and willing to become whatever Faustus desires of him. In Act One, Scene Three, he is summoned by Faustus's incantation, and in line 36 could be played as being friendly or jovial as a demon. He will then seem to the audience like someone who will be a friend to Faustus and try and guide him onto the right path. The audience will remain aware that Faustus is committing sins by raising demons, but will perhaps be glad at least that he seems to have got such a nice one. Lines 41-43 can be played as regretful, but in a way that comes across as paternal towards Faustus. The following line (46) can also add to the image of perhaps being able to protect Faustus from the worst of the devil's wrath, being that he can "come hither of [his] own accord." This can suggest that he is not totally under the control of the devil, which will subsequently make his eventual betrayal so much worse, as the audience has felt they can trust him.
This should continue through all his actions until the end of Act Three, Scene Two. The vast majority of the scene should be played as the paternal, friendly figure, but at the last moment after Faustus runs off beating the friars, Mephistopheles should stop just before he exits, turn to the audience with a spectacularly evil look on his face, and then exit. This will give the audience a clue into the real personality of Mephistopheles, but only enough to confuse them about his real intentions, not let them know that he is going to betray Faustus. This will then also add an element of darkness to an act that is otherwise totally comic.
In Act Four, Scene One, the beginnings of the evil in Mephistopheles can be let out a little more. When Faustus tells him to go fetch Alexander and Thais, he can walk away, staring back at Faustus with the same evil look. It is possible to have Faustus perhaps rub the back of his neck as though it is hot and aching as Mephistopheles stares. When he returns with the two demons, he will have returned to his normal self. At the end of the scene (110) he should look angered by the fact that Faustus wishes to walk on foot, and perhaps throw a tiny curse in his direction when he is not looking that causes Faustus to double over, leaving a diabolical smile on Mephistopheles's face. He will, however, then run up to Faustus to make sure he is alright, returning to his jovial facade. The curse will somewhat have weakened Faustus, causing him to sleep a little in the next section. The audience should be becoming wary of Mephistopheles at this point, as his actions get crueler. For the rest of the act, however, he should continue playing the paternal figure.
In Act Four, Scene Two, Mephistopheles will again hit Faustus with another small curse that weakens him in much the same way as the last time. He will leave the stage when commanded (15), glaring at Faustus's back, but it will only be when he returns to the stage that he will hit Faustus with a curse that sends him to his knees, doubled over and gasping for breath. Mephistopheles would then run to him and help him up with a caring expression, supporting him as Faustus presents the duchess with the grapes. This gives the audience a clear understanding of the double life that Mephistopheles is leading; the life of a servant (which he despises) and that of a demon, one which is gradually coming out more and more as he cannot contain himself.
In Act Five, Scene One, Mephistopheles should play all his lines with as much poorly disguised contempt as is possible. As Helen passes over the stage, he could send such a strong curse towards Faustus that Faustus collapses into a chair behind him, clutching his chest and gasping for breath again. The scholars will not notice because they are too captivated by Helen to be paying any attention, and should assume that Faustus has fallen into his chair at the sight of a woman so beautiful. As the old man enters subsequent to this, Mephistopheles should cower in a corner, to show the audience that God still has precedence over hell. It should be a real effort to pull himself over to Faustus in his chair to give him the dagger, which should be presented with real menace and hatred. When Faustus delivers lines 63-66, Mephistopheles should return his lines with disgust at his abandonment of Lucifer and show his true colours; he is the real master in this show and Faustus will know it now. Mephistopheles should shout and scream his lines, causing Faustus to cower before him and do whatever he says. Lines 89-90 should be spat at Faustus with total sarcasm. Bringing Helen in through a door to stage right, he should exit through this door, slamming it behind him.
As Faustus is dragged into hell in the last few lines of Act Five, Scene Two, Mephistopheles should just look on from front centre stage with a blank facial expression as Faustus screams and begs for salvation. After he is gone into hell, double doors at the back of the stage through which the devils entered should be left wide open. Mephistopheles will walk to the doors, turn to the audience, smile as a scream from Faustus is heard, and shut the doors on hell.
In this instance, the perfect actor to play Mephistopheles would be this fella.
I honestly think that Stephen Fry would be the best man on the PLANET to play such a character. He is wonderful at being jovial but also a really good actor, as can be seen in the episode of Derren Brown in which he appeared.
For anyone who is unaware of this episode, Derren apparently trained an ordinary but incredibly suggestible bloke to be an assassin, for reasons which I think had something to do with a conspiracy about some kind of murdered important person. Anywho, to prove that you COULD hypnotise someone into doing this, he got this suggestible man to shoot Stephen Fry. Which he did. Little bit scary, but there you go. Stephen Fry does an EXCELLENT impression of a dead person.
ANYWAY, Stephen Fry is cracking for this kind of character because he comes across as such a lovely, happy man, but I can imagine him getting really very frightening if he was crossed.
Hence Stephen Fry.
Of course, all of this is immaterial if Faustus is to be played like this guy.
In this instance, Mephistopheles should be expressionless and emotionless throughout.
In the beginning, as he is summoned, Mephistopheles seems pliant and willing to become whatever Faustus desires of him. In Act One, Scene Three, he is summoned by Faustus's incantation, and in line 36 could be played as being friendly or jovial as a demon. He will then seem to the audience like someone who will be a friend to Faustus and try and guide him onto the right path. The audience will remain aware that Faustus is committing sins by raising demons, but will perhaps be glad at least that he seems to have got such a nice one. Lines 41-43 can be played as regretful, but in a way that comes across as paternal towards Faustus. The following line (46) can also add to the image of perhaps being able to protect Faustus from the worst of the devil's wrath, being that he can "come hither of [his] own accord." This can suggest that he is not totally under the control of the devil, which will subsequently make his eventual betrayal so much worse, as the audience has felt they can trust him.
This should continue through all his actions until the end of Act Three, Scene Two. The vast majority of the scene should be played as the paternal, friendly figure, but at the last moment after Faustus runs off beating the friars, Mephistopheles should stop just before he exits, turn to the audience with a spectacularly evil look on his face, and then exit. This will give the audience a clue into the real personality of Mephistopheles, but only enough to confuse them about his real intentions, not let them know that he is going to betray Faustus. This will then also add an element of darkness to an act that is otherwise totally comic.
In Act Four, Scene One, the beginnings of the evil in Mephistopheles can be let out a little more. When Faustus tells him to go fetch Alexander and Thais, he can walk away, staring back at Faustus with the same evil look. It is possible to have Faustus perhaps rub the back of his neck as though it is hot and aching as Mephistopheles stares. When he returns with the two demons, he will have returned to his normal self. At the end of the scene (110) he should look angered by the fact that Faustus wishes to walk on foot, and perhaps throw a tiny curse in his direction when he is not looking that causes Faustus to double over, leaving a diabolical smile on Mephistopheles's face. He will, however, then run up to Faustus to make sure he is alright, returning to his jovial facade. The curse will somewhat have weakened Faustus, causing him to sleep a little in the next section. The audience should be becoming wary of Mephistopheles at this point, as his actions get crueler. For the rest of the act, however, he should continue playing the paternal figure.
In Act Four, Scene Two, Mephistopheles will again hit Faustus with another small curse that weakens him in much the same way as the last time. He will leave the stage when commanded (15), glaring at Faustus's back, but it will only be when he returns to the stage that he will hit Faustus with a curse that sends him to his knees, doubled over and gasping for breath. Mephistopheles would then run to him and help him up with a caring expression, supporting him as Faustus presents the duchess with the grapes. This gives the audience a clear understanding of the double life that Mephistopheles is leading; the life of a servant (which he despises) and that of a demon, one which is gradually coming out more and more as he cannot contain himself.
In Act Five, Scene One, Mephistopheles should play all his lines with as much poorly disguised contempt as is possible. As Helen passes over the stage, he could send such a strong curse towards Faustus that Faustus collapses into a chair behind him, clutching his chest and gasping for breath again. The scholars will not notice because they are too captivated by Helen to be paying any attention, and should assume that Faustus has fallen into his chair at the sight of a woman so beautiful. As the old man enters subsequent to this, Mephistopheles should cower in a corner, to show the audience that God still has precedence over hell. It should be a real effort to pull himself over to Faustus in his chair to give him the dagger, which should be presented with real menace and hatred. When Faustus delivers lines 63-66, Mephistopheles should return his lines with disgust at his abandonment of Lucifer and show his true colours; he is the real master in this show and Faustus will know it now. Mephistopheles should shout and scream his lines, causing Faustus to cower before him and do whatever he says. Lines 89-90 should be spat at Faustus with total sarcasm. Bringing Helen in through a door to stage right, he should exit through this door, slamming it behind him.
As Faustus is dragged into hell in the last few lines of Act Five, Scene Two, Mephistopheles should just look on from front centre stage with a blank facial expression as Faustus screams and begs for salvation. After he is gone into hell, double doors at the back of the stage through which the devils entered should be left wide open. Mephistopheles will walk to the doors, turn to the audience, smile as a scream from Faustus is heard, and shut the doors on hell.
In this instance, the perfect actor to play Mephistopheles would be this fella.
For anyone who is unaware of this episode, Derren apparently trained an ordinary but incredibly suggestible bloke to be an assassin, for reasons which I think had something to do with a conspiracy about some kind of murdered important person. Anywho, to prove that you COULD hypnotise someone into doing this, he got this suggestible man to shoot Stephen Fry. Which he did. Little bit scary, but there you go. Stephen Fry does an EXCELLENT impression of a dead person.
ANYWAY, Stephen Fry is cracking for this kind of character because he comes across as such a lovely, happy man, but I can imagine him getting really very frightening if he was crossed.
Hence Stephen Fry.
Of course, all of this is immaterial if Faustus is to be played like this guy.
In this instance, Mephistopheles should be expressionless and emotionless throughout.
Sunday, January 29, 2012
Second bit of coursework
I'm not sure, really.
Katie has an excellent idea of applying feminism to Twilight.
She's a clever one.
I think I might be going a similar route though. Possibly with The Lady of Shallott or, preferably, The Highwayman by Noyes, which I LOVE LOVE LOVE.
Possibly The Princess Bride as well.
Either way, I really think feminism is the way I'm looking here.
I actually don't even know how the questions have to be set out. I missed that bit because of an exam, I think.
Feminism.
Katie has an excellent idea of applying feminism to Twilight.
She's a clever one.
I think I might be going a similar route though. Possibly with The Lady of Shallott or, preferably, The Highwayman by Noyes, which I LOVE LOVE LOVE.
Possibly The Princess Bride as well.
Either way, I really think feminism is the way I'm looking here.
I actually don't even know how the questions have to be set out. I missed that bit because of an exam, I think.
Feminism.
Tuesday, November 22, 2011
A Poor Excuse For An Essay
How far do you agree that Macbeth regrets his actions throughout the play?
Macbeth could be viewed as one of the most prolific cold-blooded murderers in all of Shakespeare's work. He spends the vast majority of the play wilfully killing for his own benefit under the encouragement of his wife. However, it could be said that he regrets the actions he commits during the play.
His wife's assessment of his nature in Act One, Scene Five could be considered a precursor for the regret that Macbeth will later feel. Where Lady Macbeth wishes that she could be stripped of all the emotions associated with human nature and “fill me from the crown to the toe top-full of direst cruelty” (line 40-41), but fears her husband's nature is “too full o' the milk of human-kindness” to carry out the plan. This could then indicate that Macbeth has a weakness in his generous emotions that could result in his not wanting to commit the actions he is tasked with.
Macbeth's reluctance and procrastination in Act One, Scene Seven could connote pre-regret. His soliloquy about pity and horrid deeds takes up roughly a page's worth of time, preventing his having to return to dinner and perhaps then prolonging the time Duncan spends awake. He fears his actions, perhaps concerned that they will return to haunt him in the form of regrets. “Bloody instructions, which, being taught, return To plague the inventor” (Line 9-10).
This suggestion of things returning to plague him could be shown to manifest in the form of the ghosts that appear to him. This then draws a parallel between Macbeth's regrets and the ghost of Banquo, suggesting that because Macbeth regrets the murder of his dear friend so fully, he is creating this vision to subconsciously comfort himself, despite the shock and horror with which he recieves the vision.
“For them the gracious Duncan have I murdered, Put rancours in the vessel of my peace” (A3,S5,L65-66).
The use of the word gracious in this context implies that Macbeth has regrets stemming from his decision to murder Duncan. Duncan has awarded him a great many privileges in the past, and he has repaid him by murdering him. Macbeth's then betrayal has left him reeling with regret.
Thursday, October 13, 2011
What's Gothic About Act One?
There are lots of Gothic elements in Act One of Shakespeare's Macbeth.
The Weird Sisters portray many such elements, such as the power of three, the fear of the unknown and the warping of human nature. They are uncaring as to human suffering and show no remorse, which are two major elements of human nature that separate us from being animals. They embody the supernatural gothic element.
Lady Macbeth displays a twisted version of human nature and not one that is expected within a woman of her standing. She is calculating, cold and ambitious, to the point where she plots the most high risk murder she possibly could in order to get money and power. Her scathing attitude towards her husband and his human kindness creates a sense of fear within her, as he is not as constant and unchanging as she is due to his emotion. She sees feelings as weaknesses and so is terrified that Macbeth's softer heart could ruin them both. She emasculates him, possibly so as to keep herself fully in charge. She has understood that she cannot be king of everywhere and so becomes ruler within her own territory. There is an attitude within her that makes the reader think that perhaps if she had been born a man it would not only have been Scotland that would fall to her. (In my opinion, Lady Macbeth could have been Queen of the World had she just been born a bloke. King of the World. Whatever.) She is also two-faced, and can act the picture of sweetness and light when required of her (when she is approached by a messenger in this act and when she pretends to swoon in the following act) but is actually the opposite. This is Gothic in nature because this type of woman is unknown in the context of the story.
The Weird Sisters portray many such elements, such as the power of three, the fear of the unknown and the warping of human nature. They are uncaring as to human suffering and show no remorse, which are two major elements of human nature that separate us from being animals. They embody the supernatural gothic element.
Lady Macbeth displays a twisted version of human nature and not one that is expected within a woman of her standing. She is calculating, cold and ambitious, to the point where she plots the most high risk murder she possibly could in order to get money and power. Her scathing attitude towards her husband and his human kindness creates a sense of fear within her, as he is not as constant and unchanging as she is due to his emotion. She sees feelings as weaknesses and so is terrified that Macbeth's softer heart could ruin them both. She emasculates him, possibly so as to keep herself fully in charge. She has understood that she cannot be king of everywhere and so becomes ruler within her own territory. There is an attitude within her that makes the reader think that perhaps if she had been born a man it would not only have been Scotland that would fall to her. (In my opinion, Lady Macbeth could have been Queen of the World had she just been born a bloke. King of the World. Whatever.) She is also two-faced, and can act the picture of sweetness and light when required of her (when she is approached by a messenger in this act and when she pretends to swoon in the following act) but is actually the opposite. This is Gothic in nature because this type of woman is unknown in the context of the story.
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