The first thought of acceding to the throne is suggested, and success in the attempt is promised, to Macbeth by the witches; he is therefore represented as a man whose natural temper would have deterred him from such a design if he had not been immediately tempted and strongly impelled to it.
A distinction [between Richard III and Macbeth] is made in the article of courage, though both are possessed of it even to an eminent degree; but in Richard it is intrepidity, and in Macbeth no more than resolution: in him it proceeds from exertion, not from nature; in enterprise he betrays a degree of fear, though he is able, when occasion requires, to stifle and subdue it. When he and his wife are concerting the murder, his doubt, 'If we should fail,' is a difficulty raised by apprehension; and as soon as that is removed by the contrivance of Lady Macbeth, he runs with violence into the other extreme of confidence. His question: 'Will it not be receiv'd,' &c., proceeds from that extravagance with which a delivery from apprehension and doubt is always accompanied. Then summoning all his fortitude, he proceeds to the bloody business without any further recoils. But a certain degree of restlessness and anxiety still continues, such as is constantly felt by a man not naturally very bold, worked up to a momentous achievement. His imagination dwells entirely on the circumstances of horror which surround him; the vision of the dagger; the darkness and the stillness of the night, etc... A resolution thus forced cannot hold longer than the immediate occasion for it: the moment after that is accomplished for which it was necessary, his thoughts take the contrary turn, and he cries out in agony and despair. He refuses to return to the chamber and complete his work. His disordered senses deceive him; he owns that 'every noise appals him.' He listens when nothing stirs; he mistakes the sounds he does hear; he is so confused, as not to distinguish whence the knocking proceeds. She, who is more calm, knows that it is at the south entry; she gives clear and distinct answers to all his incoherent questions, but he returns none to that which she puts to him. All his answers to the trivial questions of Lenox and Macduff are evidently given by a man thinking of something else; and by taking a tincture from the subject of his attention, they become equivocal.
Macbeth commits subsequent murders with less agitation than that of Duncan; but this is no inconsistency in his character; on the contrary, it confirms the principles upon which it is formed; for, besides his being hardened to the deeds of death, he is impelled by other motives than those which instigated him to assassinate his sovereign. In the one he sought to gratify his ambition; the rest are for his security; and he gets rid of fear by guilt, which, to a mind so constituted, may be the less uneasy sensation of the two. The anxiety which prompts him to the destruction of Banquo arises entirely from apprehension. For though one principle reason of his jealousy was the prophecy of the witches in favour of Banquo's issue, yet here starts forth another quite consistent with a temper not quite free from timidity. He is afraid of him personally; that fear is founded on the superior courage of the other, and he feels himself under an awe before him; a situation which a dauntless spirit can never get into. So great are these terrors that he betrays them to the murderers. As the murder is for his own security, the same apprehension which checked him in his designs upon Duncan, impel him to this upon Banquo.
Macbeth is always shaken upon great, and frequently alarmed upon trivial, occasions. Upon meeting the Witches, he is agitated much more than Banquo, who speaks to them first, and, the moment he sees them, asks them several particular and pertinent questions. But Macbeth, though he has had time to recollect himself, only repeats the same inquiry shortly, and bids them 'Speak, if you can:--What are you?' Which parts may appear to be injudiciously distributed; Macbeth being the principal personage in the play, and most immediately concerned in this particular scene, and it being to him that the Witches first address themselves. But the difference in their character accounts for such a distribution. Banquo's contemptuous defiance of the Witches seemed so bold to Macbeth, that he long after mentions it as an instance of his dauntless spirit, when he recollects that he 'chid the sisters.'
Macbeth has an acquired, though not a constitutional, courage, which is equal to all ordinary occasions; and if it fails him upon those which are extraordinary, it is however so well formed, as to be easily resumed as soon as the shock is over. But his idea never rises above manliness of character, and he continually asserts his right to that character; which he would not do if he did not take to himself a merit in supporting it. See I, vii, 46. Upon the first appearance of Banquo's ghost, Lady Macbeth endeavors to recover him from his terror by summoning this consideration to his view: 'Are you a man,' 'Aye, and a bold one,' &c. He puts in the same claim again, upon the ghost's rising again, and says, 'What man dare, I dare,' &c., and on its disappearing finally, he says, 'I am a man again.' And even at the last, when he finds that the prophecy in which he had confided has deceived him by its equivocation, he says that 'it hath cow'd my better part of man.' In all which passages he is apparently shaken out of that character to which he had formed himself, but for which he relied only on exertion of courage, without supposing insensibility to fear.
Macbeth wants no disguise of his natural disposition, for it is not bad; he does not affect more piety than he has: on the contrary, a part of his distress arises from a real sense of religion: which makes him regret that he could not join the chamberlains in prayer for God's blessing, and bewail that he has 'given his eternal jewel to the common enemy of man.' He continually reproaches himself for his deeds; no use can harden him: confidence cannot silence, and even despair cannot stifle, the cries of his conscience. By the first murder he put 'rancours in the vessel of his peace;' and of the last he owns to Macduff, 'My soul is too much charg'd With blood of thine already.'
Against Banquo he acts with more determination, for the reasons which have been given: and yet he most unnecessarily acquaints the murderers with the reasons of his conduct; and even informs them of the behaviour he proposes to observe afterwards, see III, i, 117-123; which particularly and explanation to men who did not desire it; the confidence he places in those who could only abuse it; and the very needless caution of secrecy implied in this speech, are so many symptoms of a feeble mind; which again appears, when, after they had undertaken the business, he bids them 'resolve themselves apart;' and thereby leaves them an opportunity to retract, if they had not been more determined than he is, who supposes time to be requisite for settling such resolutions. His sending a third murderer to join the others, just at the moment of action, and without notice, is a further proof of the same imbecility.
Besides the proofs which have been given of these weaknesses in his character, through the whole conduct of his designs against Duncan and Banquo, another may be drawn from his attempt upon Macduff, whom he first sends for without acquainting Lady Macbeth of his intention, then betrays the secret, by asking her after the company have risen from the banquet, 'How say'st thou, that Macduff denies his person At our great bidding?' 'Did you send to him, sir?' 'I hear it by the way: but I will send.' The time of making this enquiry when it has no relation to what has just passed otherwise than as his apprehension might connect it; the addressing of the question to her, who, as appears from what she says, knew nothing of the matter--and his awkward attempt then to disguise it, are strong evidence of the disorder of his mind.
Purchase The Fly: A Play
In The Fly, Walter Wykes takes us on a deliciously depraved tour de force as Murray, an author in the middle of a very public (and messy) divorce, finds himself unable to write -- that is, until he meets Emma, the wife of an obsessed fan. In Emma, Murray recognizes the possibility of a new muse, but Emma has an agenda of her own. She enlists Murray's aid in curing her husband's obsession. Intent on seduction, Murray plays along. His presence in the young couple's home, however, is the catalyst not for any cure, but rather for a violent explosion that will propel the play towards its inevitable conclusion and raise the question ... who is the spider and who is the fly?
The English Journal
The English Journal is a journal of ideas for English language arts teachers in junior and senior high schools and middle schools. EJ presents information on the teaching of writing and reading, literature, and language. Each issue examines the relationship of theory and research to classroom practice, and reviews current materials of interest to English teachers, including books and electronic media. The journal is published bimonthly in September, November, January, March, May, and July.
Coverage: 1912-2014 (Vol. 1, No. 1 - Vol. 104, No. 2)
The "moving wall" represents the time period between the last issue available in JSTOR and the most recently published issue of a journal. Moving walls are generally represented in years. In rare instances, a publisher has elected to have a "zero" moving wall, so their current issues are available in JSTOR shortly after publication.
Note: In calculating the moving wall, the current year is not counted.
For example, if the current year is 2008 and a journal has a 5 year moving wall, articles from the year 2002 are available.
- Terms Related to the Moving Wall
- Fixed walls: Journals with no new volumes being added to the archive.
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Subjects: Language & Literature, Education, Social Sciences, Humanities
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