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Sunday, April 28, 2013

The Open Window by Saki Plot Analysis

The Open Window Plot Analysis





Andrew Kokanoutranon


  Open Window Analysis

The Open Window Plot Analysis 


Exposition: "My aunt will be down presently, Mr. Nuttel," said a very self-possessed young lady of fifteen; "in the meantime you must try and put up with me.

The story starts off by the narrator giving details and back round descriptions of the characters. 

Inciting Incident: "Her great tragedy happened just three years ago," said the child; "that would be since your sister's time." 

"Her tragedy?" asked Framton; somehow in this restful country spot tragedies seemed out of place. 

"You may wonder why we keep that window wide open on an October afternoon," said the niece, indicating a large French window that opened on to a lawn. 

"It is quite warm for the time of the year," said Framton; "but has that window got anything to do with the tragedy?

Framton, the main character, gets introduce to a plot and he takes it as truth. 

Rising Action: "I hope you don't mind the open window," said Mrs. Sappleton briskly; "my husband and brothers will be home directly from shooting, and they always come in this way. They've been out for snipe in the marshes today, so they'll make a fine mess over my poor carpets. So like you menfolk, isn't it?" 

She rattled on cheerfully about the shooting and the scarcity of birds, and the prospects for duck in the winter. To Framton it was all purely horrible. He made a desperate but only partially successful effort to turn the talk on to a less ghastly topic, he was conscious that his hostess was giving him only a fragment of her attention, and her eyes were constantly straying past him to the open window and the lawn beyond. It was certainly an unfortunate coincidence that he should have paid his visit on this tragic anniversary. 

Framton gets introduce to Mrs. Sappleton and he thinks she is insane, but in reality she is telling the truth; this is setting up for the climax. 

Climax: In the deepening twilight three figures were walking across the lawn towards the window, they all carried guns under their arms, and one of them was additionally burdened with a white coat hung over his shoulders. A tired brown spaniel kept close at their heels. Noiselessly they neared the house, and then a hoarse young voice chanted out of the dusk: "I said, Bertie, why do you bound?" 

The main character sees that the husband and the sons were walking towards the house, the character reaches the point of no return. 

Falling Action: Framton grabbed wildly at his stick and hat; the hall door, the gravel drive, and the front gate were dimly noted stages in his headlong retreat. A cyclist coming along the road had to run into the hedge to avoid imminent collision. 

"A most extraordinary man, a Mr. Nuttel," said Mrs. Sappleton; "could only talk about his illnesses, and dashed off without a word of goodby or apology when you arrived. One would think he had seen a ghost." 

"I expect it was the spaniel," said the niece calmly; "he told me he had a horror of dogs. He was once hunted into a cemetery somewhere on the banks of the Ganges by a pack of pariah dogs, and had to spend the night in a newly dug grave with the creatures snarling and grinning and foaming just above him. Enough to make anyone lose their nerve." 

The main character reacts to the climax by running out and away from the ‘ghosts’. 

Denouement (Resolution): Romance at short notice was her speciality. 
The resolution of the story consists of the family thinking that Framton is insane because he ran away. 


1. Look up the meaning of the name Vera. How might Saki's choice of this be considered verbal irony?

The name Vera means truth but she was lying to Framton about her family dying. 

2. In what ways is the story's last line ironic?

Vera was lying the whole time about her family’s death just to keep her amuse, and the author makes us think that Mrs. Sappleton was crazy. 

3. Find two other ironic statements in the story.

"The doctors agree in ordering me complete rest, an absence of mental excitement, and avoidance of anything in the nature of violent physical exercise."

"It is quite warm for the time of the year," said Framton; "but has that window got anything to do with the tragedy?" 

4. What is the point of view in the story? How does the point of view create irony?

The point of view in the story is in third person view and it is limited to knowledge. We only know what Framton is thinking and no one else. We wouldn’t have known that Vera was lying until the end of the story. 

5. Identify important character traits of Framton Nuttel, and Vera. What action and lines of dialogue are the most important in the development of their characters?

Framton is on the edge of insanity, he cant take anymore stress or else he’ll go insane. He is a fragile person, any little excitement or anxiety can make him insane. Vera is a lair and a fifteen year old girl. She lies to Framton only to keep herself amused by his terror. When Vera greeted Framton at the door, the story would have never happened if Mrs. Sappleton opened the door instead of Vera. 



A Literary Analysis of Somerset W. Maugham's The Luncheon



A Literary Analysis of Somerset
By

 W. Maugham's The Luncheon

The Analysis of the short story The Luncheon

The text I'm going to analyse represents a short-story, entitled "THE LUNCHEON", written by a prominent, English novelist, short-story writer, playwright and essayist Somerset Maugham. 
First of all I'd like to say some words about the title of the text "The Luncheon". The title of the text is rather ironical. If we consult a dictionary, we can find out that the word "luncheon" means a "light snack", but as we can see hereinafter a light snack turns to be an abundant and expensive meal. 
The text represents the first person narration. The use of pronouns "I", "my", "myself" is predominant. E.g. "Did I remember?", "My heart sank", "as for myself, I chose the cheapest dish". 
The plot of the text is the following: the narrator, a book writer, recognizes a woman with whom he had lunch years ago. He starts remembering the unforgettable evening. He was young, lived in Paris and could barely make ends meet. She had read of his books and wrote a letter to congratulate him on his work. He invited her for lunch and to his horror she chose an expensive restaurant. He had only eighty francs to last him the rest of the month. She ordered one expensive dish after another and when the bill came he paid and was left with no money at all. However, in the end, the narrator feels that he has finally had his revenge when he sees that the lady now put a lot of weight. 
Maugham offers the reader a description sustained by dialogues which has a source in a flash back. The author presents a flash back soon at the beginning of the text and this flash back becomes an important detail "Did I remember?" which allows us to know what had happened twenty years ago. The flash-back goes to the last paragraph when the narrator comes back to the present time and shows us that he had been revenged. 
The tone of the text is ironical. Irony is presented here in a stressed form, mainly in scene of restaurant. 
The given text can be divided into 3 logical parts: the 1 one is presented by 2 first paragraphs when the narrator sees the lady at the theatre in 20 years since their first meeting, which recurs to his memory in the second logical part. I'd like to say that it's the story in the story. So, this very part can be divided into3 structural parts. I think that it has the open structure: it possesses the exposition, the story and the climax. 
The exposition begins with the sentence "It was twenty years ago and I was living in Paris" and ends with the words " I answered that I would meet my friend by correspondence at Foyot's on Thursday at half past twelve." Here the reader learns about place of action – Paris and time – it was 20 years ago. We learn that the main the narrator was very poor and could hardly keep body and soul together. The reader gets information about the events which preceded the meeting of the main characters. The protagonist got the letter from a lady who was admired by his work, she wrote that she was interested to have chat with him and suggested meeting at Foyot's, one of the most expensive restaurants. He was flattered and couldn't say "no" to her. The author uses: epithets little luncheon and modest luncheon are in contradiction with the luxury restaurant Foyot's at which the French senators eat. I think it is used to achieve the ironical effect., the epithet – tiny room and the cliché to keep body and soul together underlines the fact that he lived in want. 
Then comes the main part. It begins with the narrator's description of his admirer and lasts till the last sentence. The action takes place in the restaurant. Here the reader learns more about the main characters. They are presented both directly and indirectly. So, the male character is the ingenuous one as we may note through the expressions from his way of thinking, acting anf speech "Foyot's was so far beyond my means that I had never even thought of going there", " I was flattered,and I was too young to have learned to say "no" to a woman". These and other 
examples show us the narrator's traditional concepts. He is also an educated man, polite, 
from a good family tradition. 
As for the female character, we can get a clear idea about her from what the narrator tells about her "She was not so young as I expected and in appearance imposing rather than attractive. She was, in fact, a woman of forty ( a charming age, but not one that excites a sudden and devastating passion at first sight), and she gave me the impression of having more teeth, white and large and even, than were necessary for any 
practical purpose. She was talkative, but since she seemed inclined to talk about me I was prepared to be an attentive listener. So, we can see that the narrator is the mouthpiece of the author. And also we learn about her through her actions, behaviour and speech: e.g she repeats "I never eat anything for luncheon", but she eats everything she can, as the narrator says: "I watched the abandoned woman thrust the asparagus down her throat in voluptuous mouthfuls and in my polite way discoursed on the condition of the drama in the Balkans." So we can make a conclusion that the woman is smart, experienced, selfish, cold, without any feeling except to fulfill her desires. I think that he perceives her as a beast of pray and the hyperbole "she gave me the impression having more teeth, white and large and even, than were necessary for any practical purpose, proves this idea. 
The dialogues between the host and the guest are effective and permit the reader to witness what is happening. We can easily perceive how the writer makes the tone vary in the words of the characters. The woman's tone never changes while she cheats the host and orders the most expensive dishes, and the repetition of same phrases proves it I never eat anything for luncheon", and "I never eat more than one thing". And that is the key sentence of the text. The woman's insistence in saying that she does not eat anything for lunch is in the stressed mark of irony, for she ate like a heroine. The contrast in this short – story gives origin to a complex game between the host and his guest and it is sustained through the situation of the host which becomes worse as time goes by. 

We can feel the suspense to be developed through the words of the narrator from the very beginning. At the beginning of the text we notice his willingness to please her, but as the time passes his utterances become shorter and shorter and his tone becomes more and more subdued. e/g. metaphor: my heart sank a little, I turned a little pale, my heart sank,panic seized me. He answered generously,I answered promptly, I asked faintlyHe becomes less generous, as he is more worried about how much he will have to pay. It was the only thing he could think about. 
The tension gets to its highest point when the bill comes. I believe this moment to be the climax of the text.



Summary of The Luncheon


The writer of 'The Luncheon' William Somerset Maugham, in this short story,relates about a lady who is an admirer of his stories. She wins the author's favour and expresses her wish to meet him at a high class restaurant.William exposes the false motives of modest eating habits, of the middle classes with a touch of humour.
Twenty years ago the author was living in Paris, when he had met a lady, who is an admirer of his stories. She had met him at a play and relates to him the incident during the interval which had occurred at that time. She had read a book written by him, and had written a letter to him about her views. Another letter was posted, stating about her visit to Paris and her desire to have a little luncheon at the Foyots, a restaurant where French senators eat. William was not a rich man and had never even thought of visiting that restaurant, nor did he possess the art of refusing her request.
Estimating the cost of a luncheon, which should not cost more than fifteen Francs,he decided to cut down coffee from his menu, so that he could have enough for himself for the next two weeks. His meeting was fixed on Thursday, at half past twelve, through correspondence.The lady was in her Forties, talkative, and not attractive. She had ordered for Salmon,and Caviare, while the Salmon was being prepared.William had ordered for the cheapest dish mutton- chops.
After the meal, she had ordered for white champagne. She kept enjoying the meal, and chatting about art, literature, and music, while William kept wondering about the bill.The bill of fare was soaring above that which he had anticipated.When the waiter had come with the bill she waived him aside with an air of gesture and ordered for Asparagus, the horribly expensive dish.William's heart sank, his mouth watered, and yet he had to quell his emotions.Adding to worsen the situation, she ordered for ice-cream and then coffee, all the same announcing that 'she never ate anything for luncheon - just a bite' Thoughts kept reeling through William's mind about how he was going to pay the exorbitant bill or how could he feign an act of his pocket having been picked.
To his utter dismay,the head waiter walked up to the table with a large basket full of huge Peaches.She picked up one protesting that her meal was just a snack, and that she could certainly enjoy the Peach.
The bill was finally paid, and William found himself with just a few Francs for the tips, and not a penny left in his pocket for the whole month. William believes, that he had had his revenge for then, when the Twenty years had passed by, he met her weighing One Hundred and Thirty -Six Kilograms.


The Theme

The primary theme of the short story 'Luncheon' by Somerset Maugham is appearance vs. reality.
The speaker, in 'Luncheon', wishes from the beginning that his date would be a beautiful woman. He imagines a portrayal of a graceful lady in his mind. But, when he goes to have a lunch with her, she appears as a surprising blast, a total opposite to his imagination. Not only her appearance but also her dialogues express that she is an extremely fat, food-loving and ravenous woman who does not even think a bit about the costs the speaker would have to pay for the lunch. She has a very good appetite, and gobbles a lot of money also. The most interesting part is the verbal irony hidden in the lines she utters to the speaker, like she does not eat too much etc.
The irony concealed in her speeches helps to develop the main theme. These ironies make 'Luncheon' a comic story in the true sense.

The Cask of Amontillado Theme of Freedom and Confinement


The Cask of Amontillado Theme of Freedom and Confinement



The contrast between freedom and confinement is extreme in “The Cask of Amontillado.” For one character to be free, another must die. Most of the story takes place in a vast and incredibly foul smelling catacomb, or underground graveyard. Dead bodies (or at least bones) abound. Freedom becomes less and less of a possibility as the characters move into smaller and smaller crypts, each one more disgusting than the last. Such confinement makes both the readers and the characters appreciate the deliciousness of fresh air. Hopefully, it makes us, the readers, think more deeply about what makes us feel trapped, and what makes us feel free.

Questions About Freedom and Confinement

  1. Is Montresor free at the end of the story? If so, why do you think so? If you think he’s trapped, why?
  2. Did Fortunato ever really have a chance to escape? If so, when? If there was a moment when it became too late for Fortunato to get away, when do you think it was?
  3. How does this story comment on psychological freedom and psychological confinement?
  4. Who is more psychologically trapped, Fortunato or Montresor? Why?

Chew on This



Try on an opinion or two, start a debate, or play the devil’s advocate.
Even though Fortunato dies and Montresor lives, Fortunato is still the freer character of the two

The Cask of Amontillado Theme of Betrayal

Betrayal drives the action in “The Cask of Amontillado." One character’s betrayal sets off a hideous chain of retribution, enacted below ground in a mass grave. Behind all this revenge and death, the story is about trust. Without trust there can be no betrayal. The story has much to do with the lengths human being will go to feel better when they feel betrayed – and the tragedy that comes when those lengths hit murderous extremes.

Questions About Betrayal

1.    Montresor doesn’t describe exactly how Fortunato betrayed him. Do you think this matters to the story? Is there anything Fortunato could have done to deserve that punishment?
2.    If Montresor was indeed betrayed by Fortunato, do you think this means he once trusted him? Do you have to trust someone before they can betray you?

Chew on This

Try on an opinion or two, start a debate, or play the devil’s advocate.
Fortunato betrays himself by not paying enough attention to his surroundings.

The Cask of Amontillado Theme of Drugs and Alcohol

The only literal drug we see in “The Cask of Amontillado” is wine. But there are many other drugs circulating between the lines. “Drugs,” in this story, can be anything the characters want badly enough to do awful or foolish things for. The story’s author, Edgar Allan Poe, struggled with drugs and alcohol. His struggle is carefully woven into this complicated narrative, which can be read as a gruesome allegory for addiction.

Questions About Drugs and Alcohol

1.    What is Montresor addicted to, if anything, in the story?
2.    What about Fortunato? Don’t restrict yourself to the obvious.
3.    What do you think of the first sentence of paragraphs 76 and 77? If Fortunato isn’t drunk any more, then unless Montresor snuck some wine and didn’t tell us, Montresor is sober, too. Why does Montresor take his torture of Fortunato to a new level when they are both sober?
4.    Is the story trying to tell us something about drugs and/or alcohol? If so, what are some of the possible messages?

Chew on This

Try on an opinion or two, start a debate, or play the devil’s advocate.
Pride is a drug in “The Cask of Amontillado.”

Fortunato is addicted to wine; but Montresor has his drinking under control.

The Cask of Amontillado Theme of Mortality

“The Cask of Amontillado” has a frightening fixation on death, corpses, and bones. Edgar Allan Poe’s last short story, written only a few years before his death, is a precise and compact expression of anxieties concerning mortality. But don’t worry – Poe injects plenty of humor into all the doom and gloom. And in the end, we all feel a little happier to be alive.

Questions About Mortality

1.    Does “The Cask of Amontillado” make you think about your own mortality? If so, what are some of the thoughts it provokes?
2.    Why do you think Montresor chooses that specific way to kill Fortunato? If he had stabbed Fortunato instead, or fed him some poisonous wine, how might the story be different?
3.    How do you feel about the descriptions of the Montresor family catacomb, and the crypts within it? Do you get clear images, or are things murky? Either way, how does this contribute to or detract from the story as a whole?

Chew on This

Try on an opinion or two, start a debate, or play the devil’s advocate.
It’s ironic that, for Montresor to enjoy his own life, he has to take Fortunato’s.

The Cask of Amontillado Theme of Foolishness and Folly

In “The Cask of Amontillado” foolishness and folly can cost you your life. The story amplifies human foolishness and folly to extremes so hideous and cruel they become vices. ”The Cask” only has two characters. By the end of the story, their combined silliness culminates in tragedy and pain for them both. The tragedy is what makes us think more profoundly about their foolish ways – in the hopes that we can avoid ending up, even in some metaphorical way, like them.

Questions About Foolishness and Folly

1.    Is Montresor a foolish character? If so, how? If not, why?
2.    Does Montresor make mistakes? If so, what are they?
3.    Montresor tells us that Fortunato’s one weakness is arrogance about his knowledge of wine. It’s this flaw that makes Fortunato vulnerable to Montresor’s Amontillado strategy. What other possible weaknesses in Fortunato’s character lead to his death? If you had to choose his biggest flaw, which would you choose, and why?
4.    Fortunato is dressed like a fool, or a court jester. Is he simply a fool, or are there some aspects of his personality that contrast with his fool’s image?

Chew on This

Try on an opinion or two, start a debate, or play the devil’s advocate.
Montresor is the real fool in the story

Saturday, April 27, 2013

Macbeth Act 4, Scene 1: A cavern. In the middle, a boiling cauldron summary and analysis


Act IV: Scene 1



Summary
Macbeth returns to the Weird Sisters and boldly demands to be shown a series of apparitions that tell his future. The first apparition is the disembodied head of a warrior who seems to warn Macbeth of a bloody revenge at the hands of Macduff. The second is a blood-covered child who comforts Macbeth with the news that he cannot be killed by any man "of woman born." The third is a child wearing a crown, who promises that Macbeth cannot lose in battle until Birnam wood physically moves toward his stronghold at Dunsinane.
Encouraged by the news of such impossibilities, Macbeth asks, "Shall Banquo's issue ever reign in this kingdom?" The Witches present an image of a ghostly procession of future kings, led by Banquo. All this serves only to enrage Macbeth, who, trusting in his own pride, reveals in an aside to the audience his determination to slaughter the family of Macduff.





Analysis
This scene can be roughly divided into three: the Witches' casting of a spell; the supernatural answers to Macbeth's demands; and Macbeth's return to the cold world of political and social reality. The scene's structure deliberately recalls the opening scenes of the play. Once more, Macbeth's destiny is in question. Once more, he receives three prophecies. Once more, he is left on his own to decide how best to interpret those prophecies. And once more he fails to understand that Fate is inevitable, however he chooses to act.
The Witches' charm is fantastic: Its ingredients, thrown into a bubbling cauldron, are all poisonous. Moreover, these ingredients are all the entrails or body parts of loathed animals or human beings, which, taken together, can be interpreted as making a complete monster: tongue, leg, liver, lips, scales, teeth, and so on. The strong implication is that Macbeth himself is no longer a complete human being; he himself has become a half-man, half-monster, a kind of chimera.
Macbeth arrives at the Witches' lair with extraordinary boldness, knocking at the entrance in a way that ironically recalls the entry of Macduff into Macbeth's castle in Act II, Scene 3. When he "conjures" the Witches to answer him, his language is uncompromising: He matches their power with a powerful curse of his own, demanding to have an answer even if it requires the unleashing of all the elements of air, water, and earth; even if all the universe — natural or manmade — "tumble" into ruin. His most defiant act, by far, is to desire to hear the prophecy of his future not from the Witches, who are themselves only "mediums" of the supernatural, but from their "masters," that is, the controlling Fates.
Macbeth's demand is answered by a sequence of apparitions. Unlike the dagger and Banquo's ghost, these supernatural visions cannot be simply the workings of Macbeth's "heat-oppress'd brain." They are definitely summoned by the Witches. Once again, the audience is required to assess the extent to which Macbeth is responsible for his own actions. What is certain is Macbeth's response to each prophetic apparition: He appears to be super-confident, even flippant, in his replies. There is little fear or respect, for example, in his reply to the First Apparition: "Whate'er thou art, for thy good caution, thanks." And his punning reply to the Second Apparition's "Macbeth, Macbeth, Macbeth" — "Had I three ears, I'd hear thee" — displays a comic arrogance.
Apart from the first, all the apparitions, including the fourth and final one of a procession of future kings, contain children. The juxtaposition of children (pictures of innocence) and images of death, warfare, and blood, is dramatic and terrifying, but especially so for Macbeth: For a man who has no offspring, the image of children can only fill him with hatred and loathing.
Having rejected as impossible the second two prophecies, Macbeth asks for one last favor. The result appalls him, drawing all strength from him and reducing his earlier courage. The children who appear in this procession are the children of Fleance. The reflected light of their golden crowns "does sear (cut into) mine eye-balls" and causes his eyes to jump from their sockets. The climax to Macbeth's reaction occurs in the line "What! will the line (of inheritance) stretch out to the crack of doom?" in which he finally realizes the possibility of an entirely Macbethless future.
In a scene rich with special effects — thunder, ghosts and (possibly flying) Witches — Shakespeare adds a final visual stroke: The eighth child-king carries a mirror that reflects the faces of many more such kings. The effect of infinite regression can be achieved by looking at a mirror while holding a smaller mirror in your hand in which the reflection is reflected.
The Witches confirm the inevitability of what Macbeth has seen: "Ay sir, all this is so." There can be no equivocation, no argument, with Fate.
Emerging into the cold light of day, Macbeth seems immediately to forget the final prophecy, as he returns to the practicalities of what is increasingly a battle for his own political survival. On being informed that Macduff has fled to England, he announces his intention to wreak a terrible revenge on Macduff's wife and children.
Glossary
brinded (1) streaked
fenny (12) living in the marshes
howlet (17) young owl
yesty (53) frothing
lodg'd (55) beaten down
germens (59) seeds
farrow (65) litter of pigs
harp'd (74) guessed
impress (95) force
mortal custom (100) usual lifespan
crack of doom (117) Day of Judgment
antic round (130) mad dance
this great King (131) possibly a reference to James I (the king in Shakespeare's audience)
flighty . . . with it (145) Unless acted upon immediately intentions may be overtaken by time.

Macbeth Act 4, Scene 3: England Before the King's palace summary and analysis



Act IV: Scene 3



Summary
In England, Duncan's son Malcolm tests the loyalty of his newest recruit, Macduff. By demeaning his own nobility and professing himself to be a greater tyrant than Macbeth, Malcolm hopes to goad Macduff into an open display of his loyalties. This attempt at reverse psychology has its desired effect. Macduff is thrown into a fit of anger against the "untitled tyrant" Macbeth, and Malcolm enlists his help in the struggle. When Ross appears with news of the slaughter of Macduff's family, Macduff is finally convinced not only to engage in the rebel army but also to take personal revenge upon Macbeth. This scene also includes a passage in which it is reported that England's king, Edward the Confessor, has provided more than political aid to Malcolm; he has been healing the sick by supernatural means.




Analysis
This scene develops further the important issues of loyalty and courage found in the preceding scene, and it is structured in two halves: the first concerns the testing of Macduff's loyalty by Malcolm; the second evokes the great passion of Macduff in the face of terrible grief and his sworn revenge on Macbeth.
It is helpful to think of this scene as a job interview. Malcolm begins by suggesting that Macduff may be prepared to betray him as "a sacrifice" to his previous leader, Macbeth. Macduff passes this stage of the interview by boldly announcing, "I am not treacherous." Still, Malcolm persists: Men may look as bright as angels on the outside but still harbor secret feelings within. Why, he asks, did Macduff desert his wife and children? At this point, Macduff nearly fails the test: He cannot believe that Malcolm is so short-sighted not to realize that his interests lie in defending not only his family but the whole nation of Scotland.
As in Ross' speech in Act IV, Scene 2, the context of this entire scene has been set in terms of the country as a whole: Macduff explains to Malcolm that "Each new morn . . . new sorrows / Strike heaven on the face, that it resounds / As if it felt with Scotland"(4-7). Later, Macduff cries out "O Scotland, Scotland . . . O nation miserable!" Macbeth's motivation in murdering Duncan may have been personal, but its effects have become very much public.
Malcolm's next move is a daring piece of reverse psychology: He claims that as a future king, he himself will be even more malicious and barbarous than Macbeth. To understand this scene, the audience must be aware from the start that Malcolm is lying when he suggests that he possesses no virtues, no nobility, no honor, and no qualities of kingship.
Macduff's response to this suggestion is at first cautious. His speech beginning with the words "Boundless intemperance in nature is a tyranny . . . " has a diplomatic tone. Macduff argues, probably against his better judgment, that certain human sins are forgivable, even in a king. Even avarice, the sinful desire for wealth, is "portable" when balanced against the good qualities of kingship. "But I have none," replies Malcolm, listing exactly those qualities which he does have and which, of course, Macbeth lacks. At this point, Macduff snaps. He cannot endure the thought that the country might have to undergo another reign even more vicious than Macbeth's. Seeing Macduff's clearly emotional response, Malcolm relents, revealing as fake the self-portrait he has previously given.
The next 20 lines may appear curious to a modern audience, for two reasons: first, because they were probably added as a flattering direct address to King James I, for whom the play was performed; and second because of what they reveal about the miraculous healing powers ascribed to his forebear, Edward the Confessor. According to legend, Edward had been able to cure scrofula, or the King's Evil, a glandular inflammation, simply by touching the diseased patient. But the passage is dramatically ironic as well: The king of England is shown to be a monarch of genuine goodness and to use the supernatural for beneficial purposes. Coming almost immediately after Macbeth's visit to the Witches, this contrast is made even more clear. Moreover, the speech introduces us to the choric (or commentating) figure of the Doctor, who speaks of disease but is powerless to cure the more severe, mental affliction of Lady Macbeth in the subsequent scene.
When Ross enters, his report consolidates this idea of disease. According to him, the entire country is "teeming" with illness: He reveals that "sighs, and groans, and shrieks . . . rent the air" and that "good men's lives expire before the flowers in their caps, / Dying or ere they sicken" (168-173). However, the worst news is for the ears of Macduff alone. In a piece of dialogue heavy with emotion, Ross relates the story of the murder of Lady Macduff and her little children. His speech wavers, as he tries to avoid telling Macduff the truth.
On hearing the news about his family, Macduff's reaction is understandable. Shakespeare gives him an implied stage direction in Malcolm's line "What man! ne'er pull your hat upon your brows," which suggests that Macduff must cover his face to prevent any unmanly show of grief. But Malcolm suggests that Macduff's tears should become "medicines . . . / To cure this deadly grief." Macduff, however, feels he can only blame himself. With ironic reference to his wife's words of the previous scene, he alludes to his "poor chickens," slaughtered by the "fell swoop" of a bird of prey. The emotional impact of this scene reaches its climax in Macduff's response when Malcolm tells him to "[d]ispute it like a man": "I shall do so / But I must also feel it as a man."
From this moment onwards, Macduff becomes the stereotypical avenging hero. It was he who first discovered the murder of Duncan, having arrived, Christ-like, at the gates of hell in Act II, Scene 3. Now he must take on himself the personal act of revenge. The scene is set for the final act.

Glossary
to friend (10) auspicious
recoil in an imperial charge (20) recoil (like a cannon) when under royal orders (from Macbeth)
jealousies (29) suspicions
afeer'd (34) confirmed
rich East to boot (37) all the wealth of the Orient as well
grafted (51) embedded
spacious plenty (71) at will
summer-seeming (86) youthful
foisons (88) abundance
interdiction (107) accusation
trains (118) tricks
detraction (123) self-accusation
convinces . . . art (143) defeats all the attempts of (medical) skill
stamp (153) coin
eye (186) command
latch (195) catch
fee-grief . . . breast (196) a personal sorrow
quarry . . . deer (206) carnage of these dead creatures

Macbeth Act 3, Scene 6: Forres. The palace summary and analysis


Act III: Scene 6



 
Summary
Meeting with a rebel lord, Lennox reveals his doubts concerning Macbeth. His argument is that those who might be immediately suspected of murdering their kinsmen are less likely to have done so than Macbeth, who had killed the guards of Duncan's chamber so hastily. Although Lennox is prepared to accept Macbeth's actions, he cannot help feeling deeply suspicious of him. The other lord reveals to Lennox that Macduff has fled from Scotland to join forces with Malcolm in England. Moreover, they have requested help from England's King Edward the Confessor. Both Lennox and the other lord pray that God's vengeance may swiftly fall on the tyrannical Macbeth and that Scotland may return to peace once more.





Analysis
Some of the language of this scene is difficult. Its lines are full of pauses, half-spoken thoughts, and fragments of reported speech. Its function is twofold: first to convince the audience of Lennox's real thoughts about Macbeth. Even though Lennox appears loyal to Macbeth at the end of Act IV, Scene 1, here he divulges his concerns in lines such as "Men must not walk too late" and, more directly, the phrase "the tyrant's feast."
The primary function of the other lord is to confirm the news of Macduff's flight to England and to introduce the names of other rebel leaders, Northumberland and Siward, who will combine against Macbeth in the final act. But his words "That . . . we may again / Give to our tables meat, sleep to our nights" (32-34) also recall, ironically, the words of Macbeth to his wife in Act III, Scene 2: "But let the frame of things disjoint . . . / Ere we will eat our meal in fear, and sleep / In the affliction of these terrible dreams."

Glossary
marry (4) indeed
want the thought (8) help thinking
straight (11) straightaway
the two delinquents (12) that is, the guards of Duncan's chamber
an't (19) If
with Him above . . . work (33) with God's help
The cloudy messenger . . . clogs me with this answer The surly messenger refuses to report to Macbeth the news of Macduff's desertion for fear of punishment.





Macbeth Act 3, Scene 5: A Heath summary and analysis


Act III: Scene 5
 
Summary
Hecate, the classical goddess of the lower world who represents the spirit of ancient witchcraft, calls the weird sisters to her to complain that her own part in Macbeth's downfall has been overlooked and that she now wishes personally to make his downfall complete. The scene is unnecessary to understanding the play and was probably not written by Shakespeare.



Analysis
Hecate's supernatural spite is intended to echo that of the human dimension. She is a vindictive female spirit, whose forceful instructions to the Witches reflect the language of Lady Macbeth to her husband. Although unnecessary dramatically, the scene reinforces the philosophical question: Is Macbeth entirely to blame for his own downfall? In Hecate's opinion, he is. She tells the Witches that Macbeth "loves for his own ends" and prophesies that Macbeth "shall spurn Fate," recalling the words "disdaining Fortune" from Act I. Without this line of argument, it would be easier to suggest that Macbeth is powerless to control his own destiny.

Glossary
beldams (2) witches
Acheron (15) Hell
sleights (26) charms
security (32) overconfidence

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