Macbeth Concept Of Imagination Philosophy Essay

Macbeth Concept Of Imagination Philosophy Essay Macbeth is the best example of Shakespeares use of imagination. Macbeth becomes very obsessed with an idea of becoming king and his imagination leads him to do horrible things. The purpose of this paper is to show how powerful Macbeths imagination was and how it served him. To successfully examine the concept of imagination in Macbeth it was necessary to read Macbeth itself, Shakespeare: The Invention of the Human by Harold Bloom and O Sekspirovim tragedijama by Shahab Yar Khan. Also, diverse critics gave their input on this theme which was helpful in finalizing this research. ( Ian Johnston 1999, Henry Neill Paul 1938) Results show that Macbeth has freely chosen to embrace evil in his imagination. He has not resisted the impulse to imagine himself as a king. It is quite clear that Macbeths ambition and commitment to his evil desires led him to brutally kill all those who he sees as a threat. Introduction Shakespeare has for the centuries thrilled most of the readers and spectators around the world. His works have been studied in many countries, thus making him hailed as the worlds greatest writer ever. Someone once said that the man, who has no imagination, has no wings. We are all aware of that. The imagination runs the show. We cant accept the modern literature without it. Shakespeare used it very often and with so much excellence that he brought it to the perfection. Macbeth is the best example of Shakespeares use of imagination Harold Bloom says that Macbeth himself can be called the unluckiest of all Shakespearean protagonists because he is the most imaginative. His power of fantasy is so enormous that pragmatically it seems to be Shakespeares own. (Bloom, 1998, p.516) The universal reaction to Macbeth is that we identify with him, or at least with his imagination. Shakespeare describes various types of symbolism and imagery that leads to the downfall of the main protagonist, Macbeth. The showings of darkness represent its evil and tragic moments. Blood symbolizes murder and guilt. The symbol of clothing is particularly used to suggest the hiding of the real faces and true itself and it is also widely used in order to achieve the general theme of evil. There are also Biblical references, witchcrafts, ghosts and many other imagery tools which made the story even more phantasmagoric. Concept of Imagination When we speak of imagination the first thing that comes up to our mind is something unnatural; something beyond our concept of reality. Imagination is a long lasting phenomenon. It has roots in mythology. Many people had spoken about it and gave their definitions. They can all be put in one: it is the formation of a mental image of something that is neither perceived as real nor present to the senses. The witchcraft in Macbeth, though pervasive, cannot alter material events, yet hallucination can and does. The rough magic in Macbeth is wholly Shakespeares; he indulges his own imagination as never before, seeking to find its moral limits (if any). I do suggest that Macbeth represents Shakespeare, in any of the complex ways that Falstaff and Hamlet may represent certain inner aspects of the playwright. But in the Renaissance sense of imagination (which is not ours), Macbeth may well be the emblem of that faculty of Shakespeare, a faculty that must have frightened Shakespeare and ought to terrify us, when we read or attend Macbeth, for the play depends upon its horror and its own imaginings. Imagination 9 or fancy) is an equivocal matter for Shakespeare and his era, where it meant both poetic furor, as a kind of substitute for divine inspiration, and a gap torn in reality, almost a punishment for the displacement of the sacred into the secular. All of us posses, to one degree or anot her, a proleptic imagination; in Macbeth, it is absolute. Macbeth terrifies us partly because that aspect of our own imagination is so frightening; it seems to make us murderers, thieves, usurpers and rapists. (Bloom, 1998, p.516) In the Act I Macbeth is already introduced with extraordinary nature of his imagination: This supernatural soliciting Cannot be ill; cannot be good: If ill, why hath it given me earnest of success, Commencing in a truth? I am Thane of Cawdor: If good, why do I yield to that suggestion Whose horrid image doth unfix my hair, And make my seated heart knock at my ribs, Against the use of nature? Present fears Are less than horrible imaginings. My thought, whose murther yet is but fantastical, Shakes so my single state of man That function is smotherd in surmise, And nothing is, but what is not. According to Harold Bloom, my single state of man plays upon several meanings of single: unitary, isolated, vulnerable. The phantasmagoria of murdering Duncan is so vivid that nothing is, but what is not, and function, the mind, is smoothered by surmise, fantasy. Macbeth speaks to himself in a kind of trance, halfway between trauma and second sight. An involuntary visionary of horror, he sees what certainly is going to happen, while still knowing this murder to be but fantastical. His tribute to his own horrible imaginings is absolute: the implication is that his will is irrelevant. (Bloom, 1998, p.536) The Witches The witches interactions with Macbeth play a vital role in his thinking about his own life, before and after the murder of Duncan. Macbeth and Banquo recognize them as something supernatural, part of landscape, but not fully human. They have malicious intentions and prophetic powers. They do nothing other than talk and offer visions. They are not involved in any action, yet they are important symbols in the play. They are essential manifestations of the moral atmosphere of Macbeths world, just like the ghost in Hamlet. Macbeth so foresees an event that it seems to have happened already before it actually takes place. He is not aware of his ambition before he sees himself having performed the bloody crimes that fulfill his ambition. The witches exist to delusion people, to challenge their faith in themselves and the society. Professor Khan thinks that Macbeths evil-inner of himself attracts the witches: One namjerno Ä ekaju Macbetha i Banqua kao Ã…Â ¡to zlo Ä eka ljude. MeÄ‘utim, one Ä ovjeku ne predlaÃ…Â ¾u zlo: one radije spomenu object koji bi mogoao pokrenuti Ä ovjekovo vlastito naginjanje zlu, a u ovom sluÄ aju one to rade preko proroÄ anstva. Dobar Ä ovjek kao Ã…Â ¡to je Banquo, moÃ…Â ¾e se oduprijeti njihovom pozivu, jer on u sebi ima milost BoÃ…Â ¾ju, kao i trag prvog grijeha. (Khan, 2008, p.35) Unlike Macbeth, Banquo doesnt let his desires outweigh his moral caution. His response to the witches is different: But tis strange, And oftentimes to win us to our harm The instruments of darkness tell us truths, Win us with honest trifles to betrays In deepest consequences Macbeth cannot act on his awareness because his desires, kept alive by his imagination, are constantly mixed with his moral sensibilities. A part of Macbeth is fascinated with the possibility of being king. Its not entirely clear where this desire comes from. The witches put the suggestion into the play, but there is a strong hint from his wife that two of them have already talked about well before the play begins: What beast was t, then, That made you break this enterprise to me? When you durst do it, then you were a man; And to be more than what you were, you would Be so much more the man In that case, the appearance of the witches may be a response to Macbeths desires. He has not exactly invited them, but they are responding to his innermost imaginative desires. They dont tell him what to do; they dont say anything about killing Duncan. The witches cannot be responsible for Macbeths actions. His actions are not controlled by the witches. He is always free to choose how he is going to act. Hence, we can say that these witches are there to constantly remind us of the potential for evil in the human imagination. Blood Blood is everywhere in Macbeth, beginning with the opening battle between the Scots and the Norwegian invaders, which is described in harrowing terms by the wounded captain in Act 1, scene 2. Bloom in his Invention of human argues that of all Shakespeares plays, Macbeth is most a tragedy o blood, not just in its murders but in the ultimate implications of Macbeths imagination itself being bloody. Macbeths phantasmagoria of blood is constantly there: blood is the prime constituent of his imagination. (Bloom, 1998, p.520) Once Macbeth and Lady Macbeth embark upon their murderous journey, blood comes to symbolize their guilt, and they begin to feel that their crimes have stained them in a way that cannot be washed clean. Will all great Neptunes ocean wash this blood / Clean from my hand? Macbeth cries after he has killed Duncan, even as his wife scolds him and says that a little water will do the job. Later, though, she comes to share his horrified sense of being stained: Out, damned spot; out, I say . . . who would have thought the old man to have had so much blood in him? she asks as she wanders through the halls of their castle near the close of the play. Blood symbolizes the guilt that sits like a permanent stain on the consciences of both Macbeth and Lady Macbeth, one that hounds them to their graves. (http://www.sparknotes.com/shakespeare/macbeth/themes.html) Professor Khan discusses the sight of blood and its color in his book: Ono Ã…Â ¡to viÃ…Â ¡e upada u oÄ i od boja svjetla i vatre, jeste boja krvi. I zaista, prizor krvi nam se konstantno natura, ne samo pukim sluÄ ajem, nego punim opisom i Ä ak ponavljanjem rijeÄ i u neoÄ ekivanim dijelovima dijaloga. (Khan, 2008, p.25) Dagger scene After discussing the crime he is about to commit with Lady Macbeth, Macbeth decided to go through with the terrible feat. He is sitting alone, waiting for some signal which would approve his evil act. The focus of this soliloquy, the invisible dagger, is one of first evidences of Macbeths powerful imagination; an imagination, which would later be the main reason for his lunacy, and in the very end, his downfall: Is this a dagger which I see before me, The handle toward my hand? Come, let me clutch thee. I have thee not, and yet I see thee still. Art thou not, fatal vision, sensible To feeling as to sight? Or art thou but A dagger of the mind, a false creation, Proceeding from the heat-oppressà ¨d brain? I see thee yet, in form as palpable As this which now I draw. Thou marshallst me the way that I was going, And such an instrument I was to use. Mine eyes are made the fools o th other senses, Or else worth all the rest. I see thee still, And on thy blade and dudgeon gouts of blood, Which was not so before. Theres no such thing. It is the bloody business which informs Thus to mine eyes When he goes out to commit the murder, he is hallucinating the sight of a dagger leading him toward the deed, and he is filled with a sense of horror at what he is about to do. He is, it seems, in the grip of his imagination and is not serving some conscious rational decision he has made. But, in the very act of letting his imagination lead him on, he is aware that what he is doing is wrong. Its as if the dagger is pulling him toward the murder (against his will)hes following an imagined projection of his desires, rather than being pushed into the murder by some inner passion. (http://records.viu.ca/~johnstoi/eng366/lectures/macbeth.htm) Its important to stress the imaginative tensions in Macbeths character before the murder and to appreciate his divided nature. Thats why summing up his motivation with some quick judgment about his ambition is something one should resist. That resolves the issue too easily. Macbeth, in a sense, is tricked into murdering Duncan, but he tricks himself. That makes the launching of his evil career something much more complex than a single powerful urge which produces a clear decision. (http://records.viu.ca/~johnstoi/eng366/lectures/macbeth.htm) After all, one needs to notice clearly how he is filled with instant regret at what he has done. If driving ambition were all there was to it, one would think that Macbeth and his wife would not become morally confused so quickly. Macbeths entrance after the killing brings out really strongly a sense that if he could go back to the speech about the imaginary dagger, he would not carry out the murder. Lady Macbeth thinks a little water will solve their immediate problem; Macbeth knows that that is too easy. He cannot live with what he is done and remain the same person. (http://records.viu.ca/~johnstoi/eng366/lectures/macbeth.htm) Macbeth and Banquos ghost Encounter Another instance in which Macbeths imagination comes into play again is when he sees Banquos ghost and he begins talking to him: Avaunt, and quit my sight! Let the earth hide thee. Thy bones are marrowless, thy blood is cold. Thou hast no speculation in those eyes Which thou dost glare with! Macbeth and only Macbeth can see Banquos ghost. Many critics say that Banquos ghost is not real but a delusion of his evil sub-conscious and the fear and guilt that have completely overwhelmed and paralyzed him. So Shakespeare uses the appearance of Banquos ghost as a means of revealing to his readers the mental turmoil of Macbeth. We know how Macbeths reacted to Duncans murder, when he said he will never sleep again, that he is capable of guilt. The ghost is a manifestation of that, just as the dagger was a manifestation of his ambition. Conclusion Macbeths ambition is driven by a number of factors including prophecy and Lady Macbeth. The witches foretell that Macbeth will become King. Macbeth believes them and the various prophecies come true during the play. Witches appear three times, but as a fruit of Macbeths imagination. Lady Macbeth is the driving force that encourages Macbeth to overcome his strong sense of guilt and take action. Macbeths ambition soon gets out of control and forces him to murder again and again to cover up his previous crime. The last prophecy Macbeth hears from the witches is: Macbeth shall never vanquish be until Great Birnam Wood to high Dunsinane hill For none of woman born shall harm Macbeth. The supernatural force speaks the truth, but by obliquity and by double meaning. They have blinded Macbeth by extending his pride. The Shakespeares use of the apparition to represent the powerful evil spirits is effective to demonstrate the power of image over word. It is through the strengths of his imagination that Shakespeares characters have withstood time. They are played on every stage in the world. In the end, Shakespeares ingenious usage of themes and symbolism creates, as A. P. Rossiter calls, a play about the disintegration of the state of man, and the state he makes his. Without the witches, the ghost, the visions, and the apparitions, Macbeth would have been a dull and tiresome play.

The false accusation (story) :: essays research papers

The False accusation Jimmy was a short and a big headed kid. He was very smart and had brown hair. One day, he was walking in the long and narrow hallway between his classes with, his autographed football and work books in his hand, when his friend Sheen approached him. Sheen was Jimmy’s best friend. He was tall and had black hair. Sheen was considered by Jimmy, to be slow in the head. â€Å"Where’s our next class?† Jimmy asked. â€Å"What?† asked sheen. â€Å"Where’s our next class?† Jimmy repeated. â€Å"Oh, why didn’t you say that? It’s over there,† said sheen, pointing down to the class at the end of the hallway. Sheen led them to their class and sat a seat behind from Jimmy. Jimmy sat down and put his ball under his chair. The class was very spacious with 4 rows of 4 individual desks. The desks were all facing a chalkboard that was located in the front of the class. In the back of the class were four computers on individual tables. The chairs near those desks were very low. There was a little space that was dark between the tables. Jimmy looked around. The rest of the class was already seated and ready. Sitting on the right of Jimmy was a fat brown haired kid named Karl. Karl snorted when he laughed and Jimmy thought that to be funny. Karl was Jimmy’s other friend. On the other side of Jimmy, was an enormous and tall kid that always used to pick on Jimmy. He was called Max the bully by the rest of the class. The bell rang, which meant that class was starting. A second after the ringing, walked in the teacher. Her name was Mrs. Polzin. She was short and chubby, and had a low voice. She had short dark brown hair and blue eyes. Jimmy disliked her and believed she was from a different planet. Jimmy had her as a teacher for 3 years; since 3rd grade and had never liked her. Class started by the Mrs. Polzin greeting the students with, what Jimmy thought to be, a fake smile and good morning. She sat down at her desk and asked the pupils to take out their show and tell items. Other students had brought their pictures; others had brought caps and sweatshirts from different countries. Jimmy thought, like the others, his show and tell item was the best.

Goya and Research/Analysis on His Works

I used to draw as a child, but then again, who didn't? But as I dove into my art class, I found out that art was a lot more interesting than I thought. I visited the Getty Center as a young child, and as memory portrays it, the museum was boring and strict. So when I found out I would be venturing there once again, I was uninterested and sullen. To my surprise, I loved the trip. The architecture was the first thing to appeal to me, and my grandma, who was from Korea, had never seen anything like it! I loved the different paintings, some telling tales of old.I learned that to all art is stale and boring, but can tell you a story if you Just stop and listen. The two paintings that I have decided to compare and contrast are Saturn Devouring His Son by Francisco De Soya and The Sleep of Reason Produces Monsters also by Francisco De Soya. I chose Saturn Devouring His Son by Francisco De Soya because it stood out to me. My childhood drawings were no different from any other adolescent boy, monsters destroying cities, giants eating cars, violence and fiction.When I saw Saturn Devouring His Son, my childhood memories clicked and it seemed like an adult erosion of any child's drawings. The painting shows Saturn with wild hair, bulging eyes, fists dripping in blood, and a frenzied look on his face. He is crouching in the darkness, violently eating a child. From a simple glimpse, this painting might seem pure carnage and evil, but as with all paintings, there is a message it conveys. In Greece-Roman mythology, the Sky and Earth bore Saturn and his siblings (the Titans). When the Sky pleaded for Saturn to kill his father, he agreed and afterwards married his sister Rhea.Some time later it was prophesied that one of Saturn children could be his demise, so Saturn devoured every child that was born except one, because he was tricked. Some assume that Soya got his inspiration for this painting from Peter Paul Rube's 1639 piece that depicted Saturn with a scythe and constellati on, tearing into a child, but with no blood or gore. Francisco De Soya actually painted this work along with the 14 other Black paintings in a house called Quanta Del Sword. This series is known as is Soya took away any indicator and instead painted the vicious scene of cannibalism that would have taken place.There are no indicators that this painting is mythological in any way. The reason Soya chose a female instead of a male corpse is most likely because Soya was struggling with his own old age and that he had bad luck with love and happiness. Saturn in Greece- Roman mythology represents lost time and Soya was not only painting a myth, but painting a message that time was attacking his chance at love and youth. The other artwork that I chose is The Sleep of Reason Produces Monsters also by Francisco De Soya. I chose this piece because I liked the artwork and [epic]

class struggles Essay - 693 Words

Class Struggles nbsp;nbsp;nbsp;nbsp;nbsp;In the Communist Manifesto Karl Marx explains his historical vision of a revolutionary class struggle between Bourgeois and Proletarians. His views are highlighted from the very beginning â€Å"The History of all hitherto societies has been the history of class struggles† (50). Focusing on the development and eventual destruction of the bourgeoisie, which was the dominant class of his day, and the rise of the working class, that of the Proletarians. nbsp;nbsp;nbsp;nbsp;nbsp;I do understand that in some cases the system has a stain upon it and Marx was out to find the solution. Unfortunately he thought that by making a radical socialistic movement, and changing the a capitalist system to a†¦show more content†¦nbsp;nbsp;nbsp;nbsp;nbsp;If the workers will not work there is no capital to invest in anything. Once the workers are fed up with their situations and realize there is a need to get together for a revolution and change of labor, the bourgeoisie will have lost everything it owns; and that will lead to the end of a class based society. â€Å"In Communist society, accumulated labor is but means to widen, to enrich, to promote the existence of the laborer† (68). The accumulated labor in Communism is not just to benefit one and only one person; but it is to benefit the workers as well as the employer. Everyone will be rewarded according to how hard they work and people will have the equal chance of moving up the social ladder. â€Å"In the place of the old bourgeoisie society, with its classes and class antagonisms, we shall have an association, in which the free development of each is the condition for the free development of all† (76). 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