He now sets himself up to become to become the king, because the witches told him he would become king. After Macbeth slays the current king, Duncan, Macbeth is named the king of Scotland (Shakespeare 75). This event is truly significant because it demonstrates the power of the witches to see the fate of Macbeth and how his actions fall into place to make his fate a reality. Although the witches
Lady Macbeth was one Shakespeare’s most courageous female characters. She convinced her husband to cruelly kill Duncan and urged him to be strong in the murder’s aftermath. Fortunately she was eventually scarred by the effect of Macbeth’s animosity towards her. In each case, ambition—helped, of course, by the hurtful predictions of the witches that’s what drove the couple to extreme insanity. The problem, the play suggests, is that once someone decides to use violence to further their quest for power, it is difficult to stop them.
Macbeth relies on the witches who feed him prophecies and glimpses of the future. After Macbeth hears the witches prophecy, “All hail Macbeth that shalt be king hereafter”(Shakespeare I, iii, 50)! Macbeth immediately thinks that he should be king. When Lady Macbeth finds out about the witches, she leads Macbeth into her plan which involves cold blooded murder. Macbeth is a little nervous at first, but Lady Macbeth is able to get Macbeth to agree with her to kill King Duncan.
And the third witch greets him as “King of Scotland,” yet another title he does not hold. (Act 1 sc.3 page 17) First Witch “All hail Macbeth! Hail to thee, thane of Glamis” Second Witch “All hail, Macbeth! Hail to thee, thane of Cawdor!” Third Witch “ All hail Macbeth, that shalt be king hereafter!” Macbeth then begins to consider the possibilities of becoming Thane of Cawdor and King of Scotland. He awakens his ambition and starts believing that the witches have told him his future, as if it was destined to be as they said.
“Have plucked my nipple from his boneless gums and dashed the brains out”. This takes her femininity away and portrays her as a cold-hearted character who is not only willing to commit murder, but also able to persuade her husband into going against what he believes in. As well as this, the violent imagery in this quote is very shocking and gives a gothic element to Act One Scene Seven. It also shows us how quickly Lady Macbeth
But, she is afraid of his personality ‘too full o’th milk of human kindness’ and decides to take matters into her own hands. This is also the scene where we hear her first famous soliloquy which is ‘unsex me here’ when she calls on the evil spirits. Really, she wants to be the same as the three witches, but because of who she is, she has to repress all her inner feelings and her conscience in order to carry on with her plan to murder Duncan. She has to be two-faced. When Macbeth returns later in the scene, she immediately pounces onto him and tries to persuade him to murder the King and she says it in a very manipulative way.
Manding Bory. Once again, we are instructed to see women as inhumane, one-dimensional, base creatures of the fairer sex. She is portrayed as a tyrannical leader after the death of her husband, King Nare Maghan, as she disobeys his wishes and acts as imperious force against his other wives and their offspring, including the prolific Sundiata, the supposedly deserving heir to his throne. It is important to note that this emphasis on her cruelty ties hand in hand into another archaic and paternalistic ideal that women are neither capable nor suitable of being nonpartisan rulers, and are bound to the emotional feminine binary, rather than the dichotic male rationale. Yet, it can be noted throughout the text that although her actions were supposedly of a dishonourable and sinister nature, but they may also be construed as an attempt to protect both her own and her son’s future prospects.
(Act 1 scene 3 and 4) Macbeth and Banquo meet with the witches and they give two prophecies, that Macbeth will become Thane of Cawdor and later on king. When the first prophecy is fulfilled (he is thane of Cawdor), he realises that the king’s son (Malcolm) is in the way for the second prophecy to take place. From then on Macbeth does everything to make sure the witches’ prophecies take place. This puts the witches in a place of power, which is uncharacteristic for women of this time. The relationship between Macbeth and Lady Macbeth is very complex.
Medea, the protagonist of Robinson Jeffers' play of the same name, is a vengeful termagant, stricken with grief and wanting nothing but to vindicate Jason's deeds. To her credit, though, she is quite wily, and in possession of one of the most impressive acumen ever given to a character of her type. So deep is her animosity towards Jason that she goes to such lengths as parricide (killing her children, who are merely "pawns of her agony") to extract revenge on her former husband. She does not stop there, though. She despoils him not only of two children, but also of a wife, a father-in-law, and a kingdom.
She defies both her husband and her king. She gives her husband little respect, which in her time was unspeakable, and she refuses the King’s demand to have her leave the city that day. Medea M. Dow 2 multiplates the men and shows her true genius. A large part of the oppression of the women in the Ancient Grecian culture, was the denial of education. Medea was extremely smart and was able to kill both her husband’s betrothed and the father of the betrothed, the king of Corinth, showing that even