In Macbeth, blood is a symbol used to represent guilt and how one's guilt will cause them to act with concupiscence. If an individual feels guilty about an action they will do anything to try to make up for that action or clear their conscience. They may cross a line in which they never had thought of crossing before in order to fight their guilt. In the play Macbeth by William Shakespeare, Macbeth feels guilty about the many murders he has committed and his guilt has turned to paranoia. His paranoia is evident in his conversation with lady Macbeth about banquo when he says, “Come, seeling night, / Scarf up the tender eye of pitiful day / And with thy bloody and invisible hand / Cancel and tear to pieces that great bond / Which keeps me pale” (Shakespeare 3.3.52-56).
The speaker is still focused on him/herself as seen in the use of “I” and “me”. The feelings of guilt and grief begin to surface after the speaker’s murderous rampage, they say, “If only they’d all consented to die unseen gassed underground the quiet Nazi way.” This loaded sentence brings the poem full-circle again, speaking of the gassing and referencing Nazis; however, it seems to be a charged accusation to the woodchucks themselves, as if the speaker is accusing them of bringing out all of this evil because they didn’t choose to die easily when the speaker was being
Nonetheless, closer to the conclusion of the play, Jason insinuates that Medea is a barbarian whom will not make any sense of Greek institutions and values. Many readers of the play may follow him in this judgment. To some extent, this is comprehendible since the author himself provokes us to identify with Jason’s judgment by portraying Medea as a woman who voluntarily murders not only her rivals, but her own flesh and blood in order to gain revenge on her husband for marrying another woman. However, if readers find themselves concurring with Jason, they should halt (Schein
In “The Biggest Loser” (October 23, 2015), Paul Krugman asserts that the Benghazi committee is a witch hunt and that ¨Trey Gowdy and company” are chumps. Mr. Krugman illustrates his displeasure with the committee and the head of it, Trey Gowdy, through belittling diction and Rhetorical question. He uses this choice in diction and rhetorical question in order to deter anyone from taking the accusations of the committee seriously by calling not only the committee “chumps” and but anyone who listens to the committee an ¨ even bigger chump” then the committee is. Krugman appeals to his more liberal audience by talking about the committee, and its tea party support, with a tone of contempt by using insulting diction like “loser” and “chump”. Krugman
The repetition of king’s show how arrogant Ozymandias was, yet when compared to the crumbling ruins of his statue, the poet undermines him and shows that he did not last forever as he thought he would. The audience of the era twinkle’s on the effects it can have on people and how long it can last before the eternal truth (religion) conquers it. The modern audience zoom in on the irony of “Ozymandias” which cuts much deeper as the audience realizes that the forces of mortality and mutability, described brilliantly in the concluding lines, will erode and destroy all our
Orwell immediately introduces his audience to the “Two Minutes of Hate”, The Party’s manifestation of these tactics. In the novel, Winston describes the event as “A hideous ecstasy of fear and vindictiveness, a desire to kill, to torture, to smash faces in with a sledge hammer” (15). The “Two Minutes of Hate” is specifically designed to have its viewers associate their murderous rage with Emmanuel Goldstein, a party defector and scapegoat for every, single problem that besieges the nation-state. The source of this rage is sexual privation or the citizens’ repressed sexual desires.Winston gives his rebellious promiscuous love interest, Julia’s explanation, “Sexual privation induced hysteria, which was desirable because it could be transformed into war fever and leader worship” (Orwell 126). The party uses the repressed sexual desires of its citizens and funnels it into a nationalistic fervor.
Their fear turns to rage, and, as Steven Pinker writes in “The Better Angels of Our Nature,” they “explode in a savage frenzy.””(Brooks). This shows how Forward Panic goes on inside a person’s mind, they find the person they have been holding on to for so long and just fire at them. Firing does not always mean kill or fight, sometimes it just mean crying it out or even just shouting or screaming at them; the thing is that a person could take out his rage in their own sort of way. In the play Macbeth, after Macbeth goes and kills Macduff’s wife and kids, Macduff holds, even more, rage for Macbeth than he used to. When Macbeth became King he made lots of bad decisions and hurt lots of people, he killed Scotland.
As time goes on, Macbeth makes a complete character change. Someone who was once content with his life was suddenly bloodthirsty and hungry for power. In a critical essay, literary critic Arthur Kirsch writes, “When Macbeth and Lady Macbeth are together, we see the murderous conjunction of "frozen conscience and hot burning will" that composes Macbeth's "great passion of fear and fury" (Kirsch). Kirsch also goes on to say that Macbeth represents the decomposition of a man, and discriminates the synapses of the hero’s turns of thought and emotion. Macbeth undergoes a complete character change, and the constant state of anxiety he is put under when he accepts the crown is just intensified when he begins to deal with the guilt he feels from killing not only the leader of a nation, but some of his own people
Violence is never the answer, unless it is in literature. The work of Crime and Punishment is one of the greatest examples of how violence moves along the storyline. The scenes of violence in Crime and Punishment contribute to the work because it drives the characters insane, impacts the lives of the characters, and finally it was used as a way for our main character to prove himself as an above-average person. The act of murdering the pawnbroker and her sister caused Raskolnikov’s to spiral into insanity. Soon after the crimes were committed Raskolnikov found it difficult to stay conscious because he experienced multiple fainting spells.
Shakespeare uses the motif of blood to highlight the theme of punishment, where the effects of violence and wrongdoing have the greatest influence on those who committed such actions. Macbeth’s marriage is one of contradicting roles where he often takes the backseat, allowing Lady Macbeth to lead. His inability to take action gives Lady Macbeth many opportunities to persuade him into making risky decisions, namely killing the king. Macbeth, shocked with his own actions and flowing with remorseful thoughts, pleads for the “all great Neptune’s ocean [to] wash [the] blood/ Clean from [his] hand,” (59). Despite coming to terms with his actions, the image of King Duncan lying dead with “his silver skin laced with his golden blood,” (69) saturates
naught that I am,/ Not for their own demerits, but for mine,/ Fell slaughter on their souls: heaven rest them now!” (4.3 223-227). Macduff is upset about the events that occur and is too weak to do anything about it. Instead of being strong and getting revenge on Macbeth, he gets emotional. Shakespeare subverts the stereotypical gender role as he gives Macduff a feminine characteristic of emotion. Macduff uses his anger as he wants to fight Macbeth.
Levitt and Dubner start right off the bat using a rhetorical strategy called appeal to pity by very vividly listing the things the Ku Klux Klan did to their victims. This strategy makes us think about how terrible those the things they did are now and how it would be front page news if any of those things happened to any person nowadays. Once our emotions are conjured up and in tune, us as readers are more likely to agree with what the authors have to say. If Levitt and Dubner did not want us to