Frankenstein, Reading Journal, Volume 1, Chapters 1-8

After the letters, we begin chapter 1 with Victor’s narrative embedded within the frame narrative of Walton. We are caused to question how accurate this account is, and whether we can trust Walton’s tale of the events. Despite this, we are forced to have belief in Walton as there is no ambiguity in his story.

We are told of Frankenstein’s upbringing; an educated, yet sheltered background. For Victor, it suggests that science gives him a challenge, as before everything was given to him. Elizabeth becomes Victor’s ‘beautiful and adored companion’, however, a darker tone enters the narrative with his closing comment: ‘my more than sister, since till death she was to be mine only’. During the novel, we see a deterioration of Frankenstein’s state of mind, and this is our first introduction to seeing this descent.

In chapter 2, we hear more of Frankenstein’s passion for science and how he wants to know more, which, later, we find becomes too much. Victor describes his first rebellion to his father who tells him to ‘not waste his time on such sad trash’. We see a side to Frankenstein that shows he does not stick to the rules; a foreshadowing that he will not commit to the laws of science either. Throughout this chapter is a sense of male dominance as, for instance, Elizabeth is limited to the family circle. Victor describes himself as a Promethean ‘overreacher’, which links to the subtitle of the novel ‘The Modern Prometheus’. For Victor, this is him creating life out of death and going against the natural order.

Chapter 3 describes Victor’s experience at university. We hear that his mother died and Elizabeth falls ill from Scarlett fever. He leaves his family and continues his thirst for knowledge. He describes M. Krempe as ‘a little squat man with a gruff voice and a repulsive countenance.’ It presents to us that, for Victor, physical appearance and beauty is important; paralleling his design for his creature. ‘Thus ended a day memorable to me; it decided my future destiny’ - the last line of the chapter causes an almost chilling feeling for readers, as it is in a paragraph of its own. Victor does not explain what he means; what his future destiny is. Tension is therefore also built.

In chapter 4 we hear that Victor has already created his creature in his mind – he becomes capable of ‘bestowing animation upon lifeless matter’. ‘I am not recording the vision of a madman.’ We are reminded that Robert, the narrator is untrustworthy. This chapter is another example of crucial evidence that Victor is unwell; physically and mentally. His ambition could be argued to be heroic, yet the horrific images of his ‘secret toil’ show his work is more sordid than anything else. This links with the traditional gothic theme of pushing boundaries and going beyond the norm.

Victor is repulsed by his creation in chapter 5, by calling it a ‘wretch’. We see how far Victor is out of his depth and is caught up into something he cannot control. He tries to hide this to his friend Henry, but does not admit anything. He is extremely relieved when the monster has disappeared: ‘great fortune’.

Chapter 6 tells much of Victor’s convalescence as he can no longer bear to think of his scientific discoveries. ‘A servant in Geneva does not mean the same thing as a servant in France and England.’ Elizabeth’s description of treatment of servants could be interpreted as Shelley’s comment on social injustice; a major issue at the time it was written. This links to how the monster is enslaved by Frankenstein. ‘I bounded along with feelings of un-bridled joy and hilarity’. Unlike chapter 3, chapter 6 ends filled with hope – possibly Frankenstein’s hope that his disastrous scientific experiment will come to an end.

Chapter 7 shows repeating evidence of Frankenstein’s guilt: ‘I threw the letter on the table and covered my face with my hands’. He knows what really happened to William and feels a very human trait of remorse. We can sympathise with him. There are also many references to nature, a typical feature of Romanticism. ‘Dear mountains’: Victor further personifies nature, emphasising how alone he is. There are contrasts of feelings in this chapter. In one paragraph there are there are more positive words, such as ‘happiness’, ‘pleasure’ and ‘beloved’. But in the next immediate paragraph there are pessimistic words, such as ‘grief’, ‘fear’ and ‘gloomily’. These extreme polars of emotion prove that emotion is controlling Victor, rather than him controlling them. It could be argued this is because of the loss of William, but in my opinion, this is as a result of Victor’s obsession and creation of the monster. Furthermore, there is also evidence of Mary Shelley criticising science. The chapter describes art the ‘picture of my mother’, ‘dignity and beauty’. Some may argue this is mocking Victor – why couldn’t he do something fabulous, yet safe, instead of the dangerous experiment he achieves.

There is a very long account of the trial in chapter 8, which has the effect of incorporating the whole picture, allowing Victor to come to terms with his guilt. ‘I bore a hell within me.’ Victor echoes Satan in Paradise Lost and suggests the true horror lies inside us, in the mental agonies and torments we inflict upon ourselves.

Reading Journal, Act V, 'Macbeth'

Scene 1:

• ‘Out, damned spot! Out I say!...Hell is murky!’ – Lady Macbeth is ridden with guilt and has shown to have driven her to insanity. ‘Hell is murky’ could portray that she knows where she is going after being responsible for so much blood-shed.
• This is unexpected, as before Lady Macbeth was shown to be masculine and showed little compassion for anyone. Possibly showing she was not as strong as she first was presented.
• Her words are ironic after previously telling Macbeth that ‘a little water clears us of this deed.’ This links to the first murder, could she be replaying Duncan’s death again?

Scene 2: 

• ‘Some say he’s mad. Others, that lesser hate him, Do cal it valiant fury; but for certain He cannot buckle his distempered cause Within the belt of rule.’ Cathness depicts Macbeth as the opposite of how he was described when we first met him.

Scene 3:

• ‘Cream-faced loon!’ – Anger, or is Macbeth trying to hide his fear for what he knows is about to happen?
• This adds to the role reversal between him and Lady Macbeth. Lady Macbeth was firstly the strong one, but she is no longer fearless; Macbeth showed trepidation at first, now he is showing courage. This fluctuation possibly could show that they are two sides of one character, almost similar to Dr Jekyll and Mr Hyde.
• Macbeth talks of purging – ‘find her disease and purge it to a sound and pristine health.’ He knows he is going to die, so is he trying to cleanse his soul to stop himself going to hell?

Scene 4:

• ‘The time approaches that will with due decision make us know What we shall say we have, and what we owe.’ Seyward shows bravery and courage – imitating what all the other soldiers are feeling. Show determination to kill Macbeth – they know what he has done and they will stop at nothing to see him punished; dead.

Scene 5:

• ‘I have almost forgot the taste of fears.’ Macbeth also shows determination. He is not doing down without a fight.
• ‘Life’s but a walking shadow’ – after hearing Lady Macbeth is dead, Macbeth almost shows that she is still in his presence – part of the 2 people in 1 body argument that has continued throughout the play. Implies how heavily he relies on her. Or, an alternative view is that nothing matters to him anymore, life is not important without his wife. Could be argued this is his epiphany – the murders leading up to something, but realised he is the same situation.
• ‘Brief candle’ – as quickly as life begins, it ends, just like when you light and blow out a candle. To Macbeth, life is momentary and he wants to ‘go out with a bang.’
• ‘Signifying nothing.’ Macbeth is very nihilistic, as he realises he means nothing to anyone, and no one means anything to him. This relates to the riddles of the play – Shakespeare now tells us that they meant nothing either.
• ‘Ring the alarum bell!’ Macbeth knows he will die, relates to the porter scene – his words have come true.
• ‘Not flying hence, not tarrying here. I ‘gin to be aweary of the sun’. Possible reference to Greek mythology – Icarus. Showing Macbeth’s downfall from playing with fire. This is a true Gothic element of conservatism – do not want people breaking rules. Macbeth did and he has finally realised that the witches did not influence him as much as he first believed. He cannot blame them anymore as he now knows he is the one with blood on his hands.
• Shows obvious Christian elements – temptation and the fall of man.
• We see a different side to Macbeth, and is this because Lady Macbeth, and her power of persuasion, are not present? He shows courage when he says ‘we’ll die with harness on our back’, however, would he have done the same if she was alive with him. Would she have persuaded him to take a cowards way out and not let him face the consequences of their actions?

Scene 6:

• ‘Abhorred tyrant’, ‘dead butcher and his fiend-like queen’. Descriptions of Macbeth and his wife not just by the speaker, but agreed by everyone, including the audience. Young Seyward and Malcolm are voicing many view points; it is not just them who think it. Shows how alone Macbeth and his wife were. Does this create sympathy, or were their crimes to treacherous to ever forgive?

Reading Journal, Act IV, 'Macbeth'

Scene 1:

• ‘Round about the cauldron go; In the poisoned entrails throw’ ‘Double, double, toil and trouble.’ – is this Shakespeare trying to reiterate to the audience that the witches are still ever present, and powerful? They are casting a spell of some kind – is this presented towards Macbeth again?
• ‘Beware Macduff’. This is the only ‘clue’ the witches give to Macbeth, but immediately he will ‘make assurance double sure, And take a bond of fate.’ – he vows to kill Macduff. The witches do not give Macbeth a reason, but he jumps straight to conclusions which shows either how much he trusts the witches, or how much of a hold they have over him; or a mixture of both.
• An obvious difference with this scene between the plans to kill Duncan is that Lady Macbeth is not present. She played an extreme role in persuading Macbeth to kill Duncan after hearing the witches’ prophecy, however, now, Macbeth has taken it upon himself. This shows he is more self-assured than originally thought. However, it could be argued it is due to the deterioration of his mind.
• This is further developed through the speed of the scene. The speed of carrying out and deciding to carry out the deeds is significantly faster than making the decision to kill Duncan. This is also portraying Macbeth’s downfall and his sanity declining.

Scene 2:

• The killing of Lady Macduff and her children can be portrayed in some interpretation as very shocking and horrifying to watch – perhaps to reiterate the horror of Macbeth’s deeds.
• ‘I have done no harm’ – Lady Macduff shows innocence, which adds to the shock and emotion of the scene.

Scene 3:

• ‘Tis called the Evil – A most miraculous work in this good king…he solicits heaven…pitiful to the eye…sundry blessings.’ – Malcolm compares King of England to Macbeth – he is every Macbeth is not.
• Ross first says that Macduff’s wife and children are ‘why, well’. He avoids telling Macduff straight away perhaps because it is a terrible message to bring. Shakespeare shows evidence of human nature here. Ross then pulls himself together and tells him.
• ‘Sinful Macduff’ – Macduff blames himself for the murders. It is important that the audience see Macduff’s reaction as it makes the revenge more prominent. It is the first time we see the consequences of a murder, which is heart-hitting. Enforces moral stance by the audience. Macduff now has personal reasons to overthrow the King.
• We are caused to question whether Macduff’s reaction or the murder is more important. Obviously this depends on interpretation, but Macduff’s reaction puts a human element into the play and detracts it from just mindless murder.  His guilt adds another dimension. However, the killing of an innocent woman and her children takes Macbeth’s murders to a new level – he had no reason himself to kill him and only went on the words of ‘Beware Macduff’. This is a chilling outcome to another of the witches’ prophecies.

Reading Journal, Act III, 'Macbeth'

Scene 1:

• ‘Thou playedst most foully for’t’ … ‘But hush! No more!’ Banquo shows he is suspicious of the King, but knows to be quiet.
• ‘Our fears in Banquo stick deep’, ‘My genius is rebuked.’ – Macbeth shows he fears Banquo knows of his deeds and is possible contemplating how to ‘solve this’; to kill him.
• This is emphasised as the witches’ prophesised that Banquo’s children will become King – Macbeth now fears that someone will kill him.
• ‘Come fate into the list…’ Macbeth calls on the witches to change Banquo’s prophecy. Is this because he dreads having to kill again?
• ‘Barren scepter’ could also connotate a fruitless crown. Is this a reference that Macbeth cannot have children. Lady Macbeth has possible mentioned she once had children as she has ‘given suck’. A scepter is also a phallic object which relates to Macbeth’s masculinity – is he trying to prove something to anyone, or just to himself? This adds to his dear of losing his crown, and therefore his status.
• Macbeth speaks to the murderers as he cannot, or will not kill Banquo himself. Is this cowardly? Also this could make Macbeth an even worse character as he cannot do it himself and pays two citizens to do the deed. Talking to the murderers also convinces him, as if he is trying to justify it.

Scene 2:

• Lady Macbeth speaks in rhyming couplets – just like the witches, which is poetic and charming.
• ‘Destroy ‘destruction dwell’ ‘doubtful’ – alliteration, which emphasises Lady Macbeth’s power of speech.
• ‘O, full of scorpions is my mind, dear wife!’ – Macbeth shows evidence and imagery of a tortured mind as he seems to speak of being in pain. Normally this would cause the audience to sympathise, but because of Macbeth’s deeds, we cannot.

Scene 3:

• We see Banquo’s murder on stage, unlike Duncan’s, which shows the haste and lack of planning it had compared to the first murder. This portrays the mess and drastic measures Macbeth and Lady Macbeth have to go to now, and it will not stop here.
• ‘Tis he.’ ‘Stand to’t’. The scene is very fast and this is shown through the short dialogue between the two murderers. Creates panic and tension – what Macbeth and his wife are feeling?

Scene 4:

• Just like Macbeth’s dagger soliloquy, this scene relies heavily on interpretation with regard to if the audience see Banquo’s ghost or not. It could be decided that the dagger cannot be seen, yet Banquo’s ghost can be seen, subtly showing the downfall of Macbeth’s state of mind.
• ‘My Lord is often thus, and hath been from his youth’ – Lady Macbeth shows herself again as a convincing actor. She also shows her incredible power of persuasion, not only with Macbeth, but with others too.
• ‘Thy bones are marrowless, thy blood is cold.’ Macbeth is showing how he is reddened with guilt. Questionable whether he is talking about Banquo’s dead body, or himself, as he is shown to be so heartless, he could be described as ‘cold-blooded’.

Scene 5:

• Evidence of the supernatural, again in ‘thunder and lightning’.
• The three witches are told off by Hecat for ‘trade[ing] and traffic[ing] with Macbeth and being ‘spiteful and wrathful’. Shows to the audience that their meddling with Macbeth was just a game. Shocking as Macbeth took their words so seriously, therefore making all the murders in the play almost worthless as Macbeth was purely a chess piece in their fun.

Reading Journal, Act II, 'Macbeth'

Scene I:

• ‘The moon is down’ – immediate sense of darkness causing unease.
• Macbeth’s dagger soliloquy raises many questions – how should it be interpreted? (1) What is Macbeth’s state of mind? (2) How much does the supernatural take over? (3)
• (1) – ‘I have thee not and yet I see thee still!’ – should Macbeth say this hastily due to fear, or should he say it slowly, with trepidation?
• (2) As the audience cannot see the dagger, we have to question his state of mind. This could be guilt taking over or it could be Macbeth’s own sense of persuasion.
• (3) – ‘Witchcraft celebrate Pale Hecat’s offerings…moves like a ghost’ Supernatural creatures are mentioned here, so rather than psychological effects, is the supernatural driving Macbeth’s hallucination, just as it is driving Lady Macbeth’s excitement of becoming Queen?

Scene II:

• Duncan’s death is not seen on stage which adds to the air of mystery and emphasises secrecy. This could also show, however, the careful planning that Lady Macbeth and Macbeth have done to ensure no one finds out. Later, the murders are seen on stage, which could show that Lady Macbeth and Macbeth can no longer be secret, their plans are rash and out of control, unlike Duncan’s murder.
• ‘Had he not resembled My father as he slept, I had done’t’ Lady Macbeth’s words show that she is not the heartless woman as presented before, deep down she does have a conscience. In a way makes her a more treacherous character, as she puts more pressure and guilt onto Macbeth.
• Subtle references to nature ‘owl that shrieked’ and ‘owl-scream and cricket’s cry’. Later developed when horses are described eating each other. Showing that nature knows of their deeds and are revolting.
• ‘Didst thou not hear a noise?’ – Macbeth makes many references that show he feels immediate guilt and the scene ends with Macbeth contemplating ‘Wake Duncan with thy knocking! I would thou couldst!’ He shows remorse and sorrow, but Lady Macbeth quickly undermines him saying it is ‘A foolish thought, to say a sorry sight.’
• ‘A little water clears us of this deed; How easy it is then!’ Shakespeare’s use of dramatic irony as they can wash the water off physically, but her words show they are stained more figuratively, in a much deeper way. Later, these words are twisted as Lady Macbeth is seen to be washing her hands in a trance; no water can clear her of the deed.

Scene III:

• The Porter scene also raises many questions as to his significance. He is darkly satirical as he talks about people he would welcome to hell ‘here’s a farmer’. Could be relating to Duncan’s murder and Macbeth’s soul beginning its journey to hell. His speech does not follow iambic pentameter, which says he is less important, however, the traditional secret of the fool in Shakespearian plays is to be no fool at all – he has prior knowledge to the plot as he makes references to hell ‘this place is too cold for hell’. Talking about Macbeth’s castle – he shows what a dangerous and futile place it is. However, the Porter is comic, so instead of looking so deeply into his words, we must remember Shakespeare was writing to entertain – is he just there for Shakespeare to please his audience and provide light relief to the play.
• Macduff describes Lady Macbeth as ‘O gentle lady’ – the opposite of what she really is and she then plays up to this when ‘swooning’ she says ‘Help me hence, ho!’ She puts on the presentation of the typical fragile woman which contradicts the masculinity shown in Act 1. However, it could also be argued she is trying to detract from Macbeth’s words ‘O yet I do repent me of my fury, That I did kill them’ in order to protect them both. She is a skilful actress.

Scene IV:

• ‘Tis said they ate each other.’ Emphasising the turning of nature and showing that something unnatural has happened. The animals know, but other characters are unaware.

Reading Journal, Act 1, 'Macbeth'

Scene I:

• Stage directions – ‘thunder and lightening’. This is typical Gothic weather, creating atmosphere and noise which immediately builds tension.

• The play begins with an enigmatic opening – ‘When shall we three meet again?’ Throughout the witches’ dialogue more questions are raised – what battle? Who is Macbeth?
• Shakespeare uses stichomythia – ‘I come, Grey-Malkin.’ This part of scene 1 is arranged where single lines are spoken by alternate speakers, which, overall, speeds up the pace of the dialogue.

Scene II:

• Reference to blood multiple times. Including; in the stage directions ‘bleeding Captain’ and when the King says ‘What bloody man is that?’ Is this Shakespeare’s warning to the audience of the blood shed to come?
• This scene also focuses on glorifying Macbeth. His is described as ‘brave’ and he ‘well deserves that name’. This is further emphasised by the mention to ‘valour’. We learn that Macbeth has earned respect and he is a great warrior. However, we are brought to question, as the Captain is dying, is he a reliable storyteller?
• This scene is relatively graphic. It highlights that it is not about winning the battle, but how you win. Macbeth is shown to be a strong fighter as he ‘unseamed him from the nave to the chops…’ ‘Cannons overcharged’ shows the warriors were eager – is this because of Macbeth’s influence?

Scene III:

• Again, the witches’ enter with thunder, making their entrance more prominent. They are all together, emphasising the ‘power of 3’. This could be connotating reference to the past, present and future. They all join to being ‘all knowing’ – omniscient – which is a aspect of God’s nature. Yet, ironically, they are the opposite.
• After hearing the witches’, Macbeth’s speech beginning ‘Stay you imperfect speakers!’ is full of pace. The exclamation marks make it more powerful. He seems to consider and question all his options as he questions himself ‘But how of Cawdor? The Thane of Cawdor lives…And to be King stands not within the prospect of belief…’ This is in addition a very fast paced speech – the speed at which his thoughts are moving too. The excitement overwhelms him. 

Scene IV:

• Shakespeare uses irony again when the King shows he has no reason not to trust Macbeth; ‘He was a gentleman on whom I built an absolute trust.’
• ‘Our duties are to your throne…’ Do we believe Macbeth’s words? Is he still loyal to the King or are his words mechanical?
• Are question to the above is then answered when Macbeth says, aside, ‘Let not light see my black and deep desires’. He shows scheming and plotting, letting the audience realise that he is seriously considering the witches’ prophecy. However, Macbeth does not show if he will do anything about it. Is he just a weak man with great ideas that he is incapable of completing?
• This speech also switches from rhyming couplets to prose, which is similar to the chanting of the witches. It makes obvious more signs of evil and puts Macbeth at the same status and level of the witches.

Scene V:

• Begins with Lady Macbeth reading a letter – we cannot make a true immediate judgement of her, as she is not reading her own words. Could this symbolise two sides of one character? Is Lady Macbeth, Macbeth’s ego (Freud’s idea that the ego causes us to make the dangerous decisions and actions). Shakespeare gives Lady Macbeth no ambiguity.
• She shows dominance over Macbeth – ‘leave all the rest to me.’
• ‘Unsex me here’, ‘Make thick my blood’. Lady Macbeth is shown as almost masculine, a reversal of gender, which is shocking. Is this her wanting to rid herself of the last bit of morality she has so she can go through with the plans to kill Duncan. If this is the case, then she does have a conscience, she just doesn’t want it.

Scene VI:

• This scene sets up Scene VII – Lady Macbeth presents that she is two faced, or just a very clever woman. ‘We rest your hermits.’

Scene VII:

• As Macbeth enters alone, it means he does not have to hide his feelings, he has no one to pretend to, he can express everything. ‘Naked new born babe’, this usually promotes innocence, however, here, it is the reversal of innocence, into evil.
• Macbeth then presents himself as a more respectful man when he tells Lady Macbeth ‘We will proceed no further in this business.’ Nevertheless, he is quickly overruled by Lady Macbeth.
• Lady Macbeth makes reference to ‘valour’. This twists the Captain’s words, blackmailing Macbeth into her plans.
• ‘I have given suck’ – evidence to show Lady Macbeth had children, a reason that the audience could sympathise with her. Though she then says ‘Have plucked my nipple from his boneless gums and dashed the brains out.’ These horrifying words are made more dramatic because they come from a woman – someone meant to be typical fragile and nurturing.
• Act and Scene ends with Macbeth’s words ‘False face must hide what the false heart doth know.’ The use of aesthetics (like in Dorian Gray) is Shakespeare’s technique of hiding one’s true personality.

Gothic Elements in Act 1 of 'Macbeth'

Act 1 of Macbeth features standard Gothic themes of setting, the supernatural and exaggerated language. However, there are other less immediate, but equally important Gothic elements in the opening Act, which I will address here.

We are first introduced to Lady Macbeth alone on stage, reading a letter. It is an unusual way to meet a character for the first time, as we cannot see Lady Macbeth as herself – she is reading Macbeth’s words, not speaking her own. Immediately this symbolises secrecy and hidden agendas, causing the audience to become wary of Lady Macbeth - they are unable to make any first impressions of her.

The use of letters in Gothic texts, such as Dracula, has a huge impact on the way the audience can understand a character. It was a widely used technique in the 18^th century – a major time for Gothic novels. In Dracula, the multiple narrative perspectives are given through letters, as well as diary entries and journals, which are used throughout the novel. However, in Macbeth, this technique is used rarely, but, could be argued, at one of the most important times in the play; when Lady Macbeth hears of the witches’ prophecy. This is a pivotal moment in the plot, as Lady

Macbeth’s influence and powers of persuasion are, debatably, the root cause of the dramatic events in the play, which unfold following the murder of Duncan. Lady Macbeth is not shown to be a typical, fragile woman of Shakespeare’s times; ‘plucked my nipple from his boneless gums and dashed the brains out…’ she shows masculinity and aspects of a reversal of gender, and it is this, that is particularly Gothic. 

The letter could also symbolise two different sides of the same character: is Lady Macbeth, Macbeth’s ego? (Freud’s idea that the ego encourages us to take the daring, yet dangerous choices). This is shown through Lady Macbeth’s immediate reaction to what she reads. She calls out to evil – a second reference to the supernatural, after the witches – ‘unsex me here’. This could be Lady Macbeth realising her last bit of morality and she is calling out to rid herself of it so she can go through with her plans. ‘Make thick my blood.’ Again, she does her best to ignore her morality, which shows great determination, yet for all the wrong reasons. Overall, Shakespeare does not give Lady Macbeth any ambiguity – the first time we see her, we see evil traits. This contrasts to the way Shakespeare introduces Macbeth.

Another technique Shakespeare uses to create gothic elements is through the use of questions. The play begins with a question – ‘When shall we three meet again?’ An enigmatic opening could be Shakespeare’s way of causing the witches to address the audience, as well as each other, putting the audience at greater knowledge of the play than the characters, creating more suspense. The first question raised by the audience is during the witches’ plotting - ‘There to meet with Macbeth’. The audience are forced to question – who is Macbeth and what is their interest with him? Subject raising makes reference to the unknown, a gothic feature used to create anticipation and anxiety.

Conversely, the question that raises the most interest is Macbeth’s alteration. We hear of him as ‘brave Macbeth’ – an honourable man who has earned respect. The bleeding captain glorifies him when he explains that Macbeth has ‘valour’. Nevertheless, after hearing the witches’ prophecy comes true, we see Macbeth as a villain – ‘Let not light see my black and deep desires’. Both aspects of Macbeth’s character appear polarised in this first Act, another psychological factor, typical of the Gothic tradition. As well as making his scheming obvious, Shakespeare switches from prose to rhyming couplets. This is similar to the chanting of the witches, a connotation that Macbeth is an evil being, just as they are. It can be argued that this shows Macbeth has exactly the same ideas as Lady Macbeth; he is just not as open about it. This adds to the secrecy and hidden aspects of the play.

It can therefore been seen through closer study that the typical Gothic weather and setting and supernatural beings are not the only characteristics that make Act 1 typically Gothic. Psychological influences strongly manipulate not only the characters, but the audience as well.

A Marxist analysis of 'The Tempest'

Marxism states that capitalism ‘thrives on exploiting its labourers’. This means that the upper class are rich, and stay rich, because the labourers that work for them get less than their work is actually worth.

Caliban in The Tempest is one of the most interesting and sympathetic characters. He is described using very derogatory terms, such as a ‘tortoise’ a ‘fish’ and a ‘beast’. The only information we receive about Caliban’s parentage and background is that from Prospero. ‘Thou poisonous slave, got by the devil himself Upon thy wicked dam.’ Prospero, here, is very prejudiced. He shows no respect for Caliban, despite the fact Caliban shows great intelligence when he tells Prospero ‘You taught me language; and my profit on’t Is, I know how to curse.’

Caliban is made unwillingly Prospero’s slave, even though he claims the island is really his – ‘This island’s mine by Sycorax my mother, Which though tak’st from me.’ This shows that the way we think and the way we experience the world around us are either wholly or largely conditioned by the way the economy is organised. Here, social class is important – Prospero’s supremacy means that Caliban is powerless to stop or refuse him.

More recently Prospero is now portrayed as the cruel power hungry master who enslaved Caliban simply because he didn’t understand him. However, a Marxist analysis would say that capitalism turns people into things – Prospero rarely calls Caliban his name only ‘slave’. Caliban is given a lower, working class status even in the stage directions – ‘Enter Caliban, with a burthen of wood.’. Shakespeare shows that Caliban is made to work for Prospero in painful and difficult conditions, yet Prospero is the only one who gains from this - another example of the labour the working class go through in order to benefit the rich.

'Macbeth' at the Nuffield (20/09/2011)

Performed by Winchester based 'Platform 4', Macbeth, one of Shakespeare's great plays, and one of my set texts for my A2 exam, was meant to create a 'taut psychodrama that crackles with a wild electricity'.

I have always believed that Shakespeare has to be seen and you cannot just read it alone. You have to be able to listen to the words to really appreciate their beauty. Having previously seen a very successful adaption of 'The Tempest' at the Nuffield a few months before, I had high hopes for another excellent production. However, when the famous three witches came on with a piece of cloth over their heads, my heart sank. Where was the originality?

Sadly the lack of new and exciting ideas that performances of Shakespeare can bring continued. I thought I knew the play well, having already looked at the play before, however, for most of the two hour production I was trying to figure out who was who. Banquo (?) and Donalbain (?) particularly were two I could not tell apart - their expression was minimalist and their physical appearance was identical - same colour hair, same hair cut, same beard and same long, greenish coloured coat. Lady Macbeth was weak and should have been played by the only other woman in the performance who ended up playing one of the witches, Malcolm, Lady Macduff and a messenger. She had clarity and most importantly she had presence.

However, Macbeth was good - he was the only one who 'felt' the words he was speaking, so was sadly let down by the other performers.

There were some clever parts, where some events which were significant, yet needed no speech were done behind a net curtain - made prominent by the use of lighting. The lighting really was excellent - it evoked the passion and terror Macbeth involves.

Overall, my opinion is that the perfomance would have been very good if a school or college had presented this. On the otherhand, for paid actors, it did not live up to expectation.

Gothic Literature

"There, on our favourite seat, the silver light of the moon struck a half-reclining figure, snowy white... something dark stood behind the seat where the white figure shone, and bent over it. What it was, whether man or beast, I could not tell."- Bram Stoker, Dracula

 

Dracula is one of the most famous and typical gothic novels and was written in 1897. It is written in the form of diary entries and letters from several narrators’ perspectives. The name ‘Dracula’ came to be when Stoker was reading about Romanian history and chose this to replace ‘Count Wampyr’, which was his original name for the villain.

 

Stoker was living in Whitby when he was writing Dracula and parts of the novel are set there. This accounts for the continuing popularity of Whitby as a gothic site – many gothic festivals and ‘ghost walks’ are held here.

 

 

 

http://www.youtube.com/watch?v=-j6b4Cd3OZo

 

 

 “The night is chill; the forest bear; Is it the wind that moaneth bleak? ­There is not wind enough in the air to move away the ringlet curl from the lovely lady’s cheek” - Samuel Taylor Coleridge, from Christabel

 

 

“For the dear God who loveth us, He made and loveth all.” Coleridge’s best known poem The Rime of the Ancient Mariner displays many gothic characteristics, however the end of the poem reaches a relatively tame conclusion.

 

 

 

 

 

“An awful silence reigned throughout those subterraneous regions, except now and then some blasts of wind that shook the doors she had passed, and which grating on the rusty hinges were re-echoed through that long labyrinth of darkness.”- Horace Walpole, The Castle of Otranto

 

 

 

 

 

Christabel was written in 1816 and its strong theme of seduction and corruption of innocence has a strong gothic dimension, however the poem was never finished. This left Coleridge questioning his poetic ability.

Written in 1764, The Castle of Otranto is widely considered the first truly gothic novel. Walpole introduces many set-pieces that the Gothic novel will become famous for, such as mysterious sounds, doors opening independently of a person, and the fleeing of a beautiful heroine from an incestuous male figure.

 

 

“I knew well that I risked death; for any drug that so potently controlled and shook the very fortress of identity, might by the least scruple of an overdose or at least inopportunity in the moment of exhibition, utterly blot out that immaterial tabernacle which I looked to it to change.”

– Robert Louis Stevenson, Dr Jekyll and Mr Hyde

 

 

Written in 1886, the theme of horror is combined with deep psychological insight. Sigmund Freud later said that literary creations could tell us a great deal more than rational explanations about the real workings of the human psyche. His paper The Uncanny acknowledges the gothic appeal – ‘the uncanny…undoubtedly belongs to all that is terrible – to all that arouses dread and creeping horror.’

 

 

 

 

 

“It excites me to be close to him, to think over and over, I can kill him and I will kill him but not now.”

- Anne Rice, Interview with the Vampire

 

 

After suffering the terrible grief of her young child, Anne Rice began to write her novels The Vampire Chronicles. She was writing at a time when novels, films and stories about vampires were uncommon. A film version was released in 1994 starring Tom Cruise, Brad Pitt and Kirsten Dunst.