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In the last phase of his career, Shakespeare adopted many techniques to achieve these effects. These included enjambments, irregular pauses and stops, and extreme variations in sentence structure and length. [11] In Macbeth, for example, the language darts from one unrelated metaphor or simile to another in one of Lady Macbeth's well-known ...
MACBETH. She should have died hereafter. There would have been a time for such a word. Tomorrow, and tomorrow, and tomorrow, Creeps in this petty pace from day to day, To the last syllable of recorded time; And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life’s but a walking shadow; a poor player,
One of the first-recorded uses of this phrase was by the character Lady Macbeth in Act 3, Scene 2 of the tragedy play Macbeth (early 17th century), by the English playwright William Shakespeare, who said: "Things without all remedy Should be without regard: what's done, is done" [2] and "Give me your hand. What's done cannot be undone.
[115] "Shakespear", he writes, "excelled in the openings of his plays: that of Macbeth is the most striking of any." [118] He also, as in his essay on Hamlet, notes the realistic effect of Macbeth: "His plays have the force of things upon the mind. What he represents is brought home to the bosom as a part of our experience, implanted in the ...
"On the Knocking at the Gate in Macbeth" is an essay in Shakespearean criticism by the English author Thomas De Quincey, first published in the October 1823 edition of The London Magazine. It is No. II in his ongoing series "Notes from the Pocket-Book of a Late Opium Eater" which are signed, "X.Y.Z.". [ 1 ]
At literature’s most basic and elemental level of language, form, and vision, Shakespeare’s power is unequaled. If the mark of a writer’s greatness is the creation of the largest imaginary universe populated by believable characters and the reflection of the widest human experience, surely Shakespeare is alone in the magnitude of his ...
Motifs may also be used to establish mood (as the blood motif in Shakespeare's Macbeth), for foreshadowing (as when Mary Shelley, in Frankenstein, mentions the moon almost every time the creature is about to appear), to support the theme (as when, in Sophocles' drama Oedipus Rex, the motif of prophecy strengthens the theme of the ...
Eliot uses Lady Macbeth's state of mind as an example of the successful objective correlative: "The artistic 'inevitability' lies in this complete adequacy of the external to the emotion….", as a contrast to Hamlet. According to Eliot, the feelings of Hamlet are not sufficiently supported by the story and the other characters surrounding him.