How much can be said that Macbeth is a Horror Story Essay Example

How much can be said that Macbeth is a Horror Story Essay Example How much can be said that Macbeth is a Horror Story Paper How much can be said that Macbeth is a Horror Story Paper and then is heard no more. This implies that Macbeth thinks life is insignificant and is merely a wandering object. Shakesphere has related his play to what Macbeth thinks of life, Macbeth believes that people live their life on earth and then they die. As Macbeth has murdered so many people he is used to murder now, I have almost forgotten the taste of fear. Macbeth has forgotten what fear is like because he has been exposed to something incredibly stronger than fear and now here is alone to fulfil his ambitions. Macbeth realises that his crown is, Fruitless, and his sceptre, Barren. He murdered Duncan in order to make the witches prophecy come true, but now he plots to murder Banquo and Fleance so the witches promise to Banquo may not come true. Macbeth, is made up of a great deal of Murder, but it also contains perversion. Lady Macbeth experienced a very weird type of perversion because with the pressure from the murders she couldnt cope and cracked. She then turned to the dark side and asked to be as strong, inside, as a man. Come you spirits that tend on mortal thoughts! Unsex me here, And fill me from the crown to the toe top- full of direst cruelty; and make thick my blood, stop up the access and passage to remorse. This quote is very strong, it makes the audience realise that if someone like Lady Macbeth, who made once a very courageous and noble man go against his will, is finally cracking under the strain, therefore the situation must be getting tense and too much for even the strongest of people. The audience may realise that Macbeth may crack soon, like Lady Macbeth. Shakespeare used the words, Stop up the access passage to remorse, because it shows that Lady Macbeth has a guilty conscience and wants to stop anything else which could make her feel guilty for what she has done, it also shows that her ,mind is failing. Lady Macbeth wants to be as strong mentally as Macbeth is physically so she can handle the situation, Make thick my blood. This is used because she wants to be stronger and less caring, referring to turning to the dark side again. Macbeth knows she is weak inside, but strong on the outside. Lady Macbeth is the backbone of the plot for Macbeth to be king, soon after she kills herself the idea of Macbeth becoming king seems to get further and further away for him. Although, I think, I have mentioned the most important aspects of horror there are still a few more which add to the plays effect on the audience. Madness is used to a great degree in, Macbeth, this ties in with obsession and the witches. During the play Macbeth admits that he is going mad. I have suppd full with horrors; direness, familiar to my slaughterous thoughts, cannot start me. This means that Macbeth is no longer afraid of death. Horror, familiar to his thoughts can never alarm him. Nothing can worry him now, he is in despair, he doesnt care about his life, it means nothing. lifes but a walking shadow, this symbolises a person living their life on earth, then dying. There is no meaning to life. Shadow, is used because a shadow is insubstantial which is what Macbeth thinks about life at that moment of time. The fact that Macbeth has gone mad would horrify the audience because at the beginning of the play he was referred to as, For brave Macbeth, O valiant cousin! Worthy gentleman, Noble Macbeth. Now the audience would hate him because he has murdered the king, the innocents, his cousin and his friends. All of this has happened because of the witches and his obsession with ambition. Animal imagery can also create horror in a story, the play has various instances of animal imagery. Macbeth is full of, Scorpions, Banquo sees Macbeth as a poisonous snake that is worming his way into his heart. The order of nature and harmony of the state have both been over thrown and the result is society in chaos, which has consistently been shown to us using animal imagery. The witches use animals to horrify the audience, Double, double, toil and trouble; Fire burn and cauldron bubble Fillet of a fenny snake, in the cauldron boil and bake; eye of newt, and toe of frog wool of bat, tongue of dog, adders fork and blind worms sting, lizards leg, and howlets wing, for a charm of powerful trouble, like a hell-broth boil and bubble. Macbeth and Lady Macbeth cant see good from evil. Macbeth is murder motivated and turns to the witches again for help. He has turned to the dark side. Macbeth is addicted to power and murder. As Macbeth went back to the witches he turned to the dark side or the evil side, this means he is like a devil and the, Sacrilegious act, that he committed means nothing to him now, but before he was sorry for what he had done, I have livd long enough : my way of life I falln into the sere, the yellow leaf, and that which should accompany old age as honour, love, obedience, troops of friends. I conclude that, Macbeth, contains many different aspects of horror and I can safely say that, Macbeth, was a horror story in the Shakespearean times. I believe that, Macbeth, today, is not classed as a play of horror because not many people see witches as frightening. Hansel Gretel and Snowwhite and the seven dwarfs, both of these famous children stories involve witches this proves that in todays world, witches arent scary. Most modern films dont include fate or supernatural, but more murder and obsession.

Rhetorical Analysis Definition and Examples

Rhetorical Analysis Definition and Examples Rhetorical analysis is a form of criticism or close reading that employs the principles of rhetoric to examine the interactions between a text, an author, and an audience. Its also called rhetorical criticism or pragmatic criticism. Rhetorical analysis may be applied to virtually any text or image- a speech, an essay, an advertisement, a poem, a photograph, a web page, even a bumper sticker. When applied to a literary work, rhetorical analysis regards the work not as an aesthetic object but as an artistically structured instrument for communication. As Edward P.J. Corbett has observed, rhetorical analysis is more interested in a literary work for what it does than for what it is. Sample Rhetorical Analyses A Rhetorical Analysis of Claude McKays AfricaA Rhetorical Analysis of E.B. Whites The Ring of TimeA Rhetorical Analysis of U2s Sunday Bloody Sunday Examples and Observations Our response to the character of the author- whether it is called ethos, or implied author, or style, or even tone- is part of our experience of his work, an experience of the voice within the masks, personae, of the work...Rhetorical criticism intensifies our sense of the dynamic relationships between the author as a real person and the more or less fictive person implied by the work.(Thomas O. Sloan, Restoration of Rhetoric to Literary Study. The Speech Teacher)[R]hetorical criticism is a mode of analysis that focuses on the text itself. In that respect, it is like the practical criticism that the New Critics and the Chicago School indulge in. It is unlike these modes of criticism in that it does not remain inside the literary work but works outward from the text to considerations of the author and the audience...In talking about the ethical appeal in his Rhetoric, Aristotle made the point that although a speaker may come before an audience with a certain antecedent reputation, his ethical appeal is exerted primarily by what he says in that particular speech before that particular audience. Likewise, in rhetorical criticism, we gain our impression of the author from what we can glean from the text itself- from looking at such things as his ideas and attitudes, his stance, his tone, his style. This reading back to the author is not the same sort of thing as the attempt to reconstruct the biography of a writer from his literary work. Rhetorical criticism seeks simply to ascertain the particular posture or image that the author is establishing in this particular work in order to produce a particular effect on a particular audience.(Edward P.J. Corbett, Introduction to Rhetorical Analyses of Literary Works) Analyzing Effects [A] complete  rhetorical analysis requires the researcher to move beyond identifying and labeling in that creating an inventory of the parts of a text represents only the starting point of the analysts work. From the earliest examples of rhetorical analysis to the present, this analytical work has involved the analyst in interpreting the meaning of these textual components- both in isolation and in combination- for the person (or people) experiencing the text. This highly interpretive aspect of rhetorical analysis requires the analyst to address the effects of the different identified textual elements on the perception of the person experiencing the text. So, for example, the analyst might say that the presence of feature x will condition the reception of the text in a particular way. Most texts, of course, include multiple features, so this analytical work involves addressing the cumulative effects of the selected combination of features in the text.(Mark Zachry, Rhetorical Analys is from The Handbook of Business Discourse, Francesca Bargiela-Chiappini, editor) Analyzing Greeting Card Verse Perhaps the most pervasive type of repeated-word sentence used in greeting card verse is the sentence in which a word or group of words is repeated anywhere within the sentence, as in the following example: In quiet and thoughtful ways, in happyand fun ways, all ways, and always,I love you. In this sentence, the word ways is repeated at the end of two successive phrases, picked up again at the beginning of the next phrase, and then repeated as part of the word always. Similarly, the root word all initially appears in the phrase all ways and is then repeated in a slightly different form in the homophonic word always. The movement is from the particular (quiet and thoughtful ways, happy and fun ways), to the general (all ways), to the hyperbolic (always).(Frank DAngelo, The Rhetoric of Sentimental Greeting Card Verse. Rhetoric Review) Analyzing Starbucks Starbucks not just as an institution or as a set of verbal discourses or even advertising but as a material and physical site is deeply rhetorical...Starbucks weaves us directly into the cultural conditions of which it is constitutive. The color of the logo, the performative practices of ordering, making, and drinking the coffee, the conversations around the tables, and the whole host of other materialities and performances of/in Starbucks are at once the rhetorical claims and the enactment of the rhetorical action urged. In short, Starbucks draws together the tripartite relationships among place, body, and subjectivity. As a material/rhetorical place, Starbucks addresses and is the very site of a comforting and discomforting negotiation of these relationships.(Greg Dickinson, Joes Rhetoric: Finding Authenticity at Starbucks. Rhetoric Society Quarterly) Rhetorical Analysis vs. Literary Criticism What essentially are the differences between literary criticism analysis and rhetorical analysis? When a critic explicates Ezra Pounds Canto XLV, for example, and shows how Pound inveighs against usury as an offense against nature that corrupts society and the arts, the critic must point out the evidence- the artistic proofs of example and enthymeme [a formal syllogistic argument that is incompletely stated}- that Pound has drawn upon for his fulmination. The critic will also call attention to the arrangement of the parts of that argument as a feature of the form of the poem just as he may inquire into the language and syntax. Again these are matters that Aristotle assigned mainly to rhetoric... All critical essays dealing with the persona of a literary work are in reality studies of the Ethos of the speaker or narrator- the voice- source of the rhythmic language which attracts and holds the kind of readers the poet desires as his audience, and the means this persona consciously or unconsciously chooses, in Kenneth Burkes term, to woo that reader-audience.(Alexander Scharbach, Rhetoric and Literary Criticism: Why Their Separation. College Composition and Communication)