"Macbeth is a play about the nature of evil rather than the nature of ambition". To what extent do you agree with this view of the play?

Shakespeare's Macbeth is a play that initially appears to be about the nature of evil. There are many monstrous and wicked acts committed in this play, such as Duncan's Murder, Lady Macbeth's rejection of her humanity and the slaughter of the Macduff household. It could be argued that Shakespeare explores the nature of these evil acts, and how they affect the characters involved. However, it could also be argued that this play is about the nature of ambition that underlies this evil. With characters such as Macbeth and Lady Macbeth, it is often the nature of their aspirations and their desire to transgress beyond limitations that this play examines. Often, their evil behaviour is just a method of appeasing their ambition, rather than a theme the play explores in depth. 
   Through the aftermath of Duncan's murder, Shakespeare could be exploring the horrifying nature of evil. This pivotal moment within the play is presented as a disastrous catastrophe that should never have occurred. It is an event which leaves all the characters in a state of "o horror, horror", and even the setting of the weather appears to be "troubled with man's act". In the night following the murder, the setting is described as "dreadful and strange", which appears to reflect how appalling and abhorrent this act of regicide is. Contextually, this use of setting may reflect a Jacobean audience's response to Duncan's death. It could have been considered to be so evil in nature, and such a challenge to the natural order, that many audiences are left feeling nothing but contempt for Macbeth's crime. Thus, it could be argued that Shakespeare is exploring the horrifying and appalling nature of evil through this pivotal moment in the text. 
   However, a much greater reading suggests that this pivotal scene is actually about the corruptive nature of ambition. At the opening of the play, Macbeth is a "brave", loyal and patriotic soldier who would do anything to protect his king- he was a "sparrow eagle" who fought for his country's safety. Once the Witches tell Macbeth about his future as king, this presentation becomes subverted. Macbeth later decays into a man consumed by his "black and deep desires". His ambition to "o'erleap" Malcolm to the throne takes priority over his morality as he murders the king to satisfy his grand aspirations. Shakespeare, through Macbeth's changing characterisation, appears to be exploring the corruptive nature of ambition, rather than the nature of evil. It is this ambition that the play appears to be about, as it changes Macbeth from a "worthy gentleman" into a "devilish" murderer. 
   Nevertheless, the nature of evil appears to take a greater focus within the play through the presentation of Lady Macbeth. She is portrayed as unscrupulous and wicked when she is first introduced; her nature is filled with "gall". This is a character who shockingly defies all expectations. Rather than protect her children, she reveals that she would "dashed the brains out" of them. This cold statement may startle many audiences because the evil nature of what she is willing to do challenges all expectations for how a mother should behave. It becomes clear that this extreme and shocking character is filled with the "direst cruelty", as well as being completely callous and evil. No humanity appears to remain within her. Thus, it could be argued that Shakespeare is exploring the shocking nature of evil, and how it often challenges societal rules and expectations. However, a much stronger interpretation suggests that her presentation is not about the nature of evil; rather, it appears to explore the ruthless nature of ambition to a much greater extent. Lady Macbeth actually appears to be presented as someone who is willing to do anything to reach her goals and ambitions. Lady Macbeth is portrayed as willing to lose her femininity- "unsex me here"- and even her own humanity as she rids herself of the "compunctious visiting of nature". She seems to view her gender and humanity as set-backs that she is willing to work through in order to achieve her goal of becoming queen. Thus, it appears that Shakespeare has actually written a play about the ruthless nature of ambition, and how someone can be so determined to fulfil their aspirations that they would even "dashed the brains out" of their own child. 
   The scene in which the Macduff family are "savagely slaughtered" appears to be the scene which is most about the nature of ambition. Shakespeare presents Macbeth at his most ambitious as he seeks to defy fate itself. After being told that no man born of woman shall harm him, he boldly exclaims that he has no "need to fear thee [Macduff]". He chooses to ignore the first prophecy telling him to beware Macduff, and it could be argued that this defiance against fate is what leads to the death of the Macduff family. He interprets this "sweet bodement" as an indication that he is capable of cheating death and his fate. Whilst the deaths of the most "diminutive", "poor" and vulnerable victims could be interpreted as a demonstration of the depraved nature of evil, it is clear that the scene explores the recklessness of ambition. Macbeth's aspirations to secure his kingship and safety lead to him acting impulsively- "the firstlings of my heart are the firstlings of my hand". The deaths of the Lady Macduff and her children appears to be a consequence of this instinctive and reckless nature of ambition, rather than Macbeth's evil nature.
   Whilst it could be argued that Shakespeare is exploring the depraved and shocking nature of evil through the murders that take place in the play, it appears that the play has a greater focus on the nature of ambition. Underlying these evil acts of murder is a corruptive, reckless and ruthless ambition. It is this ambition that the play appears to be about, rather than the nature of evil.  
 
    
   

To what extent do you think that gothic literature is characterised by a fascination with death?

Some may argue that gothic writing is characterised by a strong focus on death because of the way it affects the characters in each text. Whether they die themselves, or lose someone else to death, it appears that gothic writing is fascinated with the ways death can affect our psyche or behaviour. However, there are other key themes that many gothic texts appear to be fascinated by, such as ambition, sin and transgression.

  It initially appears that The Pardoner’s Tale is fascinated by death due to the ways the protagonist uses death in their rhetoric. The Pardoner is presented as having a great insight into our fear of death, and uses this to extort money from his audience. In his tale, death is personified as an unstoppable supernatural predator: a “privee theef” that takes any life he chooses. Thousands have been “slain” by the opening of the tale, and by the end the three rioters have also died by their own hands. This cyclical structure suggests that this gothic text is fascinated by death, as the Pardoner repeatedly relates to his audience how death “took” anybody at any time. Furthermore, the Pardoner subtly suggests that death is not confined to the tale, and creates a lot of terror, when he hypothetically states that “paraventure hir breke a nekke atwo”. Thus, it appears that The Pardoner’s Tale is characterised by death, and its role with fear and terror. The Pardoner’s message ominously states that if you are not careful, death can easily come- “fallen of a hors”- before your sins are absolved.

  However, this gothic text appears to have a much greater fascination with the gothic concept of sin. The revellers are presented as the epitome of immorality and wickedness: “superfluitee abhominable”; they reside in the “develes temple”. The poem appears to be fascinated with condemning their sins, which is perhaps why they die at the end. Their death may be a punishment for their endless hedonism “dronken… al day and nighte” and how their excess greed (they were “glad of the sighte” of the gold). Whilst the poem does close with death, it appears that the greater focus is on the sins that precede it. Even when The Pardoner mentions the idea of death at the end of the tale, it is immediately followed by an offer of “absolucioun” and help to the “blisse of heaven”. In an innately religious medieval society, where an eternal afterlife in hell was a very real fear, it appears that this text would have been received as having a greater focus on “sinne”.

  Similarly to The Pardoner’s Tale, death in Frankenstein is presented as a punishment for both Frankenstein and the Creature’s crimes. Both commit very horrifying and inhuman deeds. Frankenstein arrogantly usurps the role of God “a new species will bless me as its creator and source”, and the Creature murders many innocent victims, such as the “sweet” William. A contemporary reader would consider the death of a child who was “so gentle” and “innocent”, which connotes vulnerability and being in need of protection, to be the worse crime. In contrast, a reader in the 1800s may have a greater abhorrence for Frankenstein’s transgression. His arrogance as he desires to reach the God-like power of breaking the “ideal bounds” of life and death may have been considered the most horrifying and sacrilegious of all crimes. Death, in this case, is presented as an apt punishment for his transgression and for trying to break beyond his limitations. Whilst it could be argued that this novel is more focused on the ambitious act of transgression itself, a much greater reading suggests that this novel does have a greater fascination with death. It is effectively used to close the novel, creating a satisfying and just conclusion to Frankenstein’s character development. The ending of this gothic text thus appears obsessed with how death can be used to restore the natural order that Frankenstein had so greatly disturbed.

  Many may argue that Macbeth has the greatest fascination with death, for there are excessive amounts of violence and bloodshed.  This play also has a cyclical structure, as the narrative begins with a battle where the protagonist “unseamed” his enemies in order to protect his king, and closes with Macbeth’s “brandished… head on a pole”. The play opens and closes with death, with the rest of the narrative being characterised by Macbeth’s murderous crimes during his rise in power. Furthermore, the play also appears to be fascinated with Macbeth’s relationship with death. During the opening, it takes Macbeth an entire act to become “settled” on murdering Duncan. By the end, he is presented as desensitised and indifferent to it, as the “firstlings of my heart become the firstlings of my hand”. Murdering other soldiers soon becomes reason for him to “smile at”. Thus, it could be argued that Macbeth is fascinated with a killer’s relationship with death, and how one grows accustomed to it with the more murders they commit.

  However, a much greater reading suggests that Shakespeare’s play has a stronger focus on ambition than death. Through the repeated use of asides and soliloquies, we get insight into Macbeth’s “deep desires”. He is presented as a character defined by his “vaulting ambition”, and his desire to “overleap” the established natural order at the time. Every murder he commits is presented as being a way of satisfying this ambition: Duncan’s murder allows him to be crowned, and Banquo’s murder is committed to prevent his kingship becoming “fruitless”, dead and “barren”. Whilst the amount of death in this play is excessive and extreme, it appears that this gothic text is characterised by a fascination with ambition with death.

  Gothic writing initially appears to be characterised by a strong focus on death. Many of the texts examine our complex relationship with death, such as our fear of dying and how we can become desensitised to it over time. However, a much greater reading suggests that gothic writing is not fully characterised or fascinated with the theme of death because it has a much greater focus on themes such as sin and ambition. Whilst death does often appear to be a consequence of these other two gothic themes, it is clear that the focus is still on ambition and sin, and how they may affect different characters throughout the course of the narrative.

In House of Cards, are the female characters only presented as victims of Frank Underwood’s pursuit of power?

Throughout Frank Underwood’s rise in power, many of the female characters are presented as suffering and as manipulated victims. His ruthless pragmatism and almost inhuman indifference allows him to suppress anyone who stands in his way. Characters such as Heather Dunbar, Rachel Posner and Claire Underwood- to varying extents- suffer attacks on their dignity, power and livelihood. However, there are occurrences throughout the series where these female characters defy what Frank expects of them, thus becoming strong, independent and stoic characters as a result. 

Note, this analysis only considers Seasons 1-3. I have not yet watched the fourth season in its entirety.

Some may argue that Heather Dunbar is presented as a victim of Frank’s ruthlessness as he attempts to sustain his power and the presidency. During her first debate, she is forced to endure sly and cunning personal attacks, from both Frank and Jackie Sharp, as they use her gender as a weapon. They try to portray her as a “bad mother” who abandons her children, and even as a “sexist” who only looks after herself, rather than the whole of America’s female population. This assault on her character increases in intensity when they try to use her actions in the past, such as sending her children to public school or her lack of a “record to defend”, in order to diminish her credibility and humiliate her. To some extent, it does appear that this attack on her character and her past victimises her, for she loses the first caucus in Iowa, thus suggesting that her public image has decreased in popularity. However, to a greater extent, it appears that Dunbar is actually Frank’s strongest obstacle in his pursuit of the presidency, and perhaps one of the most powerful female character in this television series. Throughout the third season, Frank “trails” behind her in the polls. Rather than someone victimised by Frank’s ruthlessness, Dunbar is portrayed as a formidable opponent that Frank struggles to overcome. Even when he humiliates her during the debate, labelling her a “bad mother”, she swiftly responds in an calm and human way “do I want the best for my kids? Yes I do!” Frank’s attempts to humiliate her are quickly halted by her strong and defiant demeanour as she refuses to fall to his depraved level of politics. Thus, it appears that not all female characters are presented as victims of Frank’s pursuit of power. Dunbar, a “symbol” for the power that women can have in politics, proves to be one of the strongest and most controlled characters in the series, and certainly a very worthy candidate for president that Frank will struggle to defeat in the later seasons.

Rachel Posner is portrayed as a greater of a victim of Frank’s ruthless pursuit of power. During the first season, she is essentially a pawn which Frank uses to progress through his plan to the vice-presidency. Her value never increases above this- Frank does not even meet her due to her lack of significance to him. Yet he still does what he pleases with her, using Doug to take complete control of her life. She is paid to keep silent about her sexual encounter with Peter Russo, and then to seduce him later in the season. Each time Frank needs her silenced with regards to what she knows, she is forced to “move again”, despite her pleas that she has “finally made a life for myself”. Furthermore, during her last appearance in the series structurally, she is presented as utterly humiliated and powerless. She is kidnapped by Doug- bound and gagged by a rope which appears to symbolise the oppressing constraints of Frank’s power. She is even forced to urinate all over herself “back there” in the van, which is incredibly degrading and suggests she is considered as below human by both Doug and Frank. She is repeatedly told to never “overestimate yourself”, as it steadily becomes clear for the audience that she is a victim of Frank’s abusive manipulation of her. Whilst some may argue that many of her actions suggest she is not victimised by Frank, such as the way she overcomes and escapes Doug, or the way she creates a new identity for herself as Cassie Lockhart off-screen, it is clear that all of this is meaningless. Many consider her storyline with Doug to be extra-baggage and unimportant, which is entirely the point. Other than being a minor hindrance to Doug, she is never allowed to accomplish anything substantial. As the series progresses beyond season four and beyond, her horrific, unfortunate and untimely death will steadily be forgotten by the other characters. Other than as a puppet for Frank to use in his pursuit of power, she serves no purpose. She dies as an unfortunate victim of his manipulation.

Nevertheless, women are not presented only as victims in Frank Underwood’s pursuit of power, for Claire Underwood could be interpreted as one of the most influential and powerful characters in the entire series. Her impact on other character’s decisions is incredibly substantial. For many voters in this fictionalised version of America, she is the only reason that people vote for Frank in the first place- “people like Claire”, and are persuaded to vote by what she says. During the third season, Claire even acknowledges this fact “I should have never made you president”. The use of the word “made” offers a lot of insight into the amount of power she has, for it suggests that Frank would have achieved nothing without the authority she has in this corrupt world of politics. Furthermore, her role as CEO of Clean Water Initiative would have proven very effective in getting the environmental bill to pass through Congress, if she actually decided to used her high-ranking position. She chooses not to though, and this causes a lot of delay in Frank’s pursuit of the presidency. Thus, it appears that Claire Underwood is a character who makes a substantial impact, someone who is certainly not victimised by Frank’s pursuit of power. However, a much deeper reading suggests that her authority within the show is superficial- an illusion that never becomes a reality. Ironically, as Claire becomes First Lady of the United States, she finally comes to realise that every bit of control she had over her life has been manipulated by Frank. Her business, her influence on voters and even her role as First Lady have all been for his benefit- not hers. President Petrov even observes that Frank simply “pimps” Claire out; every action she takes in the show contributes to Frank’s plans, rather than for her own benefit. Dunbar manages to get the role of solicitor general and builds a successful campaign for president alone, but Claire has nothing unless Frank gets it also. He oppressively tells her that “without me you are nothing”, suggesting how any power she had has been completely usurped and absorbed by Frank. Now she is victimised by him, feeling utterly “weak and small”. Whilst it could be argued that she is portrayed as one of the most commanding and authoritative characters in the series, her influence in events is presented as much more superficial than it is genuine. In fact, many argue that she is presented as being the most victimised by Frank’s pursuit of power, and his lack of respect for her as a person.

The female characters in this series could considered strong, defiant and powerful in the face of Frank’s ruthless pragmatism. Many of the women in this series fight for what they want and what they believe in, such as their own life, or to progress further up the political ladder. However, it soon becomes clear that this battle against Frank is often fruitless. Women are unfortunately presented as victimised by, and suffering from, Frank’s merciless desire to become the president. Often their own plans and goals are ravaged, exploited and ruined because Frank’s ambitions always come first throughout the entire show. Whilst there are occurrences where it appears that women are triumphant in their own aspirations despite Frank’s plans, it soon becomes clear that it is always the protagonist who succeeds in what they set out to do, and that women are often left victimised as a result.

Explore some of the ways in which Mary Shelley uses different settings to contribute to the gothic effects of the novel

Shelley uses settings to create many gothic effects for the reader, such as isolation, horror and a dark insight into the human psyche. However, there are often more effective narrative methods that Shelley uses to create the gothic tone of the novel, such as structure and characterisation.

  Shelley appears to use the Orkney Islands to evoke a sense of gothic alienation. The use of the superlative “remotest” connotes how this is the most isolated place that Victor can reside in; there is nowhere more “vacant” and empty. The setting is “barren” and lifeless, as well as the perfect place for Victor to create the female creature in “solitude”. This “remote spot” appears to have been used to evoke a gothic sense of isolation for the reader. It really emphasises how removed from society Victor has become- he is utterly “alone” on this island. However, Shelley’s use of structure proves to be more effective at creating this gothic tone of the novel. This novel is told in a framed narrative; Victor’s narration is being told to Walton rather than narrated to the reader directly. This more effective at creating this sense of isolation about Victor because we are distanced from him. Everything he tells us is filtered through the character we are structurally closest with: Walton. Furthermore, Victor never replies to the letters from his “dearest Elizabeth”, which highlights how alienated this character is from his own family. Whilst settings are used to create the gothic effect of isolation and alienation, it is clear that the use of the novel’s structure is more effective.

  Pathetic fallacy may have been used to evoke a sense of horror and misery from the reader. When Frankenstein’s creature comes to life, the weather appears to reflect the atrocity of his crime. The setting is described as a “dreary night”, and the rain “pattered dismally”. This lexicalisation of synonyms of misery and depression serves to emphasise the horror of what Frankenstein has done. His laboratory is shrouded in darkness- “half-extinguished light”, “candle was nearly burnt out”- as well as this melancholic use of weather. The setting appears to reflect how an 1800s reader may have interpreted Victor’s creation: a monstrous and sacrilegious act against God. The darkness and the despairing weather appear to symbolise the horrifying nature of his arrogance as he tries to become a divine figure: “a new species will bless me as its creator”. It may have been received as an utterly abhorrent usurpation of God’s by a reader in the 1800s, and the setting may be a catalyst for these gothic effects. However, a much more effective narrative method for creating horror is Victor’s characterisation. He describes his creation as a “catastrophe” which suggests that it is completely wrong and should never have happened. He is presented as filled with “disgust” and “breathless horror”, as well as completely repulsed by what he has done. Shelley appears to be using Victor’s role as narrator to evoke a sense of horror from the reader. His point of view is that this is a “horrid” abomination, and we as readers may be influenced by his perception because it is through his eyes that we see the novel. Thus, the use of Victor’s characterisation proves to be a more effective source of horror and despair than the use of setting.

  In fact, natural settings in Frankenstein are most effective at creating romantic effects in the novel, rather than a gothic tone. Shelley presents nature as romantically sublime, after possibly being influenced by the romantics, who were her contemporaries. Natural settings have many positive and beneficial effects on the narrator: it “elevated my spirits”; “greatest consolation” and subdued his pain. Nature is presented as a source of relief and treatment in this novel. It is presented as healing and soothing, which is the antithesis of what is considered to be a gothic effect. It “tranquilised” pain rather than provoke more horror and despair. Whilst some may argue that the “terrific” and “violent” weather, apparent when Victor first meets the Creature, may symbolise the darkness and turbulence of his psyche, this is not the primary use of nature. Shelley appears to use natural settings in this novel to contribute to a sense of sublime beauty and the healing powers of our world, rather than to reflect the horrifying and gothic aspects of our psyche.

  Whilst it does appear that Shelley uses settings to create a gothic tone to her novel, developing many of the gothic themes such as isolation, horror and the darkness of the human psyche, setting is not the most effective method Shelley uses to evoke these effects. Often, narrative devices such as characterisation and the novel’s structure appear to be much more successful at contributing to the gothic effects of her classic novel.