• 'The story of a childhood' - ordinary, common experience - almost mysterious as it is a vague description

Typography

• Traditional, 'washed-out' font - suggests a more historical context, or possibly unfortunate experiences

Colour

• bold red colour contrasts with blue icon surrounding girl - sense of isolation

Image

• Hijab, prayer rug - sets religious environment/context

Symbol

• Upside down flower - inverted cross

Layout

• Girl positioned in centre of the page - protagonist

Throughout the introduction to Persepolis, Satrapi creates a slightly ironic tone, describing the history of Iran and especially commenting on invaders in a critical manner.

2. What insights does it give us into the perspective of Satrapi on Iran's history?

The critical tone towards foreign invaders in the introduction suggests Satrapi's patriarchal view and pride towards her country, and therefore indicates her discontent with the historical events Iran had gone through.

3. What can you predict about her message and attitude based on the introduction?

Satrapi also mentions the impression left on Iran towards the rest of the world as a result of history, and therefore would likely use Persepolis to oppose Iranian stereotypes.

In Persepolis, Satrapi's style is fairly simplistic and iconic, with a slight level of detail in some panels illustrating a group of people. However, she often switches from light realism and identification of characters to illustrating large crowds as single tools for symbolism. Her style ranges from universal to specific depending on the scenes depicted.

The text is 'voiced' and narrated by Marjane Satrapi herself. She relays an autobiographical theme, as the story consists of real events the author went through. Based off of this voice, the reader can expect authenticity and the author's perspective on a world event.

• Cuban prime minister 1959 - 1976

• president 1976 - 2008

  • Cuba became communist state

• Marxist-Leninist

• first secretary of Communist Party of Cuba 1965-2011

Che Guevara (1928 - 1967)

• communist figure in Cuban Revolution (1956-1959)

• guerilla leader in South America

• executed by Bolivian army

• martyred hero

• icon of leftist radicalism and anti-imperialism

Leon Trotsky (1879-1940)

• communist

• leader in Russian October Revolution 1917

• commissar of foreign affairs and war in Soviet Union 1917-1924

• Stalin's victory --> Trotsky removed from all positions of power, exiled 1929

• leader of anti-Stalinist opposition until assasination

Rene Descartes (1596 - 1650)

• French mathematician, scientist, philosopher

Karl Marx (1818 - 1883)

• revolutionary, sociologist, historian, economist

• published Communist Manifesto 1848

• Das Kapital

• one of the writings forming Marxism

In Shiite Islam, martyrdom is a religious motif. Since the founding of the Islamic Republic of Iran in 1979, martyrdom has played a significant role in shaping the cultural identity of Iran. It is constantly present throughout their education and environments, with martyrs given the portrayal of a sacrifice for the suffering of the entirety of the Iranian population. As a result, martyrdom is symbolic of the conflict and religious identity of Iran.

How does your knowledge of post - revolutionary Iran impact your response to these panels and others in Ch6?

The Islamic Revolution of Iran refers to the overthrowing of the Shah, followed by the authority given to Khomeini. Because of my knowledge of his beliefs and way of ruling Iran, these panels appear quite ironic. The foreshadowing of future events is shown in the first panel above, as the dark implication behind the 'celebration' is illustrated with the strong graphic weight in the smiles of the crowd. These empty 'void-like' smiles paint an eery sense of unawareness of the characters, which the reader would be aware of due to knowledge of Iran's historical context. The empty smiles are referred to again in the second panel, however this time the characters display distraught expressions. By referring to and repeating the previous element, the audience would likely recognise the second panel as a realisation or marking point of the terror in Iran towards these characters. The use of graphic weight is also carried out in the third panel, as it is used to paint the image of a shadow. The shadow then branches out into a symbolic image of a devil, as mentioned in the literary speech bubble - strengthening the idea of irony and foreshadowing, as the statement said by the mom's character contrasts with the icon of a devil behind her.

After the Shah is overthrown, revisionist history is seen to occur through the sudden and drastic change in political standings of Iranian society. In Chapter 6 of Persepolis, students are told to 'tear out all the photos of the Shah' from their books, wiping out his influence from education of Iranian history.

What is Satrapi's intent in depicting 'revisionist history'?

Satrapi intends to criticise the revisionist attitude towards Iranian history.

In Chapter 9, the impact of surrounding conflicts and traumatic events on Marji are revealed through a chain of sudden and drastic events. This is especially evident in page 70-71 of Persepolis, as news of Uncle Anoosh's death is revealed in a splash panel of a newspaper; with the addition of a borderless detail, Satrapi mimics a headline and title of an article. In doing so, Satrapi suggests a major event in Marji's life, and her reaction to this change is depicted in the following panels. Marji is initially depicted through emanata to have an emotional and sad response, however the zoom-out transition to the next panel reveals the icon of God, and illustrates the religious influence on Marji. The composition of the last two panels on the page encapsulate a sense of finality, as the transition from a side to front shot reveals the gravity of the situation to Marji. Satrapi establishes this as a turning point, as Marji's emotions are what drive her to fully shut out her belief in god.

Zoom-in to the language choices.

In chapter 13, Satrapi describes the key as 'a plastic key painted in gold'. Her use of language creates a sense of irony, through contrasting symbolism between plastic - a cheap material used for mass manufacturing and - and a key, which has symbolisms of exclusivity and direction or opportunity. The juxtaposition between exclusivity and mass production is used by Satrapi to imply the misleading intention of the key, as it is intended for a target audience of the mass of poorer Iranians, while also appealing through selling points of opportunity and a pathway to the elite/exclusive higher class.

Satrapi

• tells the story of the consequence of rebellion

• makes a character out of these experiences, comical

Colvin

• creates a collection of individual experiences & ways of rebellion

• humanises her subjects

In 'The Wine', Satrapi presents repression and its impact on trust and dependency in social relationships. In Iran, the regime are the repressive force, restricting use of anything with Western influence; alcohol, parties, etc. Marji and her family are revealed to rebel, and this rebellion is reliant on dependency and trust in one another, as shown on page 106, panels 2, 3 and 4. The three consecutive snapshots are representation of a chain of events, and are symbolic or a demonstration of the response and role of community during times of repression. The first of these panels presents a power outage, with solely a black background and white text, and could have the possible implication of repression. The high graphic weight is seen to tone down throughout the panels, and Marji's father is even painted with white, symbolising hope and perseverance for the rest of the family. The use of graphic weight to create a gradual visibility of characters creates the image of light, further symbolising the need for trust in response to times of repression.

• rebellious

• empathetic

• strong

• courageous

• independent

As the novel progresses, gender inequality has a greater impact on Marji's life; she becomes more aware of how unrealistic her childhood dreams were.

The Iranian government's control over women's freedom impacts Marji's personal life and maturity, as despite being told to stand up for herself as a woman, she is more aware of her place in Iranian society and resorts to smaller rebellious acts.

Marji's rebellious and outspoken personality results in her getting expelled from school, and with her parents revealing the extent to which the state will treat women, she is sent abroad with hopes of her becoming a free, independent woman.

• the control of the state over women

• the resultant lack of identity and individualism

Global issue: Gender inequality restricts women from developing as individuals

• forced migration, leaving home

• conflict and violence, danger drives people out of their homes

• power imbalance: governments decisions impact the lives of civilians

Global issue:

(also called editorial/political cartoons)

Purpose

to critique, ridicule, satirise

• usually topical; the artist comments on current events

• artist may want to draw attention to the actions of an individual (politicians, celebrities, people in the public eye)

• Structure: sometimes single panels, sometimes written as comic strips

Caricature

people are simplified/distorted/exaggerated for effect in satirical cartoons

• a single feature of a person is sometimes enlarged/exaggerated; synecdoche

• the person referenced must be recognisable

Irony

a person's action contradicts their words

• situational irony: one's actions produce an opposite effect to those stated

• satirical cartoons like to draw attention to hypocrisy

Symbolism

stand for meanings other than themselves, may relate to ideas outside the text

• cartoons rely on visuals to convey meaning

Allusion

reference to something outside a text

• success of allusions depend on the reader recognising the reference

Tone

reveals attitude of writer towards their subject matter

• satirical cartoons can be pointed, sarcastic, angry, caustic, scathing, humorous, rueful, etc

Bias

an unfair prejudice towards/against a particular person/group of people

• expression of artist's opinion

“Our elders say that the sun will shine on those who stand before it shines on those who kneel under them.”

The proverb is said by Unoka in a mocking tone towards Okoye. He implies that Okoye shouldn't be pushing for his smaller debt when Unoka has yet to pay off his larger ones. This shows the contrast between Okonkwo and his father, and reveals Okonkwo's ambition to be the one standing, unlike his father.

KEY TERMS

Colonisation - to establish control and power over indigenous people of a region, through 'settling in'

Post-colonisation - the period in an area after colonialism

Imperialism - the extension of power through colonisation or military force

Coup - when a government suddenly takes power through violence

Missionaries - people who travel to another country to promote and convert people to their faith.

The Scramble for Africa included the destruction and recomposition of land, as well as the influence of religion and beliefs. As a result, African people would have not only suffered conflict from external sources and the colonial powers, but would have also experienced the effect of internal conflict within their own people and families, due to the spread of ideals.

What might the natives have experienced?

The natives would have experienced violence and the rapid destruction and disregard of tradition and their own cultural ways, as well as their environment, as their resources were taken.

What are some of the cultural implications of colonialism?

Their own cultures and religions would have been suppressed and the superiority of Western ideals taught

In what way would life change for people under imperial rule?

Restriction and degradation of ideals, people and communities torn apart.

What explicit links can we draw between this text and ‘Things Fall Apart’?

Both texts highlight the impact of Western colonialism on the lives and culture of the people of Africa.

Achebe wrote 'Things Fall Apart' as a way of responding to and breaking racist stigmas around African culture and people, as produced by novels such as 'Heart of Darknness' by Joseph Conrad. The message behind Achebe's novel is to re-educate about and reintroduce African culture, challenging the perspective towards this culture as 'primitive' and uncivilised. As a result, Achebe likely intended for 'Things Fall apart' to have a transformative effect on his viewer's perception, and his work targets a Western audience - not excluding readers from around the world - or specifically consumers of Western media and literature.

• how media texts present individuals, social groups, places, events, issues

  • to analyse representation, consider choices made when presenting something

ideology

• system of values and beliefs held by individuals, groups, cultures

• shapes & challenges representations in media texts

• can influence audience's perception of world

• often there are systems of values and beliefs which shape everyday life

• constitute a dominant ideology that receives general acceptance in a society and is supported by its elected governors and religious leaders

hegemony

• the ideological. political, economic and cultural power that the dominant group has in a given society is referred to as hegemony

• if a media text supports the dominant ideology it is referred to as a hegemonic text

• a media text that challenges the dominant ideology of a society is considered counter hegemonic

genders

• a socially constructed state of being male or female

• not determined biologically but socially

social construct - representation of a person, place or thing, collectively created through the mass media

early advertising

• early days - representation of men: strength, power, virility - stereotypes as leaders, breadwinners, warriors

• 1980s - the new man - steretype of a man who was happy to change nappies and wash dishes, celebraed by media

• the metrosexual - 2000s - men who were confident in their masculinity - groomed using beauty products, tanned, followed latest fashions

• lad culture - ideology of sexism and male aggression had not gone away - 90s - emergence of a counter 'lad' culture - publications features scantily clad female models and encouraged men to bond over sport and booze

• 21st century - boys and girls of 21st century are bending gender labels - starting to be reflected in media - advertisers are expanding traditional narrow representations to appeal to the changing nature of modern audiences

Prevailing dominance and aggression

• stoicism and carefully considered emotional reactions

• male physicality is a source of male power

• when men and women are in same advertisements; always focuses on masculine dominance and female submissiveness - focus on sexual relationships

"boys don't cry" - boys shouldn't feel sad/have vulnerability

• implies boys should be strong/can't express themselves

• teaches boys to suppress emotions

toxic masculinity - ideas about the way that men should behave that are seen as harmful, for example the idea that men should not cry or admit weakness

• encourages suppressing of specific 'vulnerable' emotions, while allowing anger/aggression

• develops hatred/evasion of feminism

Okonkwo’s dialogue can be characterised as domineering and the biggest presence in the room.

Significant actions that reveal his character are his aggressive beating and words to his wives and children. His shooting of the gun shows his impulsive nature, driven by his extreme ego, anger and vulnerability.

From his thoughts we can infer that he is egotistical and his vulnerable masculinity is shown, as he is unable to keep calm during the feast. He is constantly conflicted between his personal emotions and the expectations of society, as can be inferred through his relationship with Ezinma; he is fond of her, but shows it rarely due to his and the society’s ideals towards masculinity.

The narrator describes him as successful but stubborn and headstrong, as well as unstable, unable to control hid temper and becoming controlled by it.

Okonkwo is revealed to fear being like his father, Unoka, and this sense of fear is revealed to be the dominating factor of his life. This is proven early on in the novel, as Achebe reveals how "Okonkwo was ruled by one passion - to hate everything that his father Unoka had loved". Throughout this quote, Achebe creates a juxtaposition between 'passion' and being 'ruled', implying the recurring themes of dreams and desires versus constraint or limits. Through introducing these two contrasting themes, Achebe reveals a sense of internal conflict within Okonkwo's character, proving how Okonkwo is controlled by his fear of being like his father, rather than his personal passions.

The character of Okonkwo is - to an extent - portrayed as a tragic hero. Although he isn't born into a noble family, he achieves a high status and recognition through his own hard work and discipline. It is from his struggle that he develops an arrogant demeanor (hubris), and it is this stubbornness that results in his blindness towards his own flaws.

Although his construction isn't of a conventional Greek Tragic Hero, many of his characteristics reveal the genre of Tragedy in the novel.

Extract 1 - Chapter 2, Page 12 (Megan/Xin)

"Okonkwo ruled"..."found to resemble his father"

Extract 2 - Chapter 2, Page 13 (Zhuofan/Nakshatra)

"Even as a little boy"..."and another was idleness"

• Alienation of Okonkwo from his family

• Okonkwo's own interpretation of his society (equates masculinity with power) - hypermasculinity

• Agbala - "not only another name for a woman, it could also mean a man who had taken no title"

  • His father was agbala

• Sons hating father in both generations (Unoka --> Okonkwo --> Nwoye) - cyclical nature of a broken father-son relationship

  • Achebe's intention - relating to context of Igbo society

• "Okonkwo was ruled by one passion" - Okonkwo's Hamartia/blindness - leads to him being hypermasculine

Extract 3 - Chapter 4, Page 25 (Bri/Jess)

"looking at a king's mouth"..."Okonkwo knew how to kill a man's spirit"

• presents themes of authority and power - through revealing the ideal of masculinity vs femininity in Igbo society

  • "king" vs "mother" - a strong man should never depend on a woman --> Okonkwo's interpretation & he values masculinity/hates women

  • his Hamartia - link to his exile - refusal to depend on women (motherland) --> inability to grow/his blindness

• Tragic hero - although not born into nobility, his 'brusqueness" separates him so far from his past that we are led to believe he somehow meets the requirements of a tragic hero (he reached nobility suddenly)

• Tragic hero - wounded by experience: 'Okonkwo knew how to kill a man's spirit" - link to his past, hate for his father (agbala/woman) early on --> echoes insults that hurt him to other men

Extract 4 - Chapter 4, Page 23/24 (Albert/Oliver)

"Do you think you are cutting up yams for cooking?"..."Amadiora will break your head for you!"

• tension between father and son

• oppressive atmosphere that Okonkwo's family lives under

• Okonkwo's authoritative tone - through threats, personal anecdote (imposes own tragic experience on his son)

• "yams" - a man's crop - symbolism of masculinity/imagery - reinforces pressure of young igbo men to fit in with masculine roles

  • cyclical nature of father-son hate

• Tragic hero - Hamartia: the overcompensation of masculinity --> mistreating his family members, need to prove his self worth, internal fear of being like his father

ACTION

How does Achebe construct the protagonist, Okonkwo?

Argument:

Achebe constructs Okonkwo's hypermasculine character through revealing his place within Igbo society, and the respective perception of his character by both himself and by other individuals in the society.

Wider ideas:

Achebe also constructs the protagonist as a tragic hero:

1. Hamartia: his hate towards women/his father - refusal to depend on women - seen during his exile - his fatal flaw/blindness

2. (Not) born into nobility: although not born into nobility, his 'brusqueness" separates him so far from his past that we are led to believe he somehow meets the requirements of a tragic hero (he reached nobility suddenly)

3. Wounded by experience: 'Okonkwo knew how to kill a man's spirit" - link to his past, hate for his father (agbala/woman) early on --> echoes insults that hurt him to other men

• okonkwo's character echoes what he heard from society - e.g. uses women as an insult "knew how to kill a man's spirit"

• so he is a tragic hero as he is wounded by his experiences --> he learned to value the opinions of his society from an early age --> this could arguably be his fatal flaw - his need to play a character to fit in with society/his fear of being like his father (a woman, as stated by the society)

• so okonkwo is a tragic hero not just through his arrogance gained from his quick rise to nobility, but also through him being wounded by experience (remarks from society --> hate for his father), starting a chain reaction of flaws and blindness --> his downfall

Initially, I thought Okonkwo could be considered a tragic hero through the representation of his internal struggle, and through his hubris and hamartia. After discussion in class, I realise the structure of a tragic hero is applied since the start of the novel, where we are introduced to Okonkwo's relationship with his father.

We explored extracts from early on in the novel, detailing Okonkwo's relationship and opinions on his father, and his development of misogyny and hyper-masculinity is revealed to be heavily influenced by his early-life experiences. Analysing early extracts in the book, most of the descriptions include quotes stated neither by Okonkwo or his father, rather by other members of the Igbo society. From this, it can be inferred that Okonkwo places heavy importance on societal expectations, and consequently his character is centred around masculinity, and the fear of not conforming to the expectations of Igbo society.

Okonkwo's characterisation as a tragic hero can be seen not just through his hubris, but also through the experiences he goes through, which ultimately initiate the chain of events and Okonkwo's hamartia.

• central to many narratives, particularly in epic literature, where characters often grapple with their predetermined paths versus their ability to choose their actions and shape their futures

• deities/supernatural forces: control human destinies - represent influence of fate

• individual moral choices and consequences: emphased by free will

• epic narratives explore how characters' choices lead to different outcomes --> impact of free will against a backdrop of fate

• modern literatures engages with fate vs free will - reflecting contemporary concerns about personal autonomy vs societal expectations

Ekwefi is initially introduced during the incident where she is beaten by her husband, Okonkwo. The reactions and atmosphere presented reveal the place of women in Igbo society, and there is even an initial impression of Ekwefi as a stereotypical, submissive woman, as she is solely the wife of Okonkwo. Despite this, through further exploration of her character, Achebe reveals an aggressive, 'fighter' side to her character, highlighted by her love for wrestling. Achebe even states how 'Okonkwo had won her heart' by 'throwing the Cat', revealing the need for a woman to be 'earned', further proved as Okonkwo was initially 'too poor to pay her bride-price'. Simultaneously, Achebe implies the system of placing a value on and pricing of women, an almost dehumanising concept.

Achebe reveals Ekwefi's struggle, and reveals her numerous miscarriages. She is arguably presented as a character who is fated to suffer, as she even goes to extents of naming her children 'death, I implore you', although 'Death took no notice'. Achebe represents helplessness against a greater being, and Ekwefi's destiny, her succumbing to fate. Furthermore, because of the patriarchal views of Igbo society, Ekwefi, among all women, is expected to play the role of a birthgiver and mother, hence she has no choice but to continuously try to successfully have a child, as that is her only purpose as a woman in society.

Alternatively, Ekwefi is also portrayed to have free will, especially when compared to other women in Igbo society. Achebe develops Ekwefi's headstrong personality, revealing she is the only one of Okonkwo's wives to have 'the audacity to bang on his door.' Achebe highlights her behaviour as unusual and breaking the expectations of women, and with the place of women in Igbo society taken into consideration, Ekwefi arguably has free will as 'she ran away from her husband' to be with Okonkwo Ekwefi may succumb to fate against against greater beings like Death, but makes her own choices against her patriarchal society and against men.

At the end of part 1, in Chapter 14, Achebe introduces a buildup of tension in a progressive manner, through the use of onomatopoeia to introduce a fast paced rhythm, developing a sense of anxiety and suspense. This tone allows Achebe to slowly reveal information, from the death of Ezeudu to the accidental death of his teenage son - as well as the Igbo traditions and beliefs surrounding death. Achebe reveals

Criteria A - Knowledge, Understanding and Interpretation

• specific references (quotes) over general statements (descriptions)

• select relevant quotations to strengthen argument

• show interpretation of ideas introduced by the question

  • thematic questions: beyond presence of the idea; PRESENTATION of the idea + relationship to AUTHORIAL PURPOSE

Criteria B - Analysis and Evaluation

• describing and paraphrasing --> analysing and evaluating

• focus on authorial choices and methods (language, technique, style)

• zoom-in - close analysis of examples

• connect texts through insightful elements - explicitly

Criteria C - Focus and Organisation

• focus on central idea and literary element

  • outline in topic sentences; mini thesis (what + how)

• link specific discussions to main argument (thesis) throughout the paragraph

  • argument must be derived from question

• understand the question

Criteria D - Language

• use precise analytical verbs

• accuracy

• clarity through concision

• academic voice

• technical vocabulary

Targets for annual exam

• focus on weakest criterion: B

  • less descriptive, more analytical; focus on the authorial choices & construction of the text

  • connect the text through more nuanced concepts rather than general similarities

• improve time management

• consistently reference the thesis throughout paragraphs

• improve precision of analytical language to increase clarity

• revise knowledge of the text to increase efficiency/time management, relation and ease of interpretation of quotations to the question

Zero focalisation: omniscient narrator - has access to the internal thoughts of ALL characters - see and are given access to all information

Internal focalisation: narrator knows as much as the focal character - character filters information via narrator to the reader - perspective of focal character

External focalisation: narrator knows less than the characters - camera like; follows actions from the outside, has no access to their thoughts

Things Fall Apart

Internal focalisation of Okonkwo's perspective - the dominant focalisation

• Not solely internally focalised; zero focalisation as internal focalisation shifts to other characters - granted access to perspectives of other characters in certain parts of the novel

Ending of Part 1 - Obierika

• reveal complexity of Igbo traditions

• ending; changes tone to foreshadow future themes of moral and cultural crises

• Obierika as a foil to Okonkwo - provides different insight on Igbo culture - progressive thinking

• internal narration highlights tension between internal actions and cultural expectation - Obierika's critical perspective

Ending of Part 2 - warnings from 'one of the oldest members of the Umunna'

What does the reader gain from this part ending?

• a warning, foreshadowing on the future events - the ability of 'younger generations' to counter/manage the missionaries

• the loss of 'kinship' - falling apart

Why not simply use the narrator? 

• uses the status of a village elder - to symbolise wisdom - reinforces/stresses on the weight of his words --> forshadowing

As the protagonist, why not focalise through Okonkwo’s perspective?

• using an elder highlights the difference in generations - the theme of past and future - foreshadowing

• foreshadow's Okonkwo's tragic ending - hubris prevents him from gratitude towards motherland (f), while his pursuit of masculine traits persists (large feast)

both endings of part 1 and part 2 foreshadow 'falling apart'

Ending of Part 3 - District Commissioner

shift in focalisation to district commissioner

• shifts to the perspective of an outsider, a 'stranger'

• purpose: provides a broad, less informed, 'zoomed-out' overview of the 'falling apart' of Igbo society --> to highlight the insignificance of these events in the eyes of the colonial powers --> irony

author's tone towards commissioner; irony

• author uses internal focalisation to provide access to the commissioner's thoughts - his focus on turning the tragic downfall of Okonkwo into a mere chapter or paragraph - ignorance

• commissioner is presented as self centred, maintains his image

• contrast in tone between perspectives of Igbo members and the commissioner; from emotional, catastrophic tone of Obierika to the monotone, indifferent tone of the commissioner

theme developed in final paragraph:

• effects of tragedy

• power and authority

• social and political commentary (allusion to 'The Pacification of the Primitive Tribes of the Lower Niger)

• politics, power, justice

Over time, attitudes towards women in sport have changed quite significantly, as reflected by Nike's advertising campaigns.

One early catalyst to the shift in attitudes towards women in sport was the inclusion of the women's 3000m and marathon during the 1984 Olympic Games. This rejected the belief of women as being physically inferior to/less capable than men. Nike embraces and promotes the shift in attitude through developing a women's version of the popular 'Waffle Trainer', and their second shoe ever named after an athlete was after female basketball team captain Sheryl Swoopes in the 1990s. The support for women in sport was further reinforced during the 2000s, where when criticism and offensive remarks were directed towards the Rutger's women's basketball team, Nike's advertisment, alongside the Athlete campaign supported the feminist movement, and challenged gender stereotypes.

Ultimately, attitudes towards women in sport have become more supportive, with further characteristics of 'hard work and the underdog mentality' becoming popularised throughout other sportswear brands besides Nike.

Link my analysis back to the meaning of the text, and demonstrate an exploration of the subtle messages.

B: Analysis and Evaluation (4)

Use the analysis to identify author's significant choices/intent

C: Focus and Organisation (3)

Improve time management to conclude argument

D: Language (4)

Increase precision of technical terminology

Show understanding of the work in relation to the question

1. understand the question well. Deconstruct the q & draw out main concepts

2. interpret the main concepts in relation to the text

• think more divergently, not too literally - think about the concepts in the question

• make text work for the question - not other way around

• argue with relevance to the question

• use key terms from question throughout discussion

Criteria B - Analysis and Evaluation

1. support ideas with specific evidence; don't describe, draw out particular choices/features/techniques/styles

2. develop explanations - explain link between evidence and conclusion

• avoid THIS = THAT

• instead, deconstruct the effect of the authorial choices in shaping meaning - explain the HOW/effect --> make argument convincing

• zoom in: focus on stylistic choice --> find specific evidence --> analyse effect --> connect to argument

3. meaningfully connect texts - consider the comparisons you can draw out - go beyond the obvious

Superficial connections:

• both use symbols

• the protagonist in both texts is important

• both authors do something to convey a deeper meaning

Instead:

• how are different symbols use to create a similar effect or convey a similar theme

• how do readers perceive the protagonist in a similar way

• what similar techniques are used in the construction of the protagonist

• how is the protagonist used to develop a similar message or theme

Criteria C -

counter argument:

• men more dominant by roles/titles, labour

• women more dominant spiritually

in what ways are women presented with agency, valued and worshipped

how far is okonkwo's perception of masculinity as representation of the wider society's views on gender

• demonstrate knowledge IN RELATION to the question

• show interpretation of key ideas in the question

  • e.g. identify what the weaknesses and strengths are in each of the texts

B1: Analysis and evaluation (2/5)

• ANALYSE in detail the authorial choices rather than listing

• organise discussion around central ideas/techniques

B2: Comparative analysis (2/5)

• make connections and comparisons between two texts through more than one link

D: Language (4/5)

• use transitions to provide clarity to arguments

• maintain accuracy, range, sophistication of language

  • (was good for this paper 2)

How do any of these relate to the nature of the poem?

• no end rhyme + use of enjambment - as end rhymes and pauses at the end of lines indicate a break, rest --> links to rapid, overwhelming, uncontrollable nature of the poem/diet

• enjambment - suspense, anticlimactic nature - disappointment

• free verse - unpredictable, inconsistency of the diet

• third person - objectivity, critical perspective, sense of judgement - replicates nature of vanity, social image and appearance in dieting

What aspect of the FOIs does 'The Diet' explore?

1. values placed on women by society, belief of thinness as beauty + for attraction, education of role of women in society - to look pretty

2. influence of gender on identity

Global issues

What aspect of the FOIs does 'The Diet' explore?

1. values placed on women by society, belief of thinness as beauty + for attraction, education of role of women in society - to look pretty

2. influence of gender on identity

Global issues

1. The effect of beauty standards on women's identity/

• value on material things, women also objectified/commodified

GI: The effect of capitalism on societal values

What could this represent? What is ‘growing taller?’ 

Power?

Voice?

Ability?

Padlet Response: make a clear claim and support with evidence from the poem.
Challenge: Can you refer to context (writer positioning) or concepts (patriarchy, feminine writing, global issues)

• growing taller - growing in status and recognition, ability

• however not necessarily growing in terms of voice/power because of patriarchy - talented females shunned

Duffy's conceit of a woman growing taller and taller is a metaphor for a woman increasing her status and recognition. Despite her status, this growth does not assure the woman's power and influence, as Duffy criticises the oppressive nature of patriarchal society towards women's voice. The tall woman is 'bigger than any man', and therefore 'whooped' by men. While

This poem presents the power of voice through the narrative focus on an individual woman, who discovers the forceful ability of her own voice. The poem presents the 'righteous' rage of this woman, through imagery of natural disasters pit against war and conflicts, representing the anger and frustration towards the representation of violence by media. Despite this, through the use of exaggerated imagery, the poem implies a lack of tangible change caused by women's voices.

Focus on:
- How is each text presenting the female experience of work and motherhood

- The author’s wider message

- The varied techniques employed to convey their meaning

work

• gradual transition from mother of a domestic household, increases gradually into supernatural imagery; mother of the entire universe

  • motherhood as universal, inescapable?

• use of end stops - fragmented, 'choppy' rhythm/pacing of women's work; trudging, exhausting, sweeping

• however use of internal rhyme, asyndetic listing and some enjambment - endlessness of work

call me in the morning

• asyndetic listing - multiple chores/roles of a mother

• "working long hours" as part of asyndetic list - fast pace - equal weighting; womanhood is balancing both work and motherhood simultaneously/restlessly

In the cartoon 'Call me in the Morning', by Liza Donnelly, the theme of work and motherhood is revealed to merge and overlap into one overwhelming lifestyle of responsibilities. Similarly, in the poem 'Work', Carol Ann Duffy explores the overwhelming expectations towards women through the portrayal of work and motherhood as an endless, never-ending cycle, highlighting the overlapping double-sided lifestyles of women. In 'Call me in the Morning', Donnelly illustrates the highly demanding lifestyle of a mother, through the use of asyndetic listing to portray the simultaneous relationship between work and motherhood. Through listing "working long hours, cleaning, cooking,..." asyndetically, Donnelly attaches equal weight towards demands from both work and motherhood, merging the two separate identities into a single, tireless lifestyle of multitasking and balancing several demands. In the poem 'Work', Duffy similarly reveals the exhausting impact of work and motherhood on women; although the use of end stops provide a slow, steady pacing - especially at the first few stanzas - through utilising and maintaining this technique throughout the entirety of the poem, Duffy provides a rhythmic nature towards work. When paired with internal rhyming and asyndetic listing - and as the context of the women's labour is expanded from personal to universal - this pacing is transformed from a 'dream' like rhythm, into a fragmented, 'trudging' and exhausted rhythm, unable to end until death. Ultimately, while Donnelly portrays the themes of work and motherhood as a stacking of demands, resulting in the merging of different lifestyles into one confused identity, Duffy reveals these demands towards women to be an endless cycle, gradually becoming more demanding and depended on by more. Additionally, while Donnelly portrays these struggles as 'causes' - which can be avoided and consulted, as portrayed through the illustration of a hospital - Duffy, instead, portrays work and motherhood as inescapable; the demands of women increase and become more exhausting, only stopping once dead. Ultimately, both Carol Ann Duffy and Liza Donnelly reveal the wider message that women's labour far exceeds what is humanly possible, and the normalisation of women's work expectations results in the under-appreciation of women's contributions towards society.

Jacobean period:

• christianity, religion, supernatural

• loyalty to king James I - first king to rule both Scotland and England

• women were domestic

• political shift from Elizabeth I: stable, long reign, no successor

  • decades of one monarch, changing to a new monarch --> fears of stability

  • Lady Macbeth is inspired by Elizabeth I

• King James I - 1st of his line

• 10 syllables

• 5 'feet' (2 syllables)

• unstressed followed by stressed syllable

• sounds natural

• sometimes memorable

Trochaic Tetrameter:

• 8 syllables total

• stressed followed by unstressed syllable

• four feet of trochees (one stressed syllable followed by ONE unstressed syllable

• unnatural

Witches in Macbeth speak in incomplete trochaic tetrameter (7 syllables instead of 8) - spell/incantation rhythm

• supernatural, beyond the natural

• Shakespeare opens show with this to show witches are different/not 'normal'

• trochaic meter is the opposite of iambic meter (most of the play is iambic)

• women are sub category of 'man'

  • power = subordinate

  • women should not be ambitious – unless its about their men

    • women act with their husbands' power, safety, recognition, in mind

• women banned from jobs (acting)

• physically and emotionally/mentally weaker; needed a man to look after them

• no female tragic hero

  • Aristotelian tragic hero: noble/royal, brave, strong/brawny, selfless/modest, skilled (fighting/soldier) --> respect for hierarchy

  • most of these opposite to Shakespearean presentation of women: can be noble, selfless, but always subordinate to their husbands (don't have their own names), subordinate in their attitudes towards men

  • women show respect to men, men sometimes quite dismissive

  • husband's downfalls: not listening

  • women's "power" = rhetorical, done through convincing/words, not action/imperative

Lady Macbeth breaks (almost) all of the Elizabethan and Jacobean tropes towards women

• doesn't allow ceiling to stop her from enacting her own ambition

• set in medieval era; women not in power

• has immense rhetorical power

• mentally stronger than Macbeth – brave while Macbeth gets scared

• 'puppetmaster'

• disregards hierarchy; pushes Macbeth into committing regicide

• not selfless nor modest

• Lady Macbeth 'wears the trousers'

Act 1 Scene 5

• While Macbeth uses questioning, Lady Macbeth uses declaratives

  • she views the prophecy as a promise

  • she declares something will happen, if it doesn't, her world will end

• "yet do I fear thy nature" --> she fears Macbeth is not 'man' enough to kill

• "too full o' the milk of human kindness" --> her husband is too feminine

  • kindness is feminine

• "unsex me here" --> remove my feminine qualities, make me more like a man

  • not saying I don't want to be female, she is saying she wants to be sexless: have the ability to be brave

• some are too broad, the concepts in your GI need further explanation

• some GI's would be difficult to discuss in your bodies of work

• think about word choice: specific but broad enough to suit BOWs

• specific to maintain focus

• revisit BOWs and reconstruct GI

• argue for GI - how ... leads to ...

• Make topic statements general, global, use key words from the GI

Aside: a brief remark or comment that a character makes to the audience, which other characters on stage are not meant to hear.

Act 1 Scene 3 - an Aside

• after the witches' prophecies

• first introduction into the dichotomy of Macbeth's conflict and hamartia

• "two truths are told" - predestiny - 'truth'

  • presents himself as someone who knows this will be his destined will

• "As happy prologues to the swelling act"

  • prologues, act --> as playwriting; Macbeth sees this as his role, as a character to play

  • does he believe he is a character that will arrive at the same narrative ending? that has to fulfill the plot?

• "Cannot be ill, cannot be good" - a paradox

  • Macbeth is not sure whether he should fulfill his prophecy/listen to the attraction of the prophecy

• "whose horrid image doth unfix my hair" - equivocation

• "horrid image" euphemism - an image that terrifies me

• "Against the use of nature" - understands how God will react to his plan --> he doesn't say it aloud

• Macbeth is a moral character here, and understands the consequences of breaking natural order - but his own hamartia begins to corrupt his judgement

• "if chance will have me king, why chance may crown me" - sense of hope

  • at this point, Macbeth believes that fate will take its course without his intervention

  • the meter does not follow iambic pentameter - it ends on a feminine, this ends his sentiment with ambiguity - contrasting his statement with his tone

• will Macbeth follow his moral judgement, or will his ambition/hamartia corrupt it?

Act 1 Scene 4

• after King Duncan announces his son, Malcolm, will be the heir to the throne

  • primogenetive - to pass down power, dynastic succession

    • not always common in monarchies at that time; had strategic decisions on who would take the throne (cousin, relative)

    • so Shakespeare goes against this idea

    • Political propaganda - James I wanted an heir/successor of his own (Elizabeth I did not have one)- Shakespeare signals he has the same ideology

• Motifs - stars and light

  • recurring motifs symbolise ideas of honesty, virtue, integrity

• "Stars, hide your fires" - Macbeth asks fate to strip him from his values of honesty (stated by Duncan previously)

  • the first call to ask for 'darkness' to conceal his true ambitions

• previously: 'signs of nobleness, like stars, shall shine' - Duncan

  • "Deep" - beneath the surface, concealed, extends beyond the surface - Macbeth is not what he seems

• "The eye wink at the hand; yet let that be || Which the eye fears, when it is done to see"

  • let my eyes not see what my hands are doing; dysfunction/conflict between Macbeth's morality and ambitions

    • he knows this is wrong/against nature

    • "stars, hide your fires" alludes to the fact that he knows he isn't worthy of this position

• conversation has changed from 'the idea of regicide haunts me' to 'as long as i dont consciously think about what im doing, i can do the action of regicide'

• as long as my deep ambitions are hidden

• shift in conversation: against nature, knew the consequences of regicide -->

Act 1, Scene 7

• consequence: the quick speed of it will make it acceptable

  • that he should do his actions quicker to avoid those consequences

• "We still have judgement here" - he admits/worries about the punishment in both this life an the afterlife

• "plague" - sickness, corruption, haunt

  • Macbeth recognises that this bloodshed can open the door to savagery and brutality, which will come back to him "to plague the inventor"

  • "poisoned chalice" - extended metaphor for sickness and corruption

  • "even handed justice" - acknowledges that he is at the same risk

• "Duncan Hath borne his faculties so meek, hath been so clear in his great office, that his virtues will please like angels" - Duncan's lack of corruption will be celebrated in heaven

  • Macbeth already condemning himself to Hell, by acknowledging that Duncan will ascend to heaven

  • certain that this will happen

  • "I have no spur to prick the sides of my intent, but only vaulting ambition, which o'erleaps itself and falls on the other"

• more clarity and assuredness of what he has to do

Act 2 Scene 1

• symbol of the dagger - to discuss fate and free will

• in this soliloquy, we see Macbeth's perepeteia - leading to his downfall

• "Duncan, for it is a knell || that summons thee to heaven or to hell"

• "is this a dagger which i see before me" - points to Duncan's chamber room, foreshadows his forthcoming crime - tension between fate and free will

• goes against iambic pentameter - 11 syllables

  • fate: opportunity is presented to him

  • free will: his choice to act upon his free will to decide to do it

    • however Macbeth may not have a choice in his own destiny - fate will always triumph others' free will

    • could be a hallucination from witches/figment of Macbeth's own desire

    • dagger already in his hand, pointing to Duncan's chamber - it will always end this way

  • hallucination? does he have control/have choice

  • "come, let me clutch thee" - imperative, but begging it to come towards him?

• "I go, and it is done" - imperative 'i go' command

• I go, and it is done. The bell invites me.
  Hear it not, Duncan, for it is a knell
  That summons thee to heaven or to hell.

  • Macbeth contemplates his own demise

  • 'thee' you - himself or duncan

  • this death bell might summon himself to heaven or hell

  • he will commit this act whether there is a punishment or not

• 'Nature seems dead' - nature won't punish him, he doesn't think he will have consequence

  • warn people of the consequences of regicide

  • through Macbeth's psyche

• Nature seems dead, and wicked dreams abuse
  The curtained sleep. Witchcraft celebrates
  Pale Hecate’s off’rings, and withered murder,
  Alarumed by his sentinel, the wolf,

  • semantic field of supernatural - opposite of natural, chain of being

  • wrong, against nature, warning

  • reminds us this is a political play

• "Thou marshal’st me the way that I was going,
  And such an instrument I was to use."

  • 'marshal'st' - guides, ushers/dragged, taken, not by free will

    • but also 'i was going' - dychotomy between fate and free will

    • reference to 'is this a dagger i see before me'

  • fate vs free will? Macbeth is willing without the need for symbols of fate

  • how much of Macbeth's own actions are what leads him to his own ending?

• volta, turning point - at 'while i threat, he lives'

  • 'though marshal'st me' - suggest Macbeth has a point where he decides to do this, but is still 'marshalled - taken along

  • by the end, he is conscious, clear and ready to commit this act

• "Words to the heat of deeds too cold breath gives."

  • intention/desire is 'hot'

  • i myself am too cowardly 'cold'

• then "I go, and it is done. The bell invites me."

  • the death bell invites me, i will commit this act regardless of if i am summoned to heaven or hell

  • i must act now before i go cold and cowardly

  • this is arguably the volta - the shift/ultimate point where his decision is solidified

• equivocation - the use of ambiguous language to mislead, most famously by the witches who use double-meaning prophecies that lead Macbeth to his downfall

  • using ambiguous language to be deliberately misleading or to avoid a direct lie

• one truth where he kills duncan, one truth where he doesnt

• third truth will come true?

• discusses moral conflict through Macbeth

• authorial intent: warning, associates Macbeth with equivocators

  • at this time, gunpowder plot - accused of equivocation

"Cannot be ill, cannot be good."

• resembles the incantation-like rhythm that witches use

  • things aren't what they seem - what the witches support

  • witches portrayed as supernatural beings, not what they seem

  • Macbeth emulates equivocation and this supernatural atmosphere/meter of the witches

• intent: supernatural meter likens Macbeth to supernatural --> agent of Satan, someone against the GCoB

  • Shakespeare reinforces this idea, not to go agains the GCoB, not to commit regicide

"Is this a dagger which I see before me"

• fate vs free will

  • interrogative - questions

  • followed by 'come, let me clutch thee" - imperative

  • interrogative followed by imperative --> decision made

• intent: Shakespeare references fate vs free will, to warn against succumbing to ambition?

  • warning about fraternising to the supernatural

  • King James' book of demonology, against engaging with witchcraft/supernatural

  • warning not to consider; Macbeth becomes fated to his downfall because of engaging with the supernatural

• link to TFA: societal structure shifts - to do something outside of the expectation leads heroes to their own tragic downfall

"To be thus is nothing,
But to be safely thus. Our fears in Banquo
Stick deep"

• shift from someone of great ambition to someone of paranoia

  • he wants everlasting power - more

• reference to King James I: fear of having no successor as Queen Elizabeth didn't

• change in Macbeth: from a moral, loyal general who considers the prophecy --> sheds himself of guilt, follows the prophecy (because of witches or his ambition?) --> he asks for more (his hubris?) more greedy, pride

  • considers killing his own best friend

• Aristotle's Tragedy: Macbeth's hubris is showing here - instead of being content, he goes above and beyond the fate that has been decided, asking for more control

"fruitless crown", "barren scepter"

"Thence to be wrenched with an unlineal hand,
No son of mine succeeding."

• These discuss Macbeth's corrupted conscience; fear of having no one to take over his lineage

"And put a barren scepter in my grip,
Thence to be wrenched with an unlineal hand,"

• iambic pentameter - masculine, no equivocation

  • suggests Macbeth's assured nature

  • demonstrates Macbeth's deep desires to now keep the throne/power beyond his own death - the "eternal jewel" - metaphor for his soul to be kept as king

• His hubris - to ask for more than what fate has given him

Act 5, Scene 3

"This push
Will cheer me ever or disseat me now."

• this upcoming battle with decide my fate

• declarative creates neutrality to his tone

• fate will decide his outcome

"I have lived long enough. My way of life
Is fall’n into the sere, the yellow leaf,"

• Macbeth says he doesn't have love, honor, friends

• Macbeth is succumbing to his own fate rather than free will, not going against his fate anymore

  • neutral tone: no desire to change, acceptance

• Macbeth starts to fall into nihilism (world is meaningless)

Act 5, Scene 5 - Nihilism

• Aristotle's Tragedy: audience have a sense of catharsis - relief when Tragic hero has their downfall and problems are resolved

  • does the audience feel pity/relief?

"She should have died hereafter."

• lady Macbeth as symbolism of Macbeth's ambition

  • his acceptance, no denial towards hearing of her death --> symbolises the death of his ambition, his acceptance of fate and loss of purpose

"Out, out, brief candle!"

• urgency, desire to die? Macbeth has no more ambition/purpose for living

• "brief candle" - life is short, meaningless

"Life’s but a walking shadow,"

• style

• form

• tone

• make sure to know the BOW inside and out IN RELATION TO the GI

• GI is a FRAMEWORK to view all of your BOW through

  • to introduce ideas

  • exploratory in nature

  • NOT a theme to discuss two extracts through

  • an interpretation you have made of the body of work

    • which you view through this framework to INVESTIGATE the BOW

  • not just viewing GI through two examples, view it as an interpretation of entire text, extracts are strongest places where you see the GI

  • GI is an organising principle - something to go back and link ideas back to

    • not just a statement about theme, an overall interpretation

• fate vs free will

• the witches are never described as 'wtiches'

• but refer to eachother as 'weird sisters'

  • weird: having power/to control fate

  • from old english word wyrd 'fate, chance, fortune; destiny' - 'that which comes'

  • old norse 'wert' 'to turn, to wind' 'wer' - 'to turn, bend'

• etymology of the witches --> changing/bend the course of Macbeth's destiny/path

  • through setting off his desire for ambition

    • witches are an interpretation of the three fates?

• how much influence do the witches have on Macbeth?

• are they the agents of fate?

• or is it Macbeth's choice?

• Shakespeare's intent?

Act 1.3

"So foul and fair a day I have not seen"

• 'foul is fair, and fair is foul'

  • fate or destiny, M hasn't met the witches yet, but alludes to their language

  • "all hail Macbeth, hail to ..." x 3

Banquo:

"The instruments of darkness tell us truths,

win us with honest trifles, to betray's

in deepest consequence"

• Banquo doubts, thinks the prophecy will lead to downfall in the end

Macbeth

"stay you imperfect speakers"

• imperative, paradox

Act 3.5 - interjection of Hecate

• allusion to Greek mythology

Hecate:

"loves for his own ends, not for you"

• Macbeth's ambitions were his own, (free will), not for the witches/fate

"Hath been but for a wayward son"

• 'son' - being guided --> manipulation of Macbeth by witches,

"As by the strength of their illusion

Shall draw him on to his confusion"

• rhyming scheme

1-5

• Hecate speaks in similar language spoken by Lady Macbeth, both manipulative forces upon Macbeth

  • he cannot leave all of his downfall to his own choices

Act 4.1

"I conjure you", "answer me"

• imperative, commanding

• free will - Macbeth's own overconfidennce/hubris

"thought..." "though..." x4

• supernatural imagery

• shows GCoB being destroyed, Macbeth still wants to pursue ultimate power

"Macbeth, Macbeth, Macbeth: beware Macduff"

• repetition: echoes, chants --> supernatural rhythm

• the nature of prophecies themselves foreshadow Macbeth's downfall

  • as in Jacobean era, the supernatural is deemed 'evil', punishable by God

"none of woman born Shall harm Macbeth"

• the witches build upon Macbeth's hubris, leading him to think he is undefeatable

• the first prophecies allow Macbeth to test the reliability of the prophecies, yet the next prophecies equivocate

the motif of the bloodied child could represent Macbeth's insecurity in hereditary reign

• could also symbolise Macduff's birth - born from caesarian

• these images/prophecies are more manipulative, a show of the witches' meddling in fate/destiny

"I will be satisfied. Deny me this, And an eternal curse fall on you – let me know."

• Macbeth's hubris - excessive ambition and pride

• his pride contributes to his own downfall

apparitions:

1. bloodied head

2. bloody child

3. Birnham wood

Act 5.5

Evidence for fate vs free will:

fate (witches choice)

free will (macbeth's choice)

authorial purpose:

• conflict between destiny and free will

• Macbeth's use of asides and solliloquys

  • give insight into his internal desires and secrets - esp after hearing prophecies

  • internally he knows his actions are in response to his own desires

  • when he shows interests in witches prophecies, he wants to portray the idea that this is fate speaking to him – but in his solliloquys, it is revealed these are his own desires

  • appearances vs realities

• why does he try to hide his desires?

• this is a message about unchecked ambition Macbeth hides behind idea of fate and destiny --> corruption

• so his real downfall could be his own self deception

• does believing in fate/supernatural make u an evil person, as it leads you to not take responsibility for your actions? have something to blame, no responsibility & no one to check you for your power

• Act 1.2: Macbeth introduced as a noble soldier through word of sergeant: "brave Macbeth (well he deserves that name)", "Like Valor’s minion"

  • M then gains title of Thane of Cawdor - ironic/foreshadowing? as the previous holder of this title was "that most disloyal traitor"

HAMARTIA - fatal flaw

• Macbeth's ambition and hubris leads to a moral weakness

• Soliloquies: Sh. presents Macbeth's internal conflicts throughout, inviting the audience to experience first-hand Macbeth's internal monologue, and the shifting attitude towards the witches' prophecies

  • e.g. 1.4,

  • 1.7: Macbeth contemplates killing Duncan "If it were done when ’tis done, then ’twere well
    It were done quickly."

• the use of pentameter, equivocation expresses Macbeth's inner turmoil to the audience through auditory language patterns

  • 1.3: "So foul and fair a day I have not seen" initially iambic pentameter (natural), noble, controlled, represents measured thoughts - but also equivocation

    • ironic? 'foul and fair' - equivocation, paradox, like the witches - not met yet --> foreshadowing/fate - his hamartia is his being tied down to fate?

  • 1.3: then iambic rhythm is disrupted: "Stay, you imperfect speakers, tell me more!"

    • irregular meter + imperative illustrates a break in composure, revealing Macbeth's inner ambition, curiosity to the audience

• Macbeth's hamartia is also triggered by Lady Macbeth - who is more ambitious - imperative, dominant

  • often similarly equivocates like the witches --> instability of morals - especially for Macbeth

HUBRIS - excessive pride

• 1.4: Macbeth views Malcom's appointed title of Prince as an obstacle to his own fate "The Prince of Cumberland! That is a step
  On which I must fall down or else o’erleap,
  For in my way it lies. Stars, hide your fires;
  Let not light see my black and deep desires.
  The eye wink at the hand, yet let that be
  Which the eye fears, when it is done, to see."

  • Because of his appointment of Thane of Cawdor, Macbeth believes in the witches' prophecies, and feels challenged when Malcolm becomes an 'obstacle'

  • 4.1: "the power of man, for none of woman born Shall harm Macbeth"

    • iambic (pentameter)? almost

    • regular rhythm --> assuredness of the witches, adds weight and validity to their prophecy

    • slightly irregular (pentameter plus trimeter), 'power' is trochaic --> deception

• Macbeth's Hubris comes from his overconfidence in the witches' prophecies

PERIPETEIA - climax, sudden reversal of fate

• 2.2: Macbeth kills duncan

  • "I have done the deed"

  • " Whence is that
    knocking?
    How is ’t with me when every noise appalls me?
    ..."

    • Macbeth is overcome with fear and guilt, turning point; he realises the irreversible nature of his actions and he spirals into paranoia, more killing

ANAGNORISIS - Macbeth's realisation

• Act 5.5: "Life's but a walking shadow, a poor player That struts and frets his hour upon the stage..." --> metatheatre - Macbeth displays self awareness, ~ breaking fourth wall through reference to 'player' and 'stage'

• "I pull in resolution and begin To doubt th' equivocation of the fiend, That lies like truth..."

  • Macbeth's realisation in the lies of the witches' prophecy/beginning to doubt them --> pointlessness in his ambition, followed by the acceptance of his consequences as it is too late

• Macbeth falls into nihilism, audience feel pity for Macbeth - his ambition, life, etc were meaningless

CATHARSIS - audience made to feel pity/fear for Macbeth, then emotional purging

• Authorial intent: audience made to fear the consequences of excessive ambition, fear of committing regicide

DEATH/DOWNFALL

• Macbeth's death at the hands of Macduff --> restores moral balance and order in Scotland

In Act 1 Scene 3, Macbeth's soliloquy, prior to and after hearing the witches' prophecy, shifts from the natural iambic pentameter "So foul and fair a day I have not seen" to the irregular meter and imperative, "Stay, you imperfect speakers". The initial iambic pentameter presents Macbeth's conscience as controlled, despite the equivocation "foul and fair". Through employing both techniques, Shakespeare possibly portrays Macbeth's initial response towards the supernatural as rational; although equivocation is reference to the witches and supernatural beings, the iambic pentameter portrays Macbeth's response as ordinary. However, his rhythm is disrupted immediately after hearing the witches' prophecy, and Macbeth speaks in imperatives, revealing his disorientation, his ambition, and Macbeth's tragic hamartia. Furthermore, in Act 1 Scene 7, the equivocation and use of pentameter “If it were done when ’tis done…” emphasises Macbeth's inner turmoil, when he contemplates killing Duncan. By Act 5 Scene 5, Shakespeare’s use of nihilistic imagery and metatheatre: “Life’s but a walking shadow, a poor player…”, exposes Macbeth’s anagnorisis; his recognition of the pointlessness of his ambition existence. Throughout these key moments, Shakespeare's use of rhythm, imagery of darkness, and self-reflective tone chart his tragic descent from noble heroism to existential despair.

Ultimatelhy, through solliloquy, Shakespeare exposes Macbeth's inner conflict and the corruption of his ambition upon his morals. The shift in rhythmic structure, and use of equivocation acts as insights into his mental state, and is a record of Macbeths downfall from a noble hero to his tragic downfall. Through his psychological decline, Shakespeare warns his audience of the destruction of morals due to unchecked ambition.

• equivocation - dramatic device; he is already tied down to the witches' prophecy - fate

• paradox

• 
  

"Is that a dagger which i see before me, The handle towards my hand? Come, let me clutch thee"

• motif of dagger: violence and bloodshed, ambition

• fate

• interrogative:

• imperative 'come let me...' : commanding the supernatural - free will

Lady Macbeth: "Look like th’ innocent
flower, But be the serpent under ’t"

• serpent: alludes to symbol of evil, temptation in Bible - agent of satan

• Lady Macbeth's relationship with Macbeth

• juxtaposition: flower, serpent

• her downfall: her ambition led to her distruction, irony

• fate vs free will, appearance vs reality 'flower' vs 'serpent

  • deception: appear flowery, mask ambitions

  • Macbeth's downfall: self deception, his outside appearance isnt truthful

  • Lady M encourages him to have that duplicitous personality: outside appear noble, inside be ambitious

2.2

• blood: his guilt, crimes, sins

• water: takes away guilt - lack of responsibility/consequence

  • purity, will wash away violence, moral corruption

Lady Macbeth:

"My hands are of your color, but I shame
To wear a heart so white."

• 'your color' - partnership

• white: cowardice

Lady M: "A little water clears us of this deed."

• an understatement

• Macbeth juxtaposes this: "Will all great Neptune’s ocean wash this blood" - he understands the consequences of breaking the GCoB

  • Lady Macbeth doesn't yet understand the consequences, that they broke the GCoB

  • "deed"

    • she sees it as mundane, fate playing out

• striking imagery between red and white - stained with the blood of a king

• image of white being tarnished with blood red

• allusion to Julius Caesar: bathe their hands in the blood of Caesar

Lady M: "Come towards my woman's breasts and take my milk for gall"

• she asks for the ability of nurturing and breastfeeding to be taken away

• she is against nature, supernatural being

"Yet i do fear they nature; it is too full of th' milk of human kindness."

• insult to Macbeth's loyalty to the king

• milk is used as a motif in macbeth, symbolising nurture, caring, loyalty - that Lady Macbeth should have, that they should have towards king duncan

"Will all great Neptune's ocean wash this blood clean from my hands"

• hyperbole; Macbeth exaggerates to show his internal guilt

  • how the blood will stain his hands, permanent

• motif of blood: guilt

• water: cleansing

• site of King Duncan's murder - act 2

• Macbeth's castle before he moves to the royal palace

• to be a place of hospitality, but is site of murder

  • appearance vs reality: setting as weapon of deception; commits evil acts in darkness

  • Lady Macbeth: welcoming host

• setting reflects Macbeth's deep desire, ambition, deception, moral corruption

• castle becomes a symbol

FORRES - DUNCAN'S CASTLE

• macbeth and banquo encounter the witches on their way to forres

• initially a symbol of order; duncan's seat of power

• duncan goes to macbeth's castle instead of summoning macbeth to forres; his trust for macbeth

• macbeths new seat of power; becomes a setting of guilt and paranoia (sees banquo's ghost)

• at the banquet --> increased suspicion

FIFE - MACDUFF'S CASTLE

• where Lady Macduff and her children are murdered

• initiates Macduff's desire for revenge

• symbolises peace/innocence before corruption - the consequence of regicide/disturbing GCoB on society

• Macbeth's tyranny, paranoia --> murder of innocent family

BIRNAM WOOD - THE FOREST NEAR DUNSINANE HILL

• witches prophecy: he will not be defeated until Birnam Wood comes to dunsinane Hill

• the fulfillment of a prophecy and foreshadowing/becomes the downfall of macbeth

  • he interprets the prophecy as impossible/he is invincible

  • but the use of the wood for camouflage is his downfall

• place of prophecy and downfall; appearance vs reality, deception

DUNSINANE HILL - THE HILL ON WHICH MACBETH'S CASTLE STANDS

• Macbeth travels to dunsinane hill because it is fortified; he believes he will be safe because of the witches' prophecy

• fate, final setting before his downfall

Act 1.3, Witch 1:

"I will drain him dry as hay:

Sleep shall neither night nor day

Hand upon his pent-house lid"

• "hand upon his pent-house lid" --> upon Macbeth's eye:

  • prying his eyes open --> leaves Macbeth vulnerable, foreshadows his downfall and guilt/paranoia

  • closing his eyes --> false sense of security Macbeth feels from the witches (second) prophecy --> downfall

• link to 'fair is foul and foul is fair'

  • paradoxical nature, how Macbeth is granted the prophecy (lie) that he is invincible/can't die --> appearance of sleep grants the feeling of safety, comfort, rest – however entering a situation with eyes closed prevents seeing deception, reality --> appearance vs reality

  • witches grant the prophecy Macbeth wants/desires, but in reality entering the situation with his eyes closed leads to his deception, equivocation

Sleep as a sign of conscience (guilt/innocence)

Act 1.7, Macbeth:

"When we have mark'd with blood those sleepy two

Of his own chamber and used their very daggers"

• objectification of 'sleepy two' --> sleepy as allowing them to be taken advantage of by Macbeth

• sleep represented as conscience of the innocent

• reference to motif of blood – guilt

  • framing the two innocent guards

Sleep as a symbol of vulnerability/weakness

Act 1.7, Lady Macbeth:

"When in swinish sleep

Their drenched natures lie as in death,

What cannot you and I perform upon

The unguarded Duncan?"

• swinish - greedy, hoggish, lazy --> Lady M condemns sleep, she d

• Metaphor: 'lie as in death' – drunken sleep, the guards in a state of unconsciousness/sleep to the point they are almost dead, which results in the vulnerability of Duncan (the guards meant to protect Duncan leave him vulnerable due to sleep)

• sleep as a sign of Duncan being unguarded

• Lady Macbeth believes she can 'perform' these violent acts in a state of sleep --> sleep allows her to break the GCoB, therefore deceive

  • sleep renders the guards insignificant/unimportant

  • she feels she can perform these acts without consequence under the guise of them being asleep

  • she sees consciousness as an obstacle for her to get her desires

  • she can't commit acts when people are awake, as she will feel guilt

  • consciousness, if they are awake, there is someone there to witness her and hold her accountable

  • strategic: she doesn't want to be incriminated

  • unchecked power: people have to be asleep for them to commit acts as it absolves them from responsibility/guilt

• they could use sleep to make the witches' prophecy seem natural - in sleep, to operate under deception, under the guise of appearance vs reality (natural, GCoB, vs intervention)

• desire for power

• the irreversible consequences of unchecked desire

• moral restraint losing against desire

• manipulation of desire

masculinity and gender concepts

• violence as masculinity

• subversion of gender roles

• femininity and masculinity working as two halves of a whole

• gender dominance