Shakespeare Comparison Paper

Claire Hinkley
Peifer 4
English 10 IB
18 March 2009
Shakespeare Comparison Paper
“Man in his time plays many parts.” This quote is representative of all humans, for everyone grows and changes throughout their lifetime. Perhaps this is why it is included in many great works of literature. The great William Shakespeare included it in many of his plays, including Macbeth and As You Like It. In these plays especially, the four characters that can most relate to this quote are probably Rosalind, Macbeth, Oliver, and Lady Macbeth, for each go through at least one transformation in the course of the play.
Rosalind, the protagonist in As You Like It, changes so many times throughout the story it can become a bit confusing for the readers. At first she is herself, Rosalind. Then she pretends to be a man (“Ganymede”) when she travels into the Forest of Arden. Finally, she pretends to be a man acting like a woman. “Were it not better,/ Because I am more than the common tall,/ That I did suit me all points like a man?… And therefore look you call me Ganymede.” (Shakespeare 1.3.121-132) She becomes Ganymede most practically for protection, for two women traveling alone in the forest would be dangerous to both. Later, when she is “acting” like Rosalind, it is driven by her curiosity to find out more about the one whom she loves. Rosalind’s switching of identities shows she is courageous, brave, smart, and resourceful. Shakespeare is also possibly making a point that women can be just as strong and brave as men when given the opportunity to be without judgment. Rosalind receives this opportunity because everyone she meets believes her to be a boy.
Macbeth starts out the play as a good thane, loyal to his king and country and happy with his position in life. However, the witches’ prophecy changes that. The notion of unlimited power is a poisonous seed in Macbeth’s mind, and it rapidly grows into a thorny vine that smothers all his guilty thoughts and remnants of his conscience. Macbeth becomes ruthless, ambitious, and bloodthirsty, and he stops at nothing in his quest for power. “I have no spur/ To ##### the sides of my intent, but only/ Vaulting ambition, which o'erleaps itself/ And falls on th' other.” (Shakespeare 1.7.25-29) This change in character is helped along by his wife, Lady Macbeth, but eventually he surpasses her in greed and they separate, to meet again only in death. Macbeth’s change in character is a vivid warning of what happens when one becomes too powerful. The author could also have been suggesting that women are not to be trusted, since Lady Macbeth pushed her husband into more sin when he hesitated. He also could have been showing the audience a tyrant to make them appreciate King James.
Oliver, from As You Like It, is another character who does a complete turnaround in the role that he plays. At first he is malicious and cruel to his younger brother Orlando. “Oh, that your Highness knew my heart in this:/ I never loved my brother in my life” (Shakespeare 3.1.13-14) However, after Orlando saves his older brother from a lioness, Oliver becomes thoughtful and kind. “I do not shame/ To tell you what I was, since my conversion/ So sweetly tastes, being the thing I am.” (Shakespeare 4.2.161-163) Oliver’s change in character is meaningful because it shows how people can change through love, time, and life-or-death situations. Shakespeare also makes an interesting point on how there is good in everyone -- it sometimes just needs time to come out.
Lady Macbeth is a woman who plays many parts during the portion of her life captured in the play. In the beginning, she is very ambitious, and pushes her husband to kill Duncan. Then, slowly, we see her composure slipping, until she finally goes mad with guilt and commits suicide. The difference between the poised, ambitious, greedy Lady Macbeth at the start of the play and the shaking, guilt-ridden, sleepwalking woman at the end is enormous and startling. “Out, damned spot! Out, I say!—One, two. Why, then, 'tis time to do 't. Hell is/ murky!—Fie, my lord, fie! A soldier, and afeard? What need we fear who knows/ it, when none can call our power to account?—Yet who would have thought the/ old man to have had so much blood in him.” (Shakespeare 5.1.25-28) It sends a ringing warning to everyone in the audience. This change of character is important for many reasons. Lady Macbeth’s slipping sanity acts as both a comparison to her husband, who on the contrary grows colder and more greedy with every day; and also is a startling measure of the severity of the deeds committed by the couple. Though at first the lady’s suicide might seem like a symbol of the weakness of woman compared to men, it really shows the range of emotions women are capable of feeling. The guilt and sadness Lady Macbeth feels, though physically caused her death, ultimately might have saved her immortal soul from damnation. Macbeth was unable to feel regret, and this could be a much more far-reaching and deep flaw than the mental breakdown his wife experienced.
In the two plays As You Like It and Macbeth, the four characters Lady Macbeth, Oliver, Macbeth, and Rosalind especially make many changes to both their physical and mental characters throughout their respective stories. These different aspects to their personalities prove that everyone is multi-faceted and one should never judge another right away, for there is always more than meets the eye. As people grow, they change, and will always adapt to different situations. There are many forces acting upon everyone, and people will play many parts during their life, for nothing lasts forever.

As You Like It LRJ 5

Everything has worked out right, and I am completely happy! We all have married -- dear Celia with Oliver, who almost as soon as setting eyes on each other were in love; Silvius with Phoebe, who transferred her affections to the devoted man; and even Touchstone with a rather random peasant girl named Audrey. And of course, my wonderful Orlando and I are together at last.
It all fell into place so perfectly, even I was a bit surprised. I convinced them all I was under the tutelage of a magician and I could bring Rosalind here for Orlando. When I admitted I am her, they weren’t completely surprised, for I think they saw similarities between her and Ganymede.
Finally, a messenger appeared, saying Orlando has all his lands back! My uncle has decided to become a monk. This is unexpected, but not at all undeserved. We will move back with my husband, for he is now a duke. Oliver has lands too, so Celia and I will always be close. I am beginning to think the Forest of Arden is somewhat magical, for it took my plans and executed them perfectly. I am sure Touchstone and Jaques will be happy, and I bear them no ill will whatsoever. In fact, I do think we all just might live happily ever after.
--Rosalind

As You Like It LRJ 4

We are all still in the Forest, and though I admit I rather miss my house, it is all worth it for I can see Orlando! I am so worried for him now, for earlier today, something most alarming happened. His brother Oliver came by and informed us Orlando was wounded in saving him from a hungry lioness! He even produced the bloody handkerchief to prove his bravery. I forgot my role as Ganymede for a moment and fainted, which made Oliver slightly suspicious. I am not sure I completely convinced him it wasn’t real.
I met a Monsieur Jaques today as well, who I do not like at all. He is a melancholy fellow, and thinks a great deal of himself. He was trying to convince me that he has traveled all over Europe! What a liar. He is quite melancholy, and though he seems to think this makes him poetic and admirable, I think it makes him about as interesting and intelligent as a post.
I simply cannot wait to see my Orlando again. I will continue with my charade, but I don’t think it needs to be for much longer, for I can see he is a good man, honorable and brave. I only hope he recovers from his injuries! I will go inquire to Oliver as to their severity.
--Rosalind

As You Like It LRJ 3

I have found my father. But I can scarcely think of him now that I have discovered who has been staying with him -- Orlando, my wrestler!
He covered the trees of the forest of Arden with poems for me, and though some of them were not very good, I know that he loves me! He thinks that I am a man, but I have a plan. I need to make truly sure he is a good man, so I am going to pretend to give him lessons on “forgetting” his love for me. I will act as myself, Rosalind, though he will believe it is Ganymede.
I wish he would come! He was so late for our meeting today that I happened upon two shepards while I was waiting. One of them is a truly dreadful woman by the name of Phoebe who has somehow captured the heart of the good man Silvius! I am afraid she has fallen in love with Ganymede. I’m not too worried about this though… I know it will all work out. Celia has given me very good advice.
I do wonder why Orlando has come into the forest. I will ask him next time I see him. But where is he?
--Rosalind

As You Like It LRJ 2

How kind these shepards are to strangers! For we were walking along the path, poor Celia about to faint, when we happened upon a kind man called Corin. He offered us food and shelter immediately and with no suspicion! It is a very nice change from court. Now we are going to purchase this land and house for him, I believe.
Touchstone has been very entertaining lately. I don’t think he wishes himself to be with us, however, for today he said, “Ay, now am I in Arden, the more fool I. When I was at home I was in a better place, but travelers must be content.” However, it must be so, though I am sorry to cause him discomfort. Dear Celia is closer than a sister, and she has stayed true by my side through this whole ordeal. I hate to think I am causing her pain. She must be missed by now, and Touchstone as well… I hope my uncle stays in his palace, for meeting him here cannot bode well for anyone involved.
I still cannot wait to find my father. It is what is driving me through this difficult journey… well, my father and perhaps the memory of my wrestler. But I must focus on the task ahead -- the forest is necessary, and I hope we all will become stronger because of it. Now I must stop, for we must continue on in our search. I think I will go ask the shepard Corin if he knows of my father’s whereabouts.
--Rosalind

As You Like It LRJ 1

I haven’t had a moment to catch my breath since early this afternoon!
My uncle has banished me from his court and the town on pain of death. I can still scarcely believe how it has changed since only this morning. It seems one moment I’m eating breakfast with my dear cousin Celia, and the next we’re fleeing for our lives, disguised as beggars! For now we are paused beneath a tree while Touchstone fetches bread from a nearby inn, and I have a minute to write this entry. My heart is still pounding beneath the man’s shirt and coat I am hidden inside.
We are going to the Forest of Arden to find my father, whom I have missed terribly ever since his own banishing. I can’t wait to see his face again. Celia and I have discussed it, and we think the only way to travel safely to him is to disguise ourselves. She is traveling under the name Aliena, and I am pretending to be a young man called Ganymede. My heart still stands still in fear when I think of our predicament, but I know we will be able to use our wits to get out of any unpleasant situation. Hopefully my uncle will come around to see the error of his ways, but for now he is the only thing back home I do not miss.
But in all this mess, I have almost forgotten about the young wrestler! I met him only earlier today, and I would give my heart to him in an instant. He is Duke Rowland’s youngest son, and a fine wrestler. I wish I could see him again, but I fear it cannot be. For I am banished, and we must find my father.
--Rosalind

Macbeth LRJ 6

Intense, tragic, and thought-provoking, Shakespeare's Macbeth poses questions that cut to the essence of what it means to be human. Through the story of an ambitious lord who’s insanity steadily increases with each crime he commits, the audience faces the question, how far should one go in a quest for power? With each new character influencing and pressuring Macbeth to new, dangerous heights, the audience wonders if one should ever really trust in others. Finally, at the climax of the play when all the pieces of the story fit together just before they are destroyed, the audience is forced to contemplate if one can ever really be absolved of their sins.
However, Shakespeare doesn’t quite abandon the audience after asking his deeply provocative questions. Though he never directly provides the answer, it can be guessed through the intricate dialogue and character interactions. Before Macbeth becomes too immersed in his greed and lust for power, he admits to his fears of gaining it the wrong way. “…that but this blow/ Might be the be-all and end-all here,/ But here, upon this bank and shoal of time,/ We’d jump the life to come.” (Shakespeare 39) In the beginning, at least, Macbeth feared going too far might result in eternal and immovable consequences.
None of the advice given to Macbeth turns out to be good and solid, so the audience is left to assume Shakespeare doesn’t believe in trusting others or prophecies. Especially in the case of the witches, where they feed into his security and inflate it into full-blown arrogance, is Macbeth most especially led astray. “Be lion-mettled, proud, and take no care/ Who chafes, who frets, or where conspirers are.” (Shakespeare 127) Macbeth finally realizes his mistake when he cries to Macduff, “And be these juggling fiends no more believed/ That palter with us in a double sense,/ That keep the word of our promise to our ear/ And break it to our hope.” (Shakespeare 187)
The final question is the most controversial and least obvious of them all. Shakespeare never does more than hint at his belief on whether or not sins are unforgivable. The two key villains in this story are also the heroes, which leaves the audience with a strange paradox. Macbeth has hallucinations of his victims and his wife literally tries to was blood from her hands in her sleep each night. This seems to answer the question with both a yes and a no. The fact that they do these things over and over again until their death begs the answer that no- sins as treacherous as theirs never go away, and the guilt never fades. However, doesn’t the fact that they feel this quilt and regret at all mean they deserve forgiveness? The audience is left to puzzle that one out on their own.

Macbeth LRJ 5

Act V is the climax of the entire play, and it contains themes that were present in previous acts. Death, anger, and defeat all played major roles in this act. Lady Macbeth has become so depressed from her hidden guilt she commits suicide. Macbeth has grown even more paranoid, and kills several people out of sheer anger. The witches’ prophecy that none born from a woman will be able to harm him has made him extremely arrogant. “Thou wast born of woman. /But swords I smile at, weapons laugh to scorn, /Brandished by man that's of a woman born.” (Shakespeare 183) However, when Macduff reveals his birth was unusual and he in fact was not born, Macbeth is afraid for the first time. “Accursèd be that tongue that tells me so, /For it hath cowed my better part of man… I'll not fight with thee.” (Shakespeare 187) Too stubborn to surrender, he fights and is killed. The fact that every one of the witches’ prophecies came true is significant because Macbeth grew to be too arrogant to listen to the warnings. In his mind, the prophecies where he was all-powerful were the only ones that mattered. When he finally realizes the witches and spirits were tricking him, it is far too late.
One of the image patterns in Act V is the presence of medicine or drugs. In scene two, Caithness, a Scottish noble, says, “Meet we the medicine of the sickly weal, /And with him pour we in our country's purge /Each drop of us.” (Shakespeare 167) He is referring to Malcolm, who will soon be king and thereby hopefully repair Scotland from the terrible things Macbeth has been doing. Later, in scene 3, Macbeth rages to the Doctor, “And with some sweet oblivious antidote/ Cleanse the stuffed bosom of that perilous stuff /Which weighs upon the heart?” (Shakespeare 171) He realizes that Lady Macbeth is truly ill, and he has no one left but her. He is enraged and terrified at the prospect of losing her. Finally, Macbeth makes another reference to medicine, saying, “What rhubarb, senna, or what purgative drug, /Would scour these English hence?” This time he wants someone to find an easy answer to the problems Scotland is facing. One quick fix would be perfect, for he is too caught up in his power to want to work for it. The image pattern of medicine and drugs in Act V is important because it shows Macbeth is getting desperate, beginning to realize the danger he, his wife, and his country are in. He wants there to be one easy fix for all his problems. Another affect of drugs are to make everything seem to go away, which is probably what Macbeth wants. He is deep into an irreversible mess, and he will never be able to pull himself out.

Macbeth LRJ 4

There are several purposes of the scene with Lady Macduff in Act IV. In the conversation between her and her son, the audience senses the closeness between the two and immediately like them. She gently teases him, saying things like “Thou speak'st with all thy wit; and yet, i' faith,/ With wit enough for thee.” (Shakespeare 135) and “Poor prattler, how thou talk'st!” (Shakespeare 137) They are kind, loving people, and the stark contrast between them and what Macbeth has become is apparent right away. Macbeth is becoming truly crazy, for he slaughters them for the sole reason of hurting a man he has become slightly suspicious of. The audience begins to realize there is no going back for Macbeth, for he has become too cruel and heartless to kill an innocent child and his mother.
Macbeth’s character has grown worse and worse with each passing day. Each new murder kills a part of himself. Though he sometimes seems to realize it, he does nothing to restrain himself on the belief he is unable to go back, so he might as well kill even more innocent people. His character used to be much kinder, but it is changing more and more rapidly. Others are noticing, which is why by the end of Act IV he has no friends left but his wife -- Banquo is dead and all the other lords are suspicious and frightened of him. Macduff, formerly a close friend of Macbeth, has gone to meet Malcolm in England, for he hates the new king even before he learns of his family’s murders. “Not in the legions/ Of horrid hell can come a devil more damned/ In evils to top Macbeth.” (Shakespeare 143)

Macbeth LRJ 3

In Act III of Macbeth, Lady Macbeth and her husband are switching roles. She is becoming the careful one, comforting her husband as he obsesses over murder. “Come on, gentle my lord,/ Sleek o'er your rugged looks. Be bright and jovial/ Among your guests tonight.” (Shakespeare 93) She tries to calm him down in preparation for the feast he hosts, for though she is becoming more cautious, she is still conscious of their public image. Macbeth, on the other hand, is now becoming cruel and cold. He believes he is too far into blood to turn back now, so he might as well keep murdering. He is also becoming paranoid. “Oh, full of scorpions is my mind, dear wife! Thou know'st that Banquo, and his Fleance, lives.” (Shakespeare 93) The fact that Fleance, his true contender (according to the witches’ prophecy) is still alive, scares Macbeth.
An image that appears over and over again in Act III is blood. Macbeth makes many references to it throughout, and it appears in literal form when the murderer reports back to Macbeth, drenched in Banquo’s blood. Macbeth says “bloody cousins,” meaning Malcom and Donalbain’s guilt; “bloody distance,” in this case meaning he hates Banquo with a passion; and “bloody and invisible hand,” which here means the night has murdered Banquo. When the murderers appear, Macbeth observes, “There’s blood upon thy face… ‘Tis better thee without than he within.” (Shakespeare 99) This is just another way of saying he is glad Banquo was murdered and gone forever.
The themes of paranoia, horror, and retribution are portrayed in Act III through dialogue and allusions. When Macbeth says, “But now I am cabined, cribbed, confined, bound in/ To saucy doubts and fears. --But Banquo’s safe?” (Shakespeare 101) his choice of words reveal a lot about himself and the themes of this act. First he talks about his all-encompassing fear, enough that he would reveal it in a dinner party in front of many important nobles. However, when he says that Banquo is “safe” as opposed to “dead,” he hints that though he might be glad his enemy is dead, he secretly envies him and the security death brings upon its victim. This theme of desiring death appears several other times throughout the act and the entire play.