ࡱ>  Root EntryFI=MatOSTQ==MMMN0NDࡱ>  FMicrosoft Works MSWorksWPDoc9qࡱ>  N  T  =/8d&Vaulting Ambition The contrasting between characters is customary to a Shakespearian play. In Macbeth, Shakespeare develops characters with a desire to succeed, stopping at nothing to acheive their goal. The main character in a Shakespearian drama usually suffers from a case of "vaulting ambition" which eventually leads to their downfall, as well as the people around them. First and foremost, Macbeth's driving ambition to become King of Scotland corrupts him and causes him to murder Duncan and order the slaying of anyone who threatens his kingship. Early in the drama, when Macbeth's ambition has not fully developed, the Thane of Glamis is a brave and courageous man. He is one of Duncan's most glorious generals, and it is because of his extraordinary courage that we know how terrified he is of killing Duncan. Shakespeare concentrates on Macbeth's courage so that he can contrast it later with the terror and panic of Macbeth's psychological ruin. In act one, for example, both the sergeant and Duncan praise Macbeth for his physical and mental bravery in defeating Macdonwald. Lady Macbeth is certainly aware of her husband's fame as a fearless soldier, and she uses dazzling psychology to tempt her husband to kill Duncan. Despite Lady Macbeth's desire to fulfill the witches prophecies, Macbeth still believes that chance will crown him king. Shakespeare creates within Macbeth a growing fear of both physical and moral consequences of the murder. Even before he ponders the murder, Macbeth is troubled by a horrid image that "doth unfix my (Macbeth's) hair" (1.3.148). Macbeth is torn with guilt and remorse; his conscience is ever preeminent in his mind by conjuring up images of Banquo's ghost and daggers floating in air. It is not only the immediate murders he commits trouble him, it is the infinite cycle of hate that he fears. As Macbeth kills Duncan, he knows that he must kill others in order to maintain his position. This is what gives him second thoughts as he has only "scorched the snake, not killed it" by killing the king of Scotland (3.2.15). Furthermore, Lady Macbeth is as ambitious as Macbeth and perhaps even more so as she taunts Macbeth's courage to insure that he will murder Duncan and become king. It is she that plans the assassination and it is she that puts the blame on the guards. Single-mindedly, she fastens Macbeth's courage to "the sticking place" and keeps his perspective on the throne, disregarding everything else (1.7.70). Macbeth's mistress, however, suffer from no pangs of conscience during the murder. It is easy for her to be bright and merry and it seems second nature for her to play at being the most gracious of hostesses. Lady Macbeth has even saved Macbeth from admitting his guilt by calmly telling the guests that is but a "thing of custom" (3.4.119). Her will and ambition have been all but superhuman until Macbeth's second visit to the witches, whereafter she breaks down and begins to sleepwalk, confessing all her involvement in her slumber. Only after her confessions do we realize how deeply her crimes have haunted her, and how her ambition has made her suffer. Nevertheless, with all the ambitious characters in the play, there seem to always be a character with only pure and unselfish motives at hand in a Shakespearean drama. The character that displays these qualities in Macbeth is Banquo. Banquo's instincts and nature prevent his taking the witches and their prophecies seriously. He even cautions Macbeth about believing too strongly in the witches prophecies because they represent evil. Banquo is able to stifle his own ambitions and maintain his loyalty to Duncan even though he admits that Macbeth may well be a lawful candidate for the throne. Like most generous-minded people, Banquo has no suspicion of the daggers hovering around him as he rides up to Macbeth's castle. He dies an innocent victim to Macbeth's blind ambition. 2 ah|ysmsmsi8 ~4 _ l vooooooo"#Times New RomanpЩ6/ ^w'4CompObjU