Authority In Macbeth Quotes

People see a Macbeth film. They imagine they have seen Macbeth, and don't want to see it again; so when your Mr. Hackett or somebody comes round to act the play, he finds the house empty. That is what has happened to dozens of good plays whose authors have allowed them to be filmed. It shall not happen to mine if I can help it.

I remember the astonishment I felt when I first read Shakespeare. I expected to receive a powerful esthetic pleasure, but having read, one after the other, works regarded as his best: "King Lear," "Romeo and Juliet," "Hamlet" and "Macbeth," not only did I feel no delight, but I felt an irresistible repulsion and tedium . . . . Shakespeare can not be recognized either as a great genius, or even as an average author. . . . far from being the height of perfection, [King Lear] is a very bad, carelessly composed production, . . . can not evoke among us anything but aversion and weariness. . . . All his characters speak, not their own, but always one and the same Shakespearian, pretentious, and unnatural language . . . .

also by the same author ROSENCRANTZ AND GUILDENSTERN ARE DEAD THE REAL INSPECTOR HOUND ENTER A FREE MAN AFTER MAGRITTE JUMPERS TRAVESTIES DIRTY LINEN AND NEW-FOUND-LAND NIGHT AND DAY DOGG’S HAMLET, CAHOOT’S MACBETH ROUGH CROSSING and ON THE RAZZLE (adapted from Ferenc Molnár’s Play at the Castle and Johann Nestroy’s Einen Jux will er sich machen) THE REAL THING THE DOG IT WAS THAT DIED AND OTHER PLAYS SQUARING THE CIRCLE with EVERY GOOD BOY DESERVES FAVOUR and PROFESSIONAL FOUL HAPGOOD DALLIANCE AND UNDISCOVERED COUNTRY (a version of Arthur Schintzler’s Das weite Land) ARCADIA INDIAN INK (an adaptation of In the Native State) THE INVENTION OF LOVE

Tragedy springs from its own peculiar sorcery, with treachery, born of envy or ambition, a usual instigator. Treachery is apparent only after the events staged are well over, as we know, its victims dead, or living and smarting under its tricks, realizing too late how they have been misused: if indeed they are ever cognizant of its role, if still players, to this wonder and rue. Most unacceptable is its subtlety, the double-face which double-deals, the Iago perpetrators hidden for decades, smiling the smiles of polite and not so polite society. They nod and wave, heroes to many; sly politicians these Claudiuses. Time favours the Macbeths and forgets the maligned. The former enjoy live, some even oblivious to their lies as being lies, for they prefer to bask in blessings, aping the certainties of creed, cheating death and duty while in pavilions of ease. They succeed on their success, trite or vast; wealth for some, and enviably, fame for the few. The unaware, their victims, float off to obscurity on ruptured vessels of injustice to theater lands unknown, never really knowing why, if the job's done property. Normality is, truthfully, life's whore, readily embraced and conveniently embracing; secretly, it has the clap. Thinking of plot should then give pause. The treacherous cheat fate and re-write, their 'intended history'. Call it fate. They become authors of an illicit story, penmen of their own gods, living their own fresh creation through a new, egregious, utilitarian drama that is untouched by either truth or beauty.

[T]he great decided effective Majority is now for the Republic," he told Jefferson in late October 1792, but whether it would endure for even six months "must depend on the Form of Government which shall be presented by the Convention" and whether it could "strike out that happy Mean which secures all the Liberty which Circumstances will admit of combin'd with all the Energy which the same Circumstances require; Whether they can establish an Authority which does not exist, as a Substitute (and always a dangerous Substitute) for that Respect which cannot be restor'd after so much has been to destroy it; Whether in crying down and even ridiculing Religion they will be able on the tottering and uncertain Base of metaphisic Philosophy to establish a solid Edifice of morals, these are Questions which Time must solve." At the same time he predicted to Rufus King that "we shall have I think some sharp struggles which will make many men repent of what they have done when they find with Macbeth that they have but taught bloody Instructions which return to plague the Inventor." . . . In early December, he wrote perhaps his most eloquent appraisal of the tragic turn of the [French] Revolution, to Thomas Pinckney. "Success as you will see, continues to crown the French Arms, but it is not our Trade to judge from Success," he began. "You will soon learn that the Patriots hitherto adored were but little worthy of the Incense they received. The Enemies of those who now reign treat them as they did their Predecessors and as their Successors will be treated. Since I have been in this Country, I have seen the Worship of many Idols and but little [illegible] of the true God. I have seen many of those Idols broken, and some of them beaten to Dust. I have seen the late Constitution in one short Year admired as a stupendous Monument of human Wisdom and ridiculed as an egregious Production of Folly and Vice. I wish much, very much, the Happiness of this inconstant People. I love them. I feel grateful for their Efforts in our Cause and I consider the Establishment of a good Constitution here as the principal Means, under divine Providence, of extending the blessings of Freedom to the many millions of my fellow Men who groan in Bondage on the Continent of Europe. But I do not greatly indulge the flattering Illusions of Hope, because I do not yet perceive that Reformation of Morals without which Liberty is but an empty Sound." . . . [H]e believed religion was "the only solid Base of Morals and that Morals are the only possible Support of free governments." He described the movement as a "new Religion" whose Votaries have the Superstition of not being superstitious. They have with this as much Zeal as any other Sect and are as ready to lay Waste the World in order to make Proselytes.

The tragedy we know today came to us patched together with lines lifted from the works of another playwright, Thomas Middleton. Since Macbeth was not considered one of Shakespeare’s last plays, it’s difficult to explain why the tragedy had to be cobbled together in that manner. Was it possible that Macbeth, due to its bloodthirsty portrayal of Scottish royalty, had been censored by James I? Was Macbeth always the shortest play in the canon, or was its brevity the result of censorship? Could its author have suffered dire consequences as a result of a king’s displeasure, and was that the reason “the Scottish play” had always been associated with bad luck?

One aspect of Samantha's personality that drove me nuts was her tendency to reveal herself via literary allusions. She called it a quirk, but it was more of a compulsion. Her mother was Lady Macbeth; her father, Big Daddy. An uncle she liked was Mr. Micawber, a favorite governess, Jane Eyre; a doting professor, Mr. Chips. This curious habit of hers quickly made the voyage from eccentric to bizarre when she began to invoke the names of literary characters to describe moments in our relationship. When she thought I was treating her rudely, she called me Wolf Larsen; if I was standoffish, I was Mr. Darcy; when I dressed too shabbily, I was Tom Joad. Once, in bed, she yelled out the name Victor as she approached orgasm. I assumed she was referring to Victor Hugo because she'd been reading 'Les Miserables.'. It didn't really bother me that much though it was a little odd being with a woman who thought she was having sex with a dead French author.