Fear In Macbeth Quotes

If you can look into the seeds of time And say which grain will grow and which will not, Speak, then, to me, who neither beg nor fear Your favors nor your hate.

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 so much blood in him? The thane of Fife had a wife; where is she now?—What, will these hands ne’er be clean?—No more o’that, my lord, no more o’that: you mar all with this starting. Here’s the smell of the blood still: all the perfumes of Arabia will not sweeten this little hand. Oh, oh, oh!

He shall spurn fate, scorn death, and bear His hopes 'bove wisdom, grace and fear: And you all know, security Is mortals' chiefest enemy.

Screw your courage to the sticking place and we will not fail.

Present fears are less than horrible imaginings.

Infirm of purpose! Give me the daggers: the sleeping and the dead are but as pictures: ‘tis the eye of childhood that fears a painted devil

All is the fear, and nothing is the love, as little is the wisdom, where the flight so runs against all reason.

yet do I fear thy nature; It is too full o' the milk of human kindness To catch the nearest way:

I have almost forgotten the taste of fears: The time has been, my senses would have cool’d to hear a night-shriek; and my fell of hair would at a dismal treatise rouse and stir as life were in’t: I have supt full with horrors; Direness, familiar to my slaughterous thoughts, cannot once start me.

Yet do I fear thy nature; It is too full o’ th’ milk of human kindness To catch the nearest way: thou wouldst be great, Art not without ambition, but without (15) The illness should attend it.

But cruel are the times, when we are traitors, And do not know ourselves; when we hold rumour From what we fear, yet know not what we fear, But float upon a wild and violent sea Each way and none

Go, prick thy face and over-red thy fear, Thou lily-livered boy.

Only look up clear: To alter favour, ever is to fear.

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.

Poor bird! Thou ’dst never fear the net nor lime, The pitfall nor the gin.

Wisdom! To leave his wife, to leave his babes, His mansion and his titles, in a place From whence himself does fly? He loves us not. He wants the natural touch; for the poor wren, The most diminutive of birds, will fight,             Her young ones in her nest, against the owl. All is the fear and nothing is the love, As little is the wisdom, where the flight So runs against all reason

Shakespeare’s Macbeth: “Fear not, till Birnam wood / Do come to Dunsinane”).

Glamis thou art, and Cawdor, and shalt be What thou art promised. Yet do I fear thy nature: It is too full o'the milk of human-kindness To catch the nearest way. Thou wouldst be great, Art not without ambition, but without The illness should attend it. What thou wouldst highly That wouldst thou holily, wouldst not play false, And yet wouldst wrongly win. Thou'dst have, great              Glamis, That which cries, 'Thus thou must do' if thou have it, And that which rather thou dost fear to do Than wishest should be undone. Hie thee hither That I may pour my spirits in thine ear, And chastise with the valour of my tongue All that impedes thee from the golden round Which fate and metaphysical aid doth seem To have thee crowned withal.

Have I not reason, beldams as you are, Saucy and overbold? How did you dare To trade and traffic with Macbeth In riddles and affairs of death; And I, the mistress of your charms, The close contriver of all harms, Was never call'd to bear my part, Or show the glory of our art? And, which is worse, all you have done Hath been but for a wayward son, Spiteful and wrathful, who, as others do, Loves for his own ends, not for you. But make amends now: get you gone, And at the pit of Acheron Meet me i' the morning: thither he Will come to know his destiny: Your vessels and your spells provide, Your charms and every thing beside. I am for the air; this night I'll spend Unto a dismal and a fatal end: Great business must be wrought ere noon: Upon the corner of the moon There hangs a vaporous drop profound; I'll catch it ere it come to ground: And that distill'd by magic sleights Shall raise such artificial sprites As by the strength of their illusion Shall draw him on to his confusion: He shall spurn fate, scorn death, and bear He hopes 'bove wisdom, grace and fear: And you all know, security Is mortals' chiefest enemy. Music and a song within: 'Come away, come away,' & c Hark! I am call'd; my little spirit, see, Sits in a foggy cloud, and stays for me.

Hence I am forced to doubt whether even without her potent charm and peculiar filial position Gwendolen might not still have played the queen in exile, if only she had kept her inborn energy of egoistic desire, and her power of inspiring fear as to what she might say or do. However, she had the charm, and those who feared her were also fond of her; the fear and the fondness being perhaps both heightened by what may be called the iridescence of her character - the play of various, nay, contrary tendencies. For Macbeth's rhetoric about the impossibility of being many opposite things in the same moment, referred to the clumsy necessities of action and not to the subtler possibilities of feeling. We cannot speak a loyal word and be meanly silent; we cannot kill and not kill in the same moment; but a moment is wide enough for the loyal and mean desire, for the outlash of a murderous thought and the sharp backward stroke of repentance.

The trouble with being a policeman in a small, normally law-abiding village was that you did not strike fear or terror into the heart of anyone.

Harriet had lost count of the times she’d read a note Eben Pulsifer had sent her: “I so much enjoyed the time we spent together. You sparkled with brilliance, the best company I’ve had for months. As unlikely as it seems, I believe we can form a friendship.” She asked herself what she knew about him. They were the same age; he was divorced. Very ambitious, he wanted to be president of the university, but that was a second choice, after other avenues closed to him. It didn’t seem that he was so crude that he wanted her friendship to secure her vote. Did he actually like her? Did she like him? She called Pulsifer: “I’ve read your note. Thanks. It’s flattering. If we keep on seeing each other, either I’ll have to resign from the search committee – or you’ll have to stop dreaming of being president of the school.” “How about if I set you up for the job instead? ” Pulsifer asked. “Don’t think about it. That’s the poorest joke I’ve heard in months.” “Thank you,” Pulsifer said. “I needed to know what you think. Everyone wants what’s best. But not everyone sees all the problems. Russian missiles in Cuba, tests of nuclear weapons. Sensitive people are frightened, especially young ones. Why bother to do our best if the world is about to get blown up? Why don’t we worship idols? That might do some good. Or live for a good time?” “It sounds like you’re running for essayist-at-large,” Harriet said. Pulsifer’s voice deepened. “What happens if weapons fall into irresponsible hands? We need to develop a new kind of person – smart, flexible, sturdy – who can live with the fears that run through mass society and help others overcome them.” “How do you propose to build this new kind of person?” “I’m not sure yet,” Pulsifer admitted. “A president knows how to do things not just point to problems.” They talked on, hardly aware of undercurrents in their conversation. They’d had a brief romance as undergraduates, then went separate ways. Old feelings revived, potentially deeper, but new romance seemed unlikely, so different were they from one another. “What do you say to dinner tonight?” Pulsifer asked. “I was thinking about seeing Macbeth again.” “Let’s do both,” Pulsifer offered. Maybe he really does want a friend, Harriet thought. Like a sophomore all at sea.

I have almost forgot the taste of fears. The time has been my senses would have cool’d To hear a night shriek, and my fell of hair Would at a dismal treatise rouse and stir As life were in’t. I have supp’d full with horrors; Direness, familiar to my slaughterous thoughts, Cannot once start me.   —Will, Macbeth

MacBeth and Me Down below the twisted step, The tavern awaits night's Dark guests. Fires aglow hiss the emb'rous red, And Hell waits upon her most prized dead. A charmed man of thirty or so, Ambition's son who vaults so low. Tarries he now at table's dread, and drinks The draught of one Soul condemned. Lingers he so, o'er beef and wassail, Choicest portions of desires assailed. Presses he down lusts murd'rous and hard, A driving rain of the blackest of hearts. 'Prince of Cumberland,' he had to traverse, Or fall asunder, star-crossed to his curse. Sees shadows now and smiles slight at me, Knows he a kindred, in like debauchery. Eyes my spirit through cracked mirror. Banquo saw too and was butchered in Fear. The Lady also, unsexed, it seemed (Tended she cravings 'cided that King). Aye, locked below under tomorrow's step, He lies awaiting in damned inquest. Mortals what I am and to what I agree, Bids me to his table, Macbeth and me. --Poems on the Run, vol. I

The foundation of Machiavellian philosophy and its deepest insight is a sense of proportion. It corresponds to the Grotian apprehension of the moral complexity of politics… This is the special picture of political life one gets from reading Machiavelli himself and ‘irony’ is a category of philosophical Machiavellians. The word is not, I think, found in Machiavelli, but political irony is in fact what he very lovingly studied. Irony is a Machiavellian category while tragedy is a Grotian category. ‘Tragedy’ implies a standpoint outside the political drama, in which we experience, for example, admiration for Othello's nobility, pity for his weakness, and terror at Iago's wickedness… Now, it is difficult to adopt a tragic standpoint about politics, because ‘politics’ implies a situation in which we are still involved, where we can still act and affect the outcome, and anyway where we do not know the outcome because the drama is unfinished. To become fully tragic, politics have to be dead politics, that is, history: the tragedy of Athens, and of the League of Nations… Irony is, so to speak, the factual skeleton of tragedy, stripped of its moral and transcendental clothing. In literature it is the warping of a statement by its context; a character means one thing by a statement but we know the context and outcome that he does not, and see it has a different meaning. As Banquo rides away to be murdered, as Macbeth has arranged, Macbeth says to him genially: ‘Fail not our feast’—‘My lord, I will not.’ This is Sophoclean irony and there are other kinds, more complex. Irony can be seen in politics when statesmen pursue ends that recoil upon them, and turn into their opposites. Hugh R. Wilson, in Diplomat between Wars, says that the policy of the USA was of ‘overwhelming importance’ to the League of Nations in the Manchurian crisis, which makes ironic America's fear of, commitment and involvement: however little she wanted to be committed she was certainly involved, and by refusing to commit herself at that time she made her involvement in the struggle with Japan all the more certain. It is equally ironical that Britain and France went to war in 1939 to restore the balance of power in Europe by destroying Nazi Germany, embraced the Soviet alliance for that purpose, and ended with Europe as badly unbalanced by Stalin's power as it had been by Hitler's.

This is a man's first, last, and greatest fear: a world that exists empty of him.