Violent Macbeth Quotes

The expedition of my violent love outrun the pauser, reason.

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

And being very young and capable of violent mood swings, she then began to worry about what to wear for dinner.

Who can be wise, amazed, temperate and furious, Loyal and neutral, in a moment? No man. The expedition of my violent love Outrun the pauser reason. Here lay Duncan, His silver skin laced with his golden blood, And his gashed stabs looked like a breach in nature             For ruin's wasteful entrance; there the murderers, Steeped in the colours of their trade, their daggers Unmannerly breeched with gore. Who could refrain, That had a heart to love, and in that heart Courage to make's love known?

I’m haunted every day by what I did as an economic hit man (EHM). I’m haunted by the lies I told back then about the World Bank. I’m haunted by the ways in which that bank, its sister organizations, and I empowered US corporations to spread their cancerous tentacles across the planet. I’m haunted by the payoffs to the leaders of poor countries, the blackmail, and the threats that if they resisted, if they refused to accept loans that would enslave their countries in debt, the CIA’s jackals would overthrow or assassinate them. I wake up sometimes to the horrifying images of heads of state, friends of mine, who died violent deaths because they refused to betray their people. Like Shakespeare’s Lady Macbeth, I try to scrub the blood from my hands. But the blood is merely a symptom.

In Shakespearean tragedy the main source of the convulsion which produces suffering and death is never good: good contributes to this convulsion only from its tragic implication with its opposite in one and the same character. The main source, on the contrary, is in every case evil; and, what is more (though this seems to have been little noticed), it is in almost every case evil in the fullest sense, not mere imperfection but plain moral evil. The love of Romeo and Juliet conducts them to death only because of the senseless hatred of their houses. Guilty ambition, seconded by diabolic malice and issuing in murder, opens the action in Macbeth. Iago is the main source of the convulsion in Othello; Goneril, Regan and Edmund in King Lear. Even when this plain moral evil is not the obviously prime source within the play, it lies behind it: the situation with which Hamlet has to deal has been formed by adultery and murder. Julius Caesar is the only tragedy in which one is even tempted to find an exception to this rule. And the inference is obvious. If it is chiefly evil that violently disturbs the order of the world, this order cannot be friendly to evil or indifferent between evil and good, any more than a body which is convulsed by poison is friendly to it or indifferent to the distinction between poison and food.

I read Dickens and Shakespear without shame or stint; but their pregnant observations and demonstrations of life are not co-ordinated into any philosophy or religion: on the contrary, Dickens's sentimental assumptions are violently contradicted by his observations; and Shakespear's pessimism is only his wounded humanity. Both have the specific genius of the fictionist and the common sympathies of human feeling and thought in pre-eminent degree. They are often saner and shrewder than the philosophers just as Sancho-Panza was often saner and shrewder than Don Quixote. They clear away vast masses of oppressive gravity by their sense of the ridiculous, which is at bottom a combination of sound moral judgment with lighthearted good humor. But they are concerned with the diversities of the world instead of with its unities: they are so irreligious that they exploit popular religion for professional purposes without delicacy or scruple (for example, Sydney Carton and the ghost in Hamlet!): they are anarchical, and cannot balance their exposures of Angelo and Dogberry, Sir Leicester Dedlock and Mr Tite Barnacle, with any portrait of a prophet or a worthy leader: they have no constructive ideas: they regard those who have them as dangerous fanatics: in all their fictions there is no leading thought or inspiration for which any man could conceivably risk the spoiling of his hat in a shower, much less his life. Both are alike forced to borrow motives for the more strenuous actions of their personages from the common stockpot of melodramatic plots; so that Hamlet has to be stimulated by the prejudices of a policeman and Macbeth by the cupidities of a bushranger. Dickens, without the excuse of having to manufacture motives for Hamlets and Macbeths, superfluously punt his crew down the stream of his monthly parts by mechanical devices which I leave you to describe, my own memory being quite baffled by the simplest question as to Monks in Oliver Twist, or the long lost parentage of Smike, or the relations between the Dorrit and Clennam families so inopportunely discovered by Monsieur Rigaud Blandois. The truth is, the world was to Shakespear a great "stage of fools" on which he was utterly bewildered. He could see no sort of sense in living at all; and Dickens saved himself from the despair of the dream in The Chimes by taking the world for granted and busying himself with its details. Neither of them could do anything with a serious positive character: they could place a human figure before you with perfect verisimilitude; but when the moment came for making it live and move, they found, unless it made them laugh, that they had a puppet on their hands, and had to invent some artificial external stimulus to make it work.

When love grows diseas’d, the best thing we can do is put it to a violent death; I cannot endure the torture of a lingring and consumptive passion. —Sir George Etherege