How Lady Macbeth(TM)s language reveals changes in her role and mental condition Essay

Q By close reference to the text, show how dame Macbeths language reveals changes in her role and mental condition.In William Shakespe atomic number 18s Macbeth, the language of peeress Macbeth clearly reflects changes in her role and mental condition throughout the play. At the beginning, Lady Macbeths language is confident and bindled. However, by set 5 guesswork 1, she has undergone a complete transformation of character and is in a pitiful, silly condition. Shakespe are uses a variety of literary techniques much(prenominal) as iambic pentameter (or the lack of it), rhetorical devices, powerful resourcefulness and varied sentence lengths to reveal Lady Macbeths disposition at different stages in the play.During Act 1, Lady Macbeths character is imposing and authoritative. This can clearly be seen by analysing her language and language patterns. Shakespeare highlights the determination and go out of her speech through the use of iambic pentameter. Iambic pentameter is a poetic device, wherein each line has 10 syllables with the emphasis on each even syllable. It is used to create a swingy quality and to reflect ordinary speech patterns. In addition, iambic pentameter is also a technique of indicating the control and dignity of a character. In the early part of the play, nearly each(prenominal) of Lady Macbeths lines are written in strict iambic pentameter. The lines (He thats coming)Must be provided for, and you shall putThis nights great business into my dispatch,Which shall to all our nights and days to comeGive solely sovereign sway and masterdom.1illustrate the fact that Lady Macbeth is a cunning, shrewd woman, who is in complete control of her mind. The iambic pentameter, joined with what she actually says, establishes the fact that she is strong and capable character. Shakespeare leads the readers to come to the conclusion that she has the dominant role in the relationship, as she bedeckfully employs charge of all the decision-making. Th is is borne out by the content of the lines as well as the school vocabulary used. These distinctive character traits of Lady Macbeth may well have been inspired by Shakespeares contemporary Queen Elizabeth I, who was also a very commanding and influential entity.Shakespeare also makes use of rhetorical devices to establish Lady Macbeths domineering personality. Rhetorical questions, in particular, are heavily used. These are a speech technique used to persuade someone and sway their mentality. In Act 1 place setting 7, Lady Macbeth uses a ton of rhetorical questions to convince Macbeth to commit the regicide of Duncan. Questions such asWas the hope drunkard/ Wherein you dressed yourself?2,Art thou afeard / To be the same in act and valour / As thou art in desire?3, andWhat cannot you and I perform upon / Thunguarded Duncan?4are used to incite Macbeth and make him feel guilty. She is overly vituperative and malicious accusing him of cowardice by saying things desire hes not a ma n, or that he doesnt sincerely love her because he isnt keeping his promise to her. The result is that she successfully manipulates Macbeth into doing something that she wants. This confirms the fact that she is an intelligent, influential woman. other literary device that shows Lady Macbeths evil persona is the strong imagery used in her speech. Imagery is a technique used in literature to make the reader visualise a picture in their minds. The lines look like thinnocent flower/ But be the snake undert5 creates a distinct image of trickery and deceit, and gives a clear upbraiding of Lady Macbeths character. Another piece of effective imagery is the lines I have given lift out and knowHow t devastationer tis to love the babe that milks meI would, while it was smiling in my face,Have pick off my nipple from his boneless gumsAnd dashed the brains out, had I so sworn.6The above lines form a sort of disturbing image in our minds, and give us a terrifying indication of Lady Macbeth s mental strength. It highlights the malevolence that is inherent in her personality, in addition to her determination and her willingness to make sacrifices. However, the nature of such a reconcilement does provoke one to think seriously about Lady Macbeths sanity. No person in their right mind would kill a child with the brutality that was described, especially not the childs own mother. The lines shown above are one of many subtle hints of flaws in Lady Macbeths character which Shakespeare intelligently incorporates. These serve as inklings towards the total collapse in her character and mental state that is about to follow.In Act 3 Scene 4, the rapid spurn of Lady Macbeth begins to take shape. In contrast to the early scenes of the play, her sentences become very short and she seems emotionally exhausted. Earlier, she would make long, influential speeches, which boasted of control and supremacy. This is not the case any more, although she does regain some composure by continui ng to speak in iambic pentameter. She is now content to let Macbeth do the bulk of the talking. This indicates a reversal of roles where Lady Macbeth is no longer the dominant partner in the relationship. She is excluded from decision-making, as shown by Macbeths killing of Banquo without even bothering to name his dearest partner of greatness.7 This scene is quite a significant one, as it marks the tour point of the declivity in Lady Macbeths role and mental state.By Act 5 Scene 1, the language of Lady Macbeth has completely disintegrated. She is ridden with guilt and remorse, and this clearly affects her conscience immensely. Her psychological weakness at this point is illustrated by the use of prose, as opposed to iambic pentameter. This implies that Lady Macbeth has thoroughly lost all control and power which was typical of her in the first few scenes of the play. Her speech, which now mainly consists of incoherent phrases like Out, damned spot Out I say One, two.Why then tis time to dot. nuthouse is murky8, lacks the equanimity that she possessed in Act 1. She also uses a lot of imperatives and exclamations like O, O, O,9 which show that she is uneasy and deeply distressed. She dwells over the murders committed by herself and Macbeth, making it obvious that these incidents have been stalk her and causing her much disquiet. All the stress that had been bottled up in her mind is released while she is sleepwalking, and by the end of the scene, she is in a dismal condition, muttering a whole lot of useless drivel. It is no perplexity that she later decides to do away with herself, as her body and mind have both crumbled to bits.Lady Macbeths language visibly reflects her role and mental state at different parts of the play. At the start, she is shown to be powerful and domineering which is demonstrated by uses of iambic pentameter, rhetorical devices and strong imagery. She undergoes a steady deterioration and by the end, she is weak and depleted, as re flected by the breakdown of her language. The stark contrast between her mental state at the start and end of the play is clearly demonstrated by comparing two sentences talk by her at these timesA little water clears us of this deed10 when her give are covered in tear after the killing of King Duncan, andHere is the smell of blood still, all the perfumes of Arabia will not sweeten this hand11 while she is sleepwalking. The remarkable fall from grace of Lady Macbeth is wonderfully presented by Shakespeare, and plays a big part in the play as whole. Since it was Lady Macbeths ideas and persuasive techniques which led Macbeth to the throne, and set the foundations of his reign her weakening, and subsequent death, is one of many indicators of Macbeths impendent downfall. Shakespeares use of various literary devices was excellent, and he is able to successfully draw attention to the decline of Lady Macbeth, and its overall significance.1 Act 1 Scene 5 lines 64-682 Act 1 Scene 7 lin es 35-363 Act 1 Scene 7 lines 39-414 Act 1 Scene 7 lines 69-705 Act 1 Scene 5 lines 63-646 Act 1 Scene 7 lines 54-597 Act 1 Scene 5 lines 9-108 Act 5 Scene 1 lines 30-319 Act 5 Scene 1 line 4310 Act 2 Scene 2 line 7011 Act 5 Scene 1 lines 42-43