1/. Lady Macbeth made Macbeth into a monster, in much the same way that Victor Frankenstein made his Adam into one. Discuss.
2/. How simmilar are scenes of Faustus and the 7 Deadly Sins, and Macbeth and the 3 Apparitions? Discuss
Friday, 6 April 2012
Sunday, 25 March 2012
Mephistopheles on stage
Devil - an evil spirit (with Cap) the supreme spirit of evil
The chambers dictionary's defenition of Mephistopheles' manifestation, I would argue, is not an accurate assumption of the character. The term is too broad, and I would argue that the word 'evil' could be applied no more to Mephistopheles than to Dr. Faustus. This leads us to the question: how should an actor go about playing the role of mephistopheles on-stage?
When mephistopheles fist appears to faustus in the form of a friar, he states that, 'when we hear one rack the name of God...we fly in hope to get his glorious soul, nor will we come unless he use such means whereby he is in danger to be damned.'
This can be interpreted as mephistopheles revealing something of his true nature to Faustus, stating that he searches for vulnerable souls, ripe for damning, as this is either his duty to his master Lucifer, something he takes pleasure in, or perhaps both. Alternatively, it could be mephistopheles warning Faustus that he is in danger of loosing his soul, by so willingly playing around with the dark arts, and that he should meaningfuly repent to 'his Saviour Christ' immediately.
Going on the conventional defenition of 'Devil', derrived from biblical accounts of devils, an actor would most probably be more inclined to be the more menacing interpretation at this point. However, in Act 2 Scene 1, it seems that Mephistopheles regularly drops hints to Faustus that he can reafirm his soul as his own at any time. E.g. 'that security craves great Lucifer. If thou deny it, I will back to hell', and 'But tell me, Faustus, shall I have thy soul?' Mephistopheles even seems ashamed later in this scene, saying to himself Aside, 'O, what will I not do to obtain his soul?...I'll fetch him somewhat to delight his mind.' At first, I enterprated this as the typical 'oh, what have i done/become' speach, but when analysed further, I saw that the lines could be chuckled, as if manically laughing to himself, asking the rhetorical question of 'What will I not do to obtain his soul? nothing! I am a devil after all.'
When Faustus begins to waver on his contract, Mephistopheles says to him, 'Why Faustus, think'st thou heaven is such a glorious thing?...tis not half so fair as thou'. It would be difficult to pay a reluctant devil for this line, as sarcasm or difference of context could not be applied to the constant of Heaven. It seems much more viable that the Mephistopheles who says this line is attempting to trick Faustus, and stop him from ripping up his contract by repenting. Furthermore, when Faustus says to him, 'Go, accursed spirit, to ugly hell! tis' thou hast damned sistresses Faustus' soul', Mephistopheles does not feel guilt, or permit faustus to repent whilst he returns to hell peacefully; rather he goes and fetches the king of devils (chambers dictionary's '(Caps) Devil' - the supreme spirit of evil), who bullies Faustus into remeaining true to his contract.
Mephistophiles can be seen to discourage Faustus to enjoy rome, and rather encourages faustus in mischief. 'Now', says mephistopheles, placing a cloak of invisibility on Faustus, 'do what thou wilt'. Surely, a more reserved character would permit Faustus to enjoy his 24 years respectfully, and discourage further sin. So we find a more steriotypical devilish (in terms of mischievous) side of mephistopheles here. Mephistopheles even pokes fun at the church with Faustus, sarcasticly saying 'We shall be cursed with bell, book, and candle', which only encourages his mortal master in his sin, as they beat the friars together.
But, mephistopheles' comparitively quieter character, who appears during faustus' performances, can be interpreted as the middleman who has just given up with trying to convince Faustus to rip up his contract. Hardly saying a word, he simply does as Faustus commands. But when he sees a new opportunity to preserve innocence, the Horse Courier that is an 'honest fellow, and he has a great charge, neither wife or child.' the critic J D Jump states that 'a horse-dealer had a ready-made reputation for dishonesty', so the audience would want to see him cheated. Here, Mephistopheles is presented as more moral than Faustus and indeed the audience, as he is the only one who wishes goodwill on someone. However, this is not the same for the Old Man in Act 5 Scene 3, the holiest and therefore most morally acceptable person in this play. Mephistopheles tries to tempt the man into sin, which he has not done to anyone so far in the play; 'I cannot touch his soul. What I may afflict his body with I will attempt, which is but little worth.'
To conclude, the last line of the play, 'Ah, Mephestopheles' as said by faustus, could be a scream of betrayal, or perhaps a cry for his last friend to help him out of hell. The entire character of mephistopheles can be summarised in a very simmilar way; Either the actor plays him as a typical devious devil, or as one who wishes for none to share the same fate as him. Perhaps mephistopheles only holds his end of the bargin with faustus, because he is just as scared of lucifer as faustus is. Or perhaps he secretly enjoys damning souls; as he says in the play, 'Solamen miseris socios habusisse doloris' - it is comfort to the wretched to have companions in misery.
The chambers dictionary's defenition of Mephistopheles' manifestation, I would argue, is not an accurate assumption of the character. The term is too broad, and I would argue that the word 'evil' could be applied no more to Mephistopheles than to Dr. Faustus. This leads us to the question: how should an actor go about playing the role of mephistopheles on-stage?
When mephistopheles fist appears to faustus in the form of a friar, he states that, 'when we hear one rack the name of God...we fly in hope to get his glorious soul, nor will we come unless he use such means whereby he is in danger to be damned.'
This can be interpreted as mephistopheles revealing something of his true nature to Faustus, stating that he searches for vulnerable souls, ripe for damning, as this is either his duty to his master Lucifer, something he takes pleasure in, or perhaps both. Alternatively, it could be mephistopheles warning Faustus that he is in danger of loosing his soul, by so willingly playing around with the dark arts, and that he should meaningfuly repent to 'his Saviour Christ' immediately.
Going on the conventional defenition of 'Devil', derrived from biblical accounts of devils, an actor would most probably be more inclined to be the more menacing interpretation at this point. However, in Act 2 Scene 1, it seems that Mephistopheles regularly drops hints to Faustus that he can reafirm his soul as his own at any time. E.g. 'that security craves great Lucifer. If thou deny it, I will back to hell', and 'But tell me, Faustus, shall I have thy soul?' Mephistopheles even seems ashamed later in this scene, saying to himself Aside, 'O, what will I not do to obtain his soul?...I'll fetch him somewhat to delight his mind.' At first, I enterprated this as the typical 'oh, what have i done/become' speach, but when analysed further, I saw that the lines could be chuckled, as if manically laughing to himself, asking the rhetorical question of 'What will I not do to obtain his soul? nothing! I am a devil after all.'
When Faustus begins to waver on his contract, Mephistopheles says to him, 'Why Faustus, think'st thou heaven is such a glorious thing?...tis not half so fair as thou'. It would be difficult to pay a reluctant devil for this line, as sarcasm or difference of context could not be applied to the constant of Heaven. It seems much more viable that the Mephistopheles who says this line is attempting to trick Faustus, and stop him from ripping up his contract by repenting. Furthermore, when Faustus says to him, 'Go, accursed spirit, to ugly hell! tis' thou hast damned sistresses Faustus' soul', Mephistopheles does not feel guilt, or permit faustus to repent whilst he returns to hell peacefully; rather he goes and fetches the king of devils (chambers dictionary's '(Caps) Devil' - the supreme spirit of evil), who bullies Faustus into remeaining true to his contract.
Mephistophiles can be seen to discourage Faustus to enjoy rome, and rather encourages faustus in mischief. 'Now', says mephistopheles, placing a cloak of invisibility on Faustus, 'do what thou wilt'. Surely, a more reserved character would permit Faustus to enjoy his 24 years respectfully, and discourage further sin. So we find a more steriotypical devilish (in terms of mischievous) side of mephistopheles here. Mephistopheles even pokes fun at the church with Faustus, sarcasticly saying 'We shall be cursed with bell, book, and candle', which only encourages his mortal master in his sin, as they beat the friars together.
But, mephistopheles' comparitively quieter character, who appears during faustus' performances, can be interpreted as the middleman who has just given up with trying to convince Faustus to rip up his contract. Hardly saying a word, he simply does as Faustus commands. But when he sees a new opportunity to preserve innocence, the Horse Courier that is an 'honest fellow, and he has a great charge, neither wife or child.' the critic J D Jump states that 'a horse-dealer had a ready-made reputation for dishonesty', so the audience would want to see him cheated. Here, Mephistopheles is presented as more moral than Faustus and indeed the audience, as he is the only one who wishes goodwill on someone. However, this is not the same for the Old Man in Act 5 Scene 3, the holiest and therefore most morally acceptable person in this play. Mephistopheles tries to tempt the man into sin, which he has not done to anyone so far in the play; 'I cannot touch his soul. What I may afflict his body with I will attempt, which is but little worth.'
To conclude, the last line of the play, 'Ah, Mephestopheles' as said by faustus, could be a scream of betrayal, or perhaps a cry for his last friend to help him out of hell. The entire character of mephistopheles can be summarised in a very simmilar way; Either the actor plays him as a typical devious devil, or as one who wishes for none to share the same fate as him. Perhaps mephistopheles only holds his end of the bargin with faustus, because he is just as scared of lucifer as faustus is. Or perhaps he secretly enjoys damning souls; as he says in the play, 'Solamen miseris socios habusisse doloris' - it is comfort to the wretched to have companions in misery.
Monday, 30 January 2012
Frankenstein lesson (30-01-12) chapter 21 notes
- Witnesses' account has gothic elements: 'ten o'clock', 'dark night', 'moon had not yet risen'.
- Young man of 25 found dead on the shore, strangled, with black finger marks, the Creature's. Corruption of inmnocence; death to a 'handsome young man' by the hands of the murderer Creature
- Victor feels 'parched with horror, nor can...reflect on that moment without shuddering and agony' as he realises the body is Henry Clerval's
- Victor faints and convulses. then lays in a fever for two months, 'close to death'. Melodramatic reaction to what the monster warned him would happen
- Romantic description of death. It 'snatches away many blooming children, the only hopes of their doting parents'. Also relates to his own mother, who'se happiness rested on Victor's union with Elizabeth
- 'I was doomed to live' and 'I am sorry that i am still alive to feel this mysery and horror'
- the word 'dream' is repeated constantly in chapter 21 to show victor's confused state of mind. He believes the horrid past events to be all a bad dream, and wishes they were just that when he awakes to find them a reality
- Romantic sense of impending doom - 'Who could be interested in the fate of a murderer but the hangman who would gain his fee?'
- 'My father...but where is he, why does he not hasten to me?' Victor contacts his family only when he needs them, as he did so before in Volume 1. Selfish victor
- '...a fatality seems to persue you' - irony
- 'a gloomy and black melancholy...Clerval was forever before me, ghastly and murdered'. Link to Lady Macbeth's delusions/dreams, or macbeth's ghost of banquo
- 'my selfish despair' realises he is being childish perhaps?
- Victor turns to the Laudanium drug to help him sleep. He 'needs' double the dose to help him sleep well enough
- Victor's nightmares aboard the ship to Havre-De-Grace about the creature coming to kill him are negated by his father waking him up. Victor finds a 'sense of security' by his father's side
- Young man of 25 found dead on the shore, strangled, with black finger marks, the Creature's. Corruption of inmnocence; death to a 'handsome young man' by the hands of the murderer Creature
- Victor feels 'parched with horror, nor can...reflect on that moment without shuddering and agony' as he realises the body is Henry Clerval's
- Victor faints and convulses. then lays in a fever for two months, 'close to death'. Melodramatic reaction to what the monster warned him would happen
- Romantic description of death. It 'snatches away many blooming children, the only hopes of their doting parents'. Also relates to his own mother, who'se happiness rested on Victor's union with Elizabeth
- 'I was doomed to live' and 'I am sorry that i am still alive to feel this mysery and horror'
- the word 'dream' is repeated constantly in chapter 21 to show victor's confused state of mind. He believes the horrid past events to be all a bad dream, and wishes they were just that when he awakes to find them a reality
- Romantic sense of impending doom - 'Who could be interested in the fate of a murderer but the hangman who would gain his fee?'
- 'My father...but where is he, why does he not hasten to me?' Victor contacts his family only when he needs them, as he did so before in Volume 1. Selfish victor
- '...a fatality seems to persue you' - irony
- 'a gloomy and black melancholy...Clerval was forever before me, ghastly and murdered'. Link to Lady Macbeth's delusions/dreams, or macbeth's ghost of banquo
- 'my selfish despair' realises he is being childish perhaps?
- Victor turns to the Laudanium drug to help him sleep. He 'needs' double the dose to help him sleep well enough
- Victor's nightmares aboard the ship to Havre-De-Grace about the creature coming to kill him are negated by his father waking him up. Victor finds a 'sense of security' by his father's side
Sunday, 29 January 2012
Frank. Chapter 16
- creature curses Victor his creator for his hideous appearence, and for being alive. Common thoughts of those contemplating suicide, like in his novel
- wanders through the nighttime woods howling like a beast with speed - immensely gothic
- turning point for the creature: 'There was none among the myriads of men that existed who would pity or assist me; and should i feel kindness towards my enemies? No; from that moment, i declaired everlasting war...against him who had formed me'. Resemblence to Paradice Lost's Lucifer
- Tears come about when the creature remembers his protectors are gone, but this turns to rage when he remembers their reason for leaving is abandonment
- metaphor 'the cottage was quickly enveloped by the flames, which clung to it and licked it with their forked and destroying tounges' shows beauty in the creature's ieyes, due to madness/obsession with revenge
- Creature, despite promising to hate humans, rushes without a second thought, to the aid of a little girl who fell into a fast river. his 'reward' is her father grabing the child away and shooting the creature in the shoulder. this makes the creature more bitter
- Monster becomes desprate for a companion, and takes to kidnaping a child. however, he kills the boy in blind rage when he finds out that he is a Frankenstein, and feels triumphant at his destruction of innocent life
- Can appreciate beauty in the female form, shown by his fixation with the woman on the lockett
- says to a sleeping Justine 'Thy lover is near...who would give his life but to obtain one look of affection from thine eyes'. Further desporation to feel accepted, and furthermore, loved
- Instead decides to plant the lockett on her and therefore frame her for the murder. he even blames her; 'the crime had it's source in her; be hers the punnishment', perhaps blaming her simply because she is a member of the human race
- wanders through the nighttime woods howling like a beast with speed - immensely gothic
- turning point for the creature: 'There was none among the myriads of men that existed who would pity or assist me; and should i feel kindness towards my enemies? No; from that moment, i declaired everlasting war...against him who had formed me'. Resemblence to Paradice Lost's Lucifer
- Tears come about when the creature remembers his protectors are gone, but this turns to rage when he remembers their reason for leaving is abandonment
- metaphor 'the cottage was quickly enveloped by the flames, which clung to it and licked it with their forked and destroying tounges' shows beauty in the creature's ieyes, due to madness/obsession with revenge
- Creature, despite promising to hate humans, rushes without a second thought, to the aid of a little girl who fell into a fast river. his 'reward' is her father grabing the child away and shooting the creature in the shoulder. this makes the creature more bitter
- Monster becomes desprate for a companion, and takes to kidnaping a child. however, he kills the boy in blind rage when he finds out that he is a Frankenstein, and feels triumphant at his destruction of innocent life
- Can appreciate beauty in the female form, shown by his fixation with the woman on the lockett
- says to a sleeping Justine 'Thy lover is near...who would give his life but to obtain one look of affection from thine eyes'. Further desporation to feel accepted, and furthermore, loved
- Instead decides to plant the lockett on her and therefore frame her for the murder. he even blames her; 'the crime had it's source in her; be hers the punnishment', perhaps blaming her simply because she is a member of the human race
Frank. Chapter 15
- Learns from cottagers to 'admire their virtues' and to 'depreciate the vices of mankind' which relates to Aristotle's vices & virtues (philosophy)
- New books & chlothes (conveniently found in the woods!). Consist of Paradise Lost, a volume of Pultarch's Lives, the Sorrows of Werther
- Learns emotions from these deeply romantic and poetic books. 'I applied much personality to my own feelings and condition' from novels whose themes are suicide and sin. not a normal way to develop, is it healthy for the creature?
- Creature is inspired by heroes and lawgivers in Pultarch. creature can be seen to resemble less of Victor, who read about magic in philosophy, and more like Clerval's romantic side.
- reads paradise lost as 'true history'. accepts a poem and a biblical epic to be the truth
- Creature conciders himself like adam, a creation, but unlike adam, he is rejected by his creator. In this sence he feels more like the devil, as he is envious of his creator.
- Creature can now read frankenstein's notes on his creation. he finds the account disgusting and disturbing, and says 'hateful day when i recieved life...acursed creator!'
- 'no Eve soothed my sorrows...[my creator] abandoned me, and in the bitterness of my heart, I cursed him' conciders himself an imperfect form of God's perfect creation
- De Lacy asks if the creature is french. he says that he was 'educated by a french family and understand[s] that language only'. Irony!
- Old Man speaks of human kindness and charity, and how the creature should rely on his hope. Is he correct, or is the monstrosity too much for eyes to bare?
- De Lacy says it is a pleasure to be a comfort to a 'human creature'. to what extent is this true about the creature?
- 'I could have torn him limb from limb...overcome by pain and anguish...my heart sank within me with bitter weakness' The tall, powerfull monster is rejected by his 'protectors'. reader sympathises with the creature
- New books & chlothes (conveniently found in the woods!). Consist of Paradise Lost, a volume of Pultarch's Lives, the Sorrows of Werther
- Learns emotions from these deeply romantic and poetic books. 'I applied much personality to my own feelings and condition' from novels whose themes are suicide and sin. not a normal way to develop, is it healthy for the creature?
- Creature is inspired by heroes and lawgivers in Pultarch. creature can be seen to resemble less of Victor, who read about magic in philosophy, and more like Clerval's romantic side.
- reads paradise lost as 'true history'. accepts a poem and a biblical epic to be the truth
- Creature conciders himself like adam, a creation, but unlike adam, he is rejected by his creator. In this sence he feels more like the devil, as he is envious of his creator.
- Creature can now read frankenstein's notes on his creation. he finds the account disgusting and disturbing, and says 'hateful day when i recieved life...acursed creator!'
- 'no Eve soothed my sorrows...[my creator] abandoned me, and in the bitterness of my heart, I cursed him' conciders himself an imperfect form of God's perfect creation
- De Lacy asks if the creature is french. he says that he was 'educated by a french family and understand[s] that language only'. Irony!
- Old Man speaks of human kindness and charity, and how the creature should rely on his hope. Is he correct, or is the monstrosity too much for eyes to bare?
- De Lacy says it is a pleasure to be a comfort to a 'human creature'. to what extent is this true about the creature?
- 'I could have torn him limb from limb...overcome by pain and anguish...my heart sank within me with bitter weakness' The tall, powerfull monster is rejected by his 'protectors'. reader sympathises with the creature
Frank. - Chapter 14
- Finaly names the Father; De Lacy
- Find out that safie's father is executed in paris, due to his relegion, turkish origin and and wealth. parsi dislikes this.
- Felix thinks of safie as 'a treasure that could fully reward his toil' that he would' Simmilar to how Victor wants to posess Elizabeth
- Femmenism/Christianity: Safie's mother taught her 'the tennets of her relegion, and to aspire to higher powers of intelect and an independence of spirit forbidden to the female followers of Muhammed'
- Felix cannot leave his sister and brother in sorrowful prison whilst he is free with his lover. presents a virtue which Victor seems not to have - Victor does not care about his family until he needs them for his own emotional support
- The story of felix and the turkish merchant is a long, and romantic one. It explains why he was always melancholly when the creature viewed him
- Safie is shown to be just as passionate/romantic as Felix. she journeys from italy to germany against her father's will just to be with him
- her servant falls ill and dies, despite Safie nursing her constantly. Safie is 'left alone, unequaited with the language'. Theme of abandonment, this time involintary, returns. However, another servant conveniently knows where the cottage is and directs her to it - contrived?
- Find out that safie's father is executed in paris, due to his relegion, turkish origin and and wealth. parsi dislikes this.
- Felix thinks of safie as 'a treasure that could fully reward his toil' that he would' Simmilar to how Victor wants to posess Elizabeth
- Femmenism/Christianity: Safie's mother taught her 'the tennets of her relegion, and to aspire to higher powers of intelect and an independence of spirit forbidden to the female followers of Muhammed'
- Felix cannot leave his sister and brother in sorrowful prison whilst he is free with his lover. presents a virtue which Victor seems not to have - Victor does not care about his family until he needs them for his own emotional support
- The story of felix and the turkish merchant is a long, and romantic one. It explains why he was always melancholly when the creature viewed him
- Safie is shown to be just as passionate/romantic as Felix. she journeys from italy to germany against her father's will just to be with him
- her servant falls ill and dies, despite Safie nursing her constantly. Safie is 'left alone, unequaited with the language'. Theme of abandonment, this time involintary, returns. However, another servant conveniently knows where the cottage is and directs her to it - contrived?
Frank. - Chapter 13
- Description of the Arabian in the veil is deeply romantic and detailed
- Creature makes use of the cottagers teaching Safie to speak their language, by using them to teach him also
- Wants to be able to boast his more rapid grasp on language than Safie's
- Book 1 - Volney's Ruins of Empires. Learns of current affairs and history through the book; relegion, politics and philosophy
- Finds that man has the power to be virtuous, and destructive - evil vs. godlike
- The creature finds 'disgust and loathing' at the fact that one man can kill another. is this hypocritical of his future actions against Victor?
- Conciders that he is stronger and more risiliant that humans, and finds this to be a downside and not an improvement. 'Was i, then, a monster? a blot upon the earth?'
- 'What a strange nature is knowledge' shows how he conciders knowing things to be painfull and horrid. Contrasts Victor's original character; one whose hunger for knowledge never ends
- simile - 'It clings to the mind...like a lichen on the rock' poetic negative description
- 'but one means to overcome the sensation of pain, and that was death...i feared [death] but did not understand [it]' like all humans, he fears death. fear of the unknown; gothic
- has the desire to become one among his neighbours, but the conversations and smiles are not directed at him, and this makes him a 'Miserable, unhappy wretch!'
- 'No father had watched my infant days, no mother had blessed me with smiles and caresses' shows the theme of abandonment - Frankenstein abandoning his creation, his child
- calls the cottagers his protectors. Infactuation with the cottagers? developing an unhealthy obsession with the family.
- Creature makes use of the cottagers teaching Safie to speak their language, by using them to teach him also
- Wants to be able to boast his more rapid grasp on language than Safie's
- Book 1 - Volney's Ruins of Empires. Learns of current affairs and history through the book; relegion, politics and philosophy
- Finds that man has the power to be virtuous, and destructive - evil vs. godlike
- The creature finds 'disgust and loathing' at the fact that one man can kill another. is this hypocritical of his future actions against Victor?
- Conciders that he is stronger and more risiliant that humans, and finds this to be a downside and not an improvement. 'Was i, then, a monster? a blot upon the earth?'
- 'What a strange nature is knowledge' shows how he conciders knowing things to be painfull and horrid. Contrasts Victor's original character; one whose hunger for knowledge never ends
- simile - 'It clings to the mind...like a lichen on the rock' poetic negative description
- 'but one means to overcome the sensation of pain, and that was death...i feared [death] but did not understand [it]' like all humans, he fears death. fear of the unknown; gothic
- has the desire to become one among his neighbours, but the conversations and smiles are not directed at him, and this makes him a 'Miserable, unhappy wretch!'
- 'No father had watched my infant days, no mother had blessed me with smiles and caresses' shows the theme of abandonment - Frankenstein abandoning his creation, his child
- calls the cottagers his protectors. Infactuation with the cottagers? developing an unhealthy obsession with the family.
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