.... is asleep-"5. Macbeth loved his wife very much and valued her opinion, perhaps too much. The last of the major circumstances is simply himself and what he is deep down. Macbeth has no control over the way he is. It is his vaulting ambition that makes him the way he is. This is why I consider it a circumstance where others may not. Macbeth is weak. He gave in to his evil side by even considering murdering Duncan. We can see him questioning himself in his aside in Act I scene 3 "Why do I yield to that suggestion whose horrid image ... Are less than horrible imaginings;"6. He cannot seem to be able to control his thoughts. He lets his ambition to become king run a ....

.... he rides, which would most likely be a horse, is introduced in stanzas 5-8. The horse "plods" along slowly as if, "by some instinct" it knows that the speaker doesn't really want to leave. The speaker "lov'd not speed, being made from thee." "Thee" refers to the person the speaker is parting with. The horse is, in a sense, the speaker's heart, reluctant to keep moving, although it must bear his grief. The speaker, in stanzas 9-12, frequently gets frustrated and tries to force himself on, as shown by the "bloody spur" which indicates repeated use. The groan that the beast makes from the spurring is "more sharp to me[the speaker] than spurring to his[the beast's] side". The ....

.... would just rome the world looking for people to torment. But, in the movie "Frankenstein, with Boris Karloff, the monster befriended a blind man. I think he had this friend because the man could not see the face of the monster. Mary Shelly's Frankenstein was very different from the movies and T.V. shows. For one thing the monster was not even called Frankenstein. Victor Frankenstein was the name of the doctor who created the monstrosity. Before the doctor created the monster he was a work of art. "I had selected his features as beautiful. Beautiful!," this is what Victor said when he saw the monster before it was alive. Afterwards it was the ugliest thing the ....

.... a mask and call it "LIE". A lie would be like covering up your face with that mask, so that no one can see the truth. But equivocation is like putting on only half the mask, to show only half the truth. In the Shakespearean play that we study in grade eleven English titled Macbeth, wicked and evil witches deceive their victim, Macbeth, by equivocating his prophecies. As a result of this new "half-true" knowledge, Macbeth makes rash decisions that lead him to paranoia, grief, and his downfall. The first set of prophecies the witches reveal to Macbeth, in act 1, scene 3, was that Macbeth is to become thane of Glamis, thane of Cawdor and that he shall be king ....

.... he is a villain by intent. He chooses the evil and violence that inevitably consume him. The only tragic thing is the pain and anarchy this supposed hero leaves in his wake. Body: Though not a hero, Macbeth is unaplogetically human. The issue of Macbeth's manhood constantly arises. Lady Macbeth manipulates her indecisive husband incessantly, disparaging his masculinity. Many of Macbeth's actions could be seen as attempts to vindicate his manhood. In weak opposition to the murder and in defense of his manhood, Macbeth argues, "I dare do all that may become a man who dares do more is none." His wife argues that by being more daring, he will become more of a man: ....

.... and slowly turn him insane. Not to say that he was a crazed madman out of touch with reality as was Ophelia, but a man driven crazy by thought. Hamlet's behavior throughout the play, especially towards Ophelia is inconsistent. He jumps into Ophelia's grave, and fights with Laertes in her grave. He professes "I loved Ophelia. Forty thousand brothers/Could not, with all their quantity of love,/ Make up my sum" [Act V, scene I, lines 250-253], during the fight with Laertes in Ophelia's grave, but he tells her that he never loved her, when she returns his letters and gifts, while she was still alive. Hamlet subtly hints his awareness of his dissolving sanity as he tells Laert ....

.... battle is lost by one side and won by another. Macbeth's fate is that he will win the battle, but will lose his time of victory for the battle of his soul. After the prophecies of the witches' revealed the fate of Macbeth, the plan in which to gain power of the throne is brought up. The only way to gain power of the throne was for Macbeth to work his way to the throne, or to murder King Duncan. Murdering the king was an easier plan since the motivation in his dreams urged him on. Lady Macbeth also relied on the supernatural by her soliloquy of calling upon the evil spirits to give her the power to plot the murder of Duncan without any remorse or conscience(Act I, Scene V ....

.... of Thelma and Louise comes from a similar tension within the film. Through a carefully crafted tension between realistic narrative and surrealistic image, Thelma and Louise problematizes such oppositional readings as well as such familiar oppositions as masculine and feminine, positive and negative images of women, reinscription and subversion of patriarchal ideologies. The tension between the film’s uses of narrative and image works to interrogate and problematize both feminist and antifeminist assumptions about gender, power, and subjectivity. In Alice Doesn’t Teresa de Lauretis claims that feminist film theory has gone well beyond the simple opposition of positi ....