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Analysis of William Shakespeare’s Macbeth

By NASRULLAH MAMBROL on July 25, 2020 • ( 0 )

Macbeth . . . is done upon a stronger and more systematic principle of contrast than any other of Shakespeare’s plays. It moves upon the verge of an abyss, and is a constant struggle between life and death. The action is desperate and the reaction is dreadful. It is a huddling together of fierce extremes, a war of opposite natures which of them shall destroy the other. There is nothing but what has a violent end or violent beginnings. The lights and shades are laid on with a determined hand; the transitions from triumph to despair, from the height of terror to the repose of death, are sudden and startling; every passion brings in its fellow-contrary, and the thoughts pitch and jostle against each other as in the dark. The whole play is an unruly chaos of strange and forbidden things, where the ground rocks under our feet. Shakespear’s genius here took its full swing, and trod upon the farthest bounds of nature and passion.

—William Hazlitt, Characters of Shakespeare’s Plays

Macbeth completes William Shakespeare’s great tragic quartet while expanding, echoing, and altering key elements of Hamlet, Othello, and King Lear into one of the most terrifying stage experiences. Like Hamlet, Macbeth treats the  consequences  of  regicide,  but  from  the  perspective  of  the  usurpers,  not  the  dispossessed.  Like  Othello,  Macbeth   centers  its  intrigue  on  the  intimate  relations  of  husband  and  wife.  Like  Lear,  Macbeth   explores  female  villainy,  creating in Lady Macbeth one of Shakespeare’s most complex, powerful, and frightening woman characters. Different from Hamlet and Othello, in which the tragic action is reserved for their climaxes and an emphasis on cause over effect, Macbeth, like Lear, locates the tragic tipping point at the play’s outset to concentrate on inexorable consequences. Like Othello, Macbeth, Shakespeare’s shortest tragedy, achieves an almost unbearable intensity by eliminating subplots, inessential characters, and tonal shifts to focus almost exclusively on the crime’s devastating impact on husband and wife.

What is singular about Macbeth, compared to the other three great Shakespearean tragedies, is its villain-hero. If Hamlet mainly executes rather than murders,  if  Othello  is  “more  sinned  against  than  sinning,”  and  if  Lear  is  “a  very foolish fond old man” buffeted by surrounding evil, Macbeth knowingly chooses  evil  and  becomes  the  bloodiest  and  most  dehumanized  of  Shakespeare’s tragic protagonists. Macbeth treats coldblooded, premeditated murder from the killer’s perspective, anticipating the psychological dissection and guilt-ridden expressionism that Feodor Dostoevsky will employ in Crime and Punishment . Critic Harold Bloom groups the protagonist as “the culminating figure  in  the  sequence  of  what  might  be  called  Shakespeare’s  Grand  Negations: Richard III, Iago, Edmund, Macbeth.” With Macbeth, however, Shakespeare takes us further inside a villain’s mind and imagination, while daringly engaging  our  sympathy  and  identification  with  a  murderer.  “The  problem  Shakespeare  gave  himself  in  Macbeth  was  a  tremendous  one,”  Critic  Wayne  C. Booth has stated.

Take a good man, a noble man, a man admired by all who know him—and  destroy  him,  not  only  physically  and  emotionally,  as  the  Greeks  destroyed their heroes, but also morally and intellectually. As if this were not difficult enough as a dramatic hurdle, while transforming him into one of the most despicable mortals conceivable, maintain him as a tragic hero—that is, keep him so sympathetic that, when he comes to his death, the audience will pity rather than detest him and will be relieved to see him out of his misery rather than pleased to see him destroyed.

Unlike Richard III, Iago, or Edmund, Macbeth is less a virtuoso of villainy or an amoral nihilist than a man with a conscience who succumbs to evil and obliterates the humanity that he is compelled to suppress. Macbeth is Shakespeare’s  greatest  psychological  portrait  of  self-destruction  and  the  human  capacity for evil seen from inside with an intimacy that horrifies because of our forced identification with Macbeth.

Although  there  is  no  certainty  in  dating  the  composition  or  the  first performance  of  Macbeth,   allusions  in  the  play  to  contemporary  events  fix the  likely  date  of  both  as  1606,  shortly  after  the  completion  and  debut  of  King Lear. Scholars have suggested that Macbeth was acted before James I at Hampton  Court  on  August  7,  1606,  during  the  royal  visit  of  King  Christian IV of Denmark and that it may have been especially written for a royal performance. Its subject, as well as its version of Scottish history, suggest an effort both to flatter and to avoid offending the Scottish king James. Macbeth is a chronicle play in which Shakespeare took his major plot elements from Raphael  Holinshed’s  Chronicles  of  England,  Scotland  and  Ireland  (1587),  but  with  significant  modifications.  The  usurping  Macbeth’s  decade-long  (and  largely  successful)  reign  is  abbreviated  with  an  emphasis  on  the  internal  and external destruction caused by Macbeth’s seizing the throne and trying to hold onto it. For the details of King Duncan’s death, Shakespeare used Holinshed’s  account  of  the  murder  of  an  earlier  king  Duff  by  Donwald,  who cast suspicion on drunken servants and whose ambitious wife played a significant role in the crime. Shakespeare also eliminated Banquo as the historical Macbeth’s co-conspirator in the murder to promote Banquo’s innocence and nobility in originating a kingly line from which James traced his legitimacy. Additional prominence is also given to the Weird Sisters, whom Holinshed only mentions in their initial meeting of Macbeth on the heath. The prophetic warning “beware Macduff” is attributed to “certain wizards in whose words Macbeth put great confidence.” The importance of the witches and  the  occult  in  Macbeth   must  have  been  meant  to  appeal  to  a  king  who  produced a treatise, Daemonologie (1597), on witch-craft.

The uncanny sets the tone of moral ambiguity from the play’s outset as the three witches gather to encounter Macbeth “When the battle’s lost and won” in an inverted world in which “Fair is foul, and foul is fair.” Nothing in the play will be what it seems, and the tragedy results from the confusion and  conflict  between  the  fair—honor,  nobility,  duty—and  the  foul—rank  ambition and bloody murder. Throughout the play nature reflects the disorder and violence of the action. Opening with thunder and lightning, the drama is set in a Scotland contending with the rebellion of the thane (feudal lord) of Cawdor, whom the fearless and courageous Macbeth has vanquished on the battlefield. The play, therefore, initially establishes Macbeth as a dutiful and trusted vassal of the king, Duncan of Scotland, deserving to be rewarded with the rebel’s title for restoring peace and order in the realm. “What he hath lost,” Duncan declares, “noble Macbeth hath won.” News of this honor reaches Macbeth through the witches, who greet him both as the thane of Cawdor and “king hereafter” and his comrade-in-arms Banquo as one who “shalt get kings, though thou be none.” Like the ghost in Hamlet , the  Weird  Sisters  are  left  purposefully  ambiguous  and  problematic.  Are  they  agents  of  fate  that  determine  Macbeth’s  doom,  predicting  and  even  dictating  the  inevitable,  or  do  they  merely  signal  a  latency  in  Macbeth’s  ambitious character?

When he is greeted by the king’s emissaries as thane of Cawdor, Macbeth begins to wonder if the first predictions of the witches came true and what will come of the second of “king hereafter”:

This supernatural soliciting Cannot be ill, cannot be good. If ill, Why hath it given me earnest of success Commencing in a truth? I am Thane of Cawdor. If good, why do I yield to that suggestion Whose horrid image doth unfix my hair And make my seated heart knock at my ribs, Against the use of nature? Present fears Are less than horrible imaginings: My thought, whose murder yet is but fantastical, Shakes so my single state of man that function Is smother’d in surmise, and nothing is But what is not.

Macbeth  will  be  defined  by  his  “horrible  imaginings,”  by  his  considerable  intellectual and imaginative capacity both to understand what he knows to be true and right and his opposed desires and their frightful consequences. Only Hamlet has as fully a developed interior life and dramatized mental processes as  Macbeth  in  Shakespeare’s  plays.  Macbeth’s  ambition  is  initially  checked  by his conscience and by his fear of the unforeseen consequence of violating moral  laws.  Shakespeare  brilliantly  dramatizes  Macbeth’s  mental  conflict in near stream of consciousness, associational fashion:

If it were done when ’tis done, then ’twere well It were done quickly. If th’assassination Could trammel up the consequence, and catch With his surcease, success: that but this blow Might be the be all and the end all, here, But here, upon this bank and shoal of time, We’d jump the life to come. But in these cases We still have judgement here, that we but teach Bloody instructions which, being taught, return To plague th’inventor. This even-handed justice Commends th’ingredients of our poison’d chalice To our own lips. He’s here in double trust: First, as I am his kinsman and his subject, Strong both against the deed; then, as his host, Who should against his murderer shut the door, Not bear the knife myself. Besides, this Duncan Hath borne his faculties so meek, hath been So clear in his great office, that his virtues Will plead like angels trumpet-tongued against The deep damnation of his taking-off, And pity, like a naked new-born babe, Striding the blast, or heaven’s cherubin, horsed Upon the sightless couriers of the air, Shall blow the horrid deed in every eye That tears shall drown the wind. I have no spur To prick the sides of my intent, but only Vaulting ambition which o’erleaps itself And falls on the other.

Macbeth’s “spur” comes in the form of Lady Macbeth, who plays on her husband’s selfimage of courage and virility to commit to the murder. She also reveals her own shocking cancellation of gender imperatives in shaming her husband into action, in one of the most shocking passages of the play:

. . . I have given suck, and know How tender ’tis to love the babe that milks me. I would, while it was smiling in my face, Have plucked my nipple from his boneless gums And dashed the brains out, had I so sworn As you have done to this.

Horrified  at  his  wife’s  resolve  and  cold-blooded  calculation  in  devising  the  plot,  Macbeth  urges  his  wife  to  “Bring  forth  menchildren  only,  /  For  thy  undaunted mettle should compose / Nothing but males,” but commits “Each corporal agent to this terrible feat.”

With the decision to kill the king taken, the play accelerates unrelentingly through a succession of powerful scenes: Duncan’s and Banquo’s murders, the banquet scene in which Banquo’s ghost appears, Lady Macbeth’s sleepwalking, and Macbeth’s final battle with Macduff, Thane of Fife. Duncan’s offstage murder  contrasts  Macbeth’s  “horrible  imaginings”  concerning  the  implications and Lady Macbeth’s chilling practicality. Macbeth’s question, “Will all great Neptune’s ocean wash this blood / Clean from my hand?” is answered by his wife: “A little water clears us of this deed; / How easy is it then!” The knocking at the door of the castle, ominously signaling the revelation of the crime, prompts the play’s one comic respite in the Porter’s drunken foolery that he is at the door of “Hell’s Gate” controlling the entrance of the damned. With the fl ight of Duncan’s sons, who fear for their lives, causing them to be suspected as murderers, Macbeth is named king, and the play’s focus shifts to Macbeth’s keeping and consolidating the power he has seized. Having gained what the witches prophesied, Macbeth next tries to prevent their prediction that Banquo’s descendants will reign by setting assassins to kill Banquo and his son, Fleance. The plan goes awry, and Fleance escapes, leaving Macbeth again at the mercy of the witches’ prophecy. His psychic breakdown is dramatized by his seeing Banquo’s ghost occupying Macbeth’s place at the banquet. Pushed to  the  edge  of  mental  collapse,  Macbeth  steels  himself  to  meet  the  witches  again to learn what is in store for him: “Iam in blood,” he declares, “Stepp’d in so far that, should Iwade no more, / Returning were as tedious as go o’er.”

The witches reassure him that “none of woman born / Shall harm Macbeth” and that he will never be vanquished until “Great Birnam wood to high Dunsinane hill / Shall come against him.” Confident that he is invulnerable, Macbeth  responds  to  the  rebellion  mounted  by  Duncan’s  son  Malcolm  and  Macduff, who has joined him in England, by ordering the slaughter of Lady Macduff and her children. Macbeth has progressed from a murderer in fulfillment of the witches predictions to a murderer (of Banquo) in order to subvert their predictions and then to pointless butchery that serves no other purpose than as an exercise in willful destruction. Ironically, Macbeth, whom his wife feared  was  “too  full  o’  the  milk  of  human  kindness  /  To  catch  the  nearest  way” to serve his ambition, displays the same cold calculation that frightened him  about  his  wife,  while  Lady  Macbeth  succumbs  psychically  to  her  own  “horrible  imaginings.”  Lady  Macbeth  relives  the  murder  as  she  sleepwalks,  Shakespeare’s version of the workings of the unconscious. The blood in her tormented  conscience  that  formerly  could  be  removed  with  a  little  water  is  now a permanent noxious stain in which “All the perfumes of Arabia will not sweeten.” Women’s cries announcing her offstage death are greeted by Macbeth with detached indifference:

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

Macbeth reveals himself here as an emotional and moral void. Confirmation that “The Queen, my lord, is dead” prompts only the bitter comment, “She should have died hereafter.” For Macbeth, life has lost all meaning, refl ected in the bleakest lines Shakespeare ever composed:

Tomorrow, and tomorrow, and tomorrow Creeps in this petty pace from day to day To the last syllable of recorded time; And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life’s but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more. It is a tale Told by an idiot, full of sound and fury, Signifying nothing.

Time and the world that Macbeth had sought to rule are revealed to him as empty and futile, embodied in a metaphor from the theater with life as a histrionic, talentless actor in a tedious, pointless play.

Macbeth’s final testing comes when Malcolm orders his troops to camoufl  age  their  movement  by  carrying  boughs  from  Birnam  Woods  in  their march toward Dunsinane and from Macduff, whom he faces in combat and reveals that he was “from his mother’s womb / Untimely ripp’d,” that is, born by cesarean section and therefore not “of woman born.” This revelation, the final fulfillment of the witches’ prophecies, causes Macbeth to fl ee, but he is prompted  by  Macduff’s  taunt  of  cowardice  and  order  to  surrender  to  meet  Macduff’s challenge, despite knowing the deadly outcome:

Yet I will try the last. Before my body I throw my warlike shield. Lay on, Macduff, And damn’d be him that first cries, “Hold, enough!”

Macbeth  returns  to  the  world  of  combat  where  his  initial  distinctions  were  honorably earned and tragically lost.

The play concludes with order restored to Scotland, as Macduff presents Macbeth’s severed head to Malcolm, who is hailed as king. Malcolm may assert his control and diminish Macbeth and Lady Macbeth as “this dead butcher and his fiendlike queen,” but the audience knows more than that. We know what  Malcolm  does  not,  that  it  will  not  be  his  royal  line  but  Banquo’s  that  will eventually rule Scotland, and inevitably another round of rebellion and murder is to come. We also know in horrifying human terms the making of a butcher and a fiend who refuse to be so easily dismissed as aberrations.

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The title character and the play’s protagonist , Macbeth is a tragic figure whose soaring ambition compels him to lose his humanity. At the beginning of the play, he is a conquering hero. Before the audience has even been introduced to Macbeth, the level of respect which he is accorded by other characters demonstrates that he is worthy of attention.

A victorious general, Macbeth is rewarded for his great deeds with noble titles and praise from King Duncan. But it is not enough. After an encounter with a coven of witches, Macbeth becomes obsessed with becoming king. His frequent asides to the audience make clear that his ambitions have taken over his entire character. Once a confident, benevolent, and respectable figure, Macbeth transforms into a deranged, paranoid despot who butchers innocent women and children on a whim.

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Rage for Power

Macbeth is a character raging for power for its own sake. In the play, at the very beginning, one gets to know of the glory of his bravery and immense capacity to bring victory as a general in the army of King Duncan. But his very first meeting with the three witches reveals to us his all-pervading ambition for power.

Macbeth’s very first dialogue in the play, “ so foul and fair a day I have not seen ” repeats what the three witches say earlier and it reveals to us the contradictory state of his mind.

The same prophecy makes Banquo clarify his conscience while Macbeth unties the knot to his ambition. Harold Bloom said that Macbeth is a tragedy of imagination. It may mean that Macbeth suffers his tragic fall because of the unchecked imagining of power. 

Macbeth suffers from the horror found in his own thoughts. Unlike other villains, he never delights in the evil in him. Intensely aware of his wickedness, he goes on doing things much worse than his previous acts.

After listening to the prophecy of the three witches, he has already imagined himself in the position which he must have been lusting after unknowingly since ever. When Duncan declares Malcolm as the heir to his kingdom, it automatically springs him to actions.

He becomes a killing machine. Lady Macbeth has to just mock his manhood, it clears his confusion and he follows the misdeed to the end.

In the play, his character begins at the highest point where features like strength, ambition, power work in a positive mode but with each Act everything good in him subverts further until a declaration of madness is made.

Shakespeare has great faith in order. Through Macbeth, he seems to be warning us of unchecked ambition. Macbeth with all his determination starts acting in a way which is unnatural for the established order.

The play declares its sympathy for primogeniture, the right of inheritance belonging to the eldest son. When the three witches confront him with the prophecy, he presses on them to “ tell me more.” 

He commits regicide without many second thoughts apart from his instinctive questioning of conscience. While Banquo doesn’t want to believe in the three witches, wondering “ can the Devil speak true? ”, it is Macbeth who goes on imagining the path to make it come true like the prophecy just confirmed what he had been aspiring for.

Banquo’s Warning

Banquo warns him that such “ instruments of darkness tell us truths…to betray us in deepest consequence ” but to no avail, he is further conveniently manipulated by Lady Macbeth.

By Act III , Macbeth has full command over his misdeeds. It says, “ Blood will have blood .” He kills Banquo without even noticing any of his goodness. His ambition has no principle to it. His imagination can accommodate the whole ocean of Neptune when he reveals his guilt after his first murder in the play.

His thoughts are vivid and full of such visual images. His imagination aids to his “ vaulting ambition ” which “ overleaps itself .” Macbeth has a great capacity for love. With Lady Macbeth, he makes a great practical couple. His passion for Lady Macbeth, his “ partner in greatness ” is one great unselfish passion.

Her death shocks him to compare life to the idiot’s tale, a poor player. It is hard for us to decide whether he is a man of action or he is a thinker or a dreamer thrown out of his context.

He never contemplates defeat, rather in the end he says “ I will not yield to kiss the ground…yet I will try the last.. ” Towards the end, his pride and the faith in his invincibility dominantly marks his character.

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Macbeth: a Tragic Hero Analysis

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The definition of a tragic hero, macbeth’s tragic flaw: ambition, the influence of the supernatural, moral decline and guilt, the tragic end.

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Shelley’s Novel “Frankenstein,” Shakespeare’s Play “Macbeth,” and Austen’s Novel “Persuasion” Essay

When one has to differentiate between good and bad literary characters, it is usually quite simple. However, it is an entirely different task when one has to discuss the level of virtue and kindness of several different heroes or heroines. Shelley’s Frankenstein , Shakespeare’s Macbeth , and Austen’s Persuasion all contain numerous plot twists and peculiar characters. In each of these literary pieces, there are heroines that impress the readers with their positive attitude toward others and thoughtful acts. In this essay, the characters of Elizabeth from Frankenstein , Anne from Persuasion , and Lady Macduff from Macbeth will be analyzed. While Shelley’s Elizabeth and Shakespeare’s Lady Macduff undoubtedly possess positive features and represent amiable personalities, Austen’s Anne is the most virtuous since she is not only kind and charming but also caring and humble.

All of the characters under analysis are kind and good, owning such features as thoughtfulness, generosity, charm, and passion. Shelly depicts Elizabeth as the one who can “soften and attract” others (20). Meanwhile, Shakespeare’s Lady Macduff appears to be a woman passionate about her beliefs, particularly about being true to one’s motherland. She is represented as a woman of utmost decency and honor, able to call a spade a spade and admit that her husband is a traitor deserving to be in an “unsanctified” place (Shakespeare 4.4.76). The similarity between these characters is in their ability to draw the attention of others and share their worldview. However, Elizabeth expresses “compassion” rather than judgment (Shelley 144). Meanwhile, Austen’s Anne’s kindness is undervalued, which makes her the most virtuous of all heroines. She enjoys “to be thought of some use” and is always ready to help even if her interests may be hurt (Austen 29). Therefore, Anne’s self-abnegation is the first reason to consider her the most honorable of all.

Another point of comparison that serves to Anne’s advantage is their attitude to family. Undoubtedly, Elizabeth was caring and considerate toward the family that adopted her as she became the “comforter” to them “all” upon Caroline’s death (Shelley 25). Lady Macduff expresses concern about her children upon her husband’s decision to flee and “leave his babes” (Shakespeare 4.2.5). However, these expressions of love and care are quite natural. Meanwhile, Anne’s protectiveness is somewhat twisted as she is the one trying to save her parents’ financial situation. In doing so, she also kept a “much higher tone of indifference for everything but justice and equity” (Austen 11). Elizabeth’s pity toward her brother and Lady Macduff’s protectiveness concerning her children are obvious and expected. Meanwhile, Anne’s endeavor to save her father’s financial situation is a demonstration of an extreme level of wisdom and consideration. Therefore, Anne is the most virtuous of the three when it comes to family bonds.

Upon analyzing the three heroines’ most pronounced traits, it becomes evident that Austen’s Anne is the noblest of all due to her incredible protectiveness and willingness to subdue her own desires in order to remain on good terms with everyone. Although Shelley’s Elizabeth and Shakespeare’s Lady Macduff are both supportive and careful, they cannot compete with Anne in terms of doing her best to satisfy everyone. In fact, she probably denies herself many things in her attempt to make everyone around her happy. Probably this character should serve not only as a shining example of virtue but also as a warning against self-abnegation.

In Shakespeare’s time, it was much more common to speak of men’s power than of women’s one. Yet, as revolutionary as he was in his attitude toward theater and literature, Shakespeare did not mind empowering the female characters in his plays. In Macbeth , there are several prominent female heroines, each of them possessing a different degree of control: Lady Macduff, the three witches, and Lady Macbeth. While Lady Macduff seems to have no power over her situation or over other characters in the story, the rest of the mentioned females are mightier and have more impact on the development of the plot. The three witches, being rather strange characters, nevertheless manage to set the tone of the play through their chants. Meanwhile, Lady Macbeth is imperious and even somewhat masculine, which makes her the most powerful woman in Macbeth.

The female character with the least power in Macbeth is Lady Macduff. She is rather passionate about her point and fearlessly expresses her opinion about her husband’s behavior. However, this does not make her able to prevent the death of her children or her own one. The appearance of Lady Macduff in the play is rather brief but meaningful. However, impressive as it is, her character does not seem to possess any power since she mainly focuses on lamenting over her husband’s escape and pitying her children. Rather than listening to some positive characteristics given to her husband, she asserts that her son is “fatherless” despite being “fathered” (Shakespeare 4.2.26). The lack of a man’s support makes some women strong and potent, but this is not the case with Lady Macduff. The three witches are in the middle position on the scale of power, being not as weak as Lady Macduff yet not as important as Lady Macbeth. The very fact that they possess extraordinary power makes one think of them as fearful creatures able to do something bad to those who do not treat them well. Their chants around the boiling cauldron do not promise anything good. In fact, they speak about “Double, double toil and trouble” as they perform their rituals (Shakespeare 4.1.20). Most of all, however, the three witches’ power is traced in the phrase that has become the leitmotif of Macbeth : “Fair is foul and foul is fair” (Shakespeare 1.1.12). Since by the end of the play, it becomes clear that nothing is at it seems in the beginning, this prophecy of the three witches makes them look quite powerful.

However, as Lady Macbeth combines both feminine and masculine features and both human and witchy features, she is the most authoritative woman in Macbeth . In one of her opening monologs, she sounds more of a witch than the three witches, asking the spirits to “unsex” her and fill her “Of direst cruelty” (Shakespeare 1.5.39; 1.5.41). Hence, Lady Macbeth refuses from her female nature and wants to become less meek and more powerful. By the end of the play, however, she becomes too feeble, and the doctor says that “More needs she the divine than the physician” (Shakespeare 5.1.64). However, it is evident that she possesses the most power among all women in the play.

Upon analyzing the characters of Lady Macduff, the three witches, and Lady Macbeth, it is appropriate to conclude that the latter is the most powerful woman in Macbeth . Lady Macduff is an important character, but she is rather weak compared to others. Meanwhile, although witches are entirely mystical and intimidating characters, Lady Macbeth’s ability to combine the human and supernatural makes her more mysterious and frightening.

Works Cited

Austen, Jane. Persuasio n. The Pennsylvania State University, 2007.

Shakespeare, William. Macbeth . Edited by Albert R. Braunmuller, Cambridge University Press, 1997.

Shelley, Mary Wollstonecraft (Godwin). Frankenstein, or The Modern Prometheus . E-Books Directory, n.d.

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IvyPanda. (2024, May 27). Shelley's Novel "Frankenstein," Shakespeare's Play "Macbeth," and Austen's Novel "Persuasion". https://ivypanda.com/essays/shelleys-novel-frankenstein-shakespeares-play-macbeth-and-austens-novel-persuasion/

"Shelley's Novel "Frankenstein," Shakespeare's Play "Macbeth," and Austen's Novel "Persuasion"." IvyPanda , 27 May 2024, ivypanda.com/essays/shelleys-novel-frankenstein-shakespeares-play-macbeth-and-austens-novel-persuasion/.

IvyPanda . (2024) 'Shelley's Novel "Frankenstein," Shakespeare's Play "Macbeth," and Austen's Novel "Persuasion"'. 27 May.

IvyPanda . 2024. "Shelley's Novel "Frankenstein," Shakespeare's Play "Macbeth," and Austen's Novel "Persuasion"." May 27, 2024. https://ivypanda.com/essays/shelleys-novel-frankenstein-shakespeares-play-macbeth-and-austens-novel-persuasion/.

1. IvyPanda . "Shelley's Novel "Frankenstein," Shakespeare's Play "Macbeth," and Austen's Novel "Persuasion"." May 27, 2024. https://ivypanda.com/essays/shelleys-novel-frankenstein-shakespeares-play-macbeth-and-austens-novel-persuasion/.

Bibliography

IvyPanda . "Shelley's Novel "Frankenstein," Shakespeare's Play "Macbeth," and Austen's Novel "Persuasion"." May 27, 2024. https://ivypanda.com/essays/shelleys-novel-frankenstein-shakespeares-play-macbeth-and-austens-novel-persuasion/.

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