Tragedians and authors frequently depict men as defenseless creatures borne along by fatalism. Under their descriptions, the future life of each individual is so rigorously predetermined in all its details by an antecedent, external agency that no volitions or desires have power to alter the course of events. The action of fate is blind, arbitrary, and even relentless; such action moves inexorably onwards, effecting the most terrible catastrophes, impressing its victims with a feeling of helpless consternation, and harrowing their moral sense. Nevertheless, does fate genuinely have an insurmountable authority? Or is it a malleable strength that requires more tenaciousness and persistence in mind? In the tragedy of Macbeth, written by the most
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In the promotion of plots and development on depth of characters, Shakespeare has always utilized fate to hint at his audiences about "There 's a Divinity that shapes our ends, Rough-hew them how we will." as he stated in in the Riddles of Hamlet. Additionally, with small proportion of exceptions, almost all characters under the depiction of Shakespeare (not only fictional ones but also historical ones) are sincerely convinced that fate authentically exists as a supernal domination of all human beings, while Hamlet who intertwined with a blood feud complains that "Our wills and fates do so contrary run/That our devices still are overthrown; /Our thoughts are ours, their ends none of our own."(Hamlet, Act III. Scene II. l.207-208). King Edward IV, as an assented of the previous opinion, plaints that “What fates impose, that men must needs abide" to Warwick the kingmaker (Henry VI part three, Act IV.Scene iii.l.60). With so many precedents, Macbeth equally illustrates fate with picturesque and vivid languages. Particularly, in the witches ' descriptions about omens of fate, the sisters personalize these mysterious power into apparitions including an armed head, a bloody child, and a crowned child. Since these apparitions respectively foreshadows Macduff, Macduff at birth, and prince Malcolm in some scenes afterwards, it 's plausible to say that fate is the initiator of all karma. However, from a more comprehensive view, Macbeth must be dragged into the cobweb of tragedy by personal belief in fate, and such superstition becomes evasive excuses for him to reinforce his villainy. At the beginning of the play, long before the Scottish noblemen Angus and Rosse convey the message of "royal master thanks"(Macbeth, Act I Scene iii l.101), when Macbeth first confronts with the uncertain presages of the weird sisters, he displays an aberrantly melodramatic altitude which
In the promotion of plots and development on depth of characters, Shakespeare has always utilized fate to hint at his audiences about "There 's a Divinity that shapes our ends, Rough-hew them how we will." as he stated in in the Riddles of Hamlet. Additionally, with small proportion of exceptions, almost all characters under the depiction of Shakespeare (not only fictional ones but also historical ones) are sincerely convinced that fate authentically exists as a supernal domination of all human beings, while Hamlet who intertwined with a blood feud complains that "Our wills and fates do so contrary run/That our devices still are overthrown; /Our thoughts are ours, their ends none of our own."(Hamlet, Act III. Scene II. l.207-208). King Edward IV, as an assented of the previous opinion, plaints that “What fates impose, that men must needs abide" to Warwick the kingmaker (Henry VI part three, Act IV.Scene iii.l.60). With so many precedents, Macbeth equally illustrates fate with picturesque and vivid languages. Particularly, in the witches ' descriptions about omens of fate, the sisters personalize these mysterious power into apparitions including an armed head, a bloody child, and a crowned child. Since these apparitions respectively foreshadows Macduff, Macduff at birth, and prince Malcolm in some scenes afterwards, it 's plausible to say that fate is the initiator of all karma. However, from a more comprehensive view, Macbeth must be dragged into the cobweb of tragedy by personal belief in fate, and such superstition becomes evasive excuses for him to reinforce his villainy. At the beginning of the play, long before the Scottish noblemen Angus and Rosse convey the message of "royal master thanks"(Macbeth, Act I Scene iii l.101), when Macbeth first confronts with the uncertain presages of the weird sisters, he displays an aberrantly melodramatic altitude which