Ambition is a quality that enables man to evolve physically, and spiritually. However, in Shakespeares tragical frivol of Macbeth, it is not just pure ambition the adorer embodies: his ambition further develops into hubris, which ultimately leads to his demise. Perhaps, the most valid designer for why Macbeth is so tragic, is the fact that Macbeth, in the incipient stages of the play, is so innocent and unworldly, as Lady Macbeth describes him: like thinnocent flower. However, upon earreach the witchs prophecies, his reputation is defiled as he steps into a realm of evil, and more tragically, finds that he has in blood stepped in so far that should [he] wade no more, returning were as tedious as go oer. As the play progresses, he becomes more of a serpent, and two soliloquies in Act I, vii and Act III, i illustrate this dawdling change.
In Act I, vii, we peek inside Macbeths mind for the first conviction in the play through his first soliloquy. At this point, the auditory modality is curious to find out how he responds to the prophecy of the witches, and the seductions of his wife.
In this soliloquy, he is yet, thinnocent flower and moreover, he displays his judiciousness as a brave warrior by contemplating the consequences of murdering the King: something Lady Macbeth does not excoriate to do in her attempt to convert her husband into a sinister character.
In addition, Shakespeare uses euphemism to give the impression that Macbeth is keeping the murder underground by avoiding using the actual word, murder. Instead, he uses words such as this blow and the work to camouflage the murder, even from his receive conscience because it is so dreadful. The fact that he rationally calculates the consequences of his deed is evidence that he has made...
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