"Double, Double, Toil and Trouble Double, Double, Toil and Trouble is a 1993 Halloween made-for-television children's film. It stars Mary-Kate and Ashley Olsen as two adventurous little girls who discover that their Great Aunt Sophia has been trapped and cursed by her evil twin sister Agatha. On the 7th year of her imprisonment, Sophia will be doomed to the netherworld unless the curse is broken by the magical spell of twins. The film's title is part of the famous line spoken by the three witches in Shakespeare's Macbeth (Act IV, Scene I): ""Double, double toil and trouble; Fire burn and"
"at the hands of Macduff. Tomorrow and tomorrow and tomorrow ""Tomorrow and tomorrow and tomorrow"" is the beginning of the second sentence of one of the more famous soliloquies in William Shakespeare's tragedy ""Macbeth"". It takes place in the beginning of the 5th scene of Act 5, during the time when the Scottish troops, led by Malcolm and Macduff, are approaching Macbeth's castle to besiege it. Macbeth, the play's protagonist, is confident that he can withstand any siege from Malcolm's forces. He hears the cry of a woman and reflects that there was a time when his hair would have"
"Tomorrow and tomorrow and tomorrow ""Tomorrow and tomorrow and tomorrow"" is the beginning of the second sentence of one of the more famous soliloquies in William Shakespeare's tragedy ""Macbeth"". It takes place in the beginning of the 5th scene of Act 5, during the time when the Scottish troops, led by Malcolm and Macduff, are approaching Macbeth's castle to besiege it. Macbeth, the play's protagonist, is confident that he can withstand any siege from Malcolm's forces. He hears the cry of a woman and reflects that there was a time when his hair would have stood on end if he"
"The lines ""from woe to woe tell over"" suggest a kind of metaphor in which Shakespeare's woes and failings are like an account book that he reads through over and over. The word ""heavily"" before these lines also suggests that Shakespeare's reads this ""account book"" in a painful manner. Finally, the fact that words “fore-bemoaned moan” that come close on the heels of the words ""grievances foregone"" before it also suggest that Shakespeare is continuously reviewing his past sorrows . The couplet of the sonnet consists of lines 13 and 14, and they seem to be used to clinch the"
"suggested trail may be traced. From Michelangelo, Blake copied his early sketch entitled ""The Reposing Traveller"", which then evolved into a figure for his work (1795-1797) regarding ""Night Thoughts"", and also into the similarly posed figure of Hecate here. The image may also allude to the Three Fates — the Moirai of Greek mythology and the Parcae of Roman. Notwithstanding these allusions, critics point out that a contemporary trigger for Blake's inspiration probably was the return popularity of Shakespeare's play ""Macbeth"". As Hecate listens offstage, the three witches, in arranging Macbeth's doom, chant: ""Double, double, toil and trouble; Fire burn"
"narrative is moving into a significant moment in the past. The use of these italics can be confusing, however, as time shifts are not always marked by the use of italics, and periods of different time in each section do not necessarily stay in italics for the duration of the flashback. Thus, these time shifts can often be jarring and confusing, and require particularly close reading. The title of the novel is taken from Macbeth's famous soliloquy of act 5, scene 5 of William Shakespeare's ""Macbeth"": <poem style=""font-style:italic;""> Tomorrow and tomorrow and tomorrow, Creeps in this petty pace from day"
"until a desperate Lady Macbeth tells them that her husband is merely afflicted with a familiar and harmless malady. The ghost departs and returns once more, causing the same riotous anger and fear in Macbeth. This time, Lady Macbeth tells the lords to leave, and they do so. Macbeth, disturbed, visits the three witches once more and asks them to reveal the truth of their prophecies to him. To answer his questions, they summon horrible apparitions, each of which offers predictions and further prophecies to put Macbeth's fears at rest. First, they conjure an armoured head, which tells him to"
"us"" (""Hamlet"" 1.IV), ""If we shadows have offended"" (""A Midsummer Night's Dream"" 5.ii), and ""Fair thoughts and happy hours attend on you"" (""The Merchant of Venice"", 3.IV). A more elaborate cleansing ritual involves leaving the theatre, spinning around and brushing oneself off, and saying ""Macbeth"" three times before entering again. Some production groups insist that the offender may not re-enter the theatre until invited to do so, therefore making it easy to punish frequent offenders by leaving them outside. A realistic portrayal of a ritual occurs in the 1983 film ""The Dresser"", in which Sir is the offender, and Norman,"
"appear in both Raphael Holinshed's ""Chronicles"" (1577) and Hector Boece's ""Scotorum Historiæ"" (1526). Holinshed’s ""Chronicles"" was Shakespeare’s main source for ""Macbeth"", though he diverged from the ""Chronicles"" significantly by delaying Macduff’s knowledge of his wife’s murder until his arrival in England. The latter part of Act IV Scene III is “wholly of Shakespeare’s invention.” In Act IV Scene II, Lady Macduff appears alongside the thane of Ross and her unnamed son. She is furious at her husband for his desertion of his family. Ross attempts to comfort her, though he offers little consolation and Lady Macduff responds with sharp retorts"
"of varying types. In Shakespeare's play ""Macbeth"", he uses a variety of narrative elements to create many different motifs. Imagistic references to blood and water are continually repeated. The phrase ""fair is foul, and foul is fair"" is echoed at many points in the play, a combination that mixes the concepts of good and evil. The play also features the central motif of the washing of hands, one that combines both verbal images and the movement of the actors. In a narrative, a motif establishes a pattern of ideas that may serve different conceptual purposes in different works. Kurt Vonnegut,"
"The Scottish Play The Scottish Play and The Bard's Play are euphemisms for William Shakespeare's ""Macbeth"". The first is a reference to the play's Scottish setting, the second a reference to Shakespeare's popular nickname. According to a theatrical superstition, called the ""Scottish curse"", speaking the name ""Macbeth"" inside a theatre will cause disaster. A variation of the superstition also forbids quoting it within a theatre except as part of an actual rehearsal or performance of the play. Because of this superstition, the lead character is most often referred to as the ""Scottish King"" or ""Scottish Lord"". Lady Macbeth is often"
"cloth, and a pair of shoes of velvet green"" (A) or ""tongue that can never lie"" (B) or both (C). Version E uniquely mentions the Queen's fear that Thomas may be chosen as ""teinding unto hell"", that is to say, the in the form of humans that Elfland is subjected to pay periodically. In the romance, the Queen explains that the collection of the ""fee to hell"" draws near, and Thomas must be sent back to earth to spare him the peril. (See § Literary criticism for further literary analysis.) The ballad was first printed by Walter Scott (1803) then"
"under helme and scheild; Victour he is at all mellie; Lament for the Makaris I that in Heill wes and Gladnes, also known as ""The Lament for the Makaris"", is a poem in the form of a danse macabre by the Scottish poet William Dunbar. Every fourth line remorselessly repeats the Latin refrain ""timor mortis conturbat me"" (fear of death troubles me), a litanic phrase from the Office of the Dead. Apart from its literary quality, the poem is of notable for the list of makars it contains, some of whom are historically attestable as poets only from Dunbar's testimony"
"23 pictures the bear scrambling up a tree, his head surrounded by angry bees, and has the title ""Patior Ut Potiar"" (suffering for success). The accompanying poem points out that as the bear is prepared to suffer in pursuit of its appetite, so should the virtuous aspire to grow. James Merrick's poem of “The bears and the bees” (1763) introduces two of the animals (as had the 16th century illustration of ""Flowers of Virtue and of Manners""). Though it concludes that “Pleasure’s ever bought with pain”, it does not draw the same moral parallel. The poem was much reprinted, including"
"all times (she is now afraid of the dark, having committed her crimes under its cover). Lady Macbeth rubs her hands in a washing motion. With anguish, she recalls the deaths of King Duncan, Lady Macduff, and Banquo, then leaves. The Gentlewoman and the bewildered Doctor exeunt, realizing these are the symptoms of a guilt-ridden mind. The Doctor feels Lady Macbeth is beyond his help, saying she has more need of ""the divine than the physician"". He orders the Gentlewoman to remove from Lady Macbeth the ""means of all annoyance"", anticipating she might commit suicide. Despite his warning, the audience"
"Biblical texts interwoven with poetry, in his cantata ""Dona nobis pacem"". Musically, various movements may suggest different earlier works: for example, the accompaniment to the ""Hymn"" is very similar to the ""Sinfonia antartica"", while the ""Pastoral"" shares some elements from the ""Five Mystical Songs"" of 1911. Thematically, the work is bound together by two or three motives which recur throughout its length. One of these is first heard on the word ""Gloria"" in the first movement, and recurs whenever the word is introduced again. Another, introduced in the first narration, reappears at the beginning of the epilogue. In addition, the"
"seem to cast a spell on the doll, and anything that happens to it seems to happen also to Macbeth, as in voodoo. The witches also return at the end of the film, viewing the drama from afar and uttering ""Peace, the charm's wound up"" as the final line; this line is spoken in the first act in the original text, when the witches initially confront Macbeth. Because of censorship, the Porter's speech was shorn of all its ""double entendre"". A major change is Welles' introduction of a new character, the Holy Man. The priest recites the prayer of Saint"
"and in the play the Weird Sisters often engage in equivocation, for instance telling Macbeth that he could never be overthrown until ""Great Birnan wood to high Dunsinane hill/Shall Come"". Macbeth interprets the prophecy as meaning never, but in fact, the Three Sisters refer only to branches of the trees of Great Birnan coming to Dunsinane hill. ""Macbeth"" cannot be dated precisely but is usually taken as contemporaneous to the other canonical tragedies (""Hamlet"", ""Othello"", and ""King Lear""). While some scholars have placed the original writing of the play as early as 1599, most believe that the play is unlikely"
"obtain her freedom, Leicester leaves her to meet Elizabeth. He then attempts to plead with the Queen for her forbearance. When Mary is brought in by Talbot, Elizabeth reacts with hostility (""È sempre la stessa: superba, orgogliosa"" / She is always the same, proud, overbearing"") and, after each character collectively expresses his or her feelings, Mary approaches and kneels before the Queen (Aria: ""Morta al mondo, ab! morta al trono"" / ""Dead to the world, and dead to the throne… I come to beg your pardon""). The confrontation soon becomes hostile. Elizabeth accuses Mary of having murdered her husband, Lord"
"Macbeth (character) Lord Macbeth, the Thane of Glamis, is the title character and titular main protagonist turned primary antagonist of William Shakespeare's ""Macbeth"" (c. 1603–1607). The character is based on the historical king Macbeth of Scotland, and is derived largely from the account in ""Holinshed's Chronicles"" (1587), a history of Britain. Macbeth is a Scottish noble and a valiant military man. After a supernatural prophecy, and at the urging of his wife, Lady Macbeth, he commits regicide and becomes King of Scotland. He thereafter lives in anxiety and fear, unable to rest or to trust his nobles. He leads a"
"Lament for the Makaris I that in Heill wes and Gladnes, also known as ""The Lament for the Makaris"", is a poem in the form of a danse macabre by the Scottish poet William Dunbar. Every fourth line remorselessly repeats the Latin refrain ""timor mortis conturbat me"" (fear of death troubles me), a litanic phrase from the Office of the Dead. Apart from its literary quality, the poem is of notable for the list of makars it contains, some of whom are historically attestable as poets only from Dunbar's testimony in this work. After listing Lydgate, Gower and Chaucer, the"
"husband and wife discussed their plans. This interpretation is not fully provable; however, the motivating role of ambition for Macbeth is universally recognised. The evil actions motivated by his ambition seem to trap him in a cycle of increasing evil, as Macbeth himself recognises: ""I am in blood<br>Stepp'd in so far that, should I wade no more,<br> Returning were as tedious as go o'er."" While working on Russian translations of Shakespeare's works, Boris Pasternak compared Macbeth to Raskolnikov, the protagonist of ""Crime and Punishment"" by Fyodor Dostoevsky. Pasternak argues that ""neither Macbeth or Raskolnikov is a born criminal or a"
"1904. Samuel Taylor Coleridge argued for the tragic effectiveness of this scene: “This scene, dreadful as it is, is still a relief, because a variety, because domestic, and therefore soothing, as associated with the only real pleasures of life. The conversation between Lady Macduff and her child heightens the pathos, and is preparatory for the deep tragedy of their assassination.” Lady Macduff Lady Macduff is a character in William Shakespeare's ""Macbeth"". She is the wife of Lord Macduff, the Thane of Fife, and the mother of an unnamed son and other children. Her appearance in the play is brief: she"
"Or does this gathering occur again and again outside time? So many Beckett works present characters seemingly caught in endless cycles of repetition (those who wait in ""Waiting for Godot""/the appearing-disappearing woman in ""Ill Seen Ill Said""/The urn-dwelling trio in ""Play"" etc.) that this is always a possibility. Additional related aspects of Love that Croak focuses on as sub-themes are ""Age,"" ""Face,"" (With two foreshadowing mentions earlier on in the play-once by Croak and then latter by Words) and the climactic naming of ""Lily"" which is discussed later regarding its various implications. After this iteration Croak is reduced to groans,"
"pauses and stops, and extreme variations in sentence structure and length. In ""Macbeth"", for example, the language darts from one unrelated metaphor or simile to another: ""was the hope drunk/ Wherein you dressed yourself?"" (1.7.35–38); ""... pity, like a naked new-born babe/ Striding the blast, or heaven's cherubim, hors'd/ Upon the sightless couriers of the air ..."" (1.7.21–25). The listener is challenged to complete the sense. The late romances, with their shifts in time and surprising turns of plot, inspired a last poetic style in which long and short sentences are set against one another, clauses are piled up, subject"
"top,/And chatt'ring pies in dismal discords sung"" (5.6.44–48). Another commonly recurring animal motif is that of lambs and wolves. This is introduced in the opening scene when Margaret chastises Henry for yielding to York's demands and relinquishing the throne to the House of York; ""Such safety finds/The trembling lamb environ'd with wolves"" (ll.243–244). Later, as York watches his army lose the Battle of Wakefield, he laments ""All my followers to the eager foe/Turn back and fly, like ships before the wind/Or lambs pursued by hunger-starv'd wolves"" (1.4.3–5). After being captured by the Lancastrians, York then refer to Margaret as ""She-wolf"
"1, Scene 4; Warwick's pause to get his breath during the Battle of Barnet (2.3.1–5); all of Act 2, Scene 5 (including dialogue from Henry, the father and the son) up to the entry of Prince Edward at line 125; all of Henry's monologue in Act 3, Scene 1, prior to his arrest (ll.13–54); Richard's entire soliloquy in Act 3, Scene 2 (ll.124–195); Margaret's ""Ay, now begins a second storm to rise,/For this is he that moves both wind and tide"" (3.3.47–48); Warwick's soliloquy at the end of the Act 3, Scene 3 (ll.257–268); Richard's ""I hear, yet say not"
"an uninvolved spectator to Macbeth's plotting and a nervous hostess at a banquet dominated by her husband's hallucinations. Her sleepwalking scene in the fifth act is a turning point in the play, and her line ""Out, damned spot!"" has become a phrase familiar to many speakers of the English language. The report of her death late in the fifth act provides the inspiration for Macbeth's ""Tomorrow and tomorrow and tomorrow"" speech. Analysts see in the character of Lady Macbeth the conflict between femininity and masculinity as they are impressed in cultural norms. Lady Macbeth suppresses her instincts toward compassion, motherhood,"
"Weeping and gnashing of teeth The phrase ""(there shall be) weeping and gnashing of teeth"" (in the original Greek ὁ κλαυθμὸς καὶ ὁ βρυγμὸς τῶν ὀδόντων) appears seven times in the New Testament as a description of the torments of the damned in Hell. It is thought to derive from a logion in the hypothetical Q source, which yielded and . The other five occurrences (, , , , and ) are all within the context of parables and are widely held to be redactional additions by Matthew. (source) Others, however, believe redactional theories of the parables are speculative at"
"theme of mourning over a lost wife, courted in sledge, married and then killed in a fire as the husband looks on. The tolling of the iron bells reflects the final madness of the grief-stricken husband. The sounds of the verses, specifically the repetitive """"bells, bells, bells, bells, bells, bells, bells"","" lie on a narrow line between sense and nonsense, causing a feeling of instability. Poe uses the word ""tintinnabulation"", apparently a coinage of his own, based on the Latin word for ""bell"", ""tintinnabulum"". The series of ""bells"" echo the imagined sounds of the various bells, from the silver bells"
"in his plays ""Julius Caesar"", ""Richard III"", and ""Macbeth"". The struggle motif, introduced in returned in but Fox argued that Jacob's whole life and personality were at stake, as despite his recent material successes, they were still under the pall of Esau's curse in Fox concluded that the name change in was central, suggesting both victory in the struggle and the emergence of a new power. Professor Ephraim Speiser of the University of Pennsylvania in the mid 20th century read the eerie encounter at Penuel in to teach that no one may grasp God's complete design, which remains reasonable and"
"tortured grief. His words, ""But I must also feel it as a man"" (4.3.223), indicate a capacity for emotional sensitivity. While Macbeth and Lady Macbeth insist that manhood implies a denial of feeling (1.7.45–57), Macduff insists that emotional depth and sensitivity are part of what it means to be a man. This interpretation is supported by Macduff’s reaction upon his discovery of Duncan’s corpse and the echo of Macduff’s words when Macbeth responds to the news of Lady Macbeth’s death. Macduff struggles to find the words to express his rage and anguish, crying, ""O horror, horror, horror"" (2.3.59). In some"
"lines, the scene is entirely in prose with Lady Macbeth being the only major character in Shakespearean tragedy to make a last appearance ""denied the dignity of verse."" According to Bradley, Shakespeare generally assigned prose to characters exhibiting abnormal states of mind or abnormal conditions such as somnambulism, with the regular rhythm of verse being inappropriate to characters having lost their balance of mind or subject to images or impressions with no rational connection. Lady Macbeth's recollections – the blood on her hand, the striking of the clock, her husband's reluctance – are brought forth from her disordered mind in"