Any Shakespearean tragedy can be divided into three key sections: the Exposition, the Conflict and the Catastrophe (Bradley, 31 ).

Transcription

1 Any Shakespearean tragedy can be divided into three key sections: the Exposition, the Conflict and the Catastrophe (Bradley, 31 ). The Exposition, found in the opening scenes, plays a key role in 'setting the stage' for the action that makes up the rest of the play. These opening scenes can be divided further, into three structural elements defined by Jean Piaget: wholeness, transformation, and self-regulation (Frye et al., 446). These headings are defined in the following manner: first, wholeness concerns the unity of events, or their ability to be recognized as one complete section written in a coherent order, leaving no unanswered questions and containing no irrelevant material. Wholeness can be discussed in terms of time, setting and plot. Second is transformation. This is the action's ability to convey well-known plots and themes to the audience as well as presenting identifiable, stock-type characters. This area would require the elements which define tragedy as a genre to be present, as well as characters who follow a well-known pattern. Finally, self-regulation is the structural element that requires that all historical or background information is provided in order to complete the action. By providing this information in the opening scenes of his plays, Shakespeare effectively creates a promise regarding the ensuing action. Shakespeare employs the elements which make up wholeness, transformation and selfregulation to provide foreshadowing, expectation and dependability of structure to the audience. Through the use of this structural model, Shakespeare effectively creates a promise of evil and a feeling of foreboding in Macbeth, and hints at the treachery destined to befall the key characters of King Lear. In terms of wholeness, Shakespeare provides clues in the timing, setting and plot of the opening scenes of Macbeth and King Lear that hint at the outcome of the story. Although these are only introductory scenes, the image created here is extremely important to the ambiance of the rest of the play. In Macbeth, the events of the opening scenes take place either simultaneously or within close proximity to one another. The meeting of the three sisters in I,i takes place at almost the same moment that the bleeding captain is entering the King's presence to speak of Macbeth's triumphs on the battlefield. Similarly, Macbeth and Banquo's encounter with the sisters occurs at almost the same moment that the King is bestowing the name of Cawdor upon Macbeth and fulfilling the witches' second prophecy. This close timing of events continues throughout the remainder of the play and provides the audience with a dependable element, helpful in deciphering the play. In King Lear, timing is given less emphasis, as the events of the first two scenes tend to unravel in a more uniform time frame. What makes this time frame significant is the presence of two distinct plots; the story of King Lear and the story of the Earl of Gloucester. The events of each plot take place in fairly close proximity, but both are spaced chronologically in accordance with each other. For example, in the beginning of the Gloucester section of I,ii, Gloucester discusses the events that the audience has witnessed earlier in the Lear story. Gloucester Kent banished thus? and France in choler parted? And the King gone to-night? prescribed his pow'r? Confined to exhibition? All this done Upon the gad? ( King Lear, I,i, 23-26) This indicates that the meeting between Gloucester and Edmund takes place not only later in the order of scenes, but also occurs at a later time within the confines of the action of the play. The effect provided here is the same as that of Macbeth; the audience realizes that events are occurring as they are shown, a fact which they depend on in order to follow the remainder of the action. Setting is another important element for creating a unity within the play. Each of the first three scenes of Macbeth provide images of darkness, battle and storm. The imagery of these scenes become a symbol of evil events. The eeriness of I, i gives any following action a more sinister aura. This becomes a foreshadowing element, as many of the following scenes are also shrouded in

2 Stanton - 2 darkness and turmoil. Another significant aspect of the setting of Macbeth's opening scenes is the fact that they are all in open places, such as battlefields and heaths. This provides a feeling of starkness and death, and through foreshadowing sets the stage for Macbeth's tragic demise that takes place in a similar setting. The setting of King Lear's first two scenes also plays a significant part in the unity of the action. These scenes take place in the castles of Lear and Gloucester respectively. Act I,sc. i is the only scene in the enitre play that takes place in Lear's castle, signifying the destruction of his kingdom as a result of its division between his daughters. Gloucester's castle is the setting for I,ii as Edmund begins to plan his treachery. The castle is used continuously for this type of activity. This creates an expectation for some type of evil planning whenever Gloucester's castle appears. The final element crucial to developing a unity of structure is plot. Under this rather broad heading, certain elements stand out as being more significant than others. In Macbeth, ithe juxtaposition of scenes makes the plot a key element. By placing the witches' scene at the very beginning of the play, everything that occurs afterward is seen in a different light. From this, audience learns to expect that any appearance of the witches will bring about someone's misfortune. Through the introduction of two separate plots in the opening scenes of King Lear, an expectation is set up for the audience that these two plots will continue throughout the play. The fact that the opening of I, i introduces Gloucester and Edmund rather than Lear may give the indication that the sub-plot will become more important later in the play; arguably, however, it is common practice for Shakespeare to delay the introduction of the central hero (Bradley, 32). Throughout these first two scenes there is also an 'overlapping' of the two plots; Gloucester is present at Lear's court as he divides his kingdom, and Gloucester's distress concerning the banishment of Kent and Cordelia is expressed during his meeting with Edmund in I, ii. This structure also sets up an expectation for the audience as they look forward to the intertwining of the two hero's tales. The second structural element developed within these works is transformation; the use of common themes and characters to make a play more recognizable to its audience. Within the genre of tragedy, there are three commonly used themes. The first deals with the social banishment or isolation of the hero, the second is the violation and re-establishment of order, and the third is the tragedy of passionate love ( Frye et al., 466 ). Both Macbeth and King Lear contain one or more of these themes. In Macbeth, the tragic theme is that of violation and re-establishment of order. This theme is introduced through foreshadowing as a result of two events. The first is the witches' prophecy in scene three. I Witch All hail, Macbeth! Hail to thee, Thane of Glamis! 2 Witch All hail, Macbeth! Hail to thee, Thane of Cawdor! 3 Witch All hail, Macbeth, that shalt be King hereafter! ( Macbeth, I, iii, 59-61) By proclaiming Macbeth 'King', the witches suggest that the King we have already seen is in some jeopardy. This foreshadowing is enforced by the second event; the King's naming of Macbeth as Thane of Cawdor. The audience knows that two of the prophecies have already been fulfilled before Macbeth and Banquo even hear them. This puts a stronger emphasis on the third prophecy, as we realize that it is to be the central part of the action, a fact which is re-enforced with the addition of Macbeth's soliloquy in scene iii.

3 Macbeth 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 smothered in surmise and nothing is But what is not. ( Macbeth, I, iii, ) Stanton - 3 This speech leads us to believe that he will indeed take matters into his own hands in order to complete the witches' prediction. The tragic theme presented in King Lear is that of social isolation of the hero. Lear divides his kingdom between his daughters and declares that he no longer wishes to be king, even though he wants to retain the privileges that accompany the office. In the process of dividing his kingdom, Lear banishes his cherished daughter and his most trustworthy subject, the two people who care most about his well-being. His eldest daughters have already begun to plan his isolation at the end of scene ii. The main reason for this isolation, according to Goneril and Regan, is that he is old, senile and burdensome to them. King Lear offers another tragic theme in its sub-plot. The theme presented in the story Gloucester and Edmund is the same as Macbeth; violation and re-establishment of order. Edmund is determined to win his father's position as Earl of Gloucester, even though the title rightfully belongs to Edgar. His speech at the beginning of I, ii outlines his intended actions for the audience creating an expectation for things to come. 'Stock' characters are characters who fit a certain mould. From these characters, the audience expects certain actions and outcomes. This can be applied to several of the characters of these two plays. Macbeth's three sisters fill the role of the Supernatural. Their appearance in the play brings the suggestion of evil and unnatural events. The King, Malcolm and Donaldbain fill the parts of the Head of State and his Heirs. The King is not seen as a major character since his role in the first two scenes is merely as a listener and an administrator. Malcolm is considered a more important character than Donaldbain because he is given the duty of identifying all characters who are presented to the King. Also present in the first three scenes are two different levels of Messengers. The first is the bleeding captain who first conveys the story of Macbeth's triumph in the battlefield. His form of speech determines his lower level of importance. Angus and Ross, who appear later in I, ii, are immediately recognized as more important. Although they relate stories similar to those of the captain, their personal relation with the King and his court, their titles and their elevated speech indicate that they are more important. Their position as Messenger is continued into I, iii, foreshadowing their role in the rest of the play. The central character, Macbeth, fills the role of Hero. His importance is re-enforced by his late appearance in the play, as well as the fact that his actions are the main topic of conversation of all characters introduced in the first two scenes. Finally, Banquo fills the role of the Wronged

4 Stanton - 4 Innocent. Although he is not considered an important character in the first two scenes, the witches' premonitions foretell his importance in future scenes. King Lear contains more of these traditional character roles. Lear is the Hero, recognized by his tragic flaw in trusting his two eldest daughters and ignoring his feelings regarding his third daughter. Regan and Goneril are the Evil Sisters, similar to those found in the folk tale Cinderella, who are concerned more with material wealth than moral decency. Cordelia fills the role of the Youngest. This character is usually the one most loved by his/her father and the court., but also the one to be thwarted by his/her siblings. Other characters involved in this plot are the King of France in the role of Omnipotent Protector, who after saving Cordelia from isolation and banishment, comes to Lear's rescue by providing troops to protect his kingdom. Albany and Cornwall are the characters known as the Weak Husbands. Even though they are the ones who control their wives' inheritance, it is the women who determine the course of action. In the sub-plot, Gloucester is the Aging Father, a role similar to that of Lear. He can also be called the Secondary Hero. From this characterization we know that he is destined to lose at least his title to one of his sons. Finally, Edmund fills the role of the Bastard Son, who seeks revenge on those who have caused him to be shunned from society; in this case, Gloucester, his father. Under these classifications, it is easier for the audience to surmise possible outcomes for each character in the play. The final structural element is self-regulation. This is the element that requires the action to be self-contained; it should not depend on outside information to make sense of what is taking place. This is achieved through providing important historical or background information to the audience in some way. Scenes two and three of act One in Macbeth provide most of the prevalent information required to give an image of Macbeth as an honest and loyal warrior. To do this, Shakespeare incorporates messengers, giving them speeches written in informal couplets. King Lear presents background information on Gloucester's family in the first 32 lines of the opening scene. This sets up the basis for the sub-plot, rather than simply introducing the other characters, such as Edgar, as they appear. The information required to understand the Lear plot takes place in the first scene. The division of Lear's kingdom is the background that sets the stage for the treachery of Goneril and Regan. In this way, the entire story takes place within the confines of Act I sc. i and Act V sc. iii. From this point of view, it is apparent that Shakespeare incorporated more than characters and words to tell his stories. Time, setting, plot, background and recognizable elements also play key roles in developing the action of the plays. Through the elements of wholeness, transformation and self-regulation, the opening scenes of Shakespeare's King Lear and Macbeth effectively foreshadow and set the stage for the remainder of each play.

5 Works Cited Bradley, A.C. Shakespearean Tragedy. London: Macmillan and Co. Ltd, Frye, Northrop, Baker, Sheridan and Perkins, George. The Harper Handbook to Literature. New York: Harper and Row, Shakespeare, William. King Lear, in The Complete Pelican Shakespeare, ed. Alfred Harbage. New York: Penguin Books, Shakespeare, William. Macbeth, in The Complete Pelican Shakespeare, ed. Alfred Harbage. New York: Penguin Books, 1969.

6 The Promise of Things to Come: The Effective use of Structural Elements in the Opening Scenes of "Macbeth" and "King Lear" T Stanton English 232E Carol Tattersall March 18, 1994 The University of Western Ontario