Lights, camera, ACTION, Macbeth

Chaucer-like disclaimer: I am taking a risk at the beginning of this post when I briefly reveal a few personal items.

When I was going through a tough time in my life when my parents divorced, I became a fairly spiritual person. With the help of various supporters, I learned to accept the drastic life changes that were occurring and that they were happening for a reason.  I grew to know that this was a part of God's plan for me; He was teaching me early on that life isn't easy.  

With that being said, I believe that the events in my life are in accordance to God's plan for me. However, I also think that I am in control of my actions.  I am the one who decides how to handle each situation that I come across.  As an example, I was the one who made decisions about how to split time between my parents during that difficult time.

Even though I believe in God's "fate," or plan,  Shakespeare did not; it can be seen through his play, Macbeth, that he believed that people are in complete control of their actions.  Through this text, Shakespeare demonstrates his view that fate plays little to no role in life events.  He argues through the character of Macbeth that actions are choices that have substantial effects on the future.

When Macbeth receives the prophecy from the three witches, his actions, not fate, determine the rest of the play, as Shakespeare and I would agree.  It is not fate that drives Macbeth to kill Duncan. Instead, the murder is a power-hungry decision that he made to fulfill the prophecy.  (Of course, he couldn't have done it without the assistance of Lady Macbeth, whose persuasive tactics vary from mockery to encouragement).

However, the final decision to kill Duncan was utterly in the hands of Macbeth.  Once that action was complete, there was no turning back, as indicated when he states, "We have scotch'd the snake, not kill'd it," in Act III Scene II.  By saying this, Macbeth declares that there is more that he needs to do to fulfill the prophecy, such as order the murders of Banquo and Fleance in the previous scene of Act III.

As can be seen through these examples from the text, Macbeth's actions are not driven by fate, but by his desire for success and power.  He makes things (mainly murder of people who are in the way of his prophecy) happen himself, without the contribution of a higher power to assist him.




Macbeth will DO anything for his 15 minutes of fame... and can you imagine Miley's actions driven by fate? C'mon- she is in complete control of her (questionable) actions.


http://memecrunch.com/meme/SXOA/macbeth-meme/image.jpg?w=586&c=1

"Adam and Eve"

http://www.metmuseum.org/toah/works-of-art/19.73.1

This piece, entitled "Adam and Eve," was created in 1504 A.D. by the German artist Albrecht Dürer.  He completed it using engraving as his medium, and the work's dimensions are 9 7/8 inches by 7 7/8 inches.

According to the Metropolitan Museum of Art website, Dürer was fascinated by the particular measurements and proportions that make up the human body. Thus, he created Adam and Eve in this work in relation to his theory of human proportions, making their figures perfect in his perspective.


The aspect of the human figures that drew my attention the most was the muscularity of Adam; I mean, clearly, he's ripped in all parts of his body. It is interesting to note that while the woman is also muscular, her figure may not fit today's society's image of the "perfect figure." Dürer draws her with wide hips and small breasts, which are two aspects that are frowned upon in society. However, Adam and Eve have very similar body positions: they both have one leg straight with the other bent, and the same goes for the arms, so maybe Dürer is depicting male and female as somewhat equal. It is fascinating to see a depiction of what the ideal human body looked like during the early 16th century (taking into account Dürer's bias and the concealment of the private parts, of course).
Besides Adam and Eve's bodies, there are other interesting stylistic choices featured in the piece. The choice to only use black and white was mandatory, as he engraved this piece on copper with carving tools, which I find highly impressive. Also, since the work is carved, I would imagine that it would have a very unique texture.
The significance of this piece lies first with the animals included. There is a cat in the area between their feet that represents irritability, while the rabbit behind Eve's right leg is a symbol of peace. The ox in the bottom right represents tranquility, and the elk portrays sadness. These four qualities were considered the "four temperaments" of medieval society (Metropolitan Museum of Art). An innocent man or woman would have a balance of all of these qualities, but when he or she committed a sin, all four characteristics would be prominent at the same time, meaning that he or she would no longer be innocent.
That being said, this piece has a religious connotation. It signifies the biblical story of Adam and Eve and the reasons they were expelled from the Garden of Eden by God. Eve is seen receiving the forbidden fruit from the snake, which she sinfully eats in the story. This action thus eradicated her innocence, and that is why all four of the temperate animals are showed at once.
Dürer made this piece in accordance to typical German art during that time. According to the National Gallery of Art website, as the Protestant Reformation occurred, other European nations were becoming more powerful; Germany, on the other hand, still consisted of smaller independent states connected by the Holy Roman Empire. Therefore, Germany remained dedicated to Christianity during the early 16th century when "Adam and Eve" was created. Dürer thus made this piece considering societal values with the purpose of reminding his peers not to sin and therefore terminate their innocence.
Lastly, here is my sketch(y) rendition of "Adam and Eve." Please note that I have no artistic skills whatsoever. For a laugh, look at how I struggle to draw hands and feet!

http://www.nga.gov/content/ngaweb/features/slideshows/15th-and-early-16th-century-germany.html

http://www.metmuseum.org/collection/the-collection-online/search/336222