QUESTIONS FOR THE SEMINAR British Literature, 1st year, 2nd semester

Prof. univ. dr. habil. Monica Matei-Chesnoiu

mchesnoiu@yahoo.com

SET 2:Macbeth, Othello, Julius Caesar, Antony and Cleopatra, The Tempest, Pericles
(After consulting the materials sent for the course and seminar, each student should answer
these questions individually, fill in this Word documentand send it as an email attachment
to the professor by Friday, May 29th, 2020)

STUDENT NAME: ………

Group: …….

Macbeth
Question 1:Power and corruption in Macbeth. The nineteenth-century statesman Lord Acton
once wrote, “Power tends to corrupt and absolute power corrupts absolutely.” Which characters
in Macbeth are affected by power in the way expressed by Acton, and in what ways do they
misuse power? (150 words)
……………………….

Question 2:The character of Macbeth: A study of evil? From evidence in the play, is Macbeth
a very/somewhat/not at all sympathetic character? Consider his relationship with his peers, his
wife, and his effectiveness as a ruler. What leads Macbeth to commit murder: ambition, evil, or
something else? Examine the dialectics of evil in Macbeth. (150 words)

Macbeth’s ambition is driven by a number of factors including firstly ambition. The ambitions
that Macbeth has are not bad but the way that he wants to get them.In Macbeth, ambition is
presented as a dangerous quality. It causes the downfall of both Macbeth and Lady Macbeth and
triggers a series of deaths in Macbeth. Ambition is therefore the driving force of the play
Secondly,prophesy: The Macbeth witches prophesize that Macbeth will become King. Macbeth
believes them and the various prophesies are realized throughout the play. However, it is unclear
whether these prophesies are preordained or self fulfilling..
Macbeth’s betrayal of his closest friend, his loss of support from his circle of peers, loss of moral
values, and his rash decisions all ultimately contribute to his tragic downfall. Macbeth’s downfall
demonstrates how misguided and uncontrolled ambition can be deleterious.
As Macbeth is consumed by his ambition to become king, he loses his moral values. He changes
from a virtuous man to one who constantly uses violence as the solution to his problems (as seen
with Banquo, Fleance, and Macduff). Macbeth also has no regard for his country anymore: once
he takes the throne, he leaves his country in a state of complete shambles. Macbeth becomes king
to satisfy his own greed, rather than to serve his country and demonstrate his leadership.
Macbeth’s unrelenting ambition transforms him into someone without a moral code, who obtains
his objectives with no regard to the means used and the consequences.
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Prof. univ. dr. habil. Monica Matei-Chesnoiu 1
Macbeth’s ambition soon spirals out of control and forces him to murder again and again to
cover up his previous wrongdoings. Macbeth’s first victims are the Chamberlains who are
blamed and killed by Macbeth for the murder of King Duncan. Banquo’s murder soon follows
once Macbeth fears that the truth could be exposed.
Question 3:The character of Lady Macbeth. Write a short psychological profile of Lady
Macbeth, addressing the kind of relationship she has with Macbeth, how she sees herself fitting
into the world in which she lives, and how she actually fits into that world. What leads Lady
Macbeth to commit murder: ambition, evil, or something else? (150 words)

Macbeth and Lady Macbeth's relationship changes during the play. Their initial decision to
murder Duncan brings Macbeth and Lady Macbeth close together as partners in crime, but the
consequences of this act ultimately drive them apart. Macbeth is initially unsure about murdering
the king, while Lady Macbeth confidently and eagerly urges her husband to accomplish the deed.
After the murder, however, Lady Macbeth's guilt drives her insanity, while Macbeth becomes
increasingly willing to kill any who oppose him.
If we look closely at the difference between who Lady Macbeth is and who she wants to be, we
begin seeing a different side of Lady Macbeth, suggesting that she is not as villainous as we
might have thought. While her boast to Macbeth that, if she had promised to kill her own child,
she would have “dashed its brains out” without hesitation is certainly blood-chilling, she is only
saying what she would do, not telling us about something she has actually done. In the lines
before this shocking claim, she admits, “I have given suck, and know/How tender ’tis to love the
babe that milks me.” In reality, she is capable of tenderness and warmth. Her wish to be
“unsexed” and request that the spirits to “take my milk for gall,” so that she can act without
remorse, indicate that, rather than lacking compassion, she fears she has too much. In fact, it may
be Lady Macbeth, not her husband, who may be “too full o’ th’ milk of human kindness.”
Another contrast between what Lady Macbeth says she would do and what she actually does
comes on the night of Duncan’s murder. While waiting for Macbeth to kill Duncan, she admits
“Had he not resembled/ my father as he slept, I had done’t.” Again, she is portraying herself as
ruthless and violent, but her action (or lack of action) tells a different story. Maybe she would
have killed Duncan if he didn’t look like her father; maybe not – all we know is, given the
opportunity to kill the king, she couldn’t go through with it.

Question 4:Blood and decay imagery in Macbeth. What do the constant references to blood
and bloodshed indicate—other than that there’s much bloodshed in the play? Which characters
refer to blood the most and why? Explain the meaning and significance of the phrase, “Fair is
foul, and foul is fair,” and how it relates to the play. (150 words)

The blood imagery in Macbeth is significant for several reasons. For one thing, it signifies that
the essence of the victims' life have left; and, as such it symbolizes the loss of true humanness in
Macbeth and Lady Macbeth, who are responsible for the murders. For, in shedding the blood of
the God-like Duncan and the good Banquo, Macbeth and Lady Macbeth become stained with the
sin of their bloody deeds which disrupt the natural order. Finally, with so much imagery of
blood, the horror of Macbeth's heinous deeds leaves a lasting effect upon the audience as they
realize the terrible evil of "vaulting ambition."
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Prof. univ. dr. habil. Monica Matei-Chesnoiu 2
The meaning of this motif is quite obvious in the very first act. Simply, it means that appearances
are often deceptive, and that things are different from what they appear to be. This line also
points towards the play’s concern with the inconsistency between appearance and reality.
Though it is a knotty and difficult idea, nevertheless it suggests that in this world, you can never
be sure whether it is a mirage, an apparition, or a dagger. The first time we hear this phrase is in
the opening scene, where witches utter this phrase in the twelfth line of Act I, Scene I, in order to
trap Macbeth by predicting his future falsely. Then Macbeth uses the phrase, and later it echoes
on different occasions with different meanings. Simply, for witches it means whatever is fair to a
common man is foul to them, and what is foul to a common man is fair to them.

Question 5:The Witches in Macbeth. The fantastical and grotesque witches are among the most
memorable figures in the play. How does Shakespeare characterize the witches? What is their
thematic significance? (150 words)

Shakespeare characterises the witches within the context of his time. By the time he wrote
Macbeth James VI of Scotland had ascended the English throne. Macbeth had to interpret or
indeed distort Scottish history in the play.
With regard to the witches this was a time when there were widespread witch hunts throughout
Europe. James had a particular fascination for the subject and published an extract
Daemononlogie. So Shakespeare's characterisation of witches reflected James's views on the
subject, that of ugly, dangerous hags who were to be legitimately hunted and persecuted because
of their links with the devil.
Their thematic significance is central to the play. They predict to Macbeth and Banquo what will
happen. Macbeth is startled because their predictions already reflect what is going through his
head, namely a desire to seize the throne.However Macbeth still has the opportunity not to
follow their predictions. However he does so egged on by his wife.
They reflect the central theme in the play and again it reflects the culture of the time. Society was
seen as highly stratified within the context of feudalism and the Divine Right of Kings. James
was king because he had a divine right to be so. Everything had its place based on God's will and
if that is disturbed then there will be consequences until the legitimate order is restored

Othello
Question 6:Othello and Iago: A relationship of master over servant authority? What exactly
are the sources of Iago's power over Othello? To what degree does Iago's power depend upon
Othello's own willingness to see his ensign as a figure of knowledge, sophistication, and
authority that he himself lacks? How might Iago's exploitation of such deference be considered
colonial? (150 words)
In III. iii. we see cold, evil intellect brought in contact with innocence and simplicity. The
subtlety and cunning, the insight into Othello's mind here seem almost supernatural. lago urges
Othello on by suggesting to his mind what he wishes him to believe. Here, too, we see lago's
power of making the good seem evil.
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We must remember that were we in Othello's place we would probably feel and act as he does.
He has never had any reason to suspect the honesty and faithfulness of lago; he is too innocent to
suspect guile; the proofs all seem indisputable. lago, by his subtle power of intellect, forces
Othello's mind to move in the channel which he has prepared. He attacks and destroys him
through his virtues, which tends to enhance his villainy; he destroys Othello's happiness, and
finally his life, by turning his grandest virtues, his love for Desdemona, his heroism, his grand
innocence and simplicity, into instruments of torture: so he proceeds in the case of Desdemona.
Elsewhere he works upon the faults and weaknesses of his victims.

Question 7:Marriage relationships in Othello. Compare the representation of Desdemona's

marriage to Othello with the representation of Emilia's marriage to Iago. Consider the gender
roles in these two portraits. Is it possible to generalize about the portrayal of marriage in
Shakespeare? (150 words)
………………………..

Question 8:Two settings in Othello: Cyprus and Venice. Discuss the importance of setting in
the play, paying close attention to physical details that differentiate Venice from Cyprus and that
define the particular character of each location as it pertains to the plot of the play. (150 words)
………………………..

Question 9:Comic scenes in Othello. Analyse one or more of the play's bizarre comic scenes:
the banter between Iago and Desdemona in Act II, scene i; the drinking song in Act II, scene iii;
the clown scenes (Act III, scenes i and iv). How do these scenes echo, reflect, distort, or
comment on the more serious matter of the play? (150 words)
………………………..

Question 10:Racial readings in the dramatic texture of Othello. Discuss the role that race
plays in Shakespeare's portrayal of Othello. How do the other characters react to Othello's skin
colour or to the fact that he is a Moor? How does Othello see himself? (150 words)

Race is not at the core of Shakespeare’s Othello but affects everything in the drama. It plays a
central role in shaping the plot of the drama and the behaviour of the characters. Shakespeare has
not selected the protagonist to be a man of color without a strong reason. Othello’s complexion is
the cause he is ostracised and becomes a victim of Iago’s manipulation. Had it been some white
man like Cassio in his place, Iago’s task would have become difficult. Othello’s skin colour is
also one of the reasons that Iago hates him so much. Only Desdemona and Cassio do not seem
bothered by the Moor’s colour of skin. Desdemona’s father does not want his daughter getting
married to some man of African descent. He wanted a royalty in his place as son in law who was
of fair complexion like his daughter. Iago calls Othello a Black Ram before Brabantio.
While, there are no major signs of racial hatred against Othello, except the few slangs that Iago
uses for him, still he is an outsider because of his colour. However, it is for his courage and
status as a general that he is considered influential. Shakespeare shows that even influential
people make mistakes and are vulnerable like the common people. Once you stop minding your
weaknesses, your opponents will benefit from them. Othello starts looking confused at various
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Prof. univ. dr. habil. Monica Matei-Chesnoiu 4
points in the drama and acts against his conscience but when we see it in the context of his race,
the situation becomes clearer. Iago keeps fingering his wound to take him away from his
beloved wife Desdemona. Othello was otherwise satisfied with his life but for Iago, his life is
ruined. He grows more and more frustrated about his skin colour as Iago keeps churning his
dissatisfaction to make his feel inferior to his wife and Cassio.

Julius Caesar
Question 11:Brutus – the tragic hero in Julius Caesar? Describe how Brutus is or is not a
tragic hero—and in doing so, answer this question: Was he “the noblest Roman of them all”?
Why does Brutus participate in the killing of Caesar? (150 words)

Brutus is the tragic hero by looking at his background and comparing it with the background of a
tragic hero. The first of the requirements for a tragic hero is that he has to be of noble birth.
Brutus is of noble birth, and this influences many of his traits. For example, Brutus is Brutus is
educated and this leads to his flawous idealistic views. Also, he fulfills another requirement, the
requirement that he comes into some kind of understanding. In the case of Brutus, he is
convinced into believing that he has to kill Ceaser because “That lowliness is young ambition's
ladder, Whereto the climber-upward turns his face; But when he once attains the upmost round,
He then unto the ladder turns his back, Looks into the clouds, scorning the base degrees By
which he did ascend”. This shows that Brutus killed Caesar for the good of Rome. Overall,
Brutus is the tragic hero because he fulfills all of the background requirements to be a tragic
hero.
Brutus allows Cassius to be 'his mirror' and to dictate his thoughts and emotions. Cassius
cleverly flatters Brutus by telling him that Caesar is no better than Brutus, Caesar is not a god,
but Brutus has the admiration and support of the people of Rome. The Romans are looking at
Brutus to save them from Caesar' tyranny. If Brutus was more in touch with his own strengths
and weaknesses, he would have identified Cassius as a manipulator. He would have been able to
question why Cassius hated Caesar so vehemently that he would attempt to humiliate Caesar to
the extent where he compares him to 'a girl'. Cassius launches a personal attack on Caesar.
Brutus should have been able to question this since he was a man with 'grey hair' (wise) at this
stage. Yet, he does not, he accepts everything Cassius tells him and joins the conspiracy despite
the fact that it troubles him so much that he is unable to sleep or find peace of mind.

Question 12:The role of the supernatural in Julius Caesar. How significant a role dreams and
the supernatural play in Julius Caesar? Discuss the attention paid (or not paid) to omens,
nightmares, and other supernatural events. What do the various responses to these phenomena
show about the struggle between fate and free will in Julius Caesar? Can the play's tragedies be
attributed to the characters' failure to read the omens properly, or do the omens merely presage
the inevitable? (150 words)

From act 1 on, creepy sightings foretell a world out of joint. Casca, for example, runs into Cicero
in act 1, scene 3, and describes to him some of the supernatural events he has recently witnessed.
In one, a slave's hand was on fire as if lit by "twenty torches," yet it did not burn. Casca also
passed a lion in the street, which walked by him without bothering him. In yet another instance,
"a hundred ghastly women" were frightened because they saw men in flames. Of course, bad
times are about to descend on Rome, and one of the themes in this play is the problem of how to

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Prof. univ. dr. habil. Monica Matei-Chesnoiu 5
interpret the signs from beyond. Julius Caesar, for example, should have paid attention to his
wife's terrifying dream of violence, blood, and shrieking ghosts. She doesn't want Caesar to go to
Senate the day following the dream, but he disregards her—and is assassinated.
Later, Brutus's fall is foretold through the supernatural appearance of Caesar's ghost in his tent.
In Shakespeare, killing the rightful leader of a country upsets the cosmos. In this play,
supernatural occurrences are meant to be taken seriously as warnings of bad times to come. They
add an eerie, otherworldly cast to what otherwise might simply be a play about politics and civil
war.

Question 13:Friendship in Julius Caesar. Discuss friendship in the play. Consider Caesar and
Brutus, Caesar and Antony, Brutus and Cassius, Antony and Octavius, or any other pairings. Are
these true friendships or merely political alliances forged for the sake of convenience and self-
preservation? How do they compare with the heterosexual relationships in the play—the
relations between husbands and wives? Are they more profound or less profound, more revealing
or less revealing of their participants' characters? (150 words)
………………………..

Question 14:Julius Caesar: public and private image. Think about Caesar the mortal man as
opposed to Caesar the public figure. How does he continue to wield power over events even after
he is dead? Do the conspirators succeed in their goals by killing him, or is Caesar's influence too
powerful to be contained even by his death? (150 words)
………………………..

Question 15:Character profile: Brutus. Consider Brutus's actions. Is he right to join the
conspiracy against Caesar? What are his reasons? Does he choose to join the conspiracy, or is he
tricked by Cassius? How do Cassius's motivations compare to Brutus's? Are they more noble or
less noble? (150 words)
Brutus decides to join the conspiracy against Caesar after his realization to the fact that the
Roman Republican government was in great danger. Caesar had himself declared himself
dictator for life. (the ancient Roman position of dictator was defined as a necessary
governmeantal position in times of crisis, not to be confused with the modern definition of
dictator) However, Caesar's power grew ever stronger and Brutus saw this as tyrannical.The
Senate to which Brutus was a member became nothing more than a puppet on the hand of
Caesar.The love Brutus had towards the Republican principle and the sense of duty to secure that
principle ultimately forces him to choose between a man he greatly admired and the political
philosophy which was to serve the greater good. In his mind Brutus was doing what was "noble"
and morally right, in this manner the assassination of Caesar had moral and political justification.
Brutus' motivations for killing Caesar relate to his concerns about Caesar becoming a tyrant,
while Cassius seems more motivated by his desire not to be overshadowed by someone who
"doth bestride the narrow world/Like a Colossus." Thus, one might say that Brutus's motivations
are more noble. Whether they are right, however, depends on one's evaluation of how likely
Caesar really was to rule Rome as a tyrant. As for your other question, I would say that Brutus
chooses to join the conspiracy with fairly open eyes, knowing that it will involve murdering his

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Prof. univ. dr. habil. Monica Matei-Chesnoiu 6
friend. Cassius may have manipulated him, trading on his honorable nature, to some extent. It is
excessive, however, to say that he tricked him

Antony and Cleopatra

Question 16:Antony and Cleopatra relationship. Analyse the Antony-Cleopatra relationship,
paying close attention to their trust in one another. (150 words)
………………………..

Question 17:Is Antony’s life a failure? Shakespearean tragic heroes tend to die cleanly and
grandly when they take their own lives. Antony, on the other hand, botches his suicide? Why is
this significant? What does it suggest about his character or the play? (150 words)
………………………..

Question 18:Mark Antony and Octavius Caesar. Contrast the characters of Octavius Caesar
and Mark Antony. What qualities allow Caesar to win their war? (150 words)
………………………..

Question 19:Contrast Cleopatra with Octavia in Shakespeare’s Antony and Cleopatra. How is
each representative of her civilization? (150 words)
………………………..

Question 20:What is the Roman perception of Egypt in Shakespeare’s Antony and Cleopatra?
Should this be the audience's perception as well? (150 words)
Shakespeare’s Antony and Cleopatra has a political romance at its heart: its titular lovers cannot
separate their positions of power from their passion for one another, and their personal
relationship captures on a human scale the encounter between two great civilizations, Rome and
Egypt.
In this excerpt from Shakespeare’s Roman Trilogy, Paul Cantor writes about the Romanization
of Egypt and the Egyptization of Rome in Antony and Cleopatra.
Shakespeare seems more interested in the Egyptianizing of Rome than in the Romanizing of
Egypt. Rome has conquered Egypt militarily, but Egypt seems to be conquering Rome culturally.
In postcolonial studies today, this process is often labeled “The Empire Strikes Back,” as
conquered people pursue subtle strategies of raising doubts about and even subverting the way of
life of their ostensible masters. In Antony and Cleopatra the Romans are inordinately fascinated
by the exotic world of Egypt. They want to hear about its strange customs and listen avidly to
tales, no matter how fantastic or improbable, of its pyramids and crocodiles (2.7). Above all, they
are entranced by stories of the fabulous Cleopatra, Antony’s “Egyptian dish” (2.6.126).
Cleopatra symbolizes the many ways that a captive can captivate her conquerors. Repeatedly
defeated in battle by Roman armies, she uses her wiles to enchant one Roman ruler after another
— from Julius Caesar to Mark Antony to (she hopes) Octavius Caesar. Exploiting her sexual
allure, Cleopatra seeks to turn the tables on her masters and bring them under her spell. If she no
longer can rule directly as queen of Egypt, she hopes to rule indirectly by mastering her masters.
Rumors of her erotic conquests arouse the Romans’ senses, and she threatens to overturn their
hierarchy of values
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The Tempest
Question 21:Caliban and Ariel – Earth and Air. A comparative study of the two characters in
Shakespeare’s The Tempest. (150 words)
In The Tempest, Prospero is served by both Ariel and Caliban. But whereas the former serves
willingly, Caliban despises—and ultimately betrays—his master. Both seek their freedom, but
they do so through very different means. One way to think about them is as foils for one another:
comparing and contrasting them can help us better understand the relationship between the mind
and the body in the play.
Ariel, we learn, is a sort of disembodied spirit capable of invisibility and even taking on multiple
forms at once; in contrast, Caliban is associated with materiality and the body. Prospero calls
Caliban not only a “slave” but also “earth,” establishing a hierarchical relationship between his
two servants that is at least in part informed by their material conditions.
Caliban’s focus appears to be largely driven by his own bodily needs: when he comes on stage
for the first time, he announces that he “must eat [his] dinner,” and we learn that Prospero used
to treat Caliban better until Caliban attempted to rape his daughter. Caliban’s character is shaped
by his bodily needs, whereas Ariel needs no body at all.

While Caliban betrays Prospero in an attempt to gain his freedom, Ariel instead serves willingly,
hoping that his master will honor his promise to release the spirit. Whether Ariel serves out of
true appreciation or as a strategy is a question of some debate, although ultimately Prospero does
free Ariel in 5.1.
Question 22:Prospero’s books: knowledge and learning in The Tempest. Discuss the scenes
associated with education and study, a theme that runs through the entire play from the first
dialogue between Prospero and Miranda, in which he reminds her of her history. (150 words)
………………………..

Question 23:The dramatic function of the storm in The Tempest. The Tempest incorporates
the contrast between storm and music to suggest the transformation of discord into harmony in
the course of the action. Consider how the significance of the storm in The Tempest may be
illuminated by study of the earlier portrayals of storms in Othello and King Lear. Is there also in
these earlier plays a contrast, explicit or implicit, between storm and music? (150 words)
………………………..

Question 24:Father and daughter: Prospero and Miranda. What is the nature of Prospero
and Miranda's relationship? Discuss moments where Miranda seems to be entirely dependent on
her father and moments where she seems independent. How does Miranda's character change
over the course of the play? (150 words)

At first, Miranda seems very young. When Prospero tells her of his exile from Italy, it is her
passionate but also restless youth that the reader sees in her exclamations of concern In this scene
the reader sees a relationship that is tender but also astonishingly one-sided. Prospero has lived
alone with his daughter for twelve years and not told her why they live alone on the island. After
he has told her, he charms her to sleep so that he can set about the new plan of getting her a
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husband, which he has not discussed with her. When that future husband, Ferdinand, arrives,
Prospero continues to dominate her by directing her gaze toward Ferdinand, but then quickly
steps between the two. When Miranda begs him to have mercy upon Ferdinand, Prospero is
strikingly harsh.
Prospero’s love for Miranda is most evident in his willingness to remain quiet while Miranda
talks to Ferdinand in Act III, scene i. Though Prospero enters, unseen, at the same time as
Miranda in this scene, he does not say a word until she and Ferdinand have left the stage.By the
end of the scene, Miranda seems almost to have forgotten her father entirely, and she seems
much older, in control of her destiny. By leaving her alone for perhaps the first time, Prospero
has allowed Miranda to leave behind her childhood. The transition is not complete, however, and
may not become complete, even by the end of the play. In Act IV, scene i, Miranda speaks only
two and a half lines, standing completely silent while her father and Ferdinand discuss the details
of her marriage. And while Miranda speaks first, and forthrightly, when she appears in Act V,
scene i, she appears only after being revealed behind a curtain by her father. Her final lines, “O
brave new world / That has such people in’t” (V.i.186–187) while gloriously hopeful, are also
painfully ironic. The isolation her life has forced upon her has made her mistake for “brave” a
cast of characters that the audience knows only too well to be deeply flawed.

Question 25:The role of music, sounds, and noise in The Tempest. Look at a few of the many
passages in the play in which there is mention of noises, sound, or music. Focusing on one or
two characters, discuss the role of noise in The Tempest. (150 words)
………………………..

Pericles, Prince of Tyre

Question 26:What is the role of the sea in Shakespeare’s Pericles? Consider the tempests that
beset Pericles and how he internalizes the idea of the tempest when he believes Marina to be
dead. The sea serves as a link between all the nations in this play. What else does it do? (150
words)
………………………..

Question 27:Shakespeare’s and Wilkins’s play, Pericles, is filled with kings and kingdoms.
Consider Antioch, Tyre, Tarsus, Pentapolis, Ephesus and Mytilene. What kind of collective
portrait of aristocratic rule are we presented with? (150 words)
………………………..

Question 28:At Diana’s temple in Ephesus, what does Pericles do? How does Thaisa react when
she hears Pericles tell his story? (150 words)
………………………..

Question 29:In a dream, the goddess Diana tells Pericles to do what? (150 words)
………………………..

Question 30:What are the events in Pericles narrated by Gower in a dumb show? (150 words)
………………………..

Seminar Questions. English Literature

Prof. univ. dr. habil. Monica Matei-Chesnoiu 9