Crilly, Inner Conflict In Cal By Bernard Maclaverty

Throughout the course of Shakespeare’s Scottish tragedy, “Macbeth”, the eponymous hero develops from a highly respected warrior and loyal thane; to a “dead butcher”, executed for his crimes against Scotland, and condemned by all. By making the fatal error of disregarding his conscience and committing regicide in order to gain the crown of Scotland, he seals his own eternal fate and that of Scotland, making her the “grave” of her people.

The short stories of Ireland are distinct and many times distinctly Irish. “The Limerick Gloves” by Maria Edgeworth, “The Pedlar’s Revenge” by Liam O’Flaherty, “The Poteen Maker” by Michael McLaverty, and “Loser” Val Mulkerns are each distinct Irish short stories that deal with Irish topics in original ways. These stories are stylistically and thematically Irish. They are moralistic and offer clear themes that pertain to Irish values. This analysis will explore the Irish-ness of the works and explore their meaning when held against Irish literary tenants.

From this decision arises obvious internal conflict- he has love for his king and has proved this in battle. However, his ambition is decidedly the prevailing emotion and he decides he must kill his king. The scene before the murder takes place Macbeth imagines a dagger before him. He says,

Her stubbornness and strict discipline is evident when she pokes Sophie with a stick, trying to make Sophie come out of a foxhole in which she hid herself in, not giving up on the idea of the punishment. The character is round, as we are introduced to her most inner thoughts and personality traits while she narrates the story. At the same time, the protagonist is a static character, since her critical behavior of other cultures does not change throughout the story. In the end, the main character still displays her intolerance when she says, “Of course, I shouldn’t say Irish this, Irish that, especially now I am become honorary Irish myself, according to Bess. Me! Who’s Irish? I say”. The protagonist represents someone who despite being herself an immigrant sees other cultures and ethnicities as outsiders and is critical of others such as her son-in-law’s family and the previous American babysitter.

He is Duncan’s ‘kinsman and his subject’, he reminds himself that what he is doing is wrong and that he has the duty to protect the king, not murder him. In an interaction with Lady Macbeth prior to the murder of Duncan, he says they ‘shall proceed no longer in this business’, this shows that he has a moral compass, and he knows that what he is about to do is wrong. Also, previous to the murder he hallucinates a ‘dagger’, it is a figment of his imagination because he is very anxious, and is already feeling culpability. This part in the play is key in showing that Macbeth is consumed by guilt and anxiety, so is not in the best mindset to commit a murder. Despite this, he still kills Duncan. His guilt returns after the murder when an ‘Amen [is] stuck’ in his throat, he knows that he has sinned against God, and he is too anxious to say Amen. Immediately after killing Duncan he is ‘afraid to think of what [he has] done’, he has immense regret and feels a lot of guilt.

At the end of the novel some major conflicts in the story are resolved which resulted in some major tension between characters. At the end of the novel T. Ray shows up at the pink house to come and take Lily home and T. Ray learns somethings about what Lily has been doing and who she has been staying with. On page 292 it states "The is where my mother came when she ran away from us. August said she was wearing it(the pin) the day she got here." When T. Ray sees Lily and that she is wearing her mother's pin, he automatically gets reminded of Deborah. The memory of Deborah leaves him enraged at Lily and he is in a mental stage where he is not thinking straight. On page 294 it states "He stood over me. 'Deborah,' I heard him mumble. 'You're

English, T. J. Paddy Whacked: The Untold Story of the Irish-American Gangster. New York: Regan, 2006. Print.

In Macbeth desire and violence are prevalent throughout the book. Desire blinds one’s ability to think clearly when making a decision. If violence is used due to one’s desire than violence becomes a never ending cycle until the outcome of the violence goes against the one whose desire led to violence. When making a decision, one should use reason, which is having a logical justification or motive. Violence is committed many times in the book but not all for the same motive. Macbeth commits several acts of violence in the book due to his desire for the kingship of Scotland.

Violence, terror, suffering and death. The conflict that has been burning in Northern Ireland seems to be an unstoppable battle and it has flooded over the land of Northern Ireland. The struggle for power and the persistence of greed have fueled the raging fires of the opposing groups. The conflict in Northern Ireland has been discussed continually over the past few decades. Ever since the beginning of the “Troubles,” organizations have been scavenging to find a plan that will cease the violence. Throughout my research for this project, the questions of what are the main sources of conflict in Northern Ireland and why have they continued today guided me to many fascinating pieces of evidence that

Macbeth is a tragedy of a Scottish general who dramatically “transforms” from being a noble and dutiful soldier to a ruthless butcher. This is a direct consequence of the supernatural world, his wife’s manipulation and persuasion, and Macbeth’s own ambition.

Macbeth was, shortly after the murdering incident, driven insane by the immense guilt produced by his withered conscience. The dagger that was used in the killing of King Duncan haunted him before the murder took place. This tragedy in the play gives us both fear of where the sword came from and pity for Macbeth's character that had degraded to such a point that he has become paranoid.

King Duncan has been invited into Macbeth’s home, to dine and enjoy himself. He expects to have a great time and is ridiculously thankful, yet what makes this ironic is the fact that the hostess that he is praising is conspiring to kill him-he will be murdered that night. This represents the duplicitous nature of Macbeth, as the outward nobility of his character is contrasted greatly to his true spirit.

Identity is pivotal to the story and holds its own innate power, but what is even more pivotal is that the Irish do not necessarily all share the same views. The Irish find their history very important because it is the foundation of the language. Hugh says, “It is not the literal past, the ‘facts’ of history, that shape us, but images of the past embodied in language” (88). It is evident then that Hugh finds the historical meanings of

The themes of ambition, insecurity and the power of the ego are prevalent not just in current society, but also in Scotland during the period in which this play is set. Macbeth’s own interpretation of these emotions, provoked since the first encounter with the witches, is what makes him commit ruthless and immoral actions. The supernatural provokes

The whole play is about the Skriker trying to seduce Lily, as she wants to take her baby to the underworld, as this is the love that she desperately