Computer forensic Essay Example | Topics and Well Written Essays - 4500 words

Computer forensic - Essay Example Evidence derived from computer is been used in court for almost 30 years. Initially, judges accepted the evidence as no different from forms of evidence they were been already seeing. As computer technology advanced, the accepted similalities to traditional evidential material became Ambiguities (Olsson, 2004). 2. What is computer Forensic Computer forensic is a simple application of computer investigation and analysis techniques in the interests of determining potential legal evidence. Evidence might be sought in a wide range of Computer crime or misuse, including but not to theft of trade secrets, thefts of or destruction of Intellectual property and fraud. In other words, computer forensics is application of the scientific method to digital media in order to establish information for judicial review. This process usually involves computer system to determine whether they are or were been used for illegal or Unauthorized activities (Wikipedia, 2006). Mostly, computer forensics experts investigate data storage devices, either fixed like hard disks or removable like compact disc and solid-state devices. The work of a computer forensics expert is to identify sources of documentary or other digital evidence, preserve the evidence, analyze the evidence, and present the finding. Computer forensics is been done in a fashion that adheres to the standard of evidence that is admissible in a court of law. 3. Scope of Computer Forensic: The scope of computer forensics covers a wide field, which continues to grow as computer Technology proliferates its way into every aspect of modern life. The base computer forensics is recovering data from floppy disks, hard drives, and removable drive cartridges. This also includes searching... The history of computer forensic starts with the first time a system administration had to figure out how and what a hacker had done to gain unauthorized access to explore the system. In the beginning, the classic hacker breaking into computer system was more interested in how things work than actually being malicious.As computer evolved out of academic to business and government, there was more data and resource at risk. Hackers incursions became an issue handled through legal channels. While deciding which internal or external parties should handle each aspect of forensics, organization should consider factors such as personnel and equipment costs for collecting data, the time needed internal or external teams to respond to incidents, and data sensitivity and privacy issues. (United States Department of Justice, 2001) IT professionals throughout the organization, especially incident handlers and the first responder to incidents, should understand their roles and responsibilities fo r forensics. They should be given training and education on forensic, related to the company’s procedures, and they should be prepared to corporate with and assist others when the problems occur for which they were been trained (Nelson, Amelia, & Steuart, 2004). Incident handlers performing forensic tasks should have a broad knowledge of forensic principles, guidelines, procedures, tools, and techniques, as well as anti-forensic tools and techniques that could conceal or destroy data.

Ational aconomy Essay Example for Free

Ational aconomy Essay A joint venture is a partnership created by agreement between the parties to share in the losses and profits of the venture. But it is unlike a partnership in that the venture is for one specific project only, rather than for a continuing business relationship. If we speak about two great artists: Anrie Matisse and Pablo Picasso the idea about their joint venture could be expressed in the words: â€Å"History of success or How they never worked together but influenced upon each other†. When Picasso met Matisse, his French was poor and he was not so experiencied as his older college. Fernande Olivier said: Matisse, beaucoup plus age, serieux circonspect, navait pas les idees de Picasso. Pole Nord et Pole Sud , disait-il en parlant deux deux. He characterized Matisse in those words: Le type du grand maitre: visage aux traits reguliers, a la forte barbe doree, Matisse etait sympathique. Il semblait cependant se derober derriere ses grosses lunettes, reservant lexpression de son regard mais parlant longuement des quon lentreprenait sur la peinture. Il discutait , affirmait, voulait convaincre. Il avait deja pres de 45 ans, tres maitre de lui a lencontre de Picasso, timide, toujours un peu maussade et gene dans ces sortes de reunions. Matisse brillait et simposait. Ils etaient les deux artistes de qui on attendait le plus. Leo Stein, collector and mecenate said that disorder and dust (â€Å"le desordre et la poussiere†) was usual medium for Picasso versa order and calms (â€Å"lordre et le calme†) for Matisse. They were competitors but they were were friendly competitors. Matisse’s focus was color and lines while Picasso put form above all. And it is so strange to read words of some art experts (Robert Rosenblum) about their competition: â€Å"This is like the heavyweight championship of the art world†¦ like the battle of the titans, like the Montagues and Capulets. One of the exciting things about it is the friction, the rivalry, the give and take. † Well, what art production was the result of two or more artists working together as a joint venture? Historically the first examples of joint venture were seven wonders of the ancient world. I can not recollect names of all authors of the Great Pyramids at Giza, the Hanging Gardens at Babylon, the Statue of Zeus at Olympia, the Temple of Artemis at Ephesos, the Mausoleum at Halicarnassus, the Colossus of Rhodes and the Pharos (Lighthouse) at Alexandria. Nobody can. But I should try. The biggest and the most successful project is Khufu’s pyramide. So, what parties we have in this joint venture? Producer and general director: Great King Pharao Khufu. Architect and executive director – Khimeun. Other participanys: hundreds of unknown artists. Tourists want to look at this specimen of ancient art and they ready to pay for this pleasure. Some kinds of arts are syntetic by their nature. Like opera, which is â€Å"a drama set to music and made up of vocal pieces with orchestral accompaniment and orchestral overtures and interludes† (www. m-w. com). So several persons participate in developing opera: composer and conductor (music), writer (libretto), scenograph and director (performance). Success of the performance depends not only on music or text but on every participant. Painters usually work independently. Leonardo da Vinchi made picture Babtize of Christ (Andre Veroneze’s workshop) to be more expensive when he put his hand to an angel and landscape. But when young Leonardo worked with Veroneze he was only his apprentice. Some artists created consortium which became brend name of their production. Soviet caricaturists Kupriyanov Mikhail, Krilov Porfiri and Sokolov Nikolay were teamed up during second world war and their caricaturs signed as KUKRINIKSI. Work in harmony – is ideal. But artist team creates atmosphere of inspiration which helped individuals to produce true chedevre. â€Å"This was a project conceived of with joy and optimism, it was carried out with faith and love faith that we could, as a team, work collectively to create something much greater than each of us individually and love because thats why we make street paintings we love what we do. † – these words of participant of street painting festival demonstrated advantages of team work and joint venture in the art. So, the oldest story is relationship of master and apprentice. The apprentice system, through which new artists learned the trade ensured that styles of art were continued from master to apprentice. An apprenticeship was an obligation of future painter members and normally lasted from four to six years. This period spent in a recognized master painters workshop insured the young artist a thorough familiarization with the complexities of his craft. Laborious task like hand grinding of mineral paints was often left to the apprentice. In the masters studio the apprentice was exposed to the many thoughts, opinions and artistic theories which circulated with great fluency from one artists studio to the others. Painters studios were often lively places frequented by artist, patrons and men of culture. Animated artistic debates as well as exchanges of information concerning the art market were the norm. The apprentice, within the space of a few years, was personally exposed to an endless stream of ideas and information which passed every day through the masters studio. He was allowed to work on the less important areas of the masters own paintings such as large areas of unmodulated color or monotonous areas of foliage in the background. The master closely followed his pupils progress and corrected him when needed. Some extremely talented artists were able to leave the masters studio within a few years. Rembrandt progressed so rapidly that he already had pupils of his own at the age of 21. An apprentices first tasks were humble: sweeping, running errands, preparing the wooden panels for painting, and grinding and mixing pigments. As the apprentices skills grew, he would begin to learn from his master: drawing sketches, copying paintings, casting sculptures, and assisting in the simpler aspects of creating art works. The best students would assist the master with important commissions, often painting background and minor figures while the Master painted the main subjects. The few apprentices who showed amazing skill could eventually become masters themselves. A very few became greater artists than their masters. As the apprentices skills improved he worked on the more complex areas such as drapery and the secondary objects seen in the painting. Once the apprentice had gained sufficient mastery, he was allowed to conceive and execute his own paintings, but could neither sign nor sell them. This could be done only after he had undergone the entrance exam of the guild. Another advantage of being a guild member was permission to sell paintings of other artists as well in order to increment his earnings. It’s very difficult to call this relationship true joint venture. But we could find some parallels in the modern business. For example iFIDs. com is a joint-venture partnership between Thunder Bay International Airport Inc. and Aviation InterTech. iFIDs. com came about when the airport went looking for a flight information display system for the terminal to fit their budget and Aviation InterTech came up with a low-cost Internet-based solution. Another axample: the joint venture have been formed recnetly between BBC Worldwide Americas Inc. (BBCWA) and New York merchant banking firm Veronis Suhler. The venture will initially focus on acquiring consumer lifestyle and informational publishing properties with cross-media expansion potential. It incorporated the BBC’s existing and future North American businesses in publishing including video, books and magazines. The 50/50 joint venture is being capitalized at $100 million of equity, with significant purchasing power beyond this. The company will be managed jointly by both partners. You see: joint venture in the art is always virtual. But JV in the business – is very important part of world and national aconomy.

The Man With The Movie Camera Analysis

The Man With The Movie Camera Analysis Dziga Vertovs 1929 film, The Man with the Movie Camera, documents life in a Russian city while also telling a story about filmmaking. The film is a dazzling mix of imagery and technique, inviting the viewer to see the city through the eyes of the cameraman, and to share his perception of the events and visions that he encounters through the filmmaking process. This review will examine the films narrative line and its underlying themes, its use of genre and generic traditions, the cinematic techniques employed and the effectiveness of its approach to the material. At the beginning of the film, The Man with the Movie Camera defines itself as something out of the ordinary. In the opening credits, the title cards refer to the film as an experiment in the cinematic communication of visible events, executed without the aid of intertitles, without the aid of a scenario, without the aid of a theater (Vertov). From the outset, the film distinguishes itself by aiming to explore the pure essence of film-to document and record human life and activity in the form of moving pictures. The Man with the Movie Camera is split into four sections, and is book-ended by imagery relating to film and filmmaking. It opens in a cinema and closes with the lens of a camera shutting its eye. From a narrative perspective, the film is different from the norm in that it has no typical protagonist or antagonist. If a main character had to be defined, he would be the cameraman, with his main supporting character being the editor. The city and its inhabitants as a unified entity also become a major character in the film, showing how they interact with each other in the daily routine of work, rest and leisure through the perspective of the filmmaker. The movie is predominantly concerned with depicting reality, rather than dramatized fiction or re-creations of historic events. The films story is constructed in an unconventional narrative style, but is brought together through the recurring theme of the camera and the filmmaker. The events in the film take place over the course of a day, and although Vertov experiments with geographical and temporal continuity, the audience is given enough information to piece together the plot. Upon first viewing, this plot may not be entirely clear, but as Roberts confirms, The Man with the Movie Camera does have a plot (1). Each section of the film covers the different parts of the day (work, rest and leisure), and through this, Vertov establishes images which provide the visual language which is brought into play throughout the length of the film. By layering this imagery through editing and montage, and combining them with the underlying story of the filmmaker and his camera, the overarching narrative is tied together. Roberts explains that all human life is here from birth to death via childhood, marriage, divorce, wo rk, rest and play (2). This avant-garde style of filmic storytelling became popular in the form of the city symphony genre. Dimendberg explains that the genre encompasses around twenty titles and relies heavily upon montage to represent a cross-section of life in the modern metropolis (109). In adhering to this genre, The Man with the Movie Camera does away with the traditional trappings of the documentary and becomes something different. There is no narration, no conventional narrative or plot elements, but rather a succession of rhythmic imagery detailing the inner workings of a city. Graf describes the genres structure as having a dawn to dusk strategy in the search for a pure film form (79). Vertov employed many cinematic techniques to achieve the incredible momentum of imagery found in the film. These techniques included split-screen, slow motion, freeze-frame, fast motion, and stop-motion animation. The stop-motion animation sequence where the camera seems to come alive and walk around on its tripod remains startling even today. When juxtaposed with the everyday motions of human life which the film presents, it becomes clear that the camera itself has a life of its own. It has its own perception of events separate from that of the filmmaker, and separate from that of the audience. The diversity of techniques used makes the film a showcase of the power of cinema and its ability to transform everyday life into something completely different, with its own rhythm and sense of unpredictability. The editing in The Man with the Movie Camera is one of the films strongest points. There is a segment which contrasts challenging footage of a birth with that of a funeral. As one life ends, another begins. Similarly, there is a scene of marriage, with joyous atmosphere and smiling faces. In contrast, Vertov inserts a somber scene of a couple signing their divorce papers. These binary oppositions are ubiquitous throughout the film, with juxtapositions between work and play, play and rest, man and machine, and many others. The musical score also brings much life and energy to the film. The repeated themes complement the visual language that Vertov established. According to Feldman, Vertov carefully planned the musical score and may well have intended the work to be made as the first Soviet sound film (qtd in Barsam 74). The synchronicity between sound effects and onscreen action creates an impressive and exciting mosaic of audio and imagery. While the film is certainly a product of its time, it holds up surprisingly well in modern day. Barsam states that the film was well-received in the domestic and international press (74). The inventive narrative construction and the multitude of cinematic techniques placed the film genuinely ahead of its time. Vertov was successful in his attempt at documenting Russian life in a city without many of the normal elements typically found in documentaries. He managed to show an impressive cross-section of Russian society, by following the daily lives of different classes of people. The Man with the Movie Camera remains a wonderful piece of experimental cinema, and offers a fascinating view of life as it was in the Soviet 1920s.

Elder Berries: Analysis of Sambucas Nigra Essay -- analgesic, antip

There are many herbal treatments available to patients, but few have been used longer than sambucas nigra, otherwise known as elder berry. Well known for its analgesic, antipyretic, anti-inflammatory, diuretic, laxative immune boosting qualities, elder berry has been used for multiple health alterations (Ulbricht, Basch, Cheung, Goldberg, Hammerness, Isaac, &...Wortley, 2014). In this paper the background, pharmacology, contraindications, current research and recommendations for use regarding elder berries will be discussed. Elder berries are a versatile fruit that has multiple applications in the healthcare field, warranting an increased role in patient care. Background The sambucas genus contains many different plants, with the sambucas nigra shrub occurring in Europe and North America. Both the European variety (nigra) and the North American variety (canadensis) are often examined concurrently due to their similarities in use and pharmacology . Ulbricht et al. (2014) explain that the European variety grows up to 30 feet with the flowers and leaves used as flavouring, an analgesic, anti-inflammatory, antipyretic and diuretic and the bark is used as a laxative and emetic. They also state that traditionally, elder berries were used in England and Russia to ward off evil influences, witches, spirits and death. Fernandes, Marques, de Freitas, Mateus (2013) describe that dating as far back as ancient Egypt and the time of Hippocrates recipes for elder-berry based medications were found and extensively used to treat a multitude of ailments such as influenza, colds and sinusitis. Since it's early beginnings, elderberry has continued to be of use for the treatment of colds, flu, and fever in addition to burns, cuts and many other ailm... ...odchem.2013.05.033 Frank, T., Janssen, M., Netzet, G., Christian, B., Bitsch, I., & Netzel, M. (2007). Absorption and excretion of elderberry (Sambucus nigra L.) anthocyanins in healthy humans. Methods And Findings In Experimental And Clinical Pharmacology, 29(8), 525-533. Sambucol (n.d.). Sambucol Products. Retrieved from http://www.sambucol.ca/sambucol- products/ Ulbricht, C., Basch, E., Cheung, L., Goldberg, H., Hammerness, P., Isaac, R., & ... Wortley, J. (2014). An Evidence-Based Systematic Review of Elderberry and Elderflower (Sambucus nigra) by the Natural Standard Research Collaboration. Journal Of Dietary Supplements, 11(1), 80-120. doi:10.3109/19390211.2013.859852 Vlachojannis, J., Cameron, M., & Chrubasik, S. (2010). A systematic review on the sambuci fructus effect and efficacy profiles. Phytotherapy Research: PTR, 24(1), 1-8. doi:10.1002/ptr.2729

Commission in the European Union

As a staff member of the Directorate-General of the European Commission I have been appointed to describe to you the composition and the powers of the Commission in the European Union. In the following paragraph I will describe the body of the Commission divided in three pillars: First you have the College of the Commissioners, then the Directorate-General (DGs) and lastly the cabinets. In the Third paragraph I will briefly describe the powers of the Commission and in the last paragraph I will conclude with an opinion on the question, as to how far I consider the European Commission to have â€Å"a vocation to further the interests of the community as a whole†. The Commission consists of twenty-seven Commissioners, one for each Member State including the President of the Commission and the High Representative of the Union for Foreign Affairs and Security. The Commissioners are responsible for the work of the commission stated in Art. 17 of the TEU, and are therefore not allowed to have any other duties during their period of office that could bring about any conflict of interest. If a Commissioner fails to do so, the Court of Justice may retire the member concerned on application of the Commission or the Council acting on a simple majority. The exception to this rule is, the High Representative of the Union for Foreign Affairs and Security Policy who is a member of the Commission responsible for the conduct of the EU Common Foreign and Security Policy and its security and defense policy but also takes part in the work of the EC, presides over the Foreign affairs Council and carries out mandates of the Council. The High representative is appointed by QMV with agreement of the President of the Commission, and may be dismissed the same way. The president of the Commission is proposed to the European Parliament by the European Council acting by a qualified majority, and is elected in the European Parliament. The president is the most powerful Commissioner and has several important roles: he/she adopts the list of the persons whom it proposes to appoint as members of the Commission, lays the guidelines in which the Commission is to work, decides the internal organization of the commission making sure it works as a body, appoints the Vice-Presidents from among the members of the Commission (other than the High Representative), he can resign Commissioners since they are individually responsible to him. Finally the President has an important role as representative. He represents the Commission at meetings involving the heads of Government and must account to other institutions when there is questioning of the general conduct of the institution or a particular issue raises broader questions. In the current Commission, there are forty Directorates-General (DGs) divided into four groups: policies, external relations, general services and internal services. The majority of the Commission employees work for the DGs. DGs in the Commission are compared to Ministers in a national government. Even though DGs’ work for Commissioners their responsibilities are to the Commission. The work inside the DG focuses on the development of programmes, administration of Community funding and bringing different public and private actors together. You can see the Cabinet as being between the College of Commissioners, representing the political part of the Commission, and the DGs representing the administrative part of the Commission. A Cabinet is composed of seven to eight officials and is appointed by the President. Each Cabinet is the office of a Commissioner and is a line between Commissioners and DGs allowing cooperation between them and helping Commissioner with formulating priorities and policies. They keep Commissioners informed of other happenings in the Commission and help prepare weekly meetings for the College of Commissioners in combination with other Cabinets The powers of the Commission can be broadly explained and interpreted, but the main points can be narrowed down to four specific points: legislative powers, agenda and budget planning, executive powers and supervisory powers. Legislative power as to making sure that the rules in Treaties are being complied with and determining how EU nationals may stay in other States after they have worked there. The Commission is also responsible the budget planning for each year and the making of the agenda. The Commission has executive powers responsible for collecting the revenue for the EU, coordinating the spending of the EU and administering the EU aid to third countries. The Commission has supervisory powers to monitor the compliance of the Member States to the rules of the Union. Does the Commission have â€Å"a vocation to further the interest of the Community as a whole? † I believe it does, by looking at its responsibilities in the Union itself proves this. And if you look at the statement made by the Court of Justice where it says that â€Å"Commissioners are required to ensure that the general interest of the European Union precedes at all times over national and personal interest†. In which I understand that a Commissions’ work should be emphasized on the whole Community (EU) instead of just one State Member.

How far are you given the impression that Lady Macbeth is merely a “fiend like queen”? Essay

Malcolm calls Lady Macbeth a â€Å"fiend like queen† as he thought of her as witch-like. Lady Macbeth was based on a real person, although no one really knew who she was so Shakespeare made up her personality and character. Elizabethans believed in magic and witchcraft and they often accused witches for anything bad that happened and many witches were put to death. Fiends and witches were often frowned upon, but Elizabethans genuinely believed that witchcraft was true and so were often scared of witches and fiends as they did not know and so feared what they might do. A fiend is thought to behave in a scheming manner, they often cover up their evilness and plan nasty events that they then deny or act innocent about later on. In Act one scene 5, Lady Macbeth receives a letter from her husband informing her of his success in a battle and the witches’ prophecies. After reading the letter she is worried that Macbeth is too soft a person to be able to take the crown and is determined to assist him through the ‘valour of my tongue’. When she hears a message that the King Duncan will be staying in their castle overnight, she decides that she needs to take action so that Macbeth can be king. She exults and invokes demonic spirits to harden her resolve and to destroy any weakness of pity. Lady Macbeth is already prepared for the death of Duncan and her resolution is absolute. Macbeth’s seed of ambition is catalysed by his â€Å"fiend like† wife Lady Macbeth, she utilises his weak mental power and deploys manipulative techniques to make him succumb to her plan of regicide, she says â€Å"Look like the innocent flower but be the serpent under it† (Act 1 sc 5 line 62). The serpentine imagery used here by Shakespeare shows Macbeth to be like an â€Å"innocent flower† and Lady Macbeth is seen as very fiend like and as the â€Å"serpent under it†. Macbeth decides to stand up for himself against her, â€Å"we will have no further in this business † (Act 1 sc 5 line 50†²), however, Lady Macbeth coerces him into complying with her plan showing Macbeth to be the weaker one. Lady Macbeth is seen as more dominant and in control than him, she has power over him and role reversal appears in this scene. Macbeth’s weak mental power lets him down as Lady Macbeth takes advantage and overpowers him. In this scene, Lady Macbeth appears ruthless, totally committed and is willing to put in every effort to strive for the greater glory of her husband. She fears that Macbeth will let her down as he is too kind to murder â€Å"I fear thy nature, it is too full o’th’milk of human kindness† (act 1 sc 5 line 14). She sees his tendency to speculate and think round problems as a crucial weakness. There is an element of her attitude strongly reminiscent of the witches â€Å"that I may pour my spirits in thine ear†(Act 1 sc 5 line 24), she wishes to alter his character. She invokes the spirits of evil to â€Å"defeminise† her, â€Å"dehumanise† her and for darkness to hide her planned action. Lady Macbeth makes Macbeth feel like a coward and questions his masculinity and does all she can to persuade Macbeth to kill duncan, she threatens him by saying that she will not love him anymore if he does not do it and tells him that it will be very easy, they will not get caught and that there are no risks. She succeeds as he is convinced and does go through with it. Their traditional roles are reversed in this scene, as she is a very dominant and strong person whereas he seems vulnerable, weaker and more caring. She is very unfeminine which may be due to a manly upbringing or the fact that she is childless. She seems very unnatural as a woman as it was always the woman’s duty to have children and to care and look after them. She bullies Macbeth into it by saying that he is not a man and that he is not strong enough to go through with it. The language Shakespeare uses gives her speech a special urgency and determination as she uses many imperatives e.g. fill, come etc. When Macbeth appears, there is little trace of endearment from her and she forces him to see himself in terms of her plan for power. There is drastic brevity in her language here â€Å"he that’s coming must be provided for† (Act 1 sc 5 line 64) and she addresses him as he had been addressed by the witches. Lady Macbeth immediately understands the full implications of Macbeth’s letter and her response is direct and uncompromising. She wants Macbeth to be what he has promised. No niceties of conscience or loyalty seem to assail her, and it is noticeable how she overwhelms her husband when he appears. In act 1 scene 7, Lady Macbeth’s fiend-like and pernicious personality is clearly shown. She completely manipulates Macbeth, she uses both her femininity and her innocence as potent persuasive techniques when she asks the question â€Å"what beast was’t then That made you break this enterprise to me?†(Act 1 scene 7 line 46). The fact that Lady Macbeth uses a feminine tone and utilises her innocent position here, surely shows her to be fiend-like. This onslaught of manipulation is drawn to a conclusion when Lady Macbeth gives a malicious statement saying â€Å"I would while the babe was still smiling in my face have plucked my nipple from his boneless gums and dashed his brains out had I so sworn as you have done this† (Act 1 sc 7 line 55). This fiend like speech completely defies the sacred bond between mother and child, it also in concludes a conversation in which Macbeth’s position is changed from â€Å"we will proceed no further† (Act 1 sc 7 line 31) to â€Å"If we should fail† (Act 1 sc 7 line 59) in just twenty seven lines. This array of persuasive manipulative techniques is so effective it single handedly overwhelms Macbeth and long term is the catalyst for his downfall, thus showing Lady Macbeth’s cold blooded nature and fiend like personality. In act 2 scene 2, Lady Macbeth seems more uncertain, she is nervous about the whole situation as she waits, stimulated by wine having dragged out Duncan’ servants, for the return of her husband and the completion of the murder. Macbeth is almost out of his mind as it verges on hysteria, he is unable to distance himself from the scene in Duncan’s room. His wife who, seizing control of the situation, finds that she has to take the daggers back as Macbeth has removed them. She rebukes him. He is not able to return to the scene of the crime, as his state of mind is so bad. The extreme tension is communicated to the audience and Shakespeare does this well by the abrupt changes of direction in the speech of characters, the interruptions â€Å"knock [within]†, the sudden noises, â€Å"[an owl shrieks]†, the questions and the exclamations â€Å"Who’s there? What ho?† and â€Å"Murder!†. A knocking sound is heard and Lady Macbeth leads Macbeth out to wash the blood off his hands. The audience feels trapped in Macbeth’s anguish and, like Lady Macbeth, we struggle to feel in control of the situation. The fact that Lady Macbeth needed some alcohol beforehand shows the audience that she is not as tough and as full as courage and she makes out to be. She masterfully takes the daggers back. Lady Macbeth, despite some nervous apprehension, is how she was made out to be in Act 1 scene 5 as she is bold, exultant and boasts about managing to drug the guards, she seems in complete control of her and her husband – who deals with the situation very badly. She says that she would have been able to commit the murder herself if it wasn’t for the fact that Duncan was sleeping which reminded her of her father. It is clear that she was very close to her father maybe causing her to have some masculine qualities about her. Her readiness of mind and strength of purpose compensates for the way Macbeth behaves and fails to do what was asked of him. This remorse shown by Macbeth does demonstrate his still active conscience however, it is quelled by Lady Macbeth when she says â€Å"These deeds must not be thought after it will make us mad†(act 2 scene 2 line 67). This realistic statement means Macbeth cannot now emancipate him from this downward cycle he has embarked on the road to ultimate failure and now must succumb to his ambition. It is ironic that Lady Macbeth imagines that washing the blood of ones hands will free the guilt that is in ones mind, however, it is she who finally is able to come to terms with this theory and is unable to wash her hands clean. Her harsh comment towards Macbeth â€Å"infirm of purpose!† comes back to haunt her, as he strengthens in evil resolve, she becomes madly suicidal – anticipated in her dismissive comment â€Å"so, it will make us mad†. In Act 2 scene 3, the news is discussed. Lady Macbeth faints, and it is not clear why she appears to do so. Women in that day knew how to faint very well at exactly the right time in order to get out of an unpleasant situation, such as when a male expressed a vulgarity in her presence, people would not necessarily believe that her faint was more than just a public gesture. Another way of looking at it is that Macbeth had just made a big mistake, and in order to help him by distracting the attention away from him onto her, she faints. However, she may have fainted due to the stress and strain of the situation, so she might have not intended to do it. In Act 3 scene 2, Lady Macbeth realizes that the plan for satisfaction that her and Macbeth sought had not been achieved. She becomes less and less fiend- like due to her conscience â€Å"haunting† her, she even goes as far as saying â€Å"here’s the smell of blood still, not all the perfumes of Arabia will sweeten this little hand†. Shakespeare uses blood imagery to show how her conscience has taken her over. Like Macbeth, she cannot emancipate herself from this downward spiral and lacks the fiendish, dominant personality that we first saw of her. She tries to enter into her husband’s obsessive involvement while, at the same time, trying to reassure him and urge him to be cheerful. Macbeth is tormented, his thoughts fixed on banquo and he imagines banquo’s face often. He hints at black deeds to come but won’t tell Lady Macbeth about them. As he does not tell his â€Å"dearest partner of greatness† about his thoughts and plans, he is now in control ,he says â€Å"be innocent to the knowledge dearest chuck† (Act 3 sc 2 line 45) and she herself feels isolated. He grows stronger â€Å"things bad begun make strong themselves by ill†. He is brooding on the crimes committed and on the crimes he intends to commit (â€Å"oh full of scorpions in my mind†) – and inures himself to doing evil. The situation has changed, Lady Macbeth’s futile presence in conversation shows she is a shadow of her former self and is now no longer fiend-like. She has lost control rapidly and will only take control once more, at the banquet and then she will be overwhelmed by remorse for the tide of evil she has helped unleash, this leads to her madness and causes her to commit suicide. Their roles have reversed once more. In act 3 scene 4, As Macbeth and Lady Macbeth are welcoming the guests to the feast, one of the murderers arrives and tells Macbeth of the death of Banquo and the escape of Fleance. Macbeth turns back to the table and comments on Banquo’s absence. Banquo’s ghost enters and occupies Macbeth’s place; he is visible only to Macbeth. Lady Macbeth tries to calm him and keep control of the situation, but after the ghost has gone, he seems to be recovering. Suddenly when Macbeth mentions his name again – Banquo appears again and Macbeth is helpless. After the ghost has gone, Lady Macbeth brings the feast to a hurried end. He informs her that he intends to visit the witches and press on with eliminating all opposition. This is the last appearance of a sane Lady Macbeth. Her iron self control, loyalty to her husband, organising skill, apparent callousness – all evident in this scene are all qualities in which she possesses, however, she soon pays dearly for t hem. The strain on Lady Macbeth is evident. Although Macbeth has been terrified, by the end of the scene he seems casual in his attitude to what has happened â€Å"we are yet but young in deed† suggests that this mere blip will soon pass. She, however, has had to use all her resources and wit to contain all the potential damage of exposure. This part in the play is where the full enjoyment of majesty could be entertained; Lady Macbeth is on her throne, surrounded by subjects. Yet this, through Macbeth’s actions becomes a hollow and empty event, lacking any dignity or regal significance. Her mind then does begin to question of what it has accomplished. Macbeth no longer talks of we but of himself alone: â€Å"For mine good/ all causes shall give away†. In act 5 scene 1, in Dusinane castle a doctor and Lady Macbeth’s lady in waiting are watching to see if Lady Macbeth walks in her sleep as her servant has reported to the doctor. She enters and begins to rub her hands as if struggling to clean them and before she departs she refers to the deaths of Duncan, Macduff’s wife and Banquo. The doctor confesses that he is incapable of dealing with such cases. This scene shows her carefully contrived mask has slipped. In her sleepwalking she reveals the guilt and anxieties by which she is tortured. Particularly she re-enacts the first murder scene. Now, alone, her loyalty to her husband remains intact; only once does she reproach him, â€Å"‘no more o’ that; you mar all with this starting†. Her behavior is revealing and moving. She has given all and now her present is overwhelmed by the past. â€Å"What’s done cannot be undone†. The clear mental breakdown of Lady Macbeth is deeply affecting. As with guilt, Lady Macbeth has an obsession with the past. It was Lady Macbeth who said, â€Å"what’s done is done†, thus suggesting that it would no longer be of concern. Here, despite all her courage and ambition and strength of purpose, all that has been â€Å"done † is not past but present – and ever present in her mind. Ironically the physical symptoms of her guilt include the forlorn hope of washing her hands clean. This links to her statement â€Å"a little water washes our hands clean of this deed†. Most of this play is written in blank verse but the appearance of Lady Macbeth in this scene is an exception. Before and particularly in the first 2 acts, Lady Macbeth’s speech had been blazing and fiery blank verse – the strong rhythms affecting her strong grasp on reality, and her determination. Now she speaks in prose, choppy abrupt and lurching from one incident to another. This represents her breakdown; the language is breaking down under the strain she is under. It is therefore not surprising that she commits suicide – she can no longer hold it together and on death language disappears altogether. This is the last scene where Lady Macbeth is present and Shakespeare, it appears, put this scene in to show the audience how vulnerable and weak she really is. The audience get a very different view of her in this scene than that of Act 1 scene 5, the final feeling is to feel sorry for her and to not base her on her fiend like personality, but on the vulnerable one instead. If this scene was left out, the audience would remember Lady Macbeth as being cold blooded and fiendish, this part of the play shows her weak, powerless side and it shows that she hides her true feelings. The phrase that Shakespeare uses to describe Lady Macbeth – as merely a â€Å"fiend-like queen† is a completely biased and partisan comment. The fact that at the end of the play Lady Macbeth commits suicide, makes too unfair to deploy such a critical description. It shows that Shakespeare did not want Lady Macbeth to seem just as a â€Å"fiend like queen† but as a person with other redeeming features and with other emotions and feelings. As the play continues, the strong dominant character we once saw eventually embers out and she eventually commits suicide, however at this point she is not at all influential to Macbeth. Her un-fiend like legacy is summed up by Macbeth’s cold statement saying â€Å"she should have did here after there would have been time for a word†. This is an un-fiend-like end and it would not be expected if she was judged on her previous actions. It also shows that Lady Macbeth’s conscience is far too strong for her to be labelled as malevolent and fiend-like. It is obvious that the sleep walking scene was put in to show a less evil and fiendish side to her, that she is perhaps weaker than her husband which seems absurd to suggest when we see her in Act 1 scene 5, and to show that she hides her true feelings. Lady Macbeth is also so intricate that it is hard to describe her whole character in one line so Shakespeare uses the metaphor ‘fiend like queen’.