The Tragedy of Macbeth by William Shakespeare Compiled by Mrs. D. Wittmann
“Shakespearean Sonnet” by R. S. Gwynn (With a first line taken from the tv listings) A man is haunted by his father's ghost. A boy and girl love while their families fight. A Scottish king is murdered by his host. Two couples get lost on a summer night. A hunchback murders all who block his way. A ruler's rivals plot against his life. A fat man and a prince make rebels pay. A noble Moor has doubts about his wife. An English king decides to conquer France. A duke learns that his best friend is a she. A forest sets the scene for this romance. An old man and his daughters disagree. A Roman leader makes a big mistake. A sexy queen is bitten by a snake.
“Shakespearean Sonnet” by R. S. Gwynn (With a first line taken from the tv listings) A man is haunted by his father's ghost. A boy and girl love while their families fight. A Scottish king is murdered by his host. Two couples get lost on a summer night. A hunchback murders all who block his way. A ruler's rivals plot against his life. A fat man and a prince make rebels pay. A noble Moor has doubts about his wife. An English king decides to conquer France. A duke learns that his best friend is a she. A forest sets the scene for this romance. An old man and his daughters disagree. A Roman leader makes a big mistake. A sexy queen is bitten by a snake. A man is haunted by his father’s ghost. Boy meets girl while feuding families fight. A Scottish king is murdered by his host. Two couples get lost on a summer night. A hunchback murders all who block his way. A ruler’s rivals plot against his life. A fat man and a prince make rebels pay. A noble Moor has doubts about his wife. An English king decides to conquer France. A duke learns that his best friend is a she. A forest sets the scene for this romance. An old man and his daughters disagree. A Roman leader makes a big mistake. A sexy queen is bitten by a snake.
Hamlet Romeo and Juliet Macbeth A Midsummer Night's Dream Richard III Richard II Henry IV Part I Othello Henry V Twelfth Night As You Like It King Lear Julius Caesar Antony and Cleopatra
Macbeth Overview Category: Tragedy Period written: 1605-1606 First known performance: 1611 (Globe Theatre, London) Number of lines: 2477 Number of scenes: 29 Total Characters: 42 Prose/Verse: 8%/92% Possible Sources: Gesta Romanorum (Anonymous, c. 1290–1310), An Alphabet of Tales (Etienne de Besancon, 1294), The Chronicle of Andrew Wyntoun (Andrew Wyntoun, 1420), Medea (Seneca, 1566), Agamemnon (Seneca, 1566), The Chronicles of England, Scotland, and Ireland (Raphael Holinshed, 1577–1587), De Origine, Moribus, et Rebus Gestis Scotorum (John Leslie, 1578), Rerum Scoticarum Historia (George Buchanan, 1582), A Defensative against the Poyson of Supposed Prophecies (Henry Howard, 1583), Thomas of Reading (Thomas Deloney, 1600), A Continuance of Albions England (William Warner, 1606), Vertumnus Sive Annus Recurrents (Matthew Gwinn, 1607) Copyright ©2005-2017 by PlayShakespeare.com. Visit http://www.playshakespeare.com/license for details.
BIG IDEAS AND ENDURING UNDERSTANDINGS CHARACTER Characters in literature allow readers to study and explore a range of values, beliefs, assumptions, biases, and cultural norms represented by those characters. SETTING Setting and the details associated with it not only depict a time and place, but also convey values associated with that setting. STRUCTURE The arrangement of the parts and sections of a text, the relationship of the parts to each other, and the sequence in which the text reveals information are all structural choices made by a writer that contribute to the reader’s interpretation of a text. NARRATION A narrator’s or speaker’s perspective controls the details and emphases that affect how readers experience and interpret a text. FIGURATIVE LANGUAGE Comparisons, representations, and associations shift meaning from the literal to the figurative and invite readers to interpret a text. LITERARY ARGUMENTATION Readers establish and communicate their interpretations of literature through arguments supported by textual evidence.
Main Characters and Their Lines Macbeth, General in the King's Army , Thane of Glamis: 719 lines Lady Macbeth: 265 lines Banquo, General in the King's Army, Thane of Lochaber: 115 lines Macduff, Nobleman, Thane of Fife: 181 lines Duncan, King of Scotland: 70 lines Three witches: 83; 48; 48 lines Ross, Nobleman of Scotland: 141 lines Malcolm, Duncan's eldest son: 215 lines Donalbain, Duncan's younger son: 12 lines Porter: 46 lines
LEVELS OF LANGUAGE Shakespeare’s plays were written to be played in daylight on an open air stage. To give a range of intensity and focus, whereas in modern times a director might use lighting, and a film director would use different shots, such as close up and long shots, Shakespeare uses different styles of language. The levels are (in increasing levels of intensity): Prose – most like normal speech, it is often used for comedy characters and moments of relaxed talk. Blank verse – iambic pentameter without rhyme, used for the bulk of a play and lines are easier to remember. Rhymed verse – also iambic pentameter, but with the addition of rhyme. Song – used to give texture and variety, rhymed but not usually iambic.
SHAKESPEARE'S VOCABULARY The average educated English-speaking person today has a vocabulary of 5,000-15,000 words. Shakespeare's vocabulary is almost 30,000. We are told that he used 29,066 different words in his works and 884,647 words altogether. Shakespeare invented many new words - over 1,700 in all. Word Games: The use of Bawdy, Puns, and Malapropisms Bawdy: naughty jokes Puns: play on words Malapropism: having comic characters use words incorrectly - "He was a man of great statue" (should be stature) - "I desire some confidence with you" (should be conference)
couplet familiars pathetic fallacy humours Great Chain of Being paradox catastrophe blank verse tragedy bawdy pun catharsis malapropism hamartia encroachment thane hubris nemesis equivocation soliloquy aside
Terms to Know
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WILLIAM SHAKESPEARE Life and Times William Shakespeare is considered by many to be the greatest playwright of all time, although many facts about his life remain shrouded in mystery. He lived during the reigns of Elizabeth I and James I and coined hundreds of new words and phrases that we still use today.
William Shakespeare In 2000, he was named as the most significant human being in the previous thousand years of British history. He is quoted endlessly. His plays remain the single largest contribution to contemporary London theatre; they are also filmed and televised at frequent intervals.
Duncan and Macbeth 1018 Malcolm II of Scotland defeats the Northumbrians at the Battle of Carham In 1005, three kings ruled in the area of modern Scotland: Alba in the north, Lothian in the south-east and Strathclyde in the south-west. These three parts were brought together by Malcolm II, king of Alba, who convincingly defeated the army of Earl Uhtred of Northumbria at the Battle of Carham. Malcolm then annexed Lothian from England and became the first king of a united Scotland, with boundaries approximately the same as the present day. He ruled until his death in 1034. The death of Malcolm II in 1034 causes a succession crisis in the MacAlpin dynasty and a civil war in Scotland. He has only a daughter, Bethoc, whose son Duncan succeeds to the throne, but Duncan is challenged by Macbeth, also descended in the female line from the royal family.
1040 Macbeth defeats Duncan I of Scotland and makes himself king Contrary to Shakespeare's version of the story, Duncan is a young man - probably younger than Macbeth - and Macbeth may have an equally good claim to the throne (there is no precedent in the dynasty for inheritance through a female line). Nor does Macbeth murder Duncan in his bed; he kills him in battle near Elgin in 1040. The rebel Macbeth's victory over Duncan was followed by a long and relatively successful 17 year reign, which seems to have born little relation to the events portrayed in William Shakespeare's play 'Macbeth'. Macbeth and his wife had a reputation for piety, and in 1050 he went on pilgrimage to Rome. In 1054, Macbeth was ousted by Duncan's son Malcolm III (1054-1093). In August 1057, the two eventually met again in battle in Lumphanan. It is here that Macbeth was gravely injured by Malcolm and, as a result, died on August 15, 1057. He was succeeded by his stepson Lulach, who was murdered by Malcolm less than a year later.
The Real Macbeth Macbeth was a king of the Scots whose rule was marked by efficient government and the promotion of Christianity, but who is best known as the murderer and usurper in William Shakespeare's tragedy. Shakespeare's Macbeth bears little resemblance to the real 11th century Scottish king Shakespeare's plot is only partly based on fact. Macbeth was a real eleventh century Scottish king, but the historical Macbeth, who had a valid right to the throne, reigned capably in Scotland from 1040 till 1057. He succeeded Duncan, whom he had defeated in battle, but the real Duncan was a weak man, around Macbeth's own age, not the respected elderly figure we meet in the play. In reality, Macbeth was succeeded by his own stepson, not by Duncan's son, Malcolm, who came to the throne later. The Stuart kings claimed descent from Banquo, but Banquo is a mythical figure who never really existed. Shakespeare found his version of the story of Macbeth in the Chronicles of Holinshed, a historian of his own time. Holinshed does include a Banquo in his version, but he is also a traitor who assists Macbeth in the murder. As a tribute to the Stuarts, and James in particular, Shakespeare presents Banquo as a wise, noble and regal figure who arouses jealousy in Macbeth as much for his own good qualities as for the promise the witches make to him of founding a dynasty.
The Stone of Destiny The Coronation Stone is a large block of red sandstone, with chisel marks on top, thought by some to be the Stone of Destiny. The Stone of Destiny was linked to St. Columba, who was said to have used it as a traveling altar. For centuries Scottish kings sat upon the Stone to be crowned. The Stone was stolen from Scone Abbey in 1296 by the English King Edward I, ‘Hammer of the Scots’, it is unclear if this was the genuine Stone of Destiny. Geologically, it resembles the local Scone sandstone. The Stone was fitted into a wooden seat called St Edward’s Chair, and placed in Westminster Abbey, London. During a resurgence of Scottish nationalism in 1950, four Scots students traveled to London, entered the Abbey in the small hours of Christmas Day and nabbed the Stone from beneath the coronation throne. They dropped it by accident and it broke in two. They loaded the Stone into their car boot and brought it back to Scotland – despite road blocks and police searches.
A futile police hunt for the Stone led to a compromise: it was to be left at Arbroath Abbey, site of the famous Declaration of 1320, draped in a Saltire. The Home Secretary stated that it was not in the public interest to prosecute the four Glasgow University students who had stolen the Stone; Ian Hamilton, Alan Stuart, Gavin Vernon and Kay Matheson. The Stone was returned to Westminster Abbey in time for the coronation of Queen Elizabeth in 1953. On St Andrew’s Day 1996 it was returned to Scotland, but it may be ‘borrowed’ for any future coronations at Westminster. It is now on display, alongside the Honours of Scotland, in Edinburgh Castle.
Shakespeare's sources in the Histories Shakespeare was an omnivorous reader. Often he used several versions of a story in his plots; it seems likely, for example, that before writing Richard III he had read Sir Thomas More's Life of Richard III, and Edward Halle's chronicle The Union of the Two Noble and Illustre Famelies of Lancastre and York (1548), as well as one of his most trusted sources*, Raphael Holinshed's Chronicles of England Scotland, and Ireland (1587). Shakespeare knew his history well, but often he changed the simple facts to suit the medium of the play: time is condensed, battles are combined, characters and actions are modified or created*. Falstaff was not a historical character; Hotspur was really much older than he is portrayed; and characters like Richard III and Joan of Arc bear little resemblance to the figures in modern history books.
Chronicles of England, Scotland, and Ireland Raphael Holinshed published his Chronicles of England, Scotlande, and Irelande in 1577. The second edition, published in 1587, was Shakespeare's primary reference work for most of his histories and many of his other plays, including Macbeth. While in the employ of London printer/publisher Reyner Wolfe (King's Printer in Greek, Latin and Hebrew), Raphael Holinshed began planning the Chronicles that are known by his name, though by several hands. This work formed the first authoritative vernacular and continuous account of the whole of English history. The Historie of Englande was written by Holinshed himself. The Description of Britaine was written by William Harrison. The Historie and Description of Scotlande and the Historie of Irelande were transcriptions or adaptations. The Description of Irelande was written by Richard Stanyhurst and Edmund Campion.
Aristotle’s Ideas about Tragedy Aristotle was one of the greatest philosophers of Ancient Greece. A philosopher looks for ideal forms, and tries to explain the nature of reality. The search for ideal forms led Aristotle to explore many subjects. His analysis of the ideal form of tragic plays became a guideline for later playwrights in Western civilization. For centuries, European playwrights like William Shakespeare tried to write plays that would match the ideals of Aristotle’s model. Drama was not invented by Aristotle. In fact, he used examples from the works of famous Greek playwrights such as Sophocles to illustrate his main ideas. The Greeks believed that tragedy was the highest form of drama, and Aristotle’s ideas about tragedy were based on this belief.
Aristotle’s Definition of Tragedy “A tragedy is the imitation of an action that is serious and also, as having magnitude, complete in itself; in appropriate and pleasurable language; ... in a dramatic rather than narrative form; with incidents arousing pity and fear, wherewith to accomplish a catharsis of these emotions.”
BIG IDEAS AND ENDURING UNDERSTANDINGS STRUCTURE The arrangement of the parts and sections of a text, the relationship of the parts to each other, and the sequence in which the text reveals information are all structural choices made by a writer that contribute to the reader’s interpretation of a text.
Macbeth: Written in 1606 Set in 11th Century Scotland As a means of recording the passage of time, the 11th century is the period from 1001 to 1100 in accordance with the Julian calendar in the Common Era. It is important to understand the political context in which it was written, as that is the key to the main theme of the play, which is that excessive ambition will have terrible consequences. Shakespeare was writing for the theatre during the reigns of two monarchs, Queen Elizabeth I and King James I. The plays he wrote during the reign of Queen Elizabeth, such as A Midsummer Night's Dream, are often seen to embody the generally happy, confident and optimistic mood of the Elizabethans. However, those he wrote during James's reign, such as Macbeth and Hamlet, are darker and more cynical, reflecting the insecurities of the Jacobean period. Macbeth was written the year after the Gunpowder Plot of 1605. New feature film http://www.ourwindsor.ca/opinion-story/5641551-palme-d-or-contender-macbeth-premieres-to-acclaim-at-cannes/ Shakespeare in the Ruff http://www.thestar.com/entertainment/stage/2015/08/14/shakespeare-in-the-ruff-combines-macbeth-outdoor-theatre-and-puppets.html
To be hanged, drawn, and quartered It has to be one of the most sadistic forms of execution ever invented, which it was in 1241, specifically to punish William Maurice who had been convicted of piracy. The full sentence passed upon those convicted of High Treason up to 1870 was as follows: “That you be drawn on a hurdle to the place of execution where you shall be hanged by the neck and being alive cut down, your privy members shall be cut off and your bowels taken out and burned before you, your head severed from your body and your body divided into four quarters to be disposed of at the King’s pleasure.”
It should properly be called drawing, hanging, and quartering as the condemned was drawn to the place of execution, tied to the hurdle or sledge which was dragged by a horse. This is confirmed by contemporary law books. Drawing does not refer to the removal of the intestines in this context and remained part of the sentence for High Treason long after the disembowelling and dismemberment had ceased. The hurdle was similar to a piece of fencing made from thin branches interwoven to form a panel to which the prisoner was tied to be dragged behind a horse to the place of execution. Once there, the prisoner(s) were hanged in the normal way (i.e. without a drop to ensure that the neck was not broken) but cut down whilst still conscious. The penis and testicles were cut off and the stomach was slit open. The intestines and heart were removed and burned before them. The other organs were torn out and finally the head was cut off and the body divided into four quarters. The head and quarters were parboiled to prevent them rotting too quickly and then displayed upon the city gates as a grim warning to all. At some point in this agonising process, the prisoner inevitably died of strangulation and/or haemorrhage and/or shock and damage to vital organs.
The Curse of Macbeth There is a school of thought that suggests that the play has indeed been cursed. This theory espouses that genuine witches angry at Shakespeare's use of real spells and incantations placed a curse on the play. Some believe that the notion of the curse was created in theatre companies. This is principally because in the event of a company not being able to perform the intended play, due to injury or illness, Macbeth was often nominated as the substitute play. Macbeth was chosen because it is a comparatively short play and has a relatively small cast.; however, it is believed that this earned it a reputation as an unlucky play. It is believed that the bad luck associated with Macbeth began with the very first performance of the play, as the boy who was cast as Lady Macbeth was struck by a mysterious illness and died suddenly. Consequently, it is rumoured that Shakespeare had to take on the role himself.
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The Divine Right of Kings Vice-Regent: - appointed to rule - acting in place of God Vice- Gerent: - exercises power and justice - wielding the power of God
Ambition and Restraint 1. What drives individuals to succeed? 2. What are the benefits and risks of ambition? 3. What are some conditions that lead to rebellion against the status quo? 4. When is violence ever justified? 5. How can speeches inspire people to act for change?
Ambition is the fuel that drives us forward. Agree or Disagree? What are the dangers of excessive ambition? What is lost or gained in the quest for success?
Consider your own ambitions at this point in your life. What do you wish to achieve this year? What do you wish to achieve in the next five years? When you are much older and perhaps getting read to retire, what accomplishments would you hope to have by that point in your career? After considering your own ambitions, discuss what lengths you are prepared to go to in order to achieve those ambitions and what limitations or constraints you will place on yourself as you work to achieve your aspirations.
Succession to the Throne Law of Tanistry - Succession by Sword The kingship should descend to the eldest and most worthy of the same blood, who well could be a brother, nephew, or cousin. This system of succession left the headship open to the ambitious and was a frequent source of strife both in families and between the clans. In many ways, the Law of Tanistry is at the core of Macbeth. Though never mentioned directly in the play, the practice would have been well understood, if perhaps not by the contemporary groundlings, then certainly by the most important person in the audience: James I who abolished the practice by legal decree early in his reign. Law of Primogeniture - Succession by Law The principle that only the eldest son was eligible to be king, the law of primogeniture, which was how they did things in civilized England. James I brings this law of succession to Scotland.
reg·i·cide ˈrejəˌsīd/ noun: regicide the action of killing a king. a person who kills or takes part in killing a king par·ri·cide ˈparəˌsīd/ noun: parricide the killing of a parent or other near relative a person who commits parricide http://www.thestar.com/news/crime/2015/12/19/richmond-hill-man-charged-with-murdering-father-but-police-wont-name-them.html
TWOS "Double, Double": Duality in Macbeth It is very difficult at times in the play to know what is real and what only appears to be real. There is a great deal of duplicity, deceit misunderstanding in the play and much of it is deliberate. In many ways Macbeth is about the conflict between illusion and reality. The play’s most obvious example of the disparity between what is real and what is not is provided by its supernatural elements. We immediately are confronted with the notion of deception when we meet the witches. These are duplicitous creatures who speak in paradox, “when the battle’s lost and won,” lesser than Macbeth yet greater” etc. They cast spells, and appear and disappear at will. Their incantation, “fair is foul and foul is fair” begins the play, is echoed by Macbeth and hovers thickly throughout. They are “equivocating fiends that lie like truth”. PARADOX AND EQUIVOCATION
The Use of Paradoxical and Equivocal Language The witches speak in paradoxes and equivocations Paradox: ("or wrong at the same time") A statement that seems to be contradictory but that might be true when considered from a particular perspective. In literature, paradox is not just a clever statement or use of words. Paradox has serious implication because it makes statements that often summarize the major themes of the work in which they are used. Equivocation: ("to call by the same name") A statement that lends itself to multiple interpretations, often with the deliberate intent to deceive. Alias: Doublespeak Type: Ambiguity
THREES Three has been recognized as the first sacred number, the number of God, the number of the Western monotheistic religions, the number of divine order in the world. However, as I will show in this and the next essay, Shakespeare used the language and rhythm of "threes" in Macbeth 1.1. to turn the concept of threes on its head. Rather than being a sign that all is right with the world, the "threes" in the conduct and mouth of the Weird Sisters show the moral confusion of the universe. We are prepared by Shakespeare, then, to enter into a world of confusion and pain, of appearance v. reality, where an ordered world becomes a disordered world, though often retaining the patina of order.
Witches: The Instruments of Darkness In Shakespeare’s time people believed in witches. They were people who had made a pact with the Devil in exchange for supernatural powers. If your cow was ill, it was easy to decide it had been cursed. If there was plague in your village, it was because of a witch. If the beans didn’t grow, it was because of a witch. Witches might have a familiar – a pet, or a toad, or a bird – which was supposed to be a demon advisor. People accused of being witches tended to be old, poor, single women. It is at this time that the idea of witches riding around on broomsticks (a common household implement in Elizabethan England) becomes popular. There are lots of ways to test for a witch. A common way was to use a ducking stool, or just to tie them up, and duck the accused under water in a pond or river. If she floated, she was a witch. If she didn’t, she was innocent. She probably drowned. Anyone who floated was then burnt at the stake. It was legal to kill witches because of the Witchcraft Act passed in 1563, which set out steps to take against witches who used spirits to kill people. King James I became king in 1603. He was particularly superstitious about witches and even wrote a book on the subject. Shakespeare wrote Macbeth especially to appeal to James – it has witches and is set in Scotland, where he was already king. The three witches in Macbeth manipulate the characters into disaster, and cast spells to destroy lives. Other magic beings, the fairies, appear in A Midsummer Night’s Dream. Elizabethans thought fairies played tricks on innocent people – just as they do in the play.
Monty Python: She's a Witch The film technically takes place in 932 A.D. King Arthur (late 5th century to early 6th century - Dark/Medieval Ages - if he existed at all) http://www.history.co.uk/shows/king-arthurs-round-table-revealed/articles/the-real-king-arthur
BIG IDEAS AND ENDURING UNDERSTANDINGS SETTING Setting and the details associated with it not only depict a time and place, but also convey values associated with that setting.
A “translation” of Shakespeare’s Most Common Stage Directions Alarum: Indication of the coming of a battle – a bugle call to arms Aside: Words an actor speaks to the audience which other actors on the stage cannot hear. Enter: Indicates the entrance on to the stage of a character or characters. Epilogue: Last words after the conclusion of a play. Excursion: Indication that a military attack is taking place. Exeunt: Indicates the departure of two or more characters from the stage. Exit: Indicates the departure of a character from the stage.
Flourish: Music usually introducing the entrance or exit of a king or another important person. It’s usually a short trumpet piece. Hautboys: Indicates that the characters entering are playing hautboys (oh bwah), which are Elizabethan oboes. Prologue: Introduction of a play where someone comes on and tells the audience something important about the play that’s about to be performed. Sennet: Trumpet flourish to introduce the entrance of a character, such as a king. Solus: Indicates that a character is alone on the stage. Torches: Indicates that entering characters are carrying lit torches. Within: Indicates that a person speaking or being spoken to is somewhere offstage.
CHARACTERS DUNCAN, King of Scotland MALCOLM, eldest son DONALBAIN, second son MACBETH, Thane of Glamis LADY MACBETH, wife BANQUO, Thane of Lochaber (loch AH berr) FLEANCE, young son MACDUFF, Thane of Fife LADY MACDUFF, wife Three witches and Hecate (Queen of the Witches) Porter Lennox, Ross, Menteith, Angus, Caithness, noblemen of Scotland
BIG IDEAS AND ENDURING UNDERSTANDINGS CHARACTER Characters in literature allow readers to study and explore a range of values, beliefs, assumptions, biases, and cultural norms represented by those characters.
MOTIFS A motif is a narrative element with symbolic meaning that repeats throughout a work of literature. Motifs may come in the form of reoccurring imagery, language, structure, or contrasts. In drama, motifs may also take the form of repeated music, visual components, or physical movements. Motifs strengthen a story by adding images and ideas to the theme present throughout the narrative. The word motif (pronounced moh-teef) is derived from the French phrase motif meaning “pattern.”
Motifs in Macbeth Numbers Blood and bloodshed Water Infants and Children Clothes (borrow'd robes, strange garments) Sleep (Insomnia) Order and Disorder Darkness (stars and night) Visions The Unnatural (supernatural) Weather Animals Gender
Annotating a Text: Read Actively Reading actively helps you get to know the text better, how it makes its meaning and affects, understand its inner workings, and builds a relationship with that text. 1. Emotional sparks (immediate responses) 2. Figurative Language, Tone, Diction, Syntax, Imagery 3. Patterns and Repetitions (motifs) 4. Turns and Shifts (narration, dialogue) 5. Genre (textual features) 6. Allusions and Connections 7. Questions and Difficulties
Your own copy? Leave traces of your relationship with the text.
A PROLOGUE OF EVIL ACT I SCENE I A desert place. [Thunder and lightning. Enter three Witches] First Witch When shall we three meet again In thunder, lightning, or in rain? Second Witch When the hurlyburly's done When the battle's lost and won. Third Witch That will be ere the set of sun First Witch Where the place? Second Witch Upon the heath. Third Witch There to meet with Macbeth. First Witch I come, graymalkin!, Second Witch Paddock calls Third Witch Anon ALL Fair is foul and foul is fair; Hover through the fog and filthy air. [Exeunt] Group of characters leave the stage.
Act One. Scene Two Macbeth is introduced as the brave man who led King Duncan's forces to victory against the traitorous Macdonwald, Thane of Cawdor, and The King of Norway (King Sweno), in a battle that could have gone either way were it not for Macbeth's leadership. We learn that Macbeth killed Macdonwald himself in battle. King Duncan, overjoyed, decides to make Macbeth his new Thane of Cawdor. The previous Thane of Cawdor will be executed.
THE TWO BATTLES FIRST assault - Macdonwald (supported by Ireland) Macbeth kills Macdonwald: “Till he unseam'd him from the nave to the chaps,/ And fix'd his head upon our battlements” (1.2.25-26) SECOND assault King Sweno of Norway is joined by the Thane of Cawdor (of Scotland) King Sweno surrenders and is not allowed to bury his men until he pays ten thousand dollars to the Scots. (1.2 69-72) Thane of Cawdor will be executed (1.2.73-75) Macbeth will gain his title. He now has two titles - Thane of Glamis and Thane of Cawdor. "When the battle's lost and won" (1.1.4). PARADOX Loss of a battle from the perspective of one army but its victory from the perspective of another.
QUOTATION ANALYSIS Act One, Scene Two, Lines 7 - 24 Q1. UNDERSTANDING: Describe the circumstances surrounding the quotation. Include who, what, where, and when. Q2. LANGUAGE: Analysis of effect (how) Select TWO elements of style from the quotation and explain their effect or function. INTEGRATE key words or phrases from the quotation in your answer. You may consider such elements as tone, diction, syntax, figurative language, and imagery. Q3. EXTENDING: Analysis of meaning (why) In a well-argued paragraph, explain how the EXCERPT reveals a theme in the play. You may consider such elements as characters, thoughts, conversations, actions, effects, looks, symbols, motifs, structure, setting, conflict, narration, events, and choices.
A1. The speaker in this quotation is the bloody sergeant speaking with King Duncan. At this point in the play the major players are being introduced. In context, it immediately follows a very short scene 1 and the introduction of the witches who plan to meet Macbeth upon the heath.The sergeant is at King Duncan’s camp reporting news from the battlefield. He is explaining that, at first, victory was doubtful. Macdonwald had the upper hand, but Macbeth charged his way through and killed the rebel.
A2. Shakespeare's use of similes and visual imagery achieves the effect of emphasizing the physicality of the battle. Shakespeare uses a simile (P1) to describe the soldiers. The bloody sergeant describes them “As two spent swimmers, that do cling together” (1.2.8) and continues to use the simile when he describes Macbeth as valor’s favourite carving a path for Macbeth to follow. This effectively demonstrates the physical effort Macbeth uses in order to achieve success in battle. Also, Shakespeare employs visual imagery (P2) throughout the excerpt as Macbeth fights his way to face the slave,”unseams” (1.2.22) him for navel to jaw, and cuts off his head. Visualizing a man being split open and decapitated is grizzly and graphic. Fixing his head upon the battlement further adds to the gruesome scene and clearly demonstrates the physicality in the text. The savagery of the battle is undoubtedly heightened by the language Shakespeare employs to communicate the experience of the battle.
BIG IDEAS AND ENDURING UNDERSTANDINGS FIGURATIVE LANGUAGE Comparisons, representations, and associations shift meaning from the literal to the figurative and invite readers to interpret a text.
Discovering Themes in Literature
A3. Disloyalty and rebellion can lead to violence and tragedy. This theme is first revealed by Macdonwald (P1), a rebel who is battling Scotland under the command of Macbeth, a general in the king’s army. As the two come face to face, Macbeth is victorious as Macdonwald is violently killed. The bloody sergeant explains, “And fix'd his head upon our battlements” (1.2.23). Macdonwald ‘s disloyalty results in his own death clearly exemplifying the theme. This excerpt furthers the theme as this battle is not fought by two men alone (P2). There is an army of foot soldiers on both sides fighting to stay alive and claim victory: “ from the Western Isles /Of kerns and gallowglasses is supplied” (1.2.12-13). Injuries and death are experienced by both armies. Disloyalty and rebellion can lead to violence and tragedy is not only revealed through the two men described by the sergeant, but by all the unnamed soldiers who also took part in this bloody battle.
BIG IDEAS AND ENDURING UNDERSTANDINGS LITERARY ARGUMENTATION Readers establish and communicate their interpretations of literature through arguments supported by textual evidence.
http://www.piquenewsmagazine.com/whistler/richard-iii/Content?oid=2450954
NOT THE FACE! You can hear them shouting it in the horrible mobile-phone footage of the mob killing the wounded, befuddled Muammar Gaddafi: "Not the face, don't touch the face." They weren't feeling sorry for the dying dictator of Libya. They just wanted to make sure that his corpse was recognizable. A lot of people would not feel safe, and some other people would not give up fighting for him, until they were sure he was really dead. They probably yelled the same thing while they were killing King Richard III on a battlefield near Leicester in 1485. He had only been on the English throne for two years when Henry Tudor came back from exile and overthrew him in the Battle of Bosworth, but it was essential that many witnesses saw and recognized his corpse. Otherwise there would be endless rebels claiming to be Richard and trying to overthrow the new king.
The Witches Described Banquo.How far is't call'd to Forres? What are these So wither'd and so wild in their attire, That look not like the inhabitants o' the earth, And yet are on't? Live you? or are you aught That man may question? You seem to understand me, By each at once her chappy finger laying Upon her skinny lips: you should be women, And yet your beards forbid me to interpret That you are so. (1.3.40-48) Sketch the FACE of one of the witches, as described above.
The weird sisters, hand in hand, Posters of the sea and land, Thus do go about, about: Thrice to thine and thrice to mine And thrice again, to make up nine. Peace! the charm's wound. (1.3.33-38)
THE PROPHECIES Act 1 Scene 3 MACBETH First Witch All hail, Macbeth! hail to thee, thane of Glamis! Second Witch All hail, Macbeth, hail to thee, thane of Cawdor! Third Witch All hail, Macbeth, thou shalt be king hereafter! BANQUO First Witch Lesser than Macbeth, and greater. Second Witch Not so happy, yet much happier. Third Witch Thou shalt get kings, though thou be none: Prophesy: to reveal or foretell (something, especially a future event) by or as if by divine inspiration
Banquo's Warning Banquo.That trusted home Might yet enkindle you unto the crown, Besides the thane of Cawdor. But 'tis strange: And oftentimes, to win us to our harm, The instruments of darkness tell us truths, Win us with honest trifles, to betray's In deepest consequence. Cousins, a word, I pray you. (1.3.128-135) What is his warning?
King James of Scotland was deeply concerned about the threat posed by witches. He believed that a group of witches had tried to kill him by drowning him while he was at sea - a curse echoed here by the First Witch (1.3.13-16). During his reign thousands of people in Scotland were put on trial for witchcraft. In 1604, under his rule as king, witchcraft was made a capital offence, meaning that anyone who was found guilty of being a witch could be executed. When Shakespeare wrote Macbeth in 1606, then, he knew that his audience would have felt a mixture of fear and fascination for the three ‘weird sisters’, their imaginations captivated by the mysterious meeting on the desolate heath with which the play begins.
Supernatural Elements in Shakespeare In this media collection, students explore the use of supernatural elements within William Shakespeare’s plays, focusing particularly on Macbeth, Hamlet, and The Tempest. Students examine supernatural beliefs during the 16th and 17th centuries, and they also identify how supernatural elements drive the plot of many of Shakespeare’s plays. http://www.pbslearningmedia.org/resource/shak13.ela.lit.super/supernatural-elements-in-william-shakespear/
King Duncan Names Malcolm as the Next King The king's response from line 27 -- 32 is likening his rewarding of Macbeth to the idea of cultivation: "I have begun to plant thee, and will labor/ To make thee full of growing." Duncan thanks Banquo too, who responds in the farming imagery: "There if I grow,/ The harvest is your own" (1.4. 32-33). The sense of gratitude Duncan feels to both men causes him to weep at line 34. The next thing he does is to announce publicly that his eldest son Malcolm will be his heir to the throne of Scotland. This has a rather curious historical significance, besides being a key point in the plot development. Many kings of Scotland had died unnatural deaths. In large part this was due to the way succession for the crown in Scotland was handled. When the old king died, every male relative in the extended family was technically eligible to ascend the throne.
It was a lot like handing everyone a sword and letting them whale away on each other to see who was left standing. It also meant that any of these potential rulers who didn't like the way the present king was running things felt free to try and take over. What Duncan does here is to try and stop the old manner of succession, called the law of tanistry, and replace it with the principle that only the eldest son was eligible to be king, the law of primogeniture, which was how they did things in civilized England. Furthermore, in a parallel with the English crown prince being named "Prince of Wales," Duncan names Malcolm "Prince of Cumberland" at line 39. This establishes a process of succession by law rather than by sword. This, of course, is Shakespeare's nod to James I who changed the law in Scotland when he became king.
King Duncan's Proclamation Duncan.My plenteous joys, Wanton in fulness, seek to hide themselves In drops of sorrow. Sons, kinsmen, thanes, And you whose places are the nearest, know We will establish our estate upon Our eldest, Malcolm, whom we name hereafter The Prince of Cumberland; which honour must Not unaccompanied invest him only, But signs of nobleness, like stars, shall shine On all deservers. From hence to Inverness, And bind us further to you. (1.4.39-49). Explain the significance of this announcement.
The Letter as a Plot Device SCENE V. Inverness. Macbeth's castle. Enter LADY MACBETH, reading a letter "They met me in the day of success: and I have learned by the perfectest report, they have more in them than mortal knowledge. When I burned in desire to question them further, they made themselves air, into which they vanished. Whiles I stood rapt in the wonder of it, came missives from the king, who all-hailed me 'Thane of Cawdor;' by which title, before, these weird sisters saluted me, and referred me to the coming on of time, with 'Hail, king that shalt be!' This have I thought good to deliver thee, my dearest partner of greatness, that thou mightst not lose the dues of rejoicing, by being ignorant of what greatness is promised thee. Lay it to thy heart, and farewell" (1.5.1-14).
Macbeth and House Of Cards The Epic Power Couple "my dearest partner of greatness" (1.5.10).
Lady Macbeth’s first appearance in the play sets off fireworks for most audiences. Banquo seems to serve as Macbeth’s personified conscience; Lady Macbeth seems to be his free-floating ambition. Put together, the three characters echo the motif of the psychomachia, or the war of the soul, often figured as a man with an angel and a devil sitting on each shoulder.
The King Arrives King Duncan arrives at the castle with his hautboys and torches, Malcolm, Donalbain, Banquo, Lennox, Macduff, Ross, Angus, and various attendants, and is impressed by the Inverness air. Lady Macbeth is the perfect hostess. Macbeth is alone, contemplating the act he is about to commit. He weighs the pros and cons. 1. What are they? 2. Darling - I've changed my mind. How does Lady Macbeth react?
The Soliloquy The word soliloquy is derived from Latin word “solo” which means “to himself” and “loquor” means “I speak” respectively. A soliloquy is a literary device used in drama to reveal the innermost thoughts of a character. It is a great technique used to convey the progress of action of the play by means of expressing a character’s thoughts about a certain character or past, present, or upcoming event while talking to himself without acknowledging the presence of any other person. In Macbeth, they form the "pillars" of the play.
Using soliloquy perhaps more truthfully exposes character than other devices like dialogue Soliloquies allow a character to speak directly to the audience, which becomes the character's confidante. The purpose of any soliloquy is to reveal more about the •thoughts, •feelings, •personality •mindset and •motivations of the central character(s)
QUOTATION ANALYSIS Q1. UNDERSTANDING: Describe the circumstances surrounding the quotation. Include who, what, where, and when. Q2. LANGUAGE: Analysis of effect (how) Select TWO elements of style from the quotation and explain their effect or function. INTEGRATE key words or phrases from the quotation in your answer. You may consider such elements as tone, diction, syntax, figurative language, and imagery. Q3. EXTENDING: Analysis of meaning (why) In a well-argued paragraph, explain how the EXCERPT reveals a theme in the play. You may consider such elements as characters, thoughts, conversations, actions, effects, looks, symbols, motifs, structure, setting, conflict, narration, events, and choices. Complete a quotation analysis for Macbeth's first soliloquy (1.7.1-28) Follow the EXEMPLAR. See the next slide for paragraph starters :-)
Paragraph Starters A1. The speaker in this quotation is Macbeth speaking to himself in a soliloquy. At this point in the play ... A2. Shakespeare's use of repetition and similes achieves the effect of emphasizing Macbeth's internal struggle as he debates committing the crime of regicide. A3. It is impossible to escape the consequences of our actions. This theme is first revealed through Macbeth's thoughts.
A1. The speaker in this quotation is Macbeth speaking to himself in a soliloquy. At this point in the play Macbeth has sent a letter to his wife telling her of the witches prophesies. Lady Macbeth states King Duncan will not survive the night. In context, it follows scene 6, as the king arrives and is greeted by Lady Macbeth.
A2. Shakespeare's use of repetition and similes achieves the effect of emphasizing Macbeth's internal struggle as he debates committing the crime of regicide. Repetition is clearly evident as he leaves the state dinner and is suddenly worried about what he plans to do. He begins, “If it were done when ‘tis done, then ‘twere well / It were done quickly” (1.7.1-2). Stating “done” three times, as well as Shakespeare observing the rule of three, clearly emphasizes his desire for speed in committing the crime, and the desire for there to be no further consequences except success. The internal struggle is made apparent as he knows that his actions will include a myriad of consequences, assuredly negative. Shakespeare’s use of the simile further reveals Macbeth’s internal conflict. Macbeth states, “hath borne his faculties so meek, hath been / So clear in his great office, that his virtues / Will plead like angels,” (1.7.16-19). Personifying the king’s virtues as acting like angels reveals his good character and the horror that will accompany his murder. Macbeth’s recognition of Duncan’s kind nature demonstrates his struggle to kill a man who is held in such high esteem. Using both repetition and the simile, Shakespeare effectively conveys the conflicted mind of Macbeth. 205 words
A3. It is impossible to escape the consequences of our actions. This theme is first revealed through Macbeth's thoughts. In deliberating over his decision to commit regicide, Macbeth examines the impossibility of an action without consequences. He pronounces, “If th’assassination / Could trammel up the consequences and catch / With surcease, success, that but this blow / Might be the be-all and the end-all – here” (1.7.2-5). “Trammel up” is to prevent any further consequences; however, he follows this statement with “but” indicating a transition in thought and the realization that such a desire is not possible. This theme is further revealed through his examination of how his actions will effect others. He surmises, “But in these cases, / We still have judgement here that we but teach / Bloody instruction, which being taught, return / To plague th’inventor” (1.7.7-10). Using “but” again, it is clear that Macbeth sees the impossibility of any escape. He knows that he will be judged for his actions while he is still alive, and receive the same fate – the crime he will commit, will be committed upon himself. Through Macbeth’s thoughts and his effect on others, Shakespeare uses this soliloquy to clearly prove a theme of the play. 203 words
Reason versus Passion in Act One During their arguments over which course of action to take, Macbeth and Lady Macbeth use different strategies in trying to persuade each other. Macbeth is very rational, weighing the consequences and trying to predict the outcome of his actions. He sees the political, ethical, and religious reason why he should not go through with the assassination. Macbeth also comes to the conclusion that the murder would be a violation of Duncan's "double trust" that is created from Macbeth's bonds as a kinsman and as a subject. On the other hand, Lady Macbeth has a more passionate way of examining the pros and cons of killing Duncan. She is motivated by her feelings and uses emotional arguments to persuade her husband to commit the evil act.
Central Moral Action Determine a central moral action. Character selection is your choice. It doesn't matter if the action chosen is deemed right or wrong - it matters that it has moral power and consequences for the character committing the action and for the morality of the play. A speech may instigate an action. In one sentence state what the moral action is. Track the consequences of this action. How does this action play out in the rest of the play? Include apt, specific, references (A.R.S.)
ACT SCENE TITLE 1 1 Witches Meet 2 Bloody Captain 3 Witches Prophecies (Inciting Incident) 4 Prince of Cumberland 5 Macbeth’s Letter 6 Duncan Arrives 7 Macbeth Gets Cold Feet
ACT ONE SUMMARY Exposition: Temptation and Decision
THE FIRST GREAT CRIME "I go, and it is done. The bell invites me. Hear it not, Duncan, for it is a knell That summons thee to heaven or to hell" (2.1.75-77). The murder of a sleeping guest, the murder of a sleeping king, the murder of a saintly old man, the murder, as it were, of sleep itself, carries with it the appropriate retribution of insomnia. "Methought I heard a voice cry, 'Sleep no more: / Macbeth does murder sleep,' " (2.2.38-39).
When Duncan is first killed, Lady Macbeth echoes the words of Pontius Pilate (Matthew 27:24) when she says,“A little water clears us of this deed: How easy is it then!” (2.2.67-68).
Henry Fuseli 1741–1825 Lady Macbeth Seizing the Daggers (exhibited 1812) Oil paint on canvas Purchased with assistance from the Friends of the Tate Gallery 1965 This dramatic work was probably inspired by an actual performance of Shakespeare’s tragedy Macbeth. Encouraged by the deceptive prophecy of witches, Macbeth and his wife plot to take the crown of Scotland by murdering King Duncan in his sleep. Here Macbeth emerges horrified from the murder scene off-stage, still holding the bloodied weapons. This is one of the most psychologically charged scenes in the play, and Fuseli has treated it with a nightmarish almost supernatural intensity.
The Yellow Wallpaper by Charlotte Perkins Gilman, 1892 Passage Summary: “The Yellow Wallpaper” is a ground-breaking short story from 1892 told through journal entries that chronicles a woman’s struggle in dealing with male physicians who will not take her illness seriously. When and How to Pair: Read this text after Act 2 scene 2, in order to generate a discussion on the difference between the portrayal of men and women in the play. Lady Macbeth contemplates whether she could have done a better job of killing Duncan. Macbeth has been careless and uncalculated in his actions. Analyze how gender roles are being portrayed. What similarities does Lady Macbeth share with the narrator in Charlotte Perkins Gilman’s text?
What Is The Porter Talking About? It may, at first, seem that the porter is railing nonsensically. There can be no denying he is very, very drunk; however, his words do have some interesting relevance to the play. The porter, who is the keeper of the gate at Macbeth's castle, imagines himself to be the keeper to the gate of hell. Although this can be easily dismissed as the rambling hallucinations of an inebriated man, it's actually quite poignant given what's just occurred within the castle walls. The nature of the porter's humour moves onto satirical ground as he envisages three callers at the gates of hell: A farmer, who has committed suicide; an equivocator (allusion to the Gun Powder Plot), who was denied access to heaven; and a tailor, who stole cloth to make fashionable clothes. And then, when he, eventually, gets around to letting the actual callers at the gate (Macduff and Lennox) in, he "waxes lyrical" (gets carried away) about the advantages and drawbacks of alcohol.
Shakespeare's Use of Comedy in Tragedy The markedly different voice he gives to the porter may be a very deliberate measure. For instance, think for a moment about the contrast between Macbeth and his employee. The loyal, valiant soldier, who is beautifully poetic and has just brutally murdered his king, and the vulgar lacky, who is blind drunk and tells dirty jokes, but who has not (as far as we know) harmed a soul. Whether Shakespeare intended the porter scene to be a much needed piece of comic relief following the heavy and dark murder scene, or if he believed that it was a way to compound the tragedy by sharp comparison, remains unknown.
ROSS Where is Duncan's body? MACDUFF Carried to Colmekill, The sacred storehouse of his predecessors, And guardian of their bones. (2.4.33-35) Colmekill is the place where Scottish kings were buried, on the island of Iona in the Inner Hebrides of Scotland. Iona was an important center of Scottish Christianity, originally founded in the 6th century by Saint Columba. Maol Chalvim I was indeed buried at the abbey there, as were Kings Duncan, macbeth and Donal Ban. Iona was originally called "Ioua"; the more familiar version of its name comes from Dr. Samuel Johnson's A Journey to the Western Islands of Scotland. Shakespeare calls it "Colmekill" in Macbeth derived from the Gaelic "I Choluim Chille".)
ACT TWO SUMMARY Rising Action: First Great Crime
ACT SCENE TITLE 2 1 Prelude to a murder: Vision of a Dagger 2 Duncan’s Murder: Regicide 3 The Porter 4 Macbeth’s coronation at Scone
SCENE I. Forres. The palace. Enter BANQUO BANQUO Thou hast it now: king, Cawdor, Glamis, all, As the weird women promised, and, I fear, Thou play'dst most foully for't: yet it was said It should not stand in thy posterity, But that myself should be the root and father Of many kings. If there come truth from them-- As upon thee, Macbeth, their speeches shine-- Why, by the verities on thee made good, May they not be my oracles as well, And set me up in hope? But hush! no more. Sennet sounded. Enter MACBETH, as king, LADY MACBETH, as queen, LENNOX, ROSS, Lords, Ladies, and Attendants
To be thus is nothing, But to be safely thus. Our fears in Banquo Stick deep, and in his royalty of nature Reigns that which would be feared. 'Tis much he dares, And to that dauntless temper of his mind He hath a wisdom that doth guide his valor To act in safety. There is none but he Whose being I do fear, and under him My genius is rebuked, as it is said Mark Antony’s was by Caesar. (3.1.47.56) The allusion is to Octavius Caesar (Augustus); Shakespeare found it in Plutarch, and the soothsayer quotes it in Antony and Cleopatra (2.3.16–20) Macbeth now feels that his guiding spirit (genius) must be as dejected as the guiding spirit of Mark Antony, who was defeated by Octavius Caesar.
THE second GREAT CRIME "Your spirits shine through you. Within this hour at most I will advise you where to plant yourselves, Acquaint you with the perfect spy o’ th’ time, The moment on ’t, for ’t must be done tonight And something from the palace; always thought That I require a clearness. And with him (To leave no rubs nor botches in the work) Fleance, his son, that keeps him company, Whose absence is no less material to me Than is his father’s, must embrace the fate Of that dark hour. Resolve yourselves apart. I’ll come to you anon" (3.2.146-158).
Théodore Chassériau (1819–1856), The Ghost of Banquo 1855
The Supernatural Shakespeare’s audiences, and his plays, were the products of their culture. Since the validity of any literary work can best be judged by its public acceptance, not to mention its lasting power, it seems that Shakespeare’s ghosts and witches were, and are, enormously popular. If modern audiences and critics find themselves a bit skeptical, then they might consider bringing along a supply of Coleridge’s “willing suspension of disbelief.” Elizabethans simply had no need of it. Ghosts were recognized by the Elizabethans in THREE basic varieties: the vision or purely subjective ghost, the authentic ghost who has died without opportunity of repentance, and the false ghost which is capable of many types of manifestations.
Ghosts visible to only one person A ghost has a peculiar status if it appears to only one person. Shakespeare exploits this in an extraordinary way in Macbeth where Banquo’s ghost (which from the indications of the stage directions, was undoubtedly present on the stage) is visible to Macbeth but to none of the other guests at his feast. Macbeth himself is perplexed by the fact: "Prithee see there! / Behold! look!" (3.4.67–68) he exclaims to his unseeing wife, but he is condemned to be the only one who can see the ghost. Banquo, his former friend, whose death he has arranged, has returned from the dead to terrify him alone. Earlier he has told Lady Macbeth, in a gruesomely affectionate manner, not to worry about the dark details of his plans for Banquo: "Be innocent of the knowledge, dearest chuck" (3.2.45). He does not need her involvement any more. His wife had to overcome his reluctance to murder Duncan, but he does not hesitate to order the murders that follow. The burden of murderous tyranny has become all his own.
Your vessels and your spells provide, Your charms and every thing beside. I am for the air; this night I'll spend Unto a dismal and a fatal end: Great business must be wrought ere noon: Upon the corner of the moon There hangs a vaporous drop profound; I'll catch it ere it come to ground: And that distill'd by magic sleights Shall raise such artificial sprites As by the strength of their illusion Shall draw him on to his confusion: He shall spurn fate, scorn death, and bear He hopes 'bove wisdom, grace and fear: And you all know, security Is mortals' chiefest enemy. (3.5.18-32).
Hecate advises the witches to give Macbeth a false sense of security.
ACT THREE SUMMARY Climax: Second Great Crime
ACT SCENE TITLE 3 1 Persuading Banquo’s Murderers 2 Lady Macbeth’s Dressing Room 3 Banquo’s Murder (Climax) 4 Banquet 5 Hecate’s harangue (lecture) 6 Macduff’s departure
The Three Apparitions The First Apparition: a disembodied head armed with a helmet "Beware Macduff; Beware the Thane of Fife." The Second Apparition: a bloody child "Be bloody, bold, and resolute; laugh to scorn / The power of man, for none of woman born / Shall harm Macbeth." The Third Apparition: a child with a crown on his head and a tree in his hand "Be lion-mettled, proud; and take no care / Who chafes, who frets, or where conspirers are: / Macbeth shall never vanquish'd be until / Great Birnam wood to high Dunsinane hill / Shall come against him. " [Descends] I will be satisfied: deny me this, And an eternal curse fall on you! Let me know. Why sinks that cauldron? and what noise is this?
First Witch Show! Second Witch Show! Third Witch Show! ALL Show his eyes, and grieve his heart; Come like shadows, so depart! A show of Eight Kings, the last with a glass in his hand; GHOST OF BANQUO following
THE third GREAT CRIME "From this moment The very firstlings of my heart shall be The firstlings of my hand. And even now, To crown my thoughts with acts, be it thought and done: The castle of Macduff I will surprise, Seize upon Fife, give to th’ edge o’ th’ sword His wife, his babes, and all unfortunate souls That trace him in his line. No boasting like a fool; This deed I’ll do before this purpose cool" (4.1.166-175).
Shakespeare and the Court During the reign of Queen Elizabeth, Shakespeare's acting company was called the 'Chamberlain's Men', and it is known that they performed for the court. After the accession of James they changed their name to the 'King's Men' as a tribute to him. The patronage of the King and court was obviously valuable to Shakespeare. In Macbeth, Shakespeare seeks to flatter and please the King in various ways. Macbeth, the character who usurps the place of a lawful King, is shown as losing everything as a result – he becomes hated and demonised by all his subjects, as does his wife, who supports him in his crime.
James was also very interested in the supernatural, and had written a paper called Daemonologie on the subject. During his reign as King of Scotland, James is known to have been directly involved in some witch trials at North Berwick. Women were regularly burnt as witches, and Shakespeare presents his witches unequivocally as powerful and evil emissaries of the devil. In his day, the majority of the general public, too, believed in witches and the power of the supernatural, and the witch scenes would have been taken very seriously.
Shakespeare also included other enthusiasms of the King in the play. James had written a book called Basilikon Doron, which looks at the theme of kingship. In the book, James identifies the ideal king as one who does his duty to God and to his country and who is also a man of spotless personal integrity. In the play, Shakespeare, too, explores this topic, with the character of Malcolm representing the template of the ideal king. In addition, the idealised portrait of Edward the Confessor, the 'holy king' who has the power literally to heal his people, would come across to a contemporary audience as an indirect tribute to James himself.
Banquo, whom the Stuarts claimed as their ancestor, is presented in a completely positive light. When the witches show Macbeth the future, he sees a line of kings descended from Banquo that seems to 'stretch out to the crack of doom'. This flatters King James with the promise of a long-standing dynasty, although in fact James's father, Charles I, would be executed, and the Stuart line was to die out with Queen Anne in 1714.
The Testing of Macduff's Loyalty to Scotland 1. In your own words, summarize the conversation between Malcolm and Macduff. Be sure to include references to human vices. 2. Does Macduff "pass" the loyalty test? Explain. 3. Complete a quotation analysis for 4.3.114-137
QUOTATION ANALYSIS Q1. UNDERSTANDING: Describe the circumstances surrounding the quotation. Include who, what, where, and when. Q2. LANGUAGE: Analysis of effect (how) Select TWO elements of style from the quotation and explain their effect or function. INTEGRATE key words or phrases from the quotation in your answer. You may consider such elements as tone, diction, syntax, figurative language, and imagery. Q3. EXTENDING: Analysis of meaning (why) In a well-argued paragraph, explain how the EXCERPT reveals a theme in the play. You may consider such elements as characters, thoughts, conversations, actions, effects, looks, symbols, motifs, structure, setting, conflict, narration, events, and choices.
A1. The speaker in this quotation is the eldest son of King Duncan, Malcolm, speaking to Macduff. At this point in the play ... A2. Shakespeare employs both the metaphor and repetition to effectively reveal Malcolm's true nature (TS). The metaphor accurately showcases this (P1). Example. Explain. Shakespeare also employs repetition for the same purpose (P2). Example. Explain. C.S. A.3 Trust must be earned, not given away freely (TS). This theme is first revealed through Malcolm's words (P1). Example. Explain. This theme is further revealed through the conflict between Malcolm and Macduff (P2). Example. Explain. C.S.
ACT SCENE TITLE 4 1 Apparitions 2 Murders at Fife 3 Malcolm tests Macduff
ACT FOUR SUMMARY Falling Action: Third Great Crime
ACT SCENE TITLE 5 1 Sleepwalking 2 March to Birnam Wood 3 Macbeth Vows to Fight 4 Scots Meet the English 5 Lady Macbeth’s Suicide 6 Trumpet’s Speak 7 Macduff Searches for Macbeth 8 Macbeth’s Death 9 Malcolm – King of Scotland
ACT FIVE Catastrophe: Retribution
Closing Thought Perhaps nothing sums up the play’s conclusion better than Samuel Johnson’s observations from his 1765 edition of Shakespeare. Noting that, “The danger of ambition is well described” in the play, he declares that “though the courage of Macbeth preserves some esteem yet every reader rejoices at his fall” (Johnson 3). Do you agree with Johnson's observation? Explain.
Analysis of the Text What is the purpose of the text? How does it achieve its purpose? Who is the target audience? Create an audience profile. Why is it interesting?
Who is responsible for the death of King Duncan? Be prepared to defend your answer.
The Demise of the partners of greatness Lady Macbeth: Overwhelmed by her conscience "Yet who would have thought the old man / to have had so much blood in him?" (5.1.41-42). "The Thane of Fife had a wife. Where is / she now? What, will these hands ne’er be clean?" (5.1.44-45). "Here’s the smell of the blood still. All / the perfumes of Arabia will not sweeten this little / hand" (5.1.53-55). "I tell you yet again, Banquo’s / buried; he cannot come out on ’s grave" (5.1.66-67).
Making Text-to-Text Connections Are there similarities / differences in ... Text structure Plot - storyline Plot devices: foreshadowing, flashback, suspense, irony Characters Conflict (internal, external) Setting Thematic Concepts and Themes Point of View Symbols
Pairing Macbeth and "Barbie Doll" Marge Piercy (born March 31, 1936) is an American poet, novelist, and social activist. She is the author of the New York Times bestseller Gone to Soldiers, a sweeping historical novel set during World War II. Piercy's poetry tends to be highly personal free verse and often addresses the same concern with feminist and social issues. Her work shows commitment to the dream of social change (what she might call, in Judaic terms, tikkun olam, or the repair of the world), rooted in story, the wheel of the Jewish year, and a range of landscapes and settings. TASK: Make connections between the two texts (see the next slide).
Barbie Doll This girlchild was born as usual and presented dolls that did pee-pee and miniature GE stoves and irons and wee lipsticks the color of cherry candy. Then in the magic of puberty, a classmate said: You have a great big nose and fat legs. She was healthy, tested intelligent, possessed strong arms and back, abundant sexual drive and manual dexterity. She went to and fro apologizing. Everyone saw a fat nose on thick legs. She was advised to play coy, exhorted to come on hearty, exercise, diet, smile and wheedle. Her good nature wore out like a fan belt. So she cut off her nose and her legs and offered them up. In the casket displayed on satin she lay with the undertaker's cosmetics painted on, a turned-up putty nose, dressed in a pink and white nightie. Doesn't she look pretty? everyone said. Consummation at last. To every woman a happy ending. Written by Marge Piercy in 1971
Making Connections: Pairings Topic Sentence: State the two connections (structure, storyline, foreshadowing, flashback, suspense, irony, characters, conflict (internal, external), setting, thematic concepts and themes, point of view, symbols, tone) Point One: In the poem ... Evidence: Quote from the poem (in-text reference) Explanation: Connect to the play Point Two: In the poem ... Evidence: Quote from the poem (in-text reference) Explanation: Connect to the play Concluding Sentence: Effective Statement
The Demise of the partners of greatness Macbeth: Total emptiness "I have lived long enough. My way of life / Is fall’n into the sere, the yellow leaf, / And that which should accompany old age, / As honor, love, obedience, troops of friends, / I must not look to have," (5.3.26 - 30). "I have supped full with horrors. / Direness, familiar to my slaughterous thoughts, / Cannot once start me" (5.5.15 -17). "Life’s but a walking shadow, a poor player / That struts and frets his hour upon the stage / And then is heard no more. It is a tale / Told by an idiot, full of sound and fury, / Signifying nothing" (5.5.28-32).
Read the following passage carefully before you choose your answers. MACBETH: She should have died hereafter; There would have been a time for such a word. To-morrow, and to-morrow, and to-morrow, Creeps in this petty pace from day to day To the last syllable of recorded time, 5 And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life’s but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more: it is a tale 10 Told by an idiot, full of sound and fury, Signifying nothing.
This is a chunk of archival gold from British television, circa 1979. As part of an "in-studio master class" on speaking Shakespeare, Ian McKellen talks in depth about the imagery and analysis he used to bring a famous Macbeth speech to life for a production by the Royal Shakespeare Company.
QUOTATION ANALYSIS Q1. UNDERSTANDING: Describe the circumstances surrounding the quotation. Include who, what, where, and when. Q2. LANGUAGE: Analysis of effect (how) Select TWO elements of style from the quotation and explain their effect or function. INTEGRATE key words or phrases from the quotation in your answer. You may consider such elements as tone, diction, syntax, figurative language, and imagery. Q3. EXTENDING: Analysis of meaning (why) In a well-argued paragraph, explain how the EXCERPT reveals a theme in the play. You may consider such elements as characters, thoughts, conversations, actions, effects, looks, symbols, motifs, structure, setting, conflict, narration, events, and choices. Complete a quotation analysis for Macbeth's last soliloquy (5.5.15-29) Follow the EXEMPLAR. Answers to MC: B, D, A, E, B
Tragic Hero as Defined by Aristotle A tragic hero is a literary character who makes a judgment error that inevitably leads to his/her own destruction. In reading Antigone, Medea and Hamlet, look at the role of justice and/or revenge and its influence on each character’s choices when analyzing any “judgment error.” Characteristics Aristotle once said that "A man doesn't become a hero until he can see the root of his own downfall." An Aristotelian tragic hero must possess specific characteristics, five of which are below: 1. Flaw or error of judgment (hamartia) Note the role of justice and/or revenge in the judgments. 2. A reversal of fortune (peripeteia) brought about because of the hero's error in judgment. 3. The discovery or recognition that the reversal was brought about by the hero's own actions (anagnorisis) 4. Excessive Pride (hubris) 5. The character's fate must be greater than deserved.
Initially, the tragic hero should be neither better or worse morally than normal people, in order to allow the audience to identify with them. This also introduces pity, which is crucial in tragedy, as if the hero was perfect we would be outraged with their fate or not care especially because of their ideological superiority. If the hero was imperfect or evil, then the audience would feel that he had gotten what he deserved. It is important to strike a balance in the hero's character. Eventually the Aristotelian tragic hero dies a tragic death, having fallen from great heights and having made an irreversible mistake. The hero must courageously accept their death with honour. Question: Is Macbeth a tragic hero? What is his hamartia? Hamartia, also called tragic flaw, (hamartia from Greek hamartanein, “to err”), inherent defect or shortcoming in the hero of a tragedy, who is in other respects a superior being favoured by fortune.
Pairing Macbeth and "Ozymandias" “Ozymandias” was written by English Romantic poet Percy Bysshe Shelley (1792-1822). This poem, “Ozymandias”, is based on a king of ancient Egypt, also known as Ramesses II. It was written in a writing competition with his friend and fellow poet Horace Smith, whose poem “On A Stupendous Leg of Granite, Discovered Standing by Itself in the Deserts of Egypt, with the Inscription Inserted Below” never gained as much recognition: Shelley’s poem is a strange mix two forms of sonnet, the Shakespearean and the Petrarchan. It uses vivid imagery to convey its message of transience and impermanence. TASK: Make connections between the two texts (see the next slide).
Ozymandias I met a traveller from an antique land, Who said—“Two vast and trunkless legs of stone Stand in the desert. . . . Near them, on the sand, Half sunk a shattered visage lies, whose frown, And wrinkled lip, and sneer of cold command, Tell that its sculptor well those passions read Which yet survive, stamped on these lifeless things, The hand that mocked them, and the heart that fed; And on the pedestal, these words appear: My name is Ozymandias, King of Kings; Look on my Works, ye Mighty, and despair! Nothing beside remains. Round the decay Of that colossal Wreck, boundless and bare The lone and level sands stretch far away.”
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MIND MAPPING A mind map is a diagram that you create which involves the use of words and drawings to depict your thought patterns. Mind maps present a new way of looking at a process or situation. They offer the ability to draw a picture of your thought processes. Mind maps are helpful because they present a true reflection of your own thought patterns, unlike illustrations in books that present somebody else’s thought patterns. IDEAS Plot, characters, conflicts, setting Numbers: Things in Twos/Paradoxes, Things in Threes Ambition and Betrayal The Supernatural: Weird sisters, apparitions, visions, ghost Blood and bloodshed Infants and children Natural Order: The Great Chain of Being Insomnia Masculinity, Femininity, and Gender Ambiguity Moral Ambiguity Conflict and Opposition Corrupting Power of Pure Emotion Internal Struggle Tragic hero and tragic flaw Equivocation and betrayal
What is Choral Reading? Choral reading is an interpretive reading of text, often poetry or songs, by a group of voices. Students may read individual lines or stanzas alone, in pairs, or in unison. Choral reading, sometimes called “unison reading,” requires repeated readings of a particular passage and it gives practice in oral reading. It is especially well suited to rhymes, poetry, and lyrics. The poems or passages can be “performed” for other students. Ultimately, though, enjoyment and learning should come out of the process of figuring out HOW to perform the poem rather than the performance itself: What reading skills does it help students learn and master? It helps students learn to decode. It develops effective and fluent read aloud skills. It improves sight vocabulary. It helps students learn to pronounce new words by hearing others reading aloud at the same time. It helps students understand rhythm, meter, patterns, rhymes and characters of a poem. It demonstrates the importance of oral tradition.
"The Elizabethans were an audience of listeners. They would say, ‘I’m going to hear a play,’ not ‘I’m going to see a play.’ The Elizabethan audience would pick up on words and their various meanings that we wouldn’t."
INSIDE THE MIND OF JULIET JULIET Farewell! God knows when we shall meet again. I have a faint cold fear thrills through my veins, That almost freezes up the heat of life. I’ll call them back again to comfort me. Nurse!—What should she do here? My dismal scene I needs must act alone. Come, vial. What if this mixture do not work at all? Shall I be married then tomorrow morning? No, no, this shall forbid it. Lie thou there. Laying down her dagger. What if it be a poison which the friar Subtly hath minist’red to have me dead, Lest in this marriage he should be dishonor’d Because he married me before to Romeo? I fear it is, and yet methinks it should not, For he hath still been tried a holy man. How if, when I am laid into the tomb, I wake before the time that Romeo Come to redeem me? There’s a fearful point! Shall I not then be stifled in the vault, To whose foul mouth no healthsome air breathes in, And there die strangled ere my Romeo comes? Or if I live, is it not very like The horrible conceit of death and night, Together with the terror of the place— As in a vault, an ancient receptacle, Where for this many hundred years the bones Of all my buried ancestors are pack’d, Where bloody Tybalt, yet but green in earth, Lies fest’ring in his shroud, where, as they say, At some hours in the night spirits resort— Alack, alack, is it not like that I, So early waking—what with loathsome smells, And shrikes like mandrakes’ torn out of the earth, That living mortals, hearing them, run mad— O, if I wake, shall I not be distraught, Environed with all these hideous fears, And madly play with my forefathers’ joints, And pluck the mangled Tybalt from his shroud, And in this rage, with some great kinsman’s bone, As with a club, dash out my desp’rate brains? O, look! Methinks I see my cousin’s ghost Seeking out Romeo, that did spit his body Upon a rapier’s point. Stay, Tybalt, stay! Romeo, Romeo, Romeo! Here’s drink—I drink to thee. She falls upon her bed, within the curtains.
IN-CLASS ESSAY Monday: Select topic (from a choice of 7), brainstorm, and begin the point-from outline - Write Act.Scene.Line/s (not the entire quote) Tuesday: Complete the point-form outline (blueprint) Wednesday: Begin hand-written essay Thursday: Complete the essay RULES 1. Notebook on Day One only. 2. Primary text is permitted all four days (the play). 3. NO cell phones. This is an essay test. 4. All work is submitted at the end of each period. 5. Plagiarism may result in a grade of zero - Main Office is notified
FORMAT You will write your essay on the paper provided MLA format: Your name, teacher name, course code, day month year (Note: single-space) Creative Title: Content Title SINGLE-SPACE your paragraphs (like the OSSLT) SKIP one line between paragraphs (like the OSSLT) INDENT each paragraph (like the OSSLT) This is a five-paragraph essay (like the OSSLT) Write ON the lines (not above them) Use the lines to keep your letters from floating around the page (like the OSSLT) Write legibly (like the OSSLT) If I cannot read your essay, I cannot grade it (like the OSSLT)
UNIVERSITY COURSE WEIGHTINGS
1. 25% Assignment 1 35% Assignment 2 40% Final 2. 20% Participation 40% Midterm 15% Presentation 25% Paper 3. 20% weekly paper 35% Midterm 45% Final 4. 15% Participation 10% Presentation 15% Assignment 1 30% Assignment 2 30% Final 5. 30% Midterm 30% Assignment 40% Final 6. 10% Participation 20% Assignment 30% Midterm exam 40% Final Exam
The In-Class Essay SAMPLE QUESTION: How is Banquo’s role as a foil to Macbeth used in the play? Write a thesis statement and a directional statement in one or two sentences.
One-sentence format (thesis and direction) While Macbeth and Banquo are both thanes in the Scottish army, Banquo is used as a foil to Macbeth to highlight the various features of Macbeth’s personality, throwing them into sharper focus as achieved by examining each man’s reactions to the witches’ prophesies (1), their differing loyalty to King Duncan (2), and their contrasting sense of morality (3). Two-sentence format (thesis and direction) While Macbeth and Banquo are both thanes in the Scottish army, Banquo is used as a foil to Macbeth to highlight the various features of Macbeth’s personality, throwing them into sharper focus. The divulging of Macbeth’s character is achieved by examining each man’s reactions to the witches’ prophesies (1), their differing loyalty to King Duncan (2), and their contrasting sense of morality (3).
SAMPLE BODY PARAGRAPH Topic Sentence = thesis + one direction Banquo is used as a foil to Macbeth to highlight the various features of Macbeth’s personality as seen by their differing reactions to the witches’ prophesies. Point One, (make a statement furthering your topic sentence) Example (quotation from the play - properly introduced) Explain+ how the evidence proves your point / thesis Point Two, (make a second statement furthering your topic sentence) Example (quotation from the play - properly introduced) Explain+ how the evidence proves your point / thesis Concluding Sentence The explicit warning given by Banquo is ignored by Macbeth, with Macbeth's reaction leading to the demise of both men.