William Shakespeare's MACBETH. Session Handout for the Leaving Cert

Transcription

1 William Shakespeare's MACBETH Session Handout for the Leaving Cert

2 William Shakespeare's MACBETH Session Handout for the Leaving Cert with inclusions from Alison Kearney, Peadar Donohoe, Marcus Bale & Cal Duggan Designed by Alison Kearney

3 Int roduct ion Cyclone Rep aims to provide audiences with an exciting and multifaceted theatrical experience that engages, entertains and educates. The company?s work is developed in response to teacher and student feedback. We care about what our audience thinks and endeavour to create theatre that meets their needs. Shakespeare Session hallmarks, based on audience feedback, include: - An abridged version of Shakespeare?s text combined with an original script that serves our remit to engage the audience in their understanding and appreciation of Shakespeare - Breaking the fourth wall through audience interaction - Heightened physical performances to match Shakespeare?s heightened language - Use of humour to aid understanding of the text - Fidelity in delivery of Shakespeare?s text to maximise appreciation and recognition of Shakespeare?s language - Use of audio visual information during performances to support the discussion of themes - Downloadable handouts for teachers and students for use before and after the show, to enhance the performance experience With regards to this handout we want our audience to be able to sit back and enjoy the show and not to feel like they have to take notes. This educational resource for '"The Macbeth Session" has been developed in collaboration with Alison Kearney, a secondary Drama and English teacher who trained in London with Shakespeare's Globe on interactive Shakespeare education practices. We hope that this handout is an invaluable resource for teachers and students in preparation for the Leaving Certificate examination in English. On behalf of the company, Peadar Donohoe

4 Contents King James and the Witchcraft in Macbeth... Page 5 Pre-Show Exercise??????????????????...? Page 6 Theatre making today and in the time of Shakespeare: Part 1????????????????????...? Page 7 Part 2?????????????????...???? Page 8 Part 3???????????????????...?? Page 9 Shakespeare?s Contribution to the English Language??...?? Page 10 Charact er Sect ion: The Scottish Court?????...????????...?..??. Page 11 The Line of Succession...?????????????...?? Page 11 How the Actors Interpreted their Characters??...?????.. Page 12 Power Dynamics Between Macbeth & Lady Macbeth?????...???. Page 13 Theme Sect ion: Introduction to the Theme Section??????????...??? Page 16 Manhood...?????????...???? Page 17 Appearance v. Reality?...????????????...? Page 20 Conscience & Guilt...????????...??? Page 23 Blood...??????????...??. Page 24 Evil v. Good...?????...???????...Page 26 Tropes...????????????...Page 27 Heroic Fate...???????????????????...? Page 28 Act ivit ies and Resources: Classroom Activities: Active Teaching Options????...??...? Page 30 Resources and References?????????????????...?? Page 31

5 King James and the Witchcraft in Macbeth Shakespeare wrote 'Macbeth' during the reign of King James I, who inherited the throne following the death of Queen Elizabeth I. King James I, son of Mary Queen of Scotts, was a patron of Shakespeare's company and made financial contributions to support their work. 'Macbeth' was written to honor King James I and his Scottish heritage. King James I believed that he was a descendent of Banquo and his sons, Malcolm and Donalbain, and that the line of kings presented to Macbeth by witches included his ancestors. Therefore, the story of 'Macbeth' tells part of King James I's story of succession. In another attempt to please King James I, Shakespeare included witches in the play because the king was known to have a keen interest in witchcraft. It is even rumored that the King may have requested or commissioned Shakespeare to write a play about witches and that led to the first production of Macbeth' in Witchcraft was a large concern during this period. Catholics, Anglicans, and Protestants (like King James I) were all concerned that there were individuals who wrote their name in the devil's book and pledged to do evil deeds for them as witches. It was rumored that these witches could fly, send their spirits out of their bodies to disturb others in the night, and could not sink in water. Many people were fearful that witches, working on behalf of the devil, lived amongst them and could hurt them or would try to convert them for the devil. particularly children. It was not uncommon for women, particularly midwives and women who made home remedies, to be accused, tried, and burned at the stake or hung for witchcraft. Because the acts they were accused of were all metaphysical, there was very rarely a way for the men and women accused to prove their innocence. Witchcraft is one of the key features of 'Macbeth' that sets it apart from Shakespeare's other works. It complicates the idea of freewill. Are Macbeth's actions fated to happen by the witches' prophecies or are they made of his own free will? 5

6 Pre-Show Exercise: Four Corners The purpose of this activity is to get students discussing major themes and events within the play and to use evidence from the text to defend their stance. In doing so, students will have to debate with their peers and think crtically about Macbeth's choices before attending the performance. On different four pieces of paper, write the following in large, easy-to-read letters: Strongly Agree, Agree, Disagree, Strongly Disagree. Hang each piece of paper in a different corner of the room. Read out the statements below to your class. After each statement is read, have the students move to the corner of the room with the sign that illustrates their reaction to that statement (Strongly Agree, Agree, Disagree, or Strongly Disagree). Force students to choose one corner of the room and not to stand in the middle. When students arrive at the corner, give each group 30 seconds to a minute to discuss why they made that choice and to pick one person to share the group's thoughts with the class. After each group has shared, give students the opportunity to debate for as long as you wish. Encourage students to use evidence from the play to support their ideas. When discussion begins to dwindle, read out the next statement and have the students move corners to repeat the process for each statement in the list below. 'Macbeth' Four Corners Statements: - Our actions are dictated by fate. - All of of the events in our lives are a result of the choices that we make. - Envy and ambition can be a positive motivating force. - It is important for men and women to act accordingly to gender expectations. - We should always act according to our conscience. St rongly Agree Agree Disagree St rongly Disagree 6

7 Theatre Making Today and in the Time of Shakespeare Part 1: Let?s Look At What Makes Theatre: Look at the drawing of two people below. Remember the performance. What are the 10 things that would need to be added to that picture to make it two actors performing a piece of theatre nowadays? If you are finding it difficult, think about the show. How did you see them? How did you hear them? What were they wearing? What were they holding? Who told them where to stand? Who organized you to see the show? Who showed you to your seat? Character A Character B Create a script or dialogue with words for the characters to say: A: B: A: A: B: A: B: A: B: 7

8 Part 2: Now Let?s Look at Theat re in Shakespeare?s Time Look at Arend van Buchell's drawing of the Swan Theatre below. This is the closest example of what Shakespeare's theatre, The Globe, may have looked like. Review your list from Part 1. Consider what would you need to adapt and change for a production for a production in the late 1500s and early 1600s to suit this stage? Write your ideas below. Fun Fact: Each Theatre would raise a coloured flag to let audiences know what show was playing i.e., black for a tragedy, white for a comedy and red for a history play. 8

9 Part 3:?All the world?s a stage,?or is it? Here are reminders of how some practical elements of theatre in the 1500s and 1600s affected how Shakespeare wrote his plays and verse. There was a lot of competition among the theatres of the time and they struggled to keep afloat. So, all theatres needed to keep turning over good, popular and topical plays. Theatres would present eleven performances of ten different plays in a two week period. To stop competing theatres from stealing popular scripts or plagiarism, actors, who were not part of?the King?s Men?(Shakespeare?s acting troupe), only got their lines on the day of the performance. Even then, actors only received the lines of their own role and not the whole script. This device of putting lines on a roll is said to be where the use of the word role, to describe a character part, comes from. Iambic Pent amet er The punctuation was designed to direct the actors how to speak and perform their lines if Shakespeare himself could not attend rehearsals. The rhythm and meter of the lines provided the actors with clues to the character?s mindset, where to put emphasis when speaking.* The rhythm and meter also informed the audience who the character was talking to, their frame of mind, and the atmosphere of a scene.* In 'Macbeth', characters speak in iambic pentameter, blank verse or prose. Iambic pentameter is rhymed verse that has an unstressed syllable followed by a stressed syllable (Iambic) in a pattern (meter) of five (penta). Try it yourself: "come, PUT mine ARmor ON; give ME my STAFF" ( Act 5 Sc. 3 Line 50) Iambic pentameter is a formal way of speaking that Shakespeare reserves for important characters or for those who are of noble birth. He also uses it to signal to the audience the social standing of the character and/or their importance to the plot. Characters of a lower social status just speak in?prose? which is just ordinary speech with no accented rhythm. In 'Macbeth', Shakespeare uses a more unusual meter for the dialogue of the witches; trochaic tetrameter. Whereas iambic pentameter creates a steady rhythm, trochaic tetrameter creates a more sing-song quality that makes the witches sound creepy. A trochee is the opposite of an iamb; it has one stressed and then one unstressed syllable. Trochaic tetrameter has four trochees in a line. Try it yourself: "DOUble, DOUble, TOIL and TROUble. FIre BURN and CAULdron BUbble." ( Act 4 Sc. 1 Line 10-11) 9

10 Shakespeare?s contribution to the English language The Oxford English Dictionary credits William Shakespeare with introducing nearly 3,000 words into the English language. It doesn?t mean that he created all of them but that their earliest documented appearance was in his work. Below are lists of words and phrases from Shakespeare?s plays that are popularly used today. Words Phrases Accommodation Amazement Apostrophe Assassination Bloody Bump Courtship Critic Critical Dwindle Exposure Gloomy Hurry Invulnerable Laughable Lonely Majestic Misplaced Monumental Multitudinous Obscene Pious Premeditated Radiance Road Sanctimonious Suspicious All that glitters is not gold As dead as a doornail Break the ice Catch a cold Clothes make the man Disgraceful conduct Eaten out of house and home Elbowroom Fair play Foregone conclusion Heart of gold Heartsick Hot-blooded Housekeeping In a pickle In stitches In the twinkling of an eye It?s Greek to me Lackluster Laughing stock Leapfrog Long-haired Method in his madness Mind?s eye Mum?s the word Naked truth Neither a borrower or a lender be Neither here nor there Send him packing Set your teeth on edge Sorry sight The wheel is come full circle To be or not to be To thine own self be true Too much of a good thing Vanish into thin air Wear one?s heart on one?s sleeve Source: Lee Jamieson? the words and phrases from his blog on about.com. He is an author of numerous books and articles about theatre. Before becoming a freelance author and journalist, Jamieson lectured in Theatre Students for six years at Stratford-upon-Avon College in the UK. 10

11 The Line of Succession Charact er Sect ion The Scottish Court 11

12 Meet the Cast THE SHOW MAN (Played by David Peare): The showman is likable and charismatic. Likes to create a bit of mystery and atmosphere. He has a stick with a skull on it which he uses a pointer for the educational material and which also doubles as cane for Duncan. He has a sense of humour, is playful and likes to bring out the best in his players. His enthusiasm is practically boyish, the seeds of which, lead to a surprising reveal of his intimate and truly ghastly relationship with Hecate. Plays Duncan, MacDuff, The Doctor and other small parts. DRAMATURG (Marcus Bale): Has a passion for Shakespeare which is admirable but is a bit vain as he likes to hear himself talk. This infuriates the Joker who challenges him from time to time (this conflict device is used to draw out the themes in an entertaining way). The Dramaturg especially loves Act IV, Scene 3. He believes it is the quintessence of English Literature (spoiler alert: the Joker hates it when the Dramaturg uses words like?quintessence?). Of course, this is the scene the Joker hates with an unbridled passion like he?s never hated anything before in his life. So much so that the Joker hates the scene even more than he hates kumquats, even though he doesn?t know what kumquats are, but he knows that by the sound of them they must be bad. Also, the Dramaturg has a thing for Anne. Dramaturg Plays Macbeth and other small parts. THE JOKER (Luke Barry): Represents the disenfranchised student. He?s been sitting at his desk, way too long, not being able to make heads or tails of Shakespeare. However, he loves acting and takes the opportunity to be in this play despite his reservations about Willie?s works and the over-bearing Dramaturg? who, incidentally, asked him at his job interview??how many works are in Shakespeare?s Canon? was it 36, 37 or 39?? Joker responded:?do you want to know to how many plays did Shakespeare write or how many cannonballs were in his cannon?? The Dramaturg was amazed as he didn?t know that Willie had a cannon and gave him the job on the spot. The Joker?s key device is that he cuts to the meat of the matter while providing comic relief. And he also has a thing for Anne. Plays Banquo, Donalbain, Porter and Murderer 1. MEDIATOR (Anne Doyle): The peacekeeper and sense makers who helps to smooth out the arguments between the lads and aids clarification on the themes. She?s an upbeat Goth with blonde hair who believes in the power of crystals. She wears a crystal pendant in which she channels her essence or uses it to channel mystical things into herself (i.e.?come you spirits, unsex me here, etc.?). Has a fear of the?macbeth?curse and the?macbeth?word being used in a theatre. Most essential is that she loves acting, relishes playing Lady Macbeth, the witches and is out to have a good time. She likes both Marcus and Luke but hasn?t made her mind up about dating either of them. Plays Lady Macbeth, Fleance, Malcolm, Witches, Messengers and Murderer 2. HECATE: The voiceover goddess of witchcraft who narrates the play, aids exposition and general abridgement. She is funny but in a macabre way as she enjoys the pain and suffering of others. Ironically, she dishes it out but can?t take it? a big softie really. We see this in a loving outpouring as she shares the true vileness of her relationship with the Showman. 12

13 Power Dynamics Between Macbeth & Lady Macbeth Macbeth and Lady Macbeth have a very unusual dynamic in their marriage. While for most of his life a woman ruled the country (Queen Elizabeth I), in general Shakespeare lived in a highly patriarchal society where women were expected to be subservient to men. In fact, women were considered to be the property of their fathers and, later, their husbands. They could own property and had very little say over their own lives. This makes Lady Macbeth a very unusual figure to analyze because she not only wishes away her feminity in Act 1, but she also has much more sway over her husband than most women would have had during the 16th or 17th century. To see the power dynamic between this husband and wife duo, read the scene below with a partner. Assign on person to read for Macbeth and one to read for Lady Macbeth. Face one another and, when you feel that your character is exerting their power, take a step forward. If you feel your character is making a concession or is losing power, take a step backwards. At the end of the scene look at how far you have moved and in which direction. MACBETH How now! what news? Act 1 Scene 7 LADY M ACBETH He has almost supp'd: why have you left the chamber? MACBETH Hath he ask'd for me? LADY M ACBETH Know you not he has? MACBETH We will proceed no further in this business: He hath honour'd me of late; and I have bought Golden opinions from all sorts of people, Which would be worn now in their newest gloss, Not cast aside so soon. LADY M ACBETH Was the hope drunk Wherein you dress'd yourself? hath it slept since? And wakes it now, to look so green and pale At what it did so freely? From this time Such I account thy love. Art thou afeard To be the same in thine own act and valour 13

14 Power Dynamics Between Macbeth & Lady Macbeth LADY M ACBETH CONTINUED... As thou art in desire? Wouldst thou have that Which thou esteem'st the ornament of life, And live a coward in thine own esteem, Letting 'I dare not' wait upon 'I would,' Like the poor cat i' the adage? MACBETH Prithee, peace: I dare do all that may become a man; Who dares do more is none. Act 1 Scene 7 LADY M ACBETH What beast was't, then, That made you break this enterprise to me? When you durst do it, then you were a man; And, to be more than what you were, you would Be so much more the man. Nor time nor place Did then adhere, and yet you would make both: They have made themselves, and that their fitness now Does unmake you. I have given suck, and know How tender 'tis to love the babe that milks me: I would, while it was smiling in my face, Have pluck'd my nipple from his boneless gums, And dash'd the brains out, had I so sworn as you Have done to this. MACBETH If we should fail? LADY M ACBETH We fail! But screw your courage to the sticking-place, And we'll not fail. When Duncan is asleep-- Whereto the rather shall his day's hard journey Soundly invite him--his two chamberlains Will I with wine and wassail so convince That memory, the warder of the brain, Shall be a fume, and the receipt of reason A limbeck only: when in swinish sleep 14

15 Power Dynamics Between Macbeth & Lady Macbeth LADY MACBETH CONTINUED... Their drenched natures lie as in a death, What cannot you and I perform upon The unguarded Duncan? what not put upon His spongy officers, who shall bear the guilt Of our great quell? Act 1 Scene 7 MACBETH Bring forth men-children only; For thy undaunted mettle should compose Nothing but males. Will it not be received, When we have mark'd with blood those sleepy two Of his own chamber and used their very daggers, That they have done't? LADY MACBETH Who dares receive it other, As we shall make our griefs and clamour roar Upon his death? MACBETH I am settled, and bend up Each corporal agent to this terrible feat. Away, and mock the time with fairest show: False face must hide what the false heart doth know. When you are finished reading the scene discuss the following questions with your partner and/or the group. - Who "wears the pants" in this relationship? - Does Macbeth have all the power? - Or Lady Macbeth? - When in the scene does each character exert their power over the other? - When in the scene does each character make a concession or lose power? - Ultimately, are Macbeth and Lady Macbeth equally responsible for the murder of Duncan? Or do you believe that one character holds more of the blame? 15

16 'Macbet h' Themes Sect ion Int roduct ion When it comes down to preparing for the exam, it is important to have a plan. This section is designed to help you to frame your response to any thematic questions you may be asked, supporting it with points and quotations. Use the character worksheets and link characters to themes, actions and motivations. Assess whether they change during the course of the play. Spot scenes where these changes occur and how the character?s journey unfolds. These character sheets can help by acting as a memory aid. Keep it in your folder and add to it as you gain knowledge and insight into this fine play. We owe a debt of gratitude to Evelyn O?Connor for her sterling work on and for her generosity in allowing us to use of some of her sample questions in this resource. When you see the website referenced in the handout, please feel free to go to her site for further information. When looking at these themes, students can think about how to demonstrate knowledge of the play and the statement to be discussed. Always remember all students can ask for rough paper and reproduce character maps and theme links in the Leaving Certificate exam. The t hemes covered include: - Manhood - Appearance v. Reality - Conscience & Guilt - Blood - Evil v. Good - Tropes - Heroic Fate Remember, in Cyclone Rep?s 'Macbeth' Session these themes were addressed. We recommend that when you discuss the themes in class, you reference the performance. Think about how the 'Macbeth' Session highlighted the theme, e.g., the stage, the set, the use of AV?s, the costumes, audience participation and the use of clowning. Think about the actors?performances and character choices. Feel free to make notes on your handout, using these examples, to highlight a particular point and assist your understanding and learning. 16

17 Manhood 'Macbet h' Theme Sect ion Q:?Macbeth?s relationships with other characters can be seen primarily as power struggles which prove crucial to the outcome of the play.? Discuss the above statement in relation to at least two of Macbeth?s relationships with other characters. Support your answer with suitable reference to the play, Macbeth. OR Q:?Macbeth has physical courage, but moral weakness, and is subject to excited imaginative fears.? Discuss this estimate of Macbeth, quoting freely from the play. A: Most of the questions surrounding Macbeth?s need for power or and his weakness, originate from his need to fulfill traditional male stereotypes of what it is to be manly. 'Macbeth' is a man's man: a warrior who valiantly leads his men into battle with toughness, bravery, and a taste for violence. From the very beginning of the play, he is commended for his bravery and strength in battle. In Act I Scene 2, the captain returns from battle to tell King Duncan of Scotland?s victory over the Norwegian army. He makes a point of praising Macbeth for killing the traitor, Macdonwald, even when it seemed that Scotland would lose the battle.?? For brave Macbeth? well he deserves that name? Disdaining fortune, with his brandished steel, Which smoked with bloody execution, Like valor?s minion carved out his passage Till he faced the slave; Which ne?er shook hands, nor bade farewell to him, Till he unseamed him from the nave to th?chops, And fixed his head upon our battlements.? (Captain, Act I Sc 2 Lines 16-23) King Duncan is so impressed with this tale of manly valor that he gives Macbeth the title of Thane of Cawdor. Even when he arrives at Inverness, Duncan continues to praise Macbeth which reinforces his manhood, particularly as it is said in front of most of the other prominent Scottish lords.?he is full so valiant, And in his commendations I am fed; It is a banquet to me.? (Duncan, Act I Sc 4 Lines 56-58) This is in contrast to how women are portrayed in the play. They use deception and guile to gain what they want as they have few options in the male dominated world of the play. To succeed in this man's world, Lady Macbeth asks the spirits to unsex her, to rid her of her traditional feminine qualities such as nurturing and caring, because they are seen as a weakness which will prevent her from getting the power she craves. 17

18 'Macbet h' Theme Sect ion Lady Macbeth wants to lose her femininity so she can be cold-blooded and commit murder like a man does. So in Act 1 Scene 5, she asks evil spirits to stop up any part of her body that would allow her to feel remorse for her actions so that she won?t lose her courage to kill the kill. In particular, she asks the spirits to remove her breast milk, which is, of course, a sign of her femininity and, in this setting, of weakness.?come, you spirits That tend on mortal thoughts, unsex me here, And fill me from the crown to the toe top-full Of direst cruelty! Make thick my blood; Stop up the access and passage to remorse, That no compunctious visitings of nature Shake my fell purpose, nor keep peace between The effect and it! Come to my woman?s breasts, And take my milk for gall, you murdering ministers, Wherever in your sightless substances You wait on nature?s mischief!? (Lady Macbeth, Act 1 Sc 5 Lines 30-40) However, it is Lady Macbeth that shows any fear or hesitation about their plan to kill Duncan; it is Macbeth. Macbeth, having second thoughts, tells his wife that it's unmanly to murder your benefactor while he is asleep. Lady Macbeth gets abusive, emasculates him a bit, and tells him following through with the plan will make him more of a man. MACBETH: We will proceed no further in this business: He hath honour'd me of late; and I have bought Golden opinions from all sorts of people, Which would be worn now in their newest gloss, Not cast aside so soon. LADY MACBETH: Was the hope drunk Wherein you dress'd yourself? Hath it slept since? And wakes it now, to look so green and pale At what it did so freely? Art thou afeard To be the same in thine own act and valour As thou art in desire? Wouldst thou have that Which thou esteem?st the ornament of life And live a coward in thine own esteem. (Act 1 Sc 7 Lines 33-43) While Lady Macbeth strongly encourages her husband to kill Duncan, by the end of the play her conscience gets the better of her. Lady Macbeth cannot cope with her guilt and has a breakdown whereas Macbeth has blocked his conscience, become numb, distancing himself from his feelings. 18

19 'Macbet h' Theme Sect ion Macbeth flatters his wife, saying she has such "undaunted mettle" that she won't have any baby girls, only baby boys. In Macbeth?s time, only men could be kings. "Bring forth men-children only; For thy undaunted mettle should compose Nothing but males." (Macbeth, Act I Sc 7 Lines 72-74) Macbeth, perhaps having learned from his wife, gets two men to commit his murder by insulting their masculinity. Macbeth persuades the three men to murder Banquo by inferring that they are not real men if they let Banquo live after all of the injustices that he committed against them; a true man would take revenge. In the speech below, he compares them to dogs who may appear wild, but are may be meek and mild on the inside. "Ay, in the catalogue ye go for men, As hounds and greyhounds, mongrels, spaniels, curs, Shoughs, water-rugs, and demi-wolves are clept All by the name of dogs. The valued file Distinguishes the swift, the slow, the subtle, The housekeeper, the hunter, every one According to the gift which bounteous nature Hath in him closed, whereby he does receive Particular addition, from the bill That writes them all alike..." (Macbeth, Act III Sc 1 Lines ) Later, in Act 4, Malcolm tells Macduff -- who has just learned about the murder of his family -- to bear his sorrow like a man. Macduff replies he must also feel it as a man does, i.e., he is akin to a modern man because he has feelings that he is conscious of and gives vent to Siward's son becomes a man in his father's eyes the day he falls in battle. When Macduff begins to cry at hearing that his wife and children were murdered, Malcom says to him: MALCOLM Dispute it like a man. MACDUFF I shall do so, But I must also feel it as a man. I cannot but remember such things were That were most precious to me. (Act IV Sc 3 Lines ) 19

20 Appearance v. Realit y 'Macbet h' Theme Sect ion Q: "In Macbeth, the inner self is conveyed, not through the ideas expressed, nor through the actions performed, but by means of an elaborate pattern of imagery and symbolism.? Test the trust of this statement by considering any two of the play?s characters and the images and symbols associated with them. A: In 'Macbeth' nothing is ever quite what it seems. Many of the characters must maintain a facade of keeping up appearances to disguise their true motivation, including Macbeth and Lady Macbeth. However, the question of what is real and what is just an illusion arises in the very beginning of the play. The first Thane of Cawdor, despite pledging allegiance to Scotland, turned out to be a traitor. The events of the play emerge from this first falsehood. Another prime example of this is the double meaning of the witches' flowery prophecies which also contain a grim and bloody reality. Even when Banquo and Macbeth run into the Witches in Act I, their reality cannot be trusted. When Banquo first sees the witches upon the heath, he exclaims: What are these so wither?d and so wild in their attire, that look not like the inhabitants o?the earth, and yet are you on?t? Live you? Or are you aught that man may question? (Banquo Act I Sc 3 Lines 39-43) Maintaining false appearances becomes a necessity when King Duncan arrives at Inverness. Macbeth and Lady Macbeth must keep their nefarious plans hidden while also being welcoming hosts to him. When Macbeth arrives home and tells Lady Macbeth that Duncan and his court will be arriving shortly, she pushes him to hide his murderous intentions and ambition to be king.?your face, my thane, is a book where men May read strange matters. To beguile the time, Look like the time; bear welcome in your eye, Your hand, your tongue: look like the innocent flower, But be the serpent under?t.? (Lady Macbeth, Act I Sc 5 Lines 53-57) Macbeth and Lady Macbeth also create the appearance that the grooms killed Duncan by smearing them with blood from the daggers. However, the reality is that they are innocent and only guilty of drinking a bit too much of Lady Macbeth's laced drinks. But dishonesty isn't always used for evil in the play. Banquo uses it in attempting to escape to protect himself and Fleance and Malcolm uses it to test Macduff's loyalty. This theme is rife in the play as the characters live in a world of rumours and fears, vague knowledge, uncertainties, riddles, and half-truths. This underscore of deception colours the whole play. 20

21 Conscience & Guilt 'Macbet h' Theme Sect ion Q:?Shakespeare?sMacbethinvites us to look into the world of a man driven on by ruthless ambition and tortured by regret.? Write a response to this view of the play, Macbeth, supporting the points you make by reference to the text. OR Q:?Their partnership in guilt, which, at the beginning of the play, is a strong bond between them, gradually drives Macbeth and his wife apart until they go down to their separate dooms, isolated and alone.? Discuss this view, with the aid of suitable quotation or reference. A: In the pursuit of power the Macbeth?s ignore their inner voices (?Power tends to corrupt and absolute power corrupts absolutely?). By denying their consciences?, the Macbeths slip further and further away from rational thought. They become overpowered by paranoia, insomnia, and hallucinations which lead to their downfall. When Macbeth first learns that the witches' first prophecy has come true, that he is the Thane of Cawdor, he begins to feel anxious because he knows that in order for their prophecy that he will become king to come to fruition, that people will have to die.?i am thane of Cawdor: If good, why do I yield to that suggestion Whose horrid image doth unfix my hair And make my seated heart knock at my ribs, Against the use of nature?? (Macbeth, Act I Sc 3 Lines ) When Lady Macbeth learns of the prophecy, she fears that her husband's conscience will impede him from taking the necessary, evil actions that would make him king. Lady Macbeth plans to spur her husband to action.?hie thee hither, That I may pour in thine ear; And chastise with the valour of my tongue All that impedes thee from the golden round, Which fate and metaphysical aid doth seem To have crowned withal.? (Lady Macbeth, Act I Sc 5 Lines 15-20) 21

22 Conscience & Guilt 'Macbet h' Theme Sect ion While Lady Macbeth manages to convince her husband to kill King Duncan, Macbeth still has reservations about it. He feels guilty that he is hosting the kill, to whom he's supposed to be loyal, and that he is simultaneously plotting his murder. When he is alone, Macbeth expresses:?if it were done when 'tis done, then 'twere well it were done quickly: If the assassination Could trammel up the consequence, and catch With his surcease success; that but this blow Might be the be-all and the end-all here, But here, upon this bank and shoal of time. We'd jump the life to come...he's here in double trust; First, as I am his kinsman and his subject, Strong both against the deed; then, as his host, Who should against his murderer shut the door, Not bear the knife myself... I have no spur to prick the sides of my intent, but only Vaulting ambition, which o'erleaps itself And falls on the other.? (Macbeth, Act I Sc 7 Lines 1-28) Despite his hesitation and guilt, Macbeth murders Duncan off stage. The choice has an immediate impact on his mental state. As soon as he decides to follow through with he plan, he begins having hallucinations. Macbeth first believes that he sees a series of daggers leading him to King Duncan's chamber.?is this a dagger which I see before me, The handle toward my hand? Come, let me clutch thee. I have thee not, and yet I see thee still. Art thou not, fatal vision, sensible To feeling as to sight? or art thou but A dagger of the mind, a false creation, Proceeding from the heat-oppressed brain? Thou marshall'st me the way that I was going; And such an instrument I was to use. Mine eyes are made the fools o?the others sense?? (Macbeth, Act 2 Sc 1 Lines 34-45) 22

23 Conscience & Guilt 'Macbet h' Theme Sect ion As soon as Macbeth returns from killing King Duncan, he recounts to Lady Macbeth what the grooms said in their sleep. However, this hallucination is just another example of his mental status unraveling. He tells Lady Macbeth:?Still it cried 'Sleep no more!' to all the house: 'Glamis hath murder'd sleep, and therefore Cawdor shall sleep no more; Macbeth shall sleep no more.'? (Macbeth, Act 2 Sc 2 Lines 24-26) Despite having gained the crown, Macbeth continues to envy Duncan because in death, nothing can worry him. Being king brings Macbeth little to no joy as he is now gripped by paranoia that he will lose his power. As he worries about Banquo's threat to his power, Macbeth says:?but let the frame of things disjoint, both the worlds suffer, ere we will eat our meal in fear and sleep fin the affliction of these terrible dreams that shake us nightly. Better be with the dead, whom we, to gain our peace, have sent to peace, than on the torture of the mind to lie in restless ecstasy. Duncan is in his grave; after life's fitful fever he sleeps well..." (Macbeth, Act 3 Sc 2 Lines 22-29) By the end of the play guilt causes Lady Macbeth's sanity to deteriorate. She cannot sleep because she is riddled with memories of the night of King Duncan's murder. In her delusions, Lady Macbeth says the following in front of a servant and the doctor.?out, damned spot! out, I say!--one: two: why, then, 'tis time to do't.--hell is murky!--fie, my lord, fie! A soldier, and afeard? What need we fear who knows it, when none can call our power to account?--yet who would have thought the old man to have had so much blood in him.? (Lady Macbeth, Act V Sc 1 Lines 25-30) 23

24 Blood 'Macbet h' Theme Sect ion Q: Discuss the way in which light/darkness, violent imagery, and unnatural happenings are used inmacbeth, to create atmosphere. Support your answer with appropriate quotation or reference. A: Between light and darkness, blood is the only colour that dominates the play. It?s everywhere from the opening battle scenes to Lady Macbeth?s breakdown as she tried to rub out the?damned spot.? But the stain on their consciences, is a spot that cannot be rubbed out. When Macbeth sees the phantom daggers in Act II, he is overcome by the blood that appears on the blades.?mine eyes are made the fools o?the others senses Or else worth all the rest for I see thee still, And on thy blade and dudgeon gouts of blood, Which was not so before. There's no such thing: It is the bloody business which informs Thus to mine eyes.? (Macbeth, Act II Sc 1 Lines 45-50) Blood allong with signifying death and violence, also becomes a symbol of guilt that Macbeth and Lady Macbeth must hide from the rest of the court. When Macbeth returns from killing Duncan, the blood upon him becomes an immediate danger that must be cleared to make him appear innocent. Lady Macbeth commands her husband:?go get some water, And wash this filthy witness from your hand. Why did you bring these daggers from the place? They must lie there: go carry them; and smear The sleepy grooms with blood." (Lady Macbeth Act II Sc 2 Lines 46-50) As Lady Macbeth rushes him away after he kills Duncan, Macbeth cries:?will all great Neptune's ocean wash this blood Clean from my hand? No, this my hand will rather The multitudinous seas incarnadine, making the green one red.? (Macbeth Act II Sc 2 Lines 61-64) 24

25 Blood 'Macbet h' Theme Sect ion After killing Duncan and Banquo, Macbeth feels that he is so mired in this buisness that he must see it through. He plans: "It will have blood; they say, blood will have blood... I will, to the weird sisters: More shall they speak; for now I am bent to know, By the worst means, the worst. I am in blood stepp'd in so far that, should I wade no more, Returning were as tedious as go o'er: Strange things I have in head, that will to hand; Which must be acted ere they may be scann'd." (Macbeth, Act III Sc 1 Lines 129, ) Finally the idea that the proverbial blood on their hands cannot be washed away, is what drives Lady Macbeth to insanity. In a fit of insanity, Lady Macbeth fixates upon the memory of King Duncan's blood on her hands.?here's the smell of the blood still: all the perfumes of Arabia will not sweeten this little hand. Oh, oh, oh!? (Lady Macbeth, Act V Sc 1 Lines 33-34) 25

26 Evil v. Good 'Macbet h' Theme Sect ion Q:?The eternal struggle between good and evil? a struggle in which evil comes very close to victory? is the central theme of the play Macbeth.? Discuss this view and show how the struggle is illustrated in the imagery of the play. Support your answer by reference or quotation. A: Primarily represented in the play?s imagery of darkness vs. light. King Duncan is appointed by God (as the belief in the divine right of kings would suggest). He represents the good, the light. Macbeth, however, is lured by the pagan witches, the instruments of darkness, so he comes to represent evil. Historically, this is significant because in Shakespeare?s day Christians waged a war on pagans and their practices which were considered evil. King Duncan's speech invokes light and invites the heavens to look favorably on loyal patriots, whom he considers Macbeth to be. After naming Malcolm the Prince of Cumberland, he says: "...But signs of nobleness, like stars, shall shine On all deservers." (Duncan, Act I Sc 4 Lines 42-43) In comparison, Marcbeth is constantly speaking about darkness and hiding from the light provided by the sun and stars as a means to hide his evil intentions and, later, his evil deeds. After hearing Malcolm deemed the Prince of Cumberland, Macbeth plots:?the Prince of Cumberland! That is a step On which I must fall down, or else o?erleap, For in my way it lies. Stars, hide your fires; Let not light see my black and deep desires.? (Macbeth, Act I Sc 4 Lines 50-54) After commissioning the death of Banquo, Macbeth calls again on the night to hide his actions.?come, sealing night, Scarf up the tender eye of pitiful day; And with thy bloody and invisible hand Cancel and tear to pieces that great bond which keeps me pale! Light thickens; and the crow makes wing to the rooky wood: Thou marvell'st at my words: but hold thee still; Things bad begun make strong themselves by ill.? (Macbeth, Act III Sc 2 Lines 48-57) Macbeth is also called a "hellhound" and a "devil" throughout the play. It's also no coincidence that the only man left supporting Macbeth in Act V, when Malcolm and Macduff return to reclaim Scotland, is named Seyton. It is an obvious allusion to Macbeth's actions being the work of the devil. 26

27 Tropes 'Macbet h' Theme Sect ion Q:?Throughout the play,macbeth, Shakespeare makes effective use of a variety of dramatic techniques that evoke a wide range of responses from the audience.? Discuss this view with reference to at least two dramatic techniques used by Shakespeare in the play. Support your answer with suitable reference to the text. Q: Discuss the way in which the language of the playmacbethcontributes to the creation of the atmosphere of evil and violence that pervades the play. Support your answer by relevant quotation or referece. OR A: In literature, a trope is a figure of speech in which words are used in a different sense than their literal meaning such as: Inversion Metaphor Metonymy Irony Oxymoron Hyperbole Paradox Litotes Antithesis Synecdoche The three most prevalent tropes that you will see in The Macbeth Sessions are: Inversion, Paradox, Antithesis, and Dramatic Irony. Inversions: A reversal of the meaning of words, i.e.,?fair is foul and foul is fair.? Paradox: A contradiction of terms, i.e.,?lesser than Macbeth and Greater,??Not so happy, yet much happier,??when the battle is lost and won,??nothing is but what is not.? Antithesis: A figure of speech that brings out a contrast in ideas by bringing out a contrast in the words as in?cannot be ill, cannot be good.? Macbeth things the witches?prophecy can?t be ill because it tells him that he will become king. But he reasons it can?t be good either because in order for him to become king, he thinks, he?ll have to do terrible things. Banquo:?Good sir, why do you start; and seem to fear things that do sound so fair?? Dramatic Irony: When the audience has more information than a character and knows they are making a mistake or a wrong assumption as is the case when Duncan calls Macbeth?a peerless kinsman.? The audience knows that Macbeth will be and is the Thane of Cawdor before Macbeth even hears the witches?prophecy. 27

28 Heroic Fate 'Macbet h' Theme Sect ion Q:?In Macbeth, Shakespeare does not present Macbeth as a mere villain, but succeeds in arousing a measure of sympathy for him.? Discuss the character of Macbeth in the light of this statement, supporting your answer by relevant quotation and reference. OR Q:?We feel very little pity for the central characters of Macbeth and Lady Macbeth in Shakespeare?s play.? To what extent would you agree with the above view? Support your answer by reference to the play. A: At the start of the play Macbeth is a hero. He is a great captain and has led Scotland to victory. The turning point is when he learns from the witches that he is fated to be King. Once a prophecy is foretold it is the hero?s fate. This idea comes from Greek tragedy; no matter what the hero does he cannot avoid his fate. However, Macbeth also has free will. He decides on each of the steps he takes fueled by his and his wife?s ambition. This is Shakespeare?s twist on the classic idea of fate. Macbeth makes choices on his quest to become king. So, is it fate or is it free will? Shakespeare leave it unanswered in the play. Macbeth's fate is first laid out for him in the witches' prophecies. 1st Witch:?All hail, Macbeth! Hail to thee, Thane of Glamis!? 2nd Witch:?All hail, Macbeth! Hail to thee, Thane of Cawdor!? 3rd Witch:?All hail, Macbeth! Thou shalt be King herafter!? (Act I Sc 3 Lines 49-51) These prophecies first become reality when a messenger arrives from King Duncan. He tells Macbeth and Baquo:?The king hath happily received Macbeth the news of they success and he bade me from him call thee Thane of Cawdor. Hail most worthy Thane.? (Act I Sc 3 Lines 90-91, ) Banquo too becomes a victim of fate because the witches' prophecies make him Macbeth's target as he is to be the father of kings.?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?? (Banquo, Act III Sc 1 Lines 1-10) 28

29 Heroic Fate 'Macbet h' Theme Sect ion The final witches' prophecies bring the play to its violent conclusion. FIrst the witches prophecy that Macbeth need only fear a man who "was not of woman born." As all people are carried by their mothers before they are born, Macbeth assumed that he was safe. However, he was defeated by Macduff, whom with witches warned him against. The first apparition in Act IV Sc 2 tells him: "Macbeth! Macbeth! Macbeth! Beware Macduff. Beware the thane of Fife." (Act IV Sc 2 Lines 73-74) But Macbeth loses his concern when he hears another apparition tell him: "Be bloody, bold, and resolute. Laugh to scorn The power of man, for none of woman born Shall harm Macbeth." (Act IV Sc 2 Lines 81-84) The final prophecy that the witches give and that ultimately brings about Macbeth's downfall, is that the woods will come to the castle in which Macbeth resides. The final apparition tells Macbeth that: "Macbeth shall never vanquished be until Great Birnam Wood to high Dunsinane Hill Shall come against him." (Act IV Sc 2 Lines 96-98) While Macbeth thinks that all of these cannot possibly come to pass, his fate is ultimately unavoidable as all ancient heroes too discovered. Birnam Wood comes to Dunsinane when the soldiers approach the army while shielding themselves with branches -- which makes it appear as though the wood is moving. Macduff, who was delivered by cesaerean section and, therefore, "not of woman born," defeats and beheads Macbeth. All of these events force the audience to question: Is Macbeth responsible for his actions or were his choices predetermined by fate? 29

30 Classroom Activities - Active Teaching Options One Word Monologue This activity was created by the Education Department at Shakespeare's Globe. It's purpose is to help students identify the primary themes in a speech. To begin, select one of Macbeth's monologues that you would like your students to focus on. The dagger speech or one of the early speeches from Act I or II are particularly effective. Have your students stand in a circle. Assign each student one or two lines from the monologue. Make sure that every student has at least one line. Start by reading the monologue aloud together. Have each student read their assigned line. Then ask each student to pick the three most important words from their line. Tell them not to pick conjunctions or pronouns. They should pick words full of meaning; adjectives, adverbs, verbs. Go around the circle again and have each student repeat the three words that they chose. Repeat the process again but ask each student to select the one word that is most important to them from their assigned line. When you go around the circle the final time, hearing the single most important word from each line, it should help illustrate the theme or main ideas in the speech. Discuss with the class afterwards what patterns emerged from that activity. If you had to identify one emotion that Macbeth was feeling during that speech what would it be? What is a central theme in the text that came to light from this activity? What words from the text led them to that idea? If it were done when 'tis done, then 'twere well It were done quickly: if the assassination Could trammel up the consequence, and catch With his surcease success; that but this blow Might be the be-all and the end-all here, But here, upon this bank and shoal of time, We'ld jump the life to come. But in these cases We still have judgment here; that we but teach Bloody instructions, which, being taught, return To plague the inventor: this even-handed justice Commends the ingredients of our poison'd chalice To our own lips. He's here in double trust; First, as I am his kinsman and his subject, Strong both against the deed; then, as his host, Who should against his murderer shut the door, Not bear the knife myself. Besides, this Duncan Hath borne his faculties so meek, hath been So clear in his great office, that his virtues Will plead like angels, trumpet-tongued, against The deep damnation of his taking-off; And pity, like a naked new-born babe, Striding the blast, or heaven's cherubim, horsed Upon the sightless couriers of the air, Shall blow the horrid deed in every eye, That tears shall drown the wind. I have no spur To prick the sides of my intent, but only Vaulting ambition, which o'erleaps itself And falls on the other. 30

31 Resources and References References: - Creative Shakespeare: The Globe Education Guide to Practical Shakespeare; Fiona Banks Other resources to look up, watch and read that relate to 'Macbeth': - For additional sample questions go to - For online resources and activities visit Macbeth, Playing Shakespeare with Deutch Bank - Film: Macbeth (2015) starring Michael Fassbender and Marion Contillard - Film: Macbeth (2010) starring Patrick Stewart 31

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