Download The Tragedy of Macbeth

The Tragedy of Macbeth
A Study Guide
Any play that opens with witches, thunder, and
lightening - all in a desert place - with a war going
on in the background, is unlikely to promise much in
the way of belly laughs. But we might also wonder
what it might have to do with reality. We are
prepared for some tale that will be set in a time long
ago and a place far away. But Macbeth is very real,
and despite the elements of the supernatural, it is the
story of a very human - too human - man and
woman. Remember this when the witches begin to
prophecy, daggers materialise in mid-air, murderers
appear out of nowhere, and a ghost comes to dinner.
Act One
I, i The witches or the "weird sisters" do appear to have the gift of prophecy. After all, they seem
to be pretty confident that they will meet Macbeth later on that day. But their most important lines
here are the following:
Fair is foul, and foul is fair,
Hover through the fog and filthy air. (I,i, ll 11-12)
What does this suggest? It seems to warn us that beauty may be evil, the horrible may be good, and
that things in general may not be what they seem. Things "hover", hanging suspended above the
ground, neither on earth nor in the sky. The fog and the "filthy air" suggest that the elements earth, air, fire, and water - are confused, muddled all together in some unnatural way. The world
seems to be in chaos, at least within the realm of humankind.
Does this suggest that Shakespeare's view of the world is a bleak one in which humankind is by
nature evil. No, but the confusion and chaos does suggest a struggle between great forces. You
will see several such struggles in the play. Rebellious lords will rise against a King; husband and
wife will struggle to set a plan in motion. But the great struggle will be within individuals, as each
confronts the dual nature of humankind; not "good" and "evil" but "reason" and "appetite" or what
Alexander Pope might call, "Self Love".
Read the following lines from Alexander Pope's great work, "Essay on Man":
Know then thyself, presume not God to scan;
The proper study of Mankind is Man.
Placed on this isthmus of a middle state,
A being darkly wise and rudely great:
With too much knowledge for the Skeptic side,
With too much weakness for the Stoic's pride,
He hangs between; in doubt to act, or rest,
In doubt to deem himself a God or Beast;
In doubt his Mind or Body to prefer,
Born but to die, and rea'sning, but to err;
Alike in ignorance, his reason such,
Whether he thinks too little, or too much:
Chaos of Thought and Passion, all confused;
Still by himself abused, or disabused;
Created half to rise, and half to fall;
Great Lord of all things, yet a prey to all;
Sole judge of Truth, in endless Error hurled:
The glory, jest, and riddle of the world.
Epistle II, ll 1-18
Pope's words describe the human being as a creature caught in between two warring sides. We
possess the reasoning ability of the angels and the instincts and appetites of the beast. We are
moved by logic and by passion, lifting ourselves up with the first and dragging ourselves down
with the second. Ultimately, the goal would be to embrace reasoning and the higher passions - love
of God - and escape the lower, dangerous emotions that can lead us to acts of great cruelty and,
eventually, our own destruction.
This dual nature is easier to understand when one considers the old idea of the Great Chain of
Being. This metaphor was used to describe the fragile order of Nature as a whole. The Chain
represents the perfectly ordered world created by God. Everything that existed in the world had its
assigned place on the chain. At the top were the angels, beings of pure Reason, whose only
purpose was to adore God. They were free of vice and passion. Next came Man, halfway between
the angels and the "ruder" beasts. Below Man came the kingdoms of the beats, fishes, birds,
minerals, and so on. Within every kingdom, there was a first rank. Among trees it was the oak;
among minerals, gold; among animals, the lion; among men - the King!
The function of everything on the chain was to be the most perfect type of thing its Nature
imposed. The function of a horse was to be a horse. A horse should not try to be an elephant. The
function of a tailor or a lord was to be the best of tailors or the best of lords. Be what Nature
intends. Accept your nature and the duty or duties that go with it. But a tailor should not try to be
a lord, and a lord should not try to become a King. To do so was to break the chain, and if that
break came high enough, chaos would enter at the break and spread through the world. Thus, those
who believed in the idea of the chain would look at Macbeth's attempt to become King by an act of
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regicide and be horror struck. This act, if successful, would break the chain at its highest earthly
point, and all below would suffer. Of greater importance to Macbeth himself would be the loss of
his soul and the eternal damnation that would follow.
I, ii We hear of Macbeth's courage and we see blood. This is the bloodiest of Shakespeare's plays.
A "good and hardy soldier", a "brave friend" - in other words, a man who has done his duty to his
King - reports to us about the battle the witches spoke of. Duncan is King of Scotland, and
Macdonwald, a rebel lord, has tried to overthrow him, disturbing the natural order with this treason.
Macbeth has battled bravely for Duncan's side, and had killed "the slave" Macdonwald by cutting
him in two. Duncan's cry, "O valiant cousin! Worthy gentleman" pinpoints the rightness of
Macbeth's great bloodletting; Macbeth is his relative and his loyal subject.
The soldier goes on to mention that the King of Norway, who we later hear had the help of yet
another traitor, the Thane (or Lord) of Cawdor, decides to take advantage of the confusion and
launch his own attack on Scotland. Again, it is Macbeth who rushes in and defeats the rebels.
Was Macbeth not dismayed by these new enemies, asks Duncan? "Yes," answers the bloody
soldier, "as sparrows, eagles, or the hare, the lion." Explain why these animal and bird images
are appropriate in this context.
Duncan is grateful, and also, a little stupid. He decides to reward Macbeth by giving him the title
of Thane of Cawdor. With the title would go land and castles. In other words, having been
threatened by two great Lords of his own country, Duncan now makes Macbeth the greatest Lord
of all.
I, iii The witches meet again, and for a while, seem
a little silly. One, annoyed by a big-bummed sailor's
wife's refusal to share some chestnuts, has caused a
storm at sea by making mischief with the winds. This
will condemn Big Butt's husband to many days of
sleepless sailing. But notice she cannot sink the
"bark" or ship. Thus we realize that there are limits to
the powers of these weirdies. They cannot assign us
our fate. They can only make the journey difficult.
And just how seriously can we take a creature that
collects thumbs for a hobby, or her friends who get
excited by the new addition to the collection!
Now, finally, we meet Macbeth, whose first words are significant. What impact do they have on
the audience/reader? With Macbeth is Banquo, another great general who fought on Duncan's
side, and a great friend to Macbeth. You need to keep in mind that friendship imposes its own
duties. He confronts the witches and notes that they are not "natural" creatures; they are neither
one thing nor the other.
Macbeth is not impressed by their appearance and orders them to speak. They respond with the
famous predictions. Macbeth, notes Banquo, responds rather strangely to their words, seeming to
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"fear/ things which do sound so fair." Why fear? Have the witches, by luck or skill, stumbled on a
hidden desire?
Banquo, noting that Macbeth is wrapped up in God only knows what thoughts, demands that the
witches offer him some prophecies. They respond with three riddles. Macbeth comes out of his
trance long enough to demand more info, but the witches vanish.
Banquo is a cautious man. He wonders if he and Macbeth have lost their minds. Have we taken
poison? Do we hallucinate? Is reason trapped? Macbeth does not seem to be bothered by such
concerns; he is fixed on the prophecies. Then Ross arrives with a message from the King, and the
first prophecy comes true!
Now come Macbeth's "asides" "Asides" are meant to be seen as internal thoughts. Essentially, the
actor is talking to him/herself. This is fortunate for we discover that, at least mentally, Macbeth is
being a very naughty little thane indeed. He struggles with something fair and foul. The fair bit is
the fact that he is now Thane of Cawdor. But what is the foul? It must be the fantasy "whose
horrid image doth unfix my hair/ And make my seated heart knock at my ribs/Against the use of
nature." Following lines continue this confusion. Whatever thought is now banging around his
thanely brain, it is so horrible, it "shakes so [his] single state of man that function/Is smothered in
surmise, and nothing is/But what is not." He knows these thoughts are evil. In fact, how has
Shakespeare already made it clear that this is not the first time the idea of being King had
crossed his fuzzy little thane's brain?
Does Banquo see this? What warning does he give his friend?
Does Macbeth hear a word Banquo said? Likely not. But on his own he decides, " If chance will
have me King, why chance/May crown me." What does this mean?
Please note the form being used to incorporate quotations in this guide.
I, iv Cawdor - the original, not Macbeth - has been executed. Significantly, he died bravely,
apologizing, and throwing away his life " as t'were a careless trifle." Duncan moans about how
unhappy he is to have been so betrayed by one he trusted. He then greets the man who will do
exactly the same thing, but better. He falls all over Macbeth, thanking him and promising him
great rewards. Macbeth does what any great person would do here; he sucks up, coming out with a
kind of, "Golly gee whiz, it weren't nothin"" speech. But part of all this modesty is important.
Show that Macbeth knows what his duty is.
Duncan now says, " Welcome hither/I have begun to plant thee, and will labour/To make thee full
of growing." No, he isn't going to cover Macbeth with dirt. This is an important metaphor, a
significant motif. A rightful King is being compared to a good gardener, and the kingdom is the
garden. In a country ruled by a divinely sanctioned King, good people will be "full of growing" rich and prosperous. In a country ruled by an unnatural King, weeds will corrupt the garden, and
nothing true will grow.
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Now Macbeth listens to all this horticultural stuff, no doubt thinking of the witches words and
saying to himself, " Go on, ya old windbag, 'cause I know something you don't know." But then
Duncan does the unexpected! He shatters Macbeth's newly revived fantasies. How does he do
this? And Duncan isn't finished. He then announces that he will go to Macbeth's castle, Inverness.
Now look at Macbeth's reaction! What happened to letting Chance crown him? How does one
"overleap" a Prince? Does one simply go up and say, "Excuse me, but I was here first?" Suddenly,
our favourite thane wants darkness. Why does he want his eye to "wink" at his hand?
I, v
This scene belongs to Lady Macbeth, and she is awesome in the
true sense of the word. The "natural" Lady of a Lord owes her duty
first to God, then to her King, then to her Lord/Husband, then to
family, then to her guests, and then to those who serve her. But the
history of the time is filled with "Ladies" who had no difficulty
overlooking the minor problems these duties brought on, and Lady
Macbeth is a towering example of the type.
No thought is given to chance crowning anyone. Macbeth will be
King. But she worries about his good nature, complaining that he
would go about it only in moral ways. He has too much "milk"
(another key motif) and not enough "illness". He is not diseased or
unnatural enough "to catch the nearest way." She, however, has the
right poison - her words -, which she will pour into his ear to urge
him towards the "golden round".
She is wise enough to see her own limits and to recognize that she,
too, has good in her, and that this might get in the way.
Recognizing that she will need help, she calls upon the evil spirits
to fill her with cruelty. To prevent guilt, and to make sure that
nothing "natural" in her will interfere, she asks them to "make thick
my blood" and to "come to my woman's breasts/And take my milk
for gall." She, too, calls for darkness so that her hand, like his, will
see nothing. Both seem to hope that, whether it be by stars "hiding
their fires" or by the "smoke of hell'" creating a "blanket of the
dark”, heaven will not see. They seem to not realize what one character in the famous play, The
Duchess of Malfi, noted when he realized that, while some crimes can be hidden, "blood flies
upward". In other words, "Murder will out."
And so, when her husband appears, she begins her attack on his better self. No-one reminds us
more of the witches words that "Fair is foul". She tells him to deceive, to close the book of his face
so that no man can "read strange matters" that may be in his heart. He must, "look like the innocent
flower/But be the serpent under it." This is a powerful image of evil, reminding us of the snake in
the Garden of Eden. Macbeth is not convinced, and suggests they will talk more. Instantly, she
counters: "You shall put/This night's business into my dispatch.../Leave all the rest to me." She
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will develop the plan. She will set the wheels in motion. She is Medusa reborn, another powerful
woman, who, if it is necessary, will cut an old man's body into bits.
I, vi
“This castle hath a pleasant seat,” says the Dim Duncan – not one of Scotland’s brighter lights, for
all his golden blood and silver skin – and he then goes on to greet his honoured hostess. He has no
idea, of course, what honoured hostess has in mind for him. We, however, knoweth what the lady
thinketh. That means this is what kind of irony?
The Lady sucks up magnificently, echoing her husband’s words about duty. Duncan takes her hand
and they walk in together. Ironically, the sun is shining, one of the very few scenes in this play
during which this occurs.
I, vii
This is Shakespeare at his best. The scene opens with the first of the great soliloquies. A soliloquy,
a long “aside”, is a dramatic speech delivered by a character usually alone on stage. It is
understood that this is essential an internal monologue, thought rather than spoken, but watching an
actor think might be boring, and in Hollywood, futile, so better they should speak! 
As we read these lines, we need to ask ourselves whether or not Macbeth has made up his mind. He
certainly seems aware of a dilemma. If he could kill the king and avoid the “life to come” –
damnation – then perhaps he’d pick up his knife, hike up his robes, and scamper off to stab! But he
knows about Nemesis (retribution or punishment) and this is slowing him down.
Nemesis is the answer to Hubris (great insolence/pride) and Hamartia (act of evil or bad
judgment), or at least it is in Shakespearian drama, where fate plays a different role than it does in
Sophoclean tragedy. In the strange language of adolescence, Nemesis might be described as “What
goes around comes around”. Macbeth, not an adolescent, describes it differently. What two images
does Macbeth use? Comment on their effectiveness.
Macbeth has other concerns, however; in fact there are two. What are they?
By the end of the soliloquy, Macbeth has clearly come to a decision, and he is ready to inform his
wife of this at the first opportunity, which comes … well … quickly. And how do you imagine Old
Breasts of Gall is going to take this bit of news?
The answer is, not well! She immediately launches an attack on his courage, clearly unimpressed
by his cutting in two of Mr. Macdonwald. Macbeth doesn’t wimp out immediately. His answer, “I
dare do all that may become a man;/Who dares do more is none.” is important How would you
explain these words?
She goes on, however, and her words become increasingly terrible. In terms of the concept of
Nature presented in this play, she hits bottom here. Explain why.
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Macbeth is still not overwhelmed. He asks, “If we should fail?” She responds, “we fail.” However,
some people feel there should be a question mark at the end of her comment. Others assert the
period is entirely appropriate. Given your impressions of the Lady thus far, how do you feel it
should be read?
Pay attention to Macbeth’s diction as the act ends. How do his words echo those of other
characters?
I think it is important to understand that Lady Macbeth has yet to make any mention of herself
being queen.
Act Two
It is midnight! The stars (heaven’s candles) are all out. There is no moon. Get the picture?
Now Banquo, it seems, is having his own very nasty thoughts. How does he deal with them? He
and Macbeth talk, and Banquo leaves, taking his son, Fleance, with him. This seems a good move.
Would you leave your kid with Macbeth?
Now comes the second great soliloquy, but before you rush off to read and reread this, it’s time to
learn what a tragic hero is, or at least this kind of tragic hero.
The Tragic Hero
The T.H. is an individual great by birth and nature, possessing outstanding virtue or
strength.
This virtue will struggle with an equal flaw.
The flaw will overcome the virtue.
The T.H. is ultimately responsible for his own fate.
The T.H. will become isolated and tormented.
The T.H will encounter Nemesis.
The T.H will somehow escape the hatred of the audience. Instead, we may feel pity, fear, or
even awe.
The above should tell you why the soliloquy you may now reread is so key. If Macbeth had left his
wife, hollering, “Let me at ‘em!”, we would blame her, and Macbeth would become pathetic, a
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victim of his wife’s powerful manipulations. By the end of the soliloquy, how has the character
of Macbeth evolved? What is the impact of his diction in the second half?
II, ii
Lady Macbeth enters, alone. She has been drinking but she is by no means drunk. She has done her
part and seems nervous. As she speaks, however, she will say a few things that give us a glimpse at
how the “thick blood” strategy is working. Is it?
The bloody Macbeth now enters. What does the Lady’s role now become? Why should a man who
apparently bisects people regularly be bothered by blood on his hands? Note Lady Macbeth
recommends the application of a little water – ever the housewife or Shakespeare setting something
up?
She then notices that MacTwit has brought the daggers with him. Not pleased, she orders them
returned. He refuses. The great warrior will not go back. She must carry the murder weapons back
to the corpse.
While she is gone, Macbeth continues to moan. He imagines himself trying to wash his hands in the
ocean. What is the outcome? How is this consistent with the imagery and themes of the play?
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II, iii This scene opens with the famous “Porter’s Scene”. This is an example of Comic Relief, the
interruption of a serious work with a short humourous scene designed to relieve tension.
Unfortunately, the Porter’s scene has not aged well, especially for a modern high school audience.
This is a pity because the porter goes on at some length explaining the impact of alcohol upon a
man’s ability to “entertain” in bed. The lines are hilariously filthy, and an Elizabethan audience,
largely drunk, would have been rolling on the floor. Don’t you hate it when someone tells a joke
and you don’t get it?
However, Shakespeare never gets too far away from his themes, and in the porter’s idiocy are
references to his imagined surroundings. Where does he claim to be? Why is this significant?
Macbeth greets his late night visitors and they talk about the weather. Strange weather! What we
are getting here is an example of something called “Pathetic Fallacy”. This device is used to
suggest that nature can actually respond in sympathy to human emotions and/or actions. Thus,
clouds may week when your heart is broken; flowers may wither and die if you are cruel. What
might be responsible for the rather weird weather described?
Note Macduff’s diction as he returns from the King’s bedchamber. Don’t dismiss it as simply
hyperbole. Examine the words carefully. How are they significant?
Lady Macbeth now joins the crowd. At first Macduff refuses to tell her what has happened out of
concern for her delicate femininity. Yes, you may snicker. When she does hear the news, she makes
a mistake, an error that will begin raise Banquo’s suspicions. What is her error?
But the important lines in this scene are Macbeth’s. Remember, no one knows that he did the
killing. Yet his words would make sense to them. Why?
Nonetheless, something must be happening because Lady Macbeth decides that she needs to do
something to shut him up. That’s right, dear readers, it’s a fake faint. What do you think Macbeth
was doing that moved her to fall down and go boom?
Malcolm and Donaldbain, Duncan’s sons, do not seem all that broken hearted at Papa’s passing.
However, they are political children, the sons of a king, and so they talk to each other in pretty
practical terms. What do these very bright boys quickly realize? What is their plan. Of course,
what unfortunate consequence might this plan have?
II, iv The act ends with a short scene filled with pathetic fallacy. Find three examples and be
prepared to discuss why Shakespeare chose the ones he did. The other important event concerns
Macduff. Macbeth, we learn, is to be crowned King. His coronation is approaching. Will Macduff
attend? Why is the answer to that question significant?
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Act Three
The act opens with Banquo, alone, considering everything that has happened. It is obvious that he
has begun to think certain thoughts. What are they? Now, as a loyal and natural human being,
what should duty compel him to do? Yet, to what does his mind turn? The question is: Has
Banquo sinned?
The Macbeths enter, now crowned King and Queen. Crime, it seems, does pay. They greet
Banquo with what appears to be great friendship, insisting that he attend " our great feast " and
Banquo promises that duty makes him theirs to command. But while all this verbal handshaking
and backslapping is going on, Macbeth slips in three apparently innocent questions. Go ahead! Be
suspicious. Might Macbeth have any motive other than curiousity for these queries? At the end of
the scene, look back at these and see the irony! There is another rather horrible irony in Banquo’s
responses. Do you get it?
Macbeth orders everyone - everyone! - out. This is a sure sign a soliloquy is about to burst out.
Sure enough, the "charming" King reveals his innermost thoughts. What is his state of mind?
How does he see Banquo? What else is bothering him? Remember Duncan's use of garden
images - ' I have begun to plant thee and will labour to make thee full of growing"? Can you see
three words that suggest something about Macbeth's "garden"?
At this point, two rather scruffy individuals appear, and Macbeth, after sending his attendant away,
speaks to them. What does he appear to be trying to get them to believe? Does he appear to be
warning them, begging them, or challenging them? Eventually, his purpose is clear. By comparing
them to dogs with the idea that some dogs are better and nobler than others, he is insulting them,
and soon enough, he drives home his conclusion. Before you read past line 100, can you figure out
what it is Macbeth is trying to do?
Very good! But Macbeth is King! Why doesn't he just do it himself?
What's planned is horrible enough. But how does it become even more so before it’s complete?
Usually, it is the people on stage who are important. But who is not there during this exchange,
and why is this significant?
III, ii O.K., so Macbeth isn't in the best of moods. What about Old Ironsides, she of the not-sothick blood. Is she happy?
What worries her? What is she attempting to do? Note that she will do this through the rest of
the scene, and, while she is able to, through the rest of the play. What previous crime is already
exacting its revenge? Who do both Macbeths envy? Why?
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Lady Macbeth tries to calm her
husband, while he bitterly rants on
about the necessity of flattering
(kissing up) to folks like Banquo.
Then, Macbeth bursts out with an
anguished metaphor. What does
he mean? Who and / or what are
the scorpions?
In lines 44 - 61, Macbeth sounds
like the most evil of unnatural
beings, like some dark wizard from
the underworld, casting spells and
planning horrors. You can almost
hear him cackle. And he tells her
yet he doesn't tell her what's to
come. What significant change
has occurred?
At this point, do you see Macbeth as free or trapped? If you think the latter is the case, what traps
him, and does this fit into the definition of the tragic hero given earlier in the guide?
III, iii
Scene three is short but important. How successful
in Macbeth's plan? Is Banquo an innocent victim of
Macbeth's evil, or is there a touch of nemesis in his
fate? Was there anything in the scene that surprised
you? Something that shouldn't be, yet was?
I think a bonus mark is appropriate - if you can spot
the unexpected!
III, iv
Meanwhile, back at the castle, King Macbeth is
greeting his guests, ably assisted by Her Majesty.
They seem friendly, even jovial, mixing with their
guests as equals, rather than formally separating
themselves from those theoretically their inferiors.
The, the returning murderer calls Macbeth, and he
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gives him the mixed news. As the story unfolds, how does Macbeth's mood change? Do you think
he will ever again achieve the state of mind he desires? Macbeth talks about serpents and worms.
To whom does he refer, and what do his words mean?
Lady Macbeth calls - a bit impatiently - for her husband to come back and be the good host, and
Lennox invites him to sit. Before he does, he suggests that Banquo's absence from the feast is due
to rudeness rather than accident, and he points out that, "Here had we now our country's honour
roof'd/Were the grac'd person of our Banquo present." At which point, a rather terrible irony
occurs, and Banquo's answer to Macbeth in III, scene I, achieves an irony Banquo did not intend.
Macbeth reacts to the
ghost - whom no-one else,
even the lady, can see.
Remember, the most
powerful people in the
country are in the room,
and they see only their
King, ranting at what
appears to be an empty
stool. Lady Macbeth tries
to calm both her husband
and the lords with what
appears to be a mixture of
anger and despair.
Macbeth’s lines, of
course, will give the
whole thing away to the
lords as soon as Banquo's
body is discovered and the
wounds are counted.
More importantly, in what
retributive way do even
the laws of Nature itself
seem to be ganging up on
the guilty Macbeth?
If you were one of the
people at the table, would Macbeth's words or Lady Macbeth's make you feel any more relaxed?
Macbeth, apparently having not learned that it is better to let sleeping ghosts lie, and that it is not a
great idea to mention dead Banquos at dinner, does so again. What happens?
Macbeth looses his composure (“cool") a second time. Then, unbelievably, he tells his guests to
remain but since he can't seem to shut up about what he has seen and since the guests are getting
curious, his wife finally tells the lords to leave - now!
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Macbeth's line, “Blood will have blood”, is one of the most famous in Shakespeare, and it says
nothing other than the truth. Discuss at least two ways these words are significant. How much
does Macbeth trust any of the lords? Where will he go now? Why? How far will he go to keep
what he has gained? What phrase that he claimed to hear on the night of the murder seems to be
coming true?
III, iv Lennox’s words are heavily sarcastic. He is pointing out that there has been an unusual
amount of father-killing going on. What does this suggest the Macbeths have been saying was the
likely cause of Banquo's death?
More importantly, lines 25-40 establish the possibility that what two important characters are going
to meet? Where will this meeting take place, and why will it take place there? Keep in mind
that there exists both a practical and symbolic reason.
Act Four
IV, i The witches have apparently been to Ye Olde Bulk Barn, for a number of unusual items go
into the potion. Some are traditional witchy stuff, but some are significant. Anything having to do
with poison reminds us of the "serpent" images common in the play. Anything having to do with
those not baptized reminds us of Macbeth's position outside the Chain of Being. The lines are
wonderfully rhythmic, and the fact that they rhyme as well make these the most popular lines in all
of Shakespeare's plays. Go ahead. Reread them! Picture yourself as something out of Hallowe'en
XIII. It's especially neat if you read them out loud, but it is likely a good idea to wait until the rest
of the family is somewhere else.
Macbeth's next lines show just how far from the rest of humanity he has moved. Note what he is
willing to see happen to all of Nature as long as he gets what he wants. The last ingredients that go
into the cauldron are significant. Do you see why?
Note the predictions! The first Macbeth has figured out. But look at the second and the third.
These words comfort Macbeth, and at first glance, they seem to suggest that he will win. But what
did Banquo warns us might be true about anything
told to us by the powers of darkness?
Still not satisfied, Macbeth wants the answer to what
question? Despite the witches' warning, he persists.
What does the last vision - stage directions and lines
mean? Note that an honest man, Lennox, does not
see the witches. What irony escapes Macbeth's lips?
Despite the predictions that seem to guarantee his
safety, what has Macbeth planned? How has he
changed from the cautious and morally troubled
man we met in Acts One and Two?
IV, i A foil is a character whose qualities or
actions emphasize those of the protagonist by
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providing a strong contrast. Banquo, Malcolm, and Macduff are all, to some degree, foils to
Macbeth. For example, Macduff's willingness to put himself in danger in order to restore a natural
king to the throne of Scotland is in direct contrast to Macbeth's willingness to sacrifice himself to
accomplish the opposite. Lady Macduff is obviously meant to be a foil to Lady Macbeth. Point
out at least two significant ways in which the ladies differ.
The son will utter one of the dumbest lines in Shakespeare before his brief moment on the stage
comes to a bloody end, but he will demonstrate great courage, and he is one example of an
interesting contrast. All the good men in the play - Banquo, Macduff, Duncan, Siward - have sons;
Macbeth does not. In history, the real Macbeth had a son. Why might Shakespeare have changed
history?
In many of Shakespeare's plays, innocents die. Desdemona in Othello, Lady Macduff and her son
in Macbeth, Ophelia in Hamlet, and, arguably, Juliet in Romeo and Juliet all die because of the sins
of others. In each case, their deaths show us the nature and the extent of the evil that can spread
when the Tragic Hero gives in to the flaw within his character.
IV, iii This is a key scene; it is also the longest in the play. By now, the forces of Good are
gathering, and the fortunes of the tragic hero are falling faster and faster. But the road back to a
natural world will not be an easy one.
The scene finally brings Malcolm and Macduff together. Macduff has come to ask Malcolm to
return to Scotland and take back the throne. He describes the condition of Scotland under an
unnatural king and we, of course, are aware that it is even worse than he knows. But if you were
Malcolm - a politically clever little orphan - what might you wonder about your Scottish visitor?
Malcolm's words insult and depress Macduff, who turns to go back to Scotland. But Malcolm is
moved enough to try one last test of Macduff's loyalty. He mentions that England has promised to
lend him "goodly thousands" (soldiers) but the test begins later. What picture of himself does he
paint? Why does he do this?
Macduff passes the test. How does he do so?
Malcolm now completely confuses Macduff. What new picture of Malcolm emerges.
We have already mentioned Edward the Confessor, England's saintly King. How is he established
as a foil to Macbeth?
Ross now appears. His lines indicate that things in Scotland are getting worse. Most importantly,
he brings horrible news to Macduff, news we are already aware of. Malcolm's words are sincere,
but foolish. Macduff's response, "He has no children", refers to one of two possible characters.
Who are they?
What vow does Macduff make?
What is about to happen?
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Act Five
V, i Now it begins - the final act of a Shakespearian tragedy. We know that Good will triumph.
We know that Macbeth and his wife will die. Why bother to read on? There are many reasons.
We do not know what form Nemesis will take when she deals with Lady Macbeth. Will the
punishment fit her crime? To whom will Shakespeare give the sword that kills Macbeth? How will
this once great man die? How great will his suffering be? Will he accomplish more evil? Will yet
another child die? And what of the witch's prophecies? How can things so impossible come true,
and yet they must come true, for we know the witches equivocate? Remember, this is not a
whodunit mystery novel. The tragedy, the drama, and the horror: all will be psychological in
nature. We are about to see a great man fall. How low will he go? That is what we read to
discover!
Lady Macbeth goes first. The scene opens with a Doctor and a
Gentlewoman waiting for Lady Macbeth to appear. The Gentlewoman
has told the doctor of the strange things she has seen, but she refuses to
say what she has heard Lady Macbeth say. We can only assume that
the words are too horrible to be repeated.
As we see and hear in the scene, Nemesis has attacked with madness
and irony. To fully appreciate what happens, remember Lady
Macbeth's words and actions before and after the murder. Verbal and
visual ironies quickly emerge. We can only begin to imagine the
mental horror she must be experiencing. Is pity evoked? What lines
have the greatest impact? The Lady, of course, is alone, yet to whom
are her words addressed? What lines of the doctor’s have the
greatest significance?
When Lady Macbeth leaves the stage, she does not return. This is our last glimpse of her. Later,
we will hear she has committed suicide. How appropriate was her Nemesis?
V, ii The forces of Good approach Dunsinane, Macbeth's castle. The lines spoken by Angus are
the most important. What notable simile is expressed? The army begins to march. How is
Malcolm described? What other King in the play does this link him to? What two mentions
of Macbeth are made?
V, iii Macbeth's moods will swing violently in these last scenes. How is his mood when the scene
opens? On what foundation has he built his hopes?
Now a servant enters, trying to report that 10,000 English soldiers are approaching, but Macbeth,
angered by what he sees as cowardice, orders him away. Nonetheless, he got the message, and
what subsequently happens to his mood? Of what does he complain?
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In line 35, Seyton, Macbeth's last loyal servant, confirms the news about the English army. Where
does Macbeth's mood go now?
The Doctor brings word of the Queen's deteriorating mental state. Macbeth pleads with him to cure
the illness, but is it clear who he is saying needs the medicine? Where does Macbeth suggest the
disease has taken root?
Do you notice the "slip of the tongue" in the Doctor's reply?
Macbeth's mood goes up and down in lines. He asks the doctor to find and drive out ( purge ) the
illness of his land. What irony exists here? What "doctor(s)" will purge Scotland of her
"illness"?
What mood - and what mistake – return at the end of the scene?
V, iv Don't skip the little scenes! What order does Malcolm give? Once this order is carried out,
what might we think we were seeing if we happened to look down from the walls of Dunsinane?
How do you imagine Macbeth will react to this news?
V, v Macbeth is still defiant; indeed, he wishes he had enough soldiers to go out of the castle and
meet Malcolm's army " beard to beard ". But now a scream echoes in the castle. Macbeth, you
will remember, was startled and frightened by the strange noises he heard the night of the murder.
How does he respond to this scream? What reason does he give?
Finally, he hears the sad news about his wife. His response is famous: " She should have died
hereafter." We do not know whether this suggests he no longer loved his wife, or whether he
wishes she could have died later, at a time when he would have had the opportunity to mourn.
Certainly, the scene shows a change in mood. Comment on the diction contained in the,
“Tomorrow and tomorrow” lines.
More news comes, and Macbeth reels in disbelief. This cannot be happening! What does he begin
to realize, and what impact does it have on him. But, what mood returns yet again at the end?
V, vii The battle is on. Macbeth is trapped in his castle, but he still clings to his faith in what?
Young Siward enters, likely a youth of 15 or 16. This is his first battle, and he is no match for the
skilled swordsman he confronts. Some directors have Macbeth toy with him before stabbing him
or cutting his throat. In fact, so good a swordsman is Macbeth that we have to assume he would
have met and killed others in this battle. Why is this the one that Shakespeare chooses to show?
Now Macduff enters. He, too, is a great swordsman, but he has set a limit to his actions on this
day. What is it, and why does he do this?
V, iii Finally, Macbeth and Macduff meet. Macduff is a little less than polite to Macbeth, but this
is understandable. Curiously, Macbeth refuses to fight with him. What reason does he give? Still,
they come to blows. When they pause, Macbeth boastfully informs Macduff of the witches' final
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prophecy. No doubt he is hoping Macduff will give up and go back to whatever is left of Fife.
Then, Macduff reveals the last and most terrible equivocation .
The words devastate Macbeth, and he will not fight. He throws down his sword. This presents
Macduff with a problem. The Code of Honour was such that it would be impossible for a man of
Macduff's standing to kill an unarmed opponent. How will he get Macbeth to pick up the sword so
that Macduff may try to kill him? He finds a way. How does he do it?
Macbeth picks up the sword but not the shield. Why does Shakespeare give Macbeth the kind of
death he does?
V, ix This scene is just a bunch of kingly small talk and an overall wrapping up. Macbeth's head
is carried on, just to give the audience a little blood, and Malcolm rewards all the important people
who helped him. He announces his intention to go to Scone to be crowned, and all is restored.
And we are left to think about the story of Macbeth and his Queen, and to wonder if we, in his
place, would have crept up upon the sleeping Duncan and drawn our dagger. Perhaps, confronted
with our own Duncans, we already have.
FINIS
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