LANGUAGE_RESIZED MICROSITE IMAGE_ MASTHEAD

MACBETH EXTRACTS.

The length of these extracts vary, in order to represent the range of extract lengths used by different exam boards at GCSE.
The scenes themselves have been chosen to ensure coverage of: a range of language techniques; different dramatic conventions (form); significant moments to allow for interrogation of structure. Each of them allows for exploration of the various ways that Shakespeare makes meaning, and therefore will support with Assessment Objective 2.
Alongside each extract, you will find a series of questions that you can use in class or as part of a homework activity. Each set of questions has a symbol, which you will find within the extract. Match up the two to gain more insight into the text and answer the questions.
As the weeks progress, more extracts will be added. Keep checking back to see what is new!

ACT I, SCENE 5

ACT 1, SCENE V. Inverness. Macbeth’s castle.

Enter LADY MACBETH, reading a letter

LADY MACBETH

‘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.’
Glamis thou art, and Cawdor; and shalt be
What thou art promised: yet do I fear thy nature;
It is too full o’ the milk of human kindness
To catch the nearest way: thou wouldst be great;
Art not without ambition, but without
The illness should attend it: what thou wouldst highly,
That wouldst thou holily; wouldst not play false,
And yet wouldst wrongly win: thou’ldst have, great Glamis,
That which cries ‘Thus thou must do, if thou have it;
And that which rather thou dost fear to do
Than wishest should be undone.’ Hie thee hither,
That I may pour my spirits 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 thee crown’d withal.

Enter a Messenger

What is your tidings?

Messenger

The king comes here to-night.

LADY MACBETH

Thou’rt mad to say it:
Is not thy master with him? who, were’t so,
Would have inform’d for preparation.

Messenger

So please you, it is true: our thane is coming:
One of my fellows had the speed of him,
Who, almost dead for breath, had scarcely more
Than would make up his message.

LADY MACBETH

Give him tending;
He brings great news.

Exit Messenger

The raven himself is hoarse
That croaks the fatal entrance of Duncan
Under my battlements. 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! Come, thick night,
And pall thee in the dunnest smoke of hell,
That my keen knife see not the wound it makes,
Nor heaven peep through the blanket of the dark,
To cry ‘Hold, hold!’

Questions

What rhythm does this section of the text use? Why do you think this is used here?
When else in the play is this rhythm used?
Why do you think Shakespeare links these scenes through their rhythm?

 

What does Lady Macbeth mean here by ‘nature’? What connotations does ‘milk’ have? What, therefore, is Shakespeare suggesting she feels about her husband?
How does this description of Macbeth compare with what we have already learnt about him? How does that make you feel about both characters?
Look at Macbeth’s soliloquy in Act 1, Scene 7. What link can be made between Lady Macbeth’s criticism here and Macbeth’s own fears about killing Duncan?

 

What does Lady Macbeth mean by ‘illness’ here? Why might Shakespeare have chosen this word?
What is the impact of linking ‘ambition’ with ‘illness’?
How does this make you feel about Lady Macbeth?

 

What image does this create for you?
What does this suggest about the levels of power between Macbeth and Lady Macbeth?
What links can you make between this quotation and Macbeth being ‘too full o’ the milk of human kindness’, in terms of what they convey about Macbeth? Can you link this to the roles of men and women?

 

What does a raven symbolise, and why?
What does it mean that the raven is ‘hoarse’? What does this make you expect, and how does this make you feel?
There are two meanings behind Duncan’s entrance being described as ‘fatal’ – what are they? How can you link these to the symbolism of the raven?

 

What is the effect of the caesura in this line? Try reading it aloud, and consider the shift between the two sentences.
Count how many sentences there are in this soliloquy. What do you notice about each sentence?

 

What does the verb ‘tend on’ mean here?
What is meant by ‘mortal thoughts’?
What does this reveal about the relationship between the ‘spirits’ and the ‘mortal thoughts’?
What does this suggest about the role of the supernatural within the play as a whole?

 

Shakespeare uses the negative prefix ‘un’ more in Macbeth than in any other of his plays. It is a prefix of negation, but can also be a prefix of removal, deprivation or reversal. What is the significance of Shakespeare using the term ‘unsex’ here? Why not have Lady Macbeth say, ‘make me a man’?
Where else can you find examples of the words that begin with the prefix ‘un’ in the play? Can you make any links between the way they are used in each instance?

 

What does this metaphor, and the image it creates, have in common with images we have seen earlier in this scene?
What is odd about the order of ‘crown to the toe’? Why might Shakespeare have written it this way?
How many references to liquids can you find across this scene? What does each liquid represent?

ACT II, SCENE 1

MACBETH

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?
I see thee yet, in form as palpable
As this which now I draw.
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 other senses,
Or else worth all the rest; 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.  Now o’er the one halfworld
Nature seems dead, and wicked dreams abuse
The curtain’d sleep; witchcraft celebrates
Pale Hecate’s offerings, and wither’d murder,
Alarum’d by his sentinel, the wolf,
Whose howl’s his watch, thus with his stealthy pace.
With Tarquin’s ravishing strides, towards his design
Moves like a ghost. Thou sure and firm-set earth,
Hear not my steps, which way they walk, for fear
Thy very stones prate of my whereabout,
And take the present horror from the time,
Which now suits with it.  Whiles I threat, he lives:
Words to the heat of deeds too cold breath gives.

A bell rings

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.

Exit

Questions

What do you notice about the structure of the sentences in this opening section?
Some of these lines have an extra unstressed syllable at the end of them; can you identify these?
What is the combined effect of these structures?

Is this dagger encouraging Macbeth to continue with his plan to kill Duncan, or warning him against it?
One of the central paradoxes of the play is that appearances can be deceiving. Aside from the dagger, where else is this present in the play?

Underline the pronouns in this soiloquy. How does Macbeth address the dagger?
During Shakespeare’s time, the pronouns used for second person (direct address) were you and thou/thee. Thou was used by higher status people addressing those beneath them, or commoners addressing each other. It also implied initimacy. You was used by lower status people addressing those above them or the upper classes addressing each other. This is similar to modern French (tu/vous) and German (du/Sie). Knowing how these pronouns were used, what might Macbeth’s usage here suggest?
How does this compare to the pronouns Macbeth uses to address his wife?

What is the verse structure in this line? Mark the line to show where the stresses fall.
What do you notice about the stressed words?
Now consider the two lines that have come before this one – annotate their verse structure. What do you notice?
Apply this to the rest of the soliloquy. Again, what do you notice? Why might Shakespeare have used this structure? What might it suggest about Macbeth?

How could this metaphor be read in two different ways?

Heat-oppressed here means fevered. Where else have we come across references to illness? What ideas link these references?

Consider the phrase ‘Nature seems dead’. What might this mean? Can you find more than one meaning?
In Shakespeare’s time, ‘abuse’ meant to deceive. ‘Curtain’d sleep’ could refer to sleep surrounded by drawn bedcurtains, but also concealed or screened from your waking consciousness.

What is Macbeth saying here about the relationship between words and deeds?

This is a heroic couplet: two lines of rhymed iambic pentameter. What is the purpose of using it here?

Act V, scene 1

ACT V, SCENE 1. Dunsinane. Ante-room in the castle.

Enter LADY MACBETH, with a taper

Lo you, here she comes! This is her very guise;and, upon my life, fast asleep. Observe her; stand close.

Doctor
How came she by that light?

Gentlewoman

Why, it stood by her: she has light by her
continually; ’tis her command.

Doctor

You see, her eyes are open.

Gentlewoman

Ay, but their sense is shut.

Doctor

What is it she does now? Look, how she rubs her hands.

Gentlewoman

It is an accustomed action with her, to seem thus
washing her hands: I have known her continue in
this a quarter of an hour.

LADY MACBETH

Yet here’s a spot.

Doctor

Hark! she speaks: I will set down what comes from
her, to satisfy my remembrance the more strongly.

LADY MACBETH

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.

Doctor

Do you mark that?

LADY MACBETH

The thane of Fife had a wife: where is she now?–
What, will these hands ne’er be clean?–No more o’
that, my lord, no more o’ that: you mar all with
this starting.

Doctor

Go to, go to; you have known what you should not.

Gentlewoman

She has spoke what she should not, I am sure of
that: heaven knows what she has known

LADY MACBETH

Here’s the smell of the blood still: all the
perfumes of Arabia will not sweeten this little
hand. Oh, oh, oh!

Doctor

What a sigh is there! The heart is sorely charged.

Gentlewoman

I would not have such a heart in my bosom for the
dignity of the whole body.

Doctor

Well, well, well,–

Gentlewoman

Pray God it be, sir.

Doctor

This disease is beyond my practise: yet I have known
those which have walked in their sleep who have died
holily in their beds.

LADY MACBETH

Wash your hands, put on your nightgown; look not so
pale.–I tell you yet again, Banquo’s buried; he
cannot come out on’s grave.

Doctor

Even so?

LADY MACBETH

To bed, to bed!  there’s knocking at the gate:
come, come, come, come, give me your hand. What’s
done cannot be undone.--To bed, to bed, to bed!

Exit.

Questions

Why does Shakespeare present Lady Macbeth as wanting a light by her ‘continually’ at this point in the play?
We know that Macbeth was performed at Shakespeare’s Globe in 1610, meaning it would have been daylight throughout the performance. How do references to candles, torches and tapers help to create the atmosphere of the play? What do you notice about references to these as the play progresses?

 

This scene is often referred to as ‘the sleepwalking scene’.
After killing Duncan, Macbeth says, ‘Methought I heard a voice cry ‘Sleep no more! / Macbeth does murder sleep’, the innocent sleep, / Sleep that knits up the ravell’d sleeve of care, / The death of each day’s life, sore labour’s bath, / Balm of hurt minds, great nature’s second course, / Chief nourisher in life’s feast,-‘ What does sleep symbolise?
What is the significance of Lady Macbeth suffering from this affliction?

 

Look at Lady Macbeth’s language across this scene. Identify the lines or phrases that she has used earlier in the play, and when she used them. Why does Shakespeare include these in this way, in this scene? What does the structure of Lady Macbeth’s verse suggest about her mental state at this point in the play?
What crimes does Lady Macbeth reference in this scene? Which of these crimes did she help Macbeth to plan?
Where in the play does Lady Macbeth’s power start to decline? What else is happening alongside this?

 

Why can’t Lady Macbeth remove the blood from her hands in this scene?
Compare this to Macbeth’s reference to ‘gouts of blood’. How has each of their relationship with blood changed over the course of the play?
What does blood represent in the play?

 

Where in the play have we heard references to knocking previously?
Here, Lady Macbeth uses words that have been repeated frequently throughout the play. Why might Shakespeare include them in this scene?

 

How do you feel about Lady Macbeth at this point in the play, and why?
Can Lady Macbeth be considered a tragic hero alongside Macbeth? Why/why not?

Act V, scene 5

ACT 5, SCENE V. Dunsinane. Within the castle.

MACBETH
Wherefore was that cry?

SEYTON
The queen, my lord, is dead.

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,
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
Told by an idiot, full of sound and fury,
Signifying nothing.

Enter a Messenger 

Thou comest to use thy tongue; thy story quickly

 

Questions

There has been lots of debate over the exact meaning of these lines.
What might ‘hereafter’ mean?
How many syllables are there in the first line? Why might this be significant?
Which ‘word’ would there ‘have been time for’?
How do you think Macbeth feels towards Lady Macbeth here?

There are lots of Biblical references in this passage. Research the passages from the Bible that seem the most significant to this speech.

Where else are there references to candles within the play? What is the significance of them being lit and going out?

Why does Shakespeare draw attention to the role of theatre here? What is he saying life and theatre have in common?

What does this extended metaphor reveal about the way that Macbeth now views life?

How does the tone shift here?
How do you feel about Macbeth at this point in the play?

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