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SHAKESPEARE 

MACBETH 

^^^>^^*^ 

STEVJSNSON 

WILLIAM  SHAKESPKARE. 


^l)e  (Tof  p  (Tlark  HLlteraturc  Series 
3to.  9 

SHAKESPEARE'S 

MACBETH 


FOR    USE    IN    PXJBLlIO    ANT»    SIOH    SCTHOOZjS 


WITH    ANNOTATIONS   BY 

O.  J.   STEVENSON,  M.A.,  D.Paed. 

Professor  of  English,  Ontario  Agricultural  College. 


ILI.rSTRATIONS    BT 

HILDA  HECHLE,  R.B.A. 


THE  COPP  CLARK  PUBLISHING  CO.  LIMITED 
VANCOUVER  TORONTO  MONTREAL 


Copyrisfht,  Canada,  1916,  by  Ths  Copi*  (.'lark  Company,  Limited 
Toronto,  Ontario 


CONTENTS 


WrLUAM  SnAKKSPEAR£  {Fr<y}itisinece) 
Thk  Lifk  of  Shakespeare 
The  Theatre  in  Shakespeare's  Time 
The  Metre  of  Shakespeare's  Plays 
Date  ,    Sources  of  the  Plot  ;  Title 


The  Structure  of 


"Macbeth"  as  a  Tragedy 

Sources  ok  Interest 

Important  Characters 

Historical  Background 

Time  Analysis     . 

Dramatis  PERSONvi<: 

Text  of  "Macbeth" 

Notes  on  Macbeth     . 

Questions  from  Exa.mination  Papers 

Subjects  for  Composition 

Staging  a  Play  of  Shakesprakb 


Play 


viii 

iz 

xi 

xii 

xiii 

xviii 

xxiv 

XXV 

xxvii 
1 
85 
145 
.       162 
See  End  of  Book 


INTRODUCTION 


The  Life  of  Shakespeare. 

William  Shakespeare  was  born  in  Stratford-on-Avon,  in  Warwick- 
shire, on  April  23rcl,  1564.  His  father,  John  Shakespeare,  was,  in 
early  life,  a  prosperous  citizen  of  Stratford ;  his  mother,  Mary  Arden, 
was  the  daughter  of  a  well-to-do  farmer  of  Warwicksliire.  Between 
the  ages  of  seven  and  fourteen,  Shakespeare  probably  attended  the 
Stratford  Grammar  School,  where,  among  other  things,  he  received 
some  training  in  Latin.  In  the  year  15S2,  before  he  was  nineteen  years 
of  age,  he  married  Anne  Hathaway,  of  Shottery,  a  woman  who  was 
some  eight  years  his  senior.  Two  of  their  children,  Susanna  and  Judith, 
married,  but  ouly  one  of  Shakespeare's  grand-children  reached  maturity, 
and  with  her  death  in  1669  or  1670  the  poet's  family  became  extinct. 

About  the  year  1586,  Shakespeare  left  Stratford  and  went  to  London, 
where  he  appears  to  have  obtained  employment  in  some  capacity  in 
connection  with  the  London  theatres.  About  15SS  he  began  making 
over  old  plays,  and  in  1590  he  probably  wrote  his  first  original  drama. 
During  the  next  twenty  years,  from  1590  to  1610,  he  produced  play 
after  play,  and  there  is  abundant  evidence  to  sliow  the  esteem  in  which 
he  was  held  by  his  contemporaries.  In  1591  he  was  a  member  of  the 
Earl  of  Leicester's  Company  of  Players.  When  the  Globe  theatre  was 
built  in  1599,  Shakespeare  was  one  of  tlie  chief  shareholders,  and  most 
of  his  plays  were  acted  in  this  theatre. 

In  the  meantime  he  had  begun  to  acquire  property  in  Stratford.  In 
1597  he  had  purchased  tlie  fine  residence  known  as  New  Place,  and 
from  this  time  forward  he  appears  to  have  looked  more  and  more  to 
Stratford  as  his  home.  About  the  year  1610  or  1611,  he  left  Loudon 
and  returned  to  Stratford  with  the  apparent  intention  of  living  in  ease 
and  retirement  on  the  competence  which  he  had  accumulated.  A  few 
years  later,  however,  his  health  failed,  and  he  died  in  April,  1616,  in 
his  fifty-second  year.  He  was  buried  in  the  chancel  of  the  (Jhurch  of 
the  Holy  Trinity,  in  Stratford. 

Shakespeare's  literary  career  is  generally,  for  the  sake  of  convenience, 
divided  into  four  periods,  according  to  the  character  of  the  plays  which 
be  produced : 

{n)  1588-1594.  This  is  largely  a  period  of  apprenticeship.  To  this 
period  I'clong,  Loi-e's  Labour  a  Lout,  Comedy  of  Errors,  liichard  III., 
and  possibly  lioiueo  and  Jiditt. 

vii 


Vlll  MACBETH 

(6)  1594-1600.  During  this  period  most  of  the  great  comedies  and 
the  English  historic-il  plays  were  produced.  To  this  period  belong, 
A  Midsummer  Night'' s  Dream,  The  Merchant  of  Venice,  As  You  Like  It, 
Richard  II. ,  Henry  I V. ,  and  Henry  V. 

(c)  1600-1606.  During  this  period  most  of  the  great  tragedies  were 
produced.  To  this  period  belong  to  Julius  Ccesar,  Hamlet,  Othello, 
King  Lear  and  Macbeth. 

(d)  1606-1612.  Thisisaperiodof  later  tragedy  and  of  serious  comedy. 
To  tliis  period  belong,  Antony  and  Cleopatra,  Coriolanus,  Cymbeline, 
The  Tempest  and  A  IVinter's  Tale. 

Shakespeare  himself  took  no  pains  to  preserve  his  plays  in  permanent 
form.  In  all  only  fifteen  of  his  plays  were  printed  during  his  lifetime. 
In  1623,  Iiowever,  seven  years  after  his  death,  a  complete  collection  of 
his  plays,  thirty-six  in  all,  were  published  in  what  is  known  as  The 
Folio  of  1G23. 

Note. — A  folio  page  is  about  the  size  of  an  ordinary  page  of  foolscap 
(about  13"x8y),  formed  by  folding  the  printer's  sheet  of  paper  once. 
When  the  printer's  sheet  is  divided  into  four  parts,  the  size  of  page 
is  known  as  quarto  ;  when  divided  into  eight  parts  it  is  octavo  ;  when 
divided  into  twelve  parts  it  is  duodecimo.  The  plays  which  were 
printed  during  Shakespeare's  lifetime  were  published  in  quarto  volumes, 
as  distinguished  from  the  later  folios. 

The  Theatre  in  Shakespeare's  Time. 

The  first  theatre  in  London  was  built  in  1576,  and  was  known  aa 
The  Theatre.  Both  this  and  other  theatres  which  followed.  The  Curtain, 
The  Globe,  Blackfriars,  and  others,  were  built  outside  the  city  limits  in 
order  to  escape  the  restrictions  which  were  placed  on  the  theatre  by 
the  Puritans.  Most  of  the  theatres  were  frame  structures  which  were 
open  to  the  sky,  the  only  roofed  part  being  the  stage,  or,  at  most,  the 
raised  seats  next  the  walls.  The  better  class  of  people  occupied  scats 
in  the  boxes  overlooking  the  stage,  or  sat  on  stools  or  reclined  on  the 
rushes  on  the  floor  of  the  stage  itself.  The  floor  of  the  pit  was  merely 
hard  earth,  and  it  was  not  provided  with  seats.  The  admission  to  the 
pit  was  only  a  penny,  and  here  the  rabble  crowded  together,  jost'ed 
each  other,  cracked  nuts,  ate  apples,  and  laughed  and  joked  and  made 
sport  of  the  actors. 

The  performance  of  the  play  began  at  three  o'clock  in  the  afternoon, 
and  usually  lasted  two  or  three  hours.     The  stage  was  hung  with  black 


THE   METRE   OF   SHAKESPEARE  S   PLAYS  IX 

to  indicate  traged}',  and  with  blue  to  indicate  comedy.  There  was  no 
curtain  to  mark  the  opening  and  closing  of  the  scenes,  and  beyond  a  few 
simple  articles  of  furniture,  no  scenery  of  any  account  was  used.  At 
the  back  of  the  stage  was  a  sort  of  gallery  or  balcony,  which  served  the 
purpose  of  an  upper  room,  or  any  place  which  was  raised  above  the 
level  of  the  ordinary  scene,  A  change  of  place  was  indicated  by  a  board 
with  the  name  painted  on  it,  as,  London,  Venice,  Rome,  Sardis.  A 
light  blue  flag  was  used  to  indicate  a  day  scene, — a  dark  flag  to  indicate 
a  night  scene.  The  women's  jiarts  in  the  play  were  acted  by  boys,  and 
women  did  not  a{)pear  even  among  the  audience  unless  they  wore  masks. 
It  was  not  until  after  the  Kestoration,  that  movable  stage  scenery  was 
introduced,  and  that  female  parts  were  acted  by  women. 

The  Metre  of  Shakespeare's  Plays. 

The  plays  of  Shakespeare  are  written  in  blank  verse,  that  is,  verse  in 
which  the  lines  do  not  rhyme.  Each  line  contains  five  feet,  consisting 
of  two  syllables  each,  with  the  accent  falling  on  the  second  syllable. 
This  measure  is  known  as  iambic  pentameter. 

When  we  mark  the  divisions  between  feet  and  indicate  the  accents 
in  a  line  of  poetry,  we  are  said  to  scan  it.  Where  the  metre  is  perfectly 
regular,  the  scansion  presents  no  difficulty ;  but  very  frequently  the 
poet  finds  it  necessary  to  vary  his  metre,  either  for  the  sake  of  avoiding 
monotony  or  fur  the  purpose  of  producing  certain  special  effects.  The 
following  are  the  most  important  of  the  variations  which  occur  in  the 
metre  of  Shakespeare : 

(a)  Sometimes,  especially  after  a  pause,  the  accent  falls  upon  the 
first  syllable  instead  of  the  second,  as,  for  example  : 

Wo'e  to  /  the  ha'nd  /  that  sh'ed  /  this  co'st/ly  blo'od  ! 
What  ju'dg/ment  sh'all  / 1  dre'ad,  /  d'oing  /  no  wro'ng  ? 

(6)  An  extra  syllable  is  frequently  added,  especially  at  the  end  of  a 
line,  as,  for  example  : 

Art  th'ou  /  some  g'od,  /  some  a'n/gel  o'r  /  some  de'v/il  ? 
It  dr'op/peth  a's  /  the  ge'n/tle  ra'in  /  from  he'av/en. 

(c)  Sometimes  a  foot  contains  two  unaccented  syllables,  as,  for 
example,  in  the  following  lines  : 

I  am  ne'v/er  m'er/ry  wh'en  / 1  he'ar  /  sweet  m'u/sic  ; 

Let  me  a'ee,  /  let  me  s'ee,  /  was  n'ot  /  the  lea'f  /  turn'd  dow'n  7 


X  MAC15ETH 

In  many  cases,  however,  one  of  the  unaccented  syllables  is  elided,  or 
slurred  over  in  reading,  as,  for  example,  in  the  following : 

Canst  tho'u  /  not  m'in/(i)ster  t'o  /  a  mi'nd  /  dise'ased  ? 
We'll  se'nd  /  !Mark  A'u  /  t(o)ny  t'o  /  the  Se'n/ate-ho'use. 
Macb'eth / doth  m'urder sle'ep,  /the  i'n/n(o)cent  sl'eep, 

(d)  Certain  groups  of  letters  which  are  now  pronounced  as  one 
syllable,  are  sometimes  pronounced  as  two  syllables  in  Shakespeare,  as, 
for  example,  in  the  following  : 

The  noble  Brutus 
Hath  told  /  you  Ca'es/ar  wa's  /  amb'it  /  i-o'ug. 
Misli'ke  /  me  n'ot  /  for  m'y  /  comple'x/i-o'n. 

(e)  It  frequently  happens  that  among  the  accented  syllables  in  a  line 
of  poetry  some  have  a  stronger  stress  than  others  ;  and  in  order  to  scan 
a  line,  it  is  sometimes  necessary  to  accent  words  which  according  to  the 
sense  have  no  stress,  as,  for  example,  in  the  case  of  the  italicized  words 
in  the  following  : 

Throw  phy's/ic  to'  /  the  do'gs  ;/I'll  no'ne/of  i't  I 
There  i'sj  a.  ti'de  /  iu  th'e  j  afFa'irs/  of  me'n. 

Rhyme  is  used  by  Shakespeare  chiefly  for  the  purpose  of  giving 
emphasis  to  those  lines  in  which  the  speaker  expresses  a  purpose  or 
decision,  and  it  very  frequently  marks  the  close  of  a  scene.  Shakespeare 
used  rhyme  much  more  freely  ia  his  earlier  than  in  his  later  plays. 

Prose.  Shakespeare  makes  use  of  prose  in  his  plays  wherever  the 
characters  belong  to  a  lower  level  of  society,  as,  for  example,  the 
citizens  in  Juliiis  Ccesar,  the  porter  in  Macbeth,  and  Lancelot  Gobbo, 
the  clown,  in  The  Merchant  of  Venice.  Prose  is  also  used  in  letters, 
as,  for  example,  that  of  Bellario  in  Tlie  Merchant  of  Venice,  and  for 
rhetorical  speeches,  as  in  the  case  of  the  paper  of  Artemidorus  and  the 
oration  of  Brutus  in  Julius  Caesar.  Sometimes  also,  prose  is  used  for 
the  purpose  of  producing  a  special  dramatic  effect,  as  in  the  case  of 
Casca's  assumed  bluntness  of  manner  in  Julius  Coesar  ;  and  in  the  scene 
in  The  Merchant  of  Venice  where  Shylock  ia  "tortured"  by  Tubal ; 
and  in  the  sleep-walking  scene  in  Macbeth, 


MACBETH 


Date  of  the  Play. 

Macbeth  was  probably  written  in  the  year  1606.  The  play 
contains  references  to  King  James  I.,  who  ascended  the  throne 
in  1G03;  and  in  the  porter's  speech  (Act  II.,  Scene  III.)  there 
appears  to  be  a  reference  to  the  trial  of  the  Jesuit  Garnet 
in  1036,  as  well  as  to  the  abundant  harvests  of  that  year. 
Macbeth  was  first  published  in  what  is  known  as  the  Folio 
of  1623. 

Sources  of  the  Plot. 

Shakespeare  obtained  his  materials  for  Macbeth  from 
Holinshed's  Chronicles  of  Englande,  Scotlande  and  Ireland, 
which  was  first  pubUshed  in  1577.  Holinshed's  chronicles 
were  in  turn  based  upon  an  earlier  history  written  in  juatin 
by  Hector  Boethius  (1527),  and  translated  into  Scotch  by  John 
Bellenden  (1538).  In  the  play  of  Macbeth,  Shakespeare  has 
interwoven  incidents  taken  from  different  parts  of  Holinshed's 
narrative.  The  account  of  the  murder  of  Duncan  is  based  on 
the  chronicle  of  King  Duff,  wliile  the  remaining  incidents  in 
the  play  are  taken,  for  the  most  part,  from  tlie  chronicle  of 
Macbeth.  The  details  of  the  scenes  in  which  the  Weird  Sisters 
appear  were  no  doubt  based  on  popular  superstitions  regarding 
witches — current  in  Shakespeare's  day. 

The  Title  of  the  Play. 

The  play  is  rightly  named  Macbeth,  since  the  whole  action 
of  the  play  concerns  itself  mainly  with  the  fortunes  of 
Macbeth.  It  is  true  that  Lady  Macbeth's  will  dominates  her 
husband's,  and  that,  in  one  sense,  she  is  the  stronger  character, 
but  yet  the  part  she  plays  in  the  drama  is  subordinate 
throughout  to  tliat  played  by  Macbeth.  The  interest  in  the 
character  and  fortunes  of  Macbeth  is  sustained  throughout 
the  play,  from  the  opening  scene  in  which  he  is  announced  by 
the  Weird  Sisters,  to  the  final  scene  in  which  he  is  overcome 
by  Macduff. 


Xli  MACBETH 

"Macbeth"  as  a  Tragedy. 

The  element  of  tragedy  is  always  present  in  human  life 
when  the  individual,  because  of  some  weakness  of  character,  is 
unable  to  adapt  himself  to  the  position  in  life  in  which  he 
finds  himself  placed.  In  a  drama  such  as  Macbeth,  where 
great  issues  are  at  stake,  the  interest  is  greatly  heightened 
when  success  or  failirre  becomes  a  matter  of  life  or  death  ;  but 
it  should  be  remembered  that  the  element  of  tragedy  lies  not 
in  the  violent  death  with  ■which  the  action  so  often  concludes, 
but  in  the  error  or  mistake  which  results  in  failure  and  death. 
In  the  play  of  Macbeth  the  element  of  tragedy  lies  in  defects 
of  character,  each  of  which  is  followed  by  its  own  conse- 
quences. Macbeth  is  unable  to  resist  the  temptations  which 
come  to  him  "in  the  day  of  success";  Lady  Macbeth  is 
endowed  with  great  strength  of  will,  but  devotes  it  to  an  evil 
purpose,  and  suffers  in  consequence.  Duncan  with  all  his 
"gracious"  qualities  is  unable  to  rule  his  own  kingdom  with 
a  strong  hand.  Banquo  is  aware  of  the  designs  of  Macbeth, 
but  fails  either  to  warn  Duncan  of  his  danger  or  to  take 
precautions  for  his  own  safety.  Macduff  is  punished  for  his 
own  rash  haste  and  lack  of  foresight  in  leaving  his  wife  and 
family  exposed  to  the  tjTanny  of  Macbeth.  Among  the 
leading  characters  in  the  play  Malcolm  is  the  only  one  who 
has  sufficient  strength  to  overcome  the  difficulties  w^hich  lie  in 
his  way,  and  the  play  fitly  closes  with  the  proclamation  of 
Malcolm  as  king. 

The  Structure  of  the  Play. 

Macbeth  is  one  of  the  shortest  of  Shakespeare's  plays.  It  is 
supposed  by  some  critics  that  as  originally  written  it  was 
longer,  but  that  in  its  present  form  it  was  printed  from  an 
actor's  abridged  copy.  There  are  some  evidences  that  the 
play  was  either  written  very  hurriedly,  struck  oft"  in  a  white 
heat,  or  that  it  was  made  over  and  shortened  by  some  other 
playwright. 

As  with  Shakespeare's  other  great  plays,  Macbeth  is  con- 
structed according  to  a  definite  plan.  The  first  half  of  the 
play  deals  with  the  temptation  and  crimes  of  Macbeth,  growing 
out  of  the  witches'  prophecies  to  Macbeth  and  Banquo.    The 


SOURCES   OF   INTEREST  Xlll 

murder  of  Banquo  and  the  escape  of  Fleance  mark  the 
dramatic  centre  of  the  play.  With  the  death  of  Banquo, 
Macbeth  gains  the  last  of  his  successes,  and  with  the  escape  of 
Fleance  he  meets  with  his  first  failure.  With  the  murder 
of  Banquo,  Macbeth  has  definitely  embarked  on  a  career 
of  crime,  and  from  this  time  forward  his  fortunes  steadily 
decline. 

The  incidents  and  characters  in  the  second  half  of  the  play, 
it  will  be  noticed,  form  a  sort  of  balance  for  those  in  the  first 
half.  The  murder  of  Lady  Macduff  is  set  over  against  the 
murder  of  Duncan ;  the  prophecies  of  the  Weird  Sisters  in 
the  second  half  of  the  play  form  a  parallel  and  contrast  to 
those  in  the  first  half.  In  the  second  half  of  the  play  Macduff 
takes  the  place  of  Banquo ;  and  the  resolute  Malcolm  takes 
the  place  of  the  weak  though  gracious  Duncan.  And  when 
we  come  to  make  a  detailed  study  of  Macbeth  and  Lady 
Macbeth  we  shall  find  that  one  of  the  chief  sources  of  interest, 
in  each  case,  lies  in  the  working  out  of  the  balance  between 
the  two  halves  of  the  play. 

Sources  of  Interest  in  the  Play. 

Throughout  the  play  of  Macbeth  Shakespeare  has  made  use 
of  various  means  coiunionly  employed  by  diamatists  to 
heighten  the  interest  in  the  play.  The  following  are  some  of 
the  most  important : 

Suspense.  In  the  first  half  of  the  play  the  audience  are 
kept  in  suspense  as  to  Mncbeth's  final  decision  to  murder 
Duncan,  and  as  to  whether  the  plans  of  Macbeth  and  Lady 
Macbeth  can  be  safely  carried  out.  To  a  lesser  degree  the 
same  thing  is  true  of  the  murder  of  Banquo  in  Act  III.  In 
the  latter  half  of  the  play  the  element  of  suspense  groVs  out 
of  the  fulfilment  of  the  prophecies  of  the  Weird  Sisters.  It  is 
not  until  the  very  close  of  the  play  that  the  meaning  of  the 
prophecies  is  made  plain,  and  that  Macbeth's  downfall  is 
finally  assured. 

Dramatic  Irony.  When  the  words  or  actions  of  a  character 
in  the  play  have  for  the  audience  a  significance  the  opposite  of 
that  which  is  intended,  this  double  significance  constitutes 
dramatic  irony.     When-  for  inst^vnce,  Duncan  observes  as  he 


XIV  MACBETH 

approaches  Macbeth's  castle,  "  This  castle  has  a  pleasant  seat," 
the  audience  feels  that  the  situation  is  ironical,  for  they  know 
that  on  entering  the  castle  Duncan  is  going  to  his  death.  In 
Macbeth,  Shakespeare  makes  constant  use  of  dramatic  irony 
in  order  to  heighten  the  effect  of  certain  situations  in  the  play. 
The  relations  of  Duncan  with  Macbeth  are  maiked  throughout 
by  touches  of  irony.  In  Act  III.  there  is  a  certain  grim  irony 
in  the  promise  of  Banquo  to  be  present  at  the  feast,  and  in  his 
appearance  at  the  banquet  as  if  in  response  to  the  speeches  of 
Macbeth.  In  the  last  half  of  the  play  the  prophecies  of  the 
Weird  Sisters  are  in  themselves  ironical,  and  part  of  the 
interest  of  the  play  lies  in  the  revelation  of  this  ironical 
meaning  to  the  audience. 

The  Oracular  Element  in  the  Play.  In  the  ancient  classical 
drama  one  of  the  chief  sources  of  interest  was  supplied  by 
revelations  or  prophecies,  which  were  known  as  oracles  ;  and 
the  modern  dramatist  very  frequently  makes  use  of  this 
oracular  element.  In  3Iacheth  the  chief  source  of  interest  in 
the  play  lies  in  the  fulfilment  of  the  predictions  or  prophecies 
of  the  Weird  Sisters.  Each  half  of  the  play  contains  three 
oracles  relating  to  Macbeth  and  one  which  concerns  Banquo. 
In  the  first  half  of  the  play  these  oracles  have  to  do  with  the 
rise  of  Macbeth ;  and  when  the  first  two  have  proved  true 
he  decides  to  murder  Duncan  in  order  to  bring  about  the 
fulfilment  of  the  third.  But  now  that  the  oracles  have  been 
fulfilled  in  his  own  case  he  begins  to  fear  that  the  prophecy 
regarding  Banquo  may  also  prove  true ;  and  in  order  to 
prevent  its  fulfilment  he  undertakes  the  murder  of  Banquo 
and  Fleance.  Banquo  is  killed,  but  Fleance  escapes,  and  thus 
in  spite  of  the  efforts  of  Macbeth  the  fulfilment  of  the  oracle 
is  made  possible.  This  prophecy  regarding  Banquo  is  not  less 
important  than  the  oracles  relating  to  Macbeth  himself,  for  it 
is  the  attempt  to  prevent  its  fulfihnent  that  proves  the 
undoing  of  Macbeth,  in  both  halves  of  the  play. 

The  oracles  in  the  second  half  of  the  play  in  some  respects 
form  a  contrast  to  those  in  the  first  half.  In  the  first  place, 
Macbeth  seeks  the  Weird  Sisters,  whereas  in  the  former  case 
they  sought  him.  He  forces  them  to  speak,  and  they  purposely 
dejeive  him.  The  three  oi-acles  in  this  case  are  intended  to 
bring  about  his  downfall  rather  than  ensure  his  safety ;  and 


SOURCES   OF   INTEREST  XV 

because  of  his  blind  reliance  upon  them  he  follows  a  course  of 
action  that  leads  to  his  ultimate  ruin.  The  Banquo  oracle  in 
the  second  half  of  the  play  is  in  a  sense  a  repetition  of  the 
oracle  contained  in  the  first  half,  the  'show  of  eight  kings' 
being  intended  merely  to  foreshadow  the  fulfilment  of  the 
original  prophecy. 

The  Supernatural.  The  audience  is  easily  impressed  by  any- 
thing which  appears  to  be  unusual  in  character,  and  the 
supernatural  always  suggests  a  mysterious  and  unseen  power 
over  which  human  beings  have  no  control.  In  Macbeth, 
Shakespeare  makes  use  of  the  supernatural  for  dramatic  effect 
in  at  least  three  different  situations, — in  the  scenes  in  which 
the  Weird  Sisters  appear,  in  the  reference  to  the  "rough 
night"  (Act  II.,  Scenes  III.  and  IV.),  and  in  the  banquet 
scene,  in  which  the  ghost  of  Banquo  appears  to  Macbeth. 

In  Shakespeare's  time  the  belief  in  witches  was  widespread ; 
and  the  Weird  Sisters  in  Macbeth  have  all  the  qualities  which 
were  usually  associated  with  the  witches  of  popular  super- 
stition. Their  uncanny  appearance  and  gestures,  their  strange 
incantations,  and  their  mysterious  association  with  the  powers 
of  evil  gave  them  a  strong  hold  on  the  imagination  of  a 
Shakespearean  audience.  But  the  witches  in  Macbeth  are 
something  more  than  the  witches  of  vulgar  superstition. 
They  are  the  Weird  Sisters  (A.S.  wyrd,  fate),  "the  spirits 
that  know  all  mortal  consequences,"  and  their  warnings  and 
prophecies  have  something  of  the  character  of  the  oracles  of 
ancient  times.  They  fascinate  us,  as  they  did  Macbeth  and 
Banquo,  not  only  because  of  their  grotesque  appearance  and 
actions,  but  because  "they  have  more  in  them  than  mortal 
knowledge."  As  we  shall  see  later,  the  prophecies  of  the 
Weird  Sisters  are  in  reality  a  personification  of  Macbeth's 
own  thoughts ;  and  it  would  have  been  possible  for  Shakes- 
peare to  write  the  play  of  Macbeth  without  introducing  the 
Weird  Sisters  at  all.  But  if  we  were  to  take  out  of  Macbeth 
the  scenes  in  which  the  witches  appear  we  should  destroy 
much  of  the  'atmosphere'  upon  which  the  play  depends  for 
its  effect. 

The  word  atynosphere  is  generally  used  with  reference  to 
those  qualities  in  the  play  which  determine  the  feelings  of  the 
audience.     In  the  play  of  Macbeth  the  general  atmosphere  is 


XVI  MACBETH 

one  of  weirdness  amounting  at  times  to  horror.  There  are 
many  details  in  the  play  which  contribute  to  this  'atmosphere,' 
— the  planning  of  the  murder  in  Act  I.,  the  air-drawn  dagger, 
the  horrors  of  the  mvirder  scene,  the  knocking  at  the  gate,  the 
porter's  speech,  the  ringing  of  the  alarm  bell,  the  prodigies  of 
the  stormy  night,  etc.,  etc.;  but  the  incantations  of  the  Weird 
Sisters,  their  uncanny  appearance  and  movements,  and  their 
mysterious  prophecies,  contribute  more  than  anything  else  to 
produce  a  feeling  of  weirdness  throvighout  the  play. 

It  is  a  common  device  among  dramatists  to  represent  Nature 
as  showing  sympathy  with  the  wrongs  of  mankind ;  and  in 
the  course  of  Act  II.,  Shakes2:)eare  makes  use  of  this  device 
upon  two  occasions  for  the  sake  of  heightening  the  effect. 
Strange  screams  of  death  were  heard  in  the  air ;  '  the  earth 
was  feverous  and  did  shake,'  'dark  night  sti-angles  the  travel- 
ling lamp,'  and  the  horses  of  Duncan  "turned  wild  in  natiu'e, 
contending  'gainst  obedience."  "'Tis  tumatural,"  observes 
the  Old  Man,  "  even  like  the  deed  thaVs  done.''' 

The  appearance  of  the  ghost  of  Banquo  in  the  banquet 
scene  adds  still  another  touch  of  horror  to  the  play.  Macbeth, 
it  will  be  noticed,  is  the  only  one  who  sees  the  ghost,  and  Lady 
Macbeth  reads  the  mind  of  Macbeth  rightly  when  she  says  to 
him,  "This  is  the  very  painting  of  your  fear."  The  ghost  does 
not  speak,  it  only  'nods'  and  'glares'  and  'shakes  its  gory 
locks ; '  and  it  is  a  problem  for  the  stage  manager  to  decide 
whether  he  should  inake  the  ghost  actually  appear  in  the 
scene,  as  Macbeth  fancied  he  saw  it,  or  leave  the  audience  free 
to  share  the  feelings  of  the  guests  at  the  banquet  who  saw 
nothing  but  an  empty  stool. 

Nemesis.  In  the  course  of  any  drama  the  author  must  see 
that  the  good  qualities  of  his  hei^oes  are  rewarded  and  that 
mistakes  or  crimes  of  which  they  are  guilty  are  punished. 
Sometimes  imder  certain  conditions  we  feel  that  the  punish- 
ment is  peculiarly  suited  to  the  crime,  and  to  this  form  of 
retributive  justice  we  give  the  name  of  nemesis.  In  Macbeth, 
Shakespeare  makes  use  of  this  element  of  nemesis  in  such  a 
way  as  to  add  greatly  to  the  effectiveness  of  the  play.  To 
begin  with,  the  career  of  Macbeth  as  a  whole  supplies  a 
striking  example  of  nemesis,  and  each  of  his  separate  crimes 
ia  in  fnrn  followed  by  a  nemesis  of  its  own.     Macbeth  is 


SOURCES   OF   INTEREST  XVU 

ambitious  and  his  ambition  leads  him  to  trust  in  the  prophecies 
of  the  AVeird  Sisters ;  but  it  is  this  very  beUef  in  the  Weird 
Sisters  that  leads  to  his  downfall.  He  is  pvinished  by  those 
very  agencies  in  which  he  trusted  to  bring  him  success. 
Besitles  this,  the  murders  of  Duncan,  Banquo,  and  Lady 
Macduff  each  brought  its  own  immediate  punishment,  and  in 
each  case  an  avenger  remained  in  the  persons  of  Malcolm, 
Fleance,  and  Macduff,  each  of  whom  contributed  in  his  own 
Wciy  to  the  retribution  of  Macbeth. 

In  the  case  of  Lady  Macbeth,  nemesis  takes  a  simpler  fornio 
By  her  strength  of  will  she  forces  Macbeth  to  commit  a  crime 
which  he  himself  hesitated  to  undertake  ;  and  she  is  doubly 
punished  for  her  share  in  the  crime.  In  the  first  place,  she 
finds  that  although  she  was  able  to  overcome  Macbeth's 
objections  to  committing  the  invu'der,  she  is  unable  to  control 
the  passions  which  she  has  aroused,  and  she  is  forced  to 
look  heljilessly  on  while  he  engages  in  a  career  of  crime 
which  brings  ruin  to  them  both.  And  besides  this,  as  the 
sleep-walking  scene  shows,  she  herself  suffers  from  personal 
remorse,  and  in  the  end,  in  a  fit  of  madness  she  takes  her 
own  life. 

Duncan  is  punished  because  he  is  a  weak  king.  With  all 
his  gracious  qualities  he  is  iinable  to  lead  his  own  armies  and 
fight  his  own  battles,  and  as  a  natural  consequence  he  falls  a 
victim  to  the  ambitions  of  the  one  strong  man  who  is  able  to 
restore  order  in  his  realm. 

Banquo  is  punished  because  he  fails  to  take  proper  precau- 
tions  to  protect  himself  and  others.  He  knew  that  Macbeth 
had  murdered  Duncan  and  yet  he  was  content  to  look  idly  on  ; 
and  he  knew,  or  ought  to  have  known,  that  he  himself  had 
much  to  fear  from  Macbeth,  yet  he  took  no  measures  to  save 
himself  from  the  same  fate  that  befell  Duncan.  He  was  the 
victim  of  his  own  inaction. 

Macduff,  on  the  other  hand,  suffers  because  of  his  over 
zealous  haste  and  rashness,  and  altliough  the  blow  does  not 
fall  directly  upon  his  own  head,  his  punishment  is  none  the 
less  ten-ible. 

Malcolm  is  the  only  well-rounded  character  in  the  play,  and 
his  good  qualities  are  rewarded  by  the  fact  that  in  the  end  he 
is  crowned  king. 


Xvill  MACBETH 

The  Important  Characters  in  "Macbeth." 

Macbeth.  At  the  opening  of  the  play  Macbeth  appears  as  a 
successful  general  who  had  saved  the  kingdom  from  the 
dangers  of  rebellion  and  foreign  invasion.  He  was  a  man  of 
great  physical  sti'ength  and  courage,  and  it  was  his  personal 
prowess  in  the  fight  with  Macdonwald,  that  saved  the  day.  It 
was  natural  that  under  these  circumstances  he  should  compare 
himself  with  the  weak  though  amiable  king  Duncan,  and  that 
the  thought  of  murdering  Duncan  and  becoming  king  should 
have  suggested  itself  to  him  :  and  in  the  flush  of  victory  these 
temptations  must  have  presented  themselves  in  their  strongest 
form.  It  was  then  that  the  Weird  Sisters  met  him  on  the 
blasted  heath  and  hailed  him  as  "  Thane  of  Glamis,"  "Thane 
of  Cawdor,"  and  "King,  that  shalt  be."  At  first  sight  it 
might  seem  that  the  thought  of  murdering  Duncan  came  to 
Macbeth  entirely  from  without,  and  that  the  blame  for  these 
evil  suggestions  should  rest  with  the  Weird  Sisteis  rather  than 
with  Macbeth.  But  it  should  be  remembered  that  in  putting 
these  prophecies  into  the  mouth  of  the  Weird  Sisters,  Shakes- 
peare was  merely  presenting  in  a  concrete  personal  way, 
Macbeth's  own  thoughts.  The  Weird  Sisters  are  the  personi- 
fication of  Macbeth's  own  evil  desires.  He  'starts'  when  he 
hears  his  thoughts  put  into  actual  woixls ;  and  when  the 
witches  vanish  he  exclaims,  "Would  they  had  stayed  I" 

But  although  Macbeth  is  the  embodiment  of  physical 
courage,  and  is  ambitious  to  become  king,  he  is  uneasy  at 
the  thovight  of  actually  committing  the  crime.  He  is  accus- 
tomed to  facing  danger  on  the  field  of  battle,  but  the  idea  of 
carrying  out  a  murder  in  cold  blood  fills  him  with  vague 
terrors.  "  Present  fears  are  less  than  horrible  imaginings." 
He  is  a  man  of  action  and  cannot  endure  suspense.  And 
furthermore,  it  is  evident  that  he  is  anxious  to  have  the  good 
opinion  of  others  ;  and  because  he  has  "  bought  golden  opinions 
from  all  sorts  of  people  "  he  shrinks  from  the  disgrace  which 
the  discovery  of  his  crime  would  bring  with  it.  That  is  what 
Lady  Macbeth  means  when  she  says  he  is  "too  full  o'  the 
milk  of  human  kindness  to  catch  the  nearest  way."  His 
"kindness,"  is  due  merely  to  his  regard  for  appearances,  his 
desire  for  *  honour,  love,  obedience,  troops  of  friends."   As  far 


IMPORTANT  CHARACTERS  XIX 

as  the  murder  itself  is  concerned,  he  has  no  scruples,  and  he  is 
not  deterred  by  fear  of  punishment  in  the  life  to  come.  The 
two  things  that  form  the  real  obstacles  in  his  way  are,  his 
inability  to  endure  suspense,  and  his  fear  of  discovery.  If  the 
murder  could  be  done  quickly  and  if  he  could  "trammel  up 
the  consequences,"  he  would  not  hesitate.  And  when  Lady 
Macbeth  supplies  the  practical  details  which  seem  to  remove 
anxiety  on  these  two  points  he  is  ready  to  yield  to  her  wishes. 

But  in  spite  of  their  well-prepared  plan,  as  the  time  for  the 
muider  approaches  he  is  overwrought,  and  his  intense  excite- 
ment is  sliown  in  his  heightened  language  as  well  as  in  his 
half-hysterical  fancies.  T\Tien  he  returns  from  the  chamber  of 
Duncan  it  is  evident  that  his  nervous  excitement  has  reached 
the  breaking  point,  and  Lady  Macbeth,  with  all  her  strength  of 
will,  is  imable  to  control  his  fancies.  But  with  the  entrance  of 
Macduff  and  Lennox  he  recovers  his  self-possession.  There  is 
now  something  to  do  and  he  is  himself  once  more. 

From  this  point  in  the  play  until  the  very  end  of  the  action, 
we  see  the  working  out  of  those  qualities  which  Macbeth  has 
already  shown  in  connection  with  the  murder  of  Duncan.  He 
has  now  achieved  his  ambition  to  become  king,  but  'his  fears 
in  Banquo  stick  deep;'  and  his  mind  is  'full  of  scorpions'  at 
the  thought  that  the  prophecy  of  the  Weird  Sisters  regarding 
Banquo  may  still  come  true.  "To  be  thus  is  nothing,  but  to 
be  safely  thus  !  "  He  is  unable  to  face  the  situation  in  which  he 
finds  himself,  and  he  decides  on  the  murder  of  Banquo  as  the 
only  means  of  regaining  his  peace  of  mind.  But  although  he 
does  not  commit  the  murder  himself,  the  very  danger  involved 
in  it  brings  with  it  a  return  of  mental  excitement  which  on 
this  occasion  proves  his  undoing.  After  the  banquet  scene 
there  is  apparently  only  one  course  left  open  to  a  man  of 
Macbeth's  tempeiament, — to  go  forward  in  his  career  of  crime. 
The  murder  of  Duncan  has  aroused  the  opposition  of  JNIacduff ; 
and  with  the  realization  that  his  crimes  have  been  discovered, 
Macbeth's  first  instinct  is  to  guard  against  JNIacduff  as  the 
enemy  from  whom  he  has  most  to  fear.  As  in  the  first  part  of 
the  play,  so  now  the  prophecies  of  the  Weiid  Sisters  merely 
personify  his  own  thoughts.  It  appears  to  him  that  with  his 
physical  strength  and  courage  he  need  fear  'no  man  of  woman 
Jborn,'  and  he  knows  that  in  his  strong  castle  of  Dunsinane  h^ 


XX  MACBETH 

can  '  laugh  a  siege  to  scorn.'  And  so  with  a  blind  confidence 
in  his  own  power  he  strikes  down  the  wife  and  family  of 
Macdviff,  and  in  exasperation  at  the  news  of  Macduff's  flight  to 
England,  he  '  prepares  for  some  attempt  at  war.' 

There  is  no  need  to  trace  the  actions  of  Macbeth  through  the 
remaining  scenes  of  the  play.  Crime  begets  crime,  until  at 
length  he  has  "supp'd  full  with  horrors."  It  only  remains  in 
the  last  stages  of  the  play  for  the  dramatist  to  work  out  the 
details  of  the  retribution  which  forms  an  inevitable  part  of 
the  tragedy.  Before  the  play  closes,  Macbeth  has  lost  faith  in 
human  kind  and  sees  in  life  only  'a  walking  shadow,'  'a  poor 
player,'  'a  tale  told  by  an  idiot,  full  of  sound  and  fury,  signi- 
fying nothing.'  He  finds  that  his  days  'are  fallen  into  the 
sear,  the  yellow  leaf ; '  and  in  the  end  he  learns  that  even  the 
'juggling  fiends'  in  whom  he  had  placed  his  trust  ai'e  no 
longer  to  be  believed.  But  his  life  goes  out  with  a  flash  of  the 
old  courage  which  half  relieves  the  shadow  of  depression,  or 
rather  the  touch  of  pity  which  the  audience  feels  for  him  in 
these  last  stages  of  his  career. 

Lady  Macbeth.  The  predominant  quality  in  the  character  of 
Lady  Macbeth  is  her  strength  of  will.  From  the  moment 
when  she  hears  of  the  prophecies  of  the  Weird  Sisters,  she 
bends  all  her  energies  to  make  the  promise  come  true  ;  and  at 
every  step  throvighout  her  cai^eer  she  shoAvs  the  same  inflexible 
purpose  and  the  same  power  of  self-control.  TNTiien  Macbeth 
hesitates  to  perform  the  murder,  she  not  only  supplies  the 
practical  details  but  spurs  him  f orwaid  to  commit  the  crime. 
After  the  murder  when  she  finds  that  she  is  unable  to  control 
his  hysterical  fancies  she  herself  takes  the  daggers  which 
Macbeth  in  his  excitement  has  brovight  with  him,  and  returns 
to  the  chamber  to  'smear  the  sleepy  grooms  with  blood. 
And  in  the  banquet-scene,  although  she  sees  plainly  that 
Macbeth  is  beyond  her  control,  she  still  preserves  her  presence 
of  mind  and  tries  in  vain  to  reassui-e  the  guests. 

But  in  spite  of  her  strength  of  will,  there  are  moments  in 
which  Lady  Macbeth,  no  doubt  under  the  influence  of  strong 
excitement,  makes  mistakes.  "V\Tien  Lennox  entered  the 
chamber  of  the  murdered  Duncan  he  noticed  that  the  daggers 
of  the  grooms  were  left  zcmviped,  zijoon  their  pillows.  And  in 
the  scene  in  which  the  murder  is  discovered  it  is  evident  that 


IMPORTANT  CHARACTERS  Xxi 

in  her  anxiety  to  appear  innocent  she  overacts  her  part.  But 
foi'tunately  at  the  critical  moment  in  the  scene,  she  faints,  and 
in  the  confusion  of  the  moment  her  false  acting  passes  vin- 
noticed,  except  hy  Malcohn  and  Donalbain.  Perliaps  her 
fainting  is  a  clever  piece  of  acting,  but  it  is  more  natural  to 
suppose  that  it  is  a  genuine  swoon,  brought  on  by  the  vivid 
word-painting  of  Macbeth,  -which  revived  in  her  mind  the 
horrors  of  the  chamber  of  death. 

If  Shakespeare  had  represented  Lady  Macbeth  as  merely  an 
ambitious  woman  with  an  inflexible  will,  she  would  have 
repelled  rather  than  attracted  the  audience.  But  he  has  taken 
care  to  see  that  with  all  her  "fiend-like"  qualities  she  is  still 
human,  and  has  a  softer  side  to  her  nature  than  her  share  in 
the  murder  of  Duncan  Mould  seem  to  imply.  Her  ambition,  it 
will  be  noticed,  is  for  Macbeth,  not  for  herself ;  it  is  her  desire 
for  his  advancement  that  leads  her  to  share  in  the  crime. 
And  Avith  consummate  skill  the  poet  has  introduced  touches  of 
character  which  go  to  show  that  beneath  the  mask  of  cruelty 
which  she  puts  on,  she  is  still  a  woman  with  some  at  least  of 
the  qualities  which  should  belong  to  a  woman's  nature.  She 
feels  that  her  share  in  a  crime  such  as  this  is  unnatui'al,  and 
so  she  calls  tipon  the  'spirits  that  tend  on  moi-tal  thoughts' 
to  'unsex'  her  ;  she  refers  to  the  fact  that  she  has  known  the 
tender  feelings  of  a  mother  for  her  child  ;  on  the  night  of  the 
murder  she  nerves  herself  with  drink  to  make  her  '  bold  ; '  she 
even  feels  a  touch  of  pity  for  the  sleeping  Duncan  ;  and  after 
the  crime  is  over  comes  the  beginning  of  remoi-se  which  ends 
in  the  "  thick-coming  fancies"  of  the  sleep-walking  scene. 

Duncan.  The  rebellion  of  Macdonwald  and  the  invasion  of 
the  Norwegians  in  themselves  furnish  evidence  that  Duncan 
Wiis  an  inelfective  ruler  who  could  not  maintain  order  in  his 
own  kingdom.  His  words  and  actions  as  seen  in  the  play 
go  to  show  that  he  was  not  lacking  ia  those  finer  personal 
qualities  which  so  well  become  a  sovereign  in  times  of  peace. 
Indeed  Macbeth  himself  pays  tribute  to  these  finer  qualities 

when  he  says  : 

This  Duncan 
Hath  borne  hid  faculties  so  meek,  luith  been 
So  clear  in  his  great  office,  that  hisi  virtues 
Will  plead  like  angels,  trumpet-toiigued,  against 
The  deep  damnation  of  his  taking-off : 


Xxii  MACBETH 

and  later  in  the  play  he  sums  up  the  whole  character  of 
Duncan  in  the  one  word  "gracious."  At  one  point  in  the  play, 
however, — in  his  tears  of  joy  over  the  victories  of  Macbeth, — 
there  is  a  suggestion  that  Duncan's  gentleness  of  nature 
amounts  almost  to  weakness ;  and  it  is  evident  from  the  play 
that  after  his  experience  with  Cawdor  he  showed  a  certain 
lack  of  foresight  in  putting  himself  so  completely  in  the  hands 
of  his  successful  general,  on  whom  also  he  "built  an  absolute 
trust." 

Banquo,  as  he  appears  in  the  play,  is  evidently  intended  as  a 
foil  for  Macbeth.  He  too  is  a  valiant  soldier,  and  has  "no 
less  desei-ved"  than  Macbeth.  He  has  every  reason  to  be 
jealous  of  the  favours  which  Duncan  has  showered  upon 
Macbeth ;  but  unlike  Macbeth  he  is  lacking  in  ambition,  and 
is  even  ready  to  join  with  Duncan  in  praises  of  his  rival.  The 
Weird  Sisters  appear  to  him,  as  to  Macbeth ;  for  although 
lacking  in  personal  ambition  he  is  willing  to  entertain  the 
hope  that  at  some  future  day  'his  children  shall  be  kings.' 
But  while  Macbeth  'starts'  at  the  prophecies  of  the  Weird 
Sisters,  and  considers  that  'this  supernatural  soliciting  can- 
not be  ill,'  Banquo  looks  upon  the  Weird  Sisters  as  'the 
instruments  of  darkness.'  Wiien  the  temptation  to  murder 
Duncan  enters  the  mind  of  Macbeth,  he  thinks  only  of  how  he 
can  '  trammel  up  the  consequence  ; '  but  when  Banquo,  on  the 
other  hand,  is  tempted,  his  one  thought  is  that  he  '  may  keep 
his  bosom  franchised  and  allegiance  clear.'  When  temptation 
presents  itself  to  him  he  is  able  to  put  it  aside  by  main  effort  of 
will ;  and  it  is  only  when  his  will  is  asleep  that  he  is  unable  to 
"restrain  the  cursed  thoughts  that  nature  gives  way  to  in 
repose."  When  Macbeth  becomes  king  and  the  prophecies  of 
the  Weird  Sisters  are  thus  far  fulfilled,  the  struggle  in  the 
mind  of  Banquo  is  again  renewed,  but  there  is  in  his  language 
no  suggestion  that  he  had  in  mind  any  plan  to  make  the 
prophecies  of  the  Weird  Sisters  come  true.  It  is  his  very 
inaction,  indeed,  that  proves  his  undoing,  and  the  weak  point 
in  his  character  lies  in  his  inability  to  see  his  own  danger  and 
take  measures  to  protect  himself  against  the  ambitious  plans 
of  Macbeth. 

Macduff.  The  outstanding  feature  of  Macduff's  character  is 
his  strong  Impvdsive  temperament.     It  is  evident  that  froia 


IMPORTANT   CHARACTERS  XXIU 

the  moment  of  the  discovery  of  the  murder  of  Duncan, 
Macduff  at  once  suspected  Macbeth  of  the  crime  ;  and  with  an 
utter  disregard  of  the  consequences  of  offending  Macbeth,  he 
refused  to  go  to  Scone  to  see  the  new  king  invested.  And  later, 
when  bidden  to  the  '  solemn  supper '  at  Macbeth's  palace,  he 
bluntly  refused.  Then,  acting  upon  a  rash  impulse,  he  set  out 
for  the  English  Court  with  the  purpose  of  trying  to  pei'suade 
the  King  of  England  to  espouse  the  cause  of  Malcolm.  The 
finer  and  stronger  side  of  Macduff's  nature  is  shown  upon  the 
receipt  of  the  news  of  the  death  of  his  wife  and  children  ;  and 
the  impulsive  energy  of  his  nature  finds  full  scope  in  the 
closing  scenes  of  the  play,  in  which  he  wreaks  his  vengeance 
upon  Macbeth. 

Malcolm  is  the  only  fully  developed,  well-rounded  character 
in  the  play.  As  he  appears  in  the  first  Act  he  is  only  a  boy, 
unable  as  yet  to  take  his  full  pai-t  in  the  buttles  that  are  being 
fought.  But  when  the  miu-der  of  his  father  is  discovered,  he 
is  shrewd  enough  to  see  through  the  "uufelt  sorrow"  of 
Macbeth,  and  cautious  enough  to  try  to  escape  from  Macbeth's 
power.  When  we  next  see  him  he  has  reached  manhood  ;  and 
in  his  interview  with  Macduff  he  shows  a  caution  and  a  wisdom 
and  an  all-round  strength  of  chai-acter  that  reconciles  the 
audience  at  once  to  the  possibilities  of  his  becoming  king. 
And  in  the  final  scenes  of  the  play  Ave  find  that  in  addition  to 
the  strength  of  chaiacter  he  has  already  shown,  he  has  the 
quality  of  "industrious  soldiership,"  in  which  his  father 
Duncan  was  so  unfortunately  lacking. 

Ross  is  what  might  be  termed  the  news-bearer  in  the  play. 
It  is  he  who  reports  to  Duncan  the  result  of  the  battle  with 
the  Norwegians,  and  it  is  he  who  greets  Macbeth  with  his  new 
title  of  Thane  of  Cawdor.  It  is  he  who  breaks  to  Macduff  the 
news  of  the  murder  of  his  wife  and  children,  and  towards  the 
close  of  the  play  it  is  he  also  who  announces  to  Si  ward  the 
death  of  his  son.  As  far  as  we  can  judge  of  his  character,  he 
is  of  a  gentle  kindly  nature,  one  of  those  "who  would  make 
good  of  bad  and  friends  of  foes." 

Lennox  takes  practically  no  part  in  the  action  of  the  play, 
and,  as  a  mutter  of  fact,  he  has  little  to  say.  But  he  is  a  keen 
observer,  and  his  nonical  conunent,  suggesting  more  than  it 
says,  adds  an  interesting  touch  to  the  scenes  in  which  he 


XXIV  MACBETH 

appears.  Both  Lennox  and  Ross  are  minor  characters,  but 
they  play  a  necessary  part  inasmuch  as  they  ai-e  intended,  no 
doubt,  to  represent  the  attitude  of  the  pubhc, — the  Scottish 
lords  in  this  case, — towards  Macbeth. 

The  Historical  Background  of  the  Play. 

As  we  have  already  seen,  Shakespeare  drew  the  materials 
for  his  plot  from  the  stories  of  King  Duffe  and  Macbeth  in 
Holinshed's  Chronicles.  These  chronicles,  however,  consist 
for  the  inost  part  of  legendary  stories  which  have  no  historical 
foundation.  As  a  matter  of  fact,  when  various  sources  of 
information  regarding  this  period  in  Scottish  history  are 
consulted,  so  many  conflicting  details  are  found  that  it  is 
difficult  to  distinguish  truth  from  fiction.  The  following 
outline  will,  however,  serve  as  a  general  summing  up  of  the 
real  facts  of  history,  as  far  as  they  are  known. 

Duncan,  the  grandson  of  Malcolm  II.,  became  king  of  Scot- 
land in  1034.  He  married  the  daughter  of  Siward,  Earl  of 
Northumberland,  and  his  son  is  known  to  history  as  Malcolm 
Canmore.  Duncan  was  a  weak  king.  In  1039,  after  an 
unsuccessful  invasion  of  England,  he  was  forced  to  lead  his 
army  northward  to  meet  an  invasion  from  Thorfinn,  Earl  of 
Orkney.  Duncan's  general,  Macbeth,  joined  Thoiflnn,  and 
Duncan  was  defeated,  and  was  shortly  afterwards  slain  either 
by  Macbeth  or  his  agents.  Macbeth  was  a  relative,  probably 
a  cousin,  of  Duncan ;  and  his  wife  Gruoch  had  also,  in  her 
own  I'ight,  a  claim  to  the  throne,  so  that  he  was  not  entirely  a 
usurper,  Macbeth  reigned  for  nearly  eighteen  years  (1040-1057), 
and  all  historians  agree  that  his  reign  was  one  of  unusual  peace 
and  prosperity.  He  restored  order  in  his  kingdom,  supported 
the  church  with  liberal  gifts,  and  on  the  ^vhole  proved  to  be  an 
able  and  popular  monarch.  Towards  the  close  of  his  reign, 
however,  he  was  forced  to  repel  the  attacks  of  Siward,  who 
espoused  the  cause  of  his  grandson  Malcolm  ;  and  in  1858  he 
was  killed  in  the  battle  of  Lumphanan  fighting  against  the 
English.  He  was  succeeded  on  the  throne  by  Lulacli  his  son, 
or  stepson,  who  reigned  only  a  few  months.  Malcolm,  who 
was  now  proclaimed  king,  reigned  for  thirty -five  years  (1058- 
1093). 


TIME   ANALYSIS  XXV 

Neither  Macdonwald  nor  the  thane  of  Cawdor  is  known  to 
history,  and  there  is  no  record  of  an  invasion  by  the  Norwegians 
under  Sweno.  Diincan  was  not  murdered  in  IMacbeth's  castle. 
Banquo  and  Fleance  are  purely  fictitious  characters,  and 
Macduff  is  only  a  shadowy  personage.  Nothing  is  known  of 
the  murder  of  Lady  Macduflf  nor  of  the  character  of  Lady 
Macbeth  ;  and  the  incidents  of  the  moving  forest  and  the  birth 
of  Macduff  are  merely  bits  of  mediaeval  folklore  which  Holinshed 
has  used  to  embellish  his  story. 

Time  Analysis. 

Tlie  period  of  time  covered  by  the  events  in  the  play  of 
Macbeth  is  in  reality  about  eighteen  years,  from  the  murder  of 
Duncan  in  1039  to  the  death  of  Macbeth  in  1058.  But  in  the 
play,  while  frequent  references  are  made  to  events  which 
covered  long  intervals  of  time,  Shakespeare  has  drawn  the 
incidents  together  and  bridged  over  the  gaps  so  that  the 
different  events  appear  to  follow  one  another  more  closely 
than  was  actually  the  case.  During  the  first  act,  for  instance, 
two  battles  are  fought,  peace  is  made  with  the  Norwegians, 
the  thane  of  Cawdor  is  condemned  to  death  and  executed, 
and  Duncan  pays  a  visit  to  Macbeth's  castle.  These  events 
must  in  reality  have  occupied  some  weeks  or  perhaps  months, 
but  in  the  play  they  are  crowded  into  a  period  of  not  more 
than  two  days.  As  a  matter  of  fact,  the  action  of  the  whole 
play  occupies  only  nine  days ;  and  even  when  we  make 
allowance  for  the  intervals  that  occur  between  certain  events, 
— the  flight  of  Macduff  and  his  arrival  in  England,  for 
example, — we  find  that  the  story  of  the  play  covers  a  period 
of  only  a  few  weeks,  or,  at  most,  a  few  mouths. 

But  although  the  events  of  the  play  are  made  to  follow  one 
another  as  closely  as  possible,  it  is  sometimes  necessary  to 
give  the  audience  the  impression  that  a  considerable  time  has 
elapsed,  as,  for  example,  in  the  case  of  the  interval  between 
the  battle  with  the  Norwegians  and  the  visit  of  Duncan  to 
Macbeth's  castle.  In  such  cases  the  dramatist  makes  use  of 
what  is  known  as  double  time,  ^^^lile  he  speaks  of  coming 
events  as  near  at  hand,  he  refers  to  past  events  as  if  they  had 
taken  place  a  considerable  time  before.  In  Act  I.,  for  instance, 
it  appears  that  the  meeting  with   the  Weird  Sisters,    the 


iXVl  MACBETH 

interview  with  the  king,  and  the  visit  to  Macbeth's  castle 
followed  in  close  succession  after  the  battle  with  the  Nor- 
wegians (Act  I.,  5 ;  II.,  152 ;  and  IV.,  42-47) ;  but  when  these 
events  are  once  past,  the  dramatist  refers  to  them  in  such  a 
way  as  to  correct  this  impression  and  show  these  various 
incidents  in  their  true  perspective  (Act  II.,  59-62;  III.,  94-99; 
v.,  1 ;  and  VII.,  32-35). 

The  point  in  the  play  in  which  the  dramatist  has  most 
difficulty  in  accounting  for  the  passage  of  time  is  in  Act  II., 
in  connection  with  the  murder  of  Duncan.  The  mui-der  must 
follow  closely  upon  the  events  of  the  day,  but  yet  it  must 
take  place  so  late  that  the  arrival  of  Macduff  and  Lennox  to 
call  upon  the  king  will  not  seem  unnatural.  In  Scene  I., 
when  the  time  of  night  is  mentioned  we  are  told  vaguely  that 
it  is  some  time  after  midnight.  After  the  murder  is  over  the 
porter  tells  us  that  he  and  his  companions  had  been  "carous- 
ing till  the  second  cock,"  and  the  murder  must  have  taken 
place  later.  When  Macduff  enters  he  excuses  himself  for  his 
early  visit  by  explaining  that  the  king  had  commanded  him 
"to  call  timely  on  him."  The  conversation  between  the  Old 
Man,  Ross,  and  Macduff  must  have  taken  place  some^  hours 
later  on  the  same  day. 


DRAMATIS   PERSONiE 


DrN'CA>",  King  of  Scotland. 
Malcolm, 


kh 


^  noblemen  of  Scotland. 


•rw  f  his  sons 

DONALBAIN' 

Macbeth,  "I  ,      ,  , ,     ,  . 

J  generals  of  the  king  s  army. 
Banquo,    j 

Macduff,  '' 

Lennox, 

Ross, 

Menteith, 

Angus, 

Caithness, 

Fleance,  son  to  Bajiquo. 

SlWARD,  Earl  of  Northumberland,  general  of  the  English  forcea 

Young  SiWAUD,  his  son. 

Seyton,  an  officer  attending  on  IVIacbeth. 

Boy,  son  t<J  Macduff. 

An  En^'lish  Doctor. 

A  Scotch  Doctor. 

A  Soldier. 

A  Porter. 

An  Old  Man. 

Lady  Macbeth. 
Lady  ^L\CDrFF. 
Gentlewoman  attending  on  Lady  Macbeth. 

[Hecate.] 

Three  Witches. 
Apparitions. 

Lords,  Gentlemen,  Officers,  Soldiers,  Murderers,  Attendants, 
and  Messengers. 

^•jiNE. — Scotlmid:  Entjlaivd. 


MACBETH 


ACT   I 

Scene  L     A  desert  place. 
Thunder  and  lightning.     Enter  three  Witches. 

First  Witch.     When  shall  we  three  meet  again 
In  thnnder,  liirhtnincj,  or  in  rain  ? 

Sec.  Witch.     When  the  hurlj-bnrly's  done, 
When  the  battle's  lost  and  won. 

Third  Witch.     That  will  be  ere  the  set  of  sun. 
First  Witch.     Where  the  place  ? 

Sec.  Witch.  Upon  the  heath. 

TJiircl  Witch.     There  to  meet  witli  Macbeth. 

First  Witch.     I  come,  Graymalkin  ! 

Sec.  Witch.     Paddock  calls. 

Third  Witch.     Anon,  10 

All.     Fair  is  foul,  and  foul  is  fair; 
Hover  through  the  fog  and  filthy  air.  [Mceunt. 

Scene  II.     A  camp  near  Forres. 

Alartim  within.     Enter  Duncan,  Malcolm,  Donalbain,  Lennox,  vnth 
Attendants,  meeting  a  bleeding  Sergeant. 

Dun.     What  bloody  man  is  that  ?     He  can  report, 
As  seemeth  by  his  plight,  of  the  revolt 
The  newest  state. 

Mai.  This  is  the  sergeant 

Who  like  a  good  and  hardy  soldier  fought 
'Gainst  my  captivity.     Hail,  brave  friend  ! 
Say  to  the  King  the  knowledge  of  the  br<^Ji 
As  thou  didst  leave  \*:, 


2  Macbeth  fAcT  I 

8er.  Doubtful  it  stood  ; 

As  two  spent  swimmers,  that  do  cling  together 
And  choke  their  art.     The  merciless  Macdonwald — 
Worthy  to  be  a  rebel,  for  to  that  10 

The  multiplying  villanies  of  nature 
Do  swarm  upon  him — from  the  western  isles 
Of  kerns  and  gallowglasses  is  supplied  ; 
But  all's  too  weak ; 

For  brave  Macbeth — well  he  deserves  that  name — 
Disdaining  fortune,  with  his  brandish'd  steel, 
Which  smok'd  with  bloody  execution, 
Like  valour's  minion  carved  out  his  passage 
Till  he  faced  the  slave ; 

Which  ne'er  shook  hands,  nor  bade  farewell  to  him,       2C 
Till  he  unseam'd  him  from  the  nave  to  the  chaps, 
And  fix'd  his  head  upon  our  battlements. 

Dun.     0  valiant  cousin  !  worthy  gentleman  ! 

Ser.     As  whence  the  sun  'gins  his  reflection 
Shipwrecking  storms  and  direful  thunders  break, 
So  from  that  spring  whence  comfort  seem'd  to  come 
Discomfort  swells.     Mark,  King  of  Scotland,  mark : 
No  sooner  justice  had  with  valour  arm'd 
Compell'd  these  skipping  kerns  to  trust  their  heels, 
But  the  Norweyan  lord  surveying  vantage,  30 

With  furbish'd  arms  and  new  supplies  of  men 
Began  a  fresh  assault. 

Dun.  Dismay 'd  not  this 

Our  captains  Macbeth  and  Banquo  ? 

8er.  Yes ; 

As  sparrows  eagles,  or  the  hare  the  lion. 
If  I  say  sooth,  I  must  report  they  were 


Scene  II]  Macbeth  3 

As  cannons  overcharged  with  double  cracks ;  so  they 

Doubly  redoubled  strokes  upon  the  foe : 

Except  they  meant  to  bathe  in  reeking  wounds. 

Or  memorize  another  Golgotha, 

I  cannot  tell —  40 

But  I  am  faint,  my  gashes  cry  for  help. 

Dun.     So  well  thy  words  become  thee  as  thy  wounds : 
They  smack  of  honour  both.     Go  get  him  sui'geons. 

[Exit  Sergeant,  attended. 

Who  comes  here  ? 

Enter  Ross. 

Mai.  The  worthy  thane  of  Ross. 

Len.     What   a   haste    looks    through   his   eyes !     So 
should  he  look 
That  seems  to  speak  things  strange. 

Ross.  God  save  the  King ! 

Dun.     Whence  cam'st  thou,  worthy  thane  ? 

Ross.  From  Fife,  great  king ; 

Where  the  Norweyan  banners  flout  the  sky 
And  fan  our  people  cold.  Norway  himself. 
With  terrible  numbers,  50 

Assisted  by  that  most  disloyal  traitor 
The  thane  of  Cawdor,  began  a  dismal  conflict ; 
Till  that  Bellona's  bridegroom,  lapp'd  in  proof, 
Confronted  him  with  self-comparisons, 
Point  against  point  rebellious,  arm  'gainst  arm. 
Curbing  his  lavish  spirit :  and,  to  conclude, 
The  victory  fell  on  us. 

Dun.  Great  happiness ! 

Ross.  That  now 

Sweno,  the  Norways'  king,  craves  composition; 
Nor  would  we  deicrn  him  burial  of  his  men 


4  Macbeth  [Act  I 

Till  he  disbursed  at  Saint  Colme's  inch  60 

Ten  thousand  dollars  to  our  general  use. 

Dun.     No  more  that  thane  of  Cawdor  shall  deceive 
Our  bosom  interest :  go  pronounce  his  present  death, 
And  with  his  former  title  greet  Macbeth. 
Ross.     I'll  see  it  done. 
Dun.     What  he  hath  lost  noble  Macbeth  hath  won. 

[Exeunt. 
Scene  III.  A  heath  near  Forres. 

Thunder,     Enter  the  three  Witches. 

First  Witch.     Where  hast  thou  been,  sister  ? 

Sec.  Witch.     Killing  swine. 

Third  Witch.     Sister,  where  thou  ? 

First  Witch.     A  sailor's  wife  had  chestnuts  in  her  lap, 
And  munch'd,  and  munch'd,  and  munch'd  : — "  Give  me," 

quoth  I ; 
"  Aroint  thee,  witch  !  "  the  rump-fed  ronyon  cries. 
Her  husband's  to  Aleppo  gone,  master  o'  the  Tiger ; 
But  in  a  sieve  I'll  thither  sail, 
And,  like  a  rat  without  a  tail, 
I'll  do,  I'll  do,  and  I'll  do.  10 

Sec.  Witch.     I'll  give  thee  a  wind. 

First  Witch.     Thou'rt  kind. 

Third  Witch.     And  I  another. 

First  Witch.     I  myself  have  all  the  other, 
And  the  very  ports  they  blow. 
All  the  quarters  that  they  know 
I'  the  shipman's  card. 
I  will  drain  him  dry  as  hay ; 
Sleep  shall  neither  night  nor  day 
Hang  upon  his  pent-house  lid ;  20 


1st.  Hitch.     "Her  husband's  to  Aleppo  gone,  master  o'  the  Tiger; 
But  in  a  sieve  I'll  thither  sail, 
And  like  a  rat  without  a  tail, 
I'll  do.  Ml  do,  and  Ml  do." 

*CtI.  Scene  HI. 


Scene  III]  Macbeth  ^ 

He  shall  live  a  man  forbid  ; 
Weary  se'nnights  nine  times  nine 
Shall  he  dwindle,  peak  and  pine ; 
Though  his  bark  cannot  be  lost, 
Yet  it  shall  be  tempest-tost. 
Look  what  I  have. 

Sec.  WifcJi.     Show  me,  show  me. 

First  Witch.     Here  I  have  a  pilot's  thumb, 
Wreek'd  as  homeward  he  did  come.  [Di-um  within. 

Third  Witch.     A  drum,  a  drum  !  30 

Macbeth  doth  come. 

All.     The  weird  sisters,  hand  in  hand. 
Posters  of  the  sea  and  land, 
Thus  do  go  about,  about : 
Thrice  to  thine  and  thrice  to  mine. 
And  thrice  again,  to  make  up  nine. 
Peace  !  the  charm's  wound  up. 

Enter  Macbeth  and  Banqdo. 

Mach.     So  foul  and  fair  a  day  I  have  not  seen. 

Ban.     How  far  is  't  call'd  to  Forres  ?     What  are  these 
So  wither'd  and  so  wild  in  their  attire,  40 

That  look  not  like  the  inhabitants  o'  the  earth. 
And  yet  are  on  't  ?     Live  you  ?  or  arc  you  aught 
That  man  may  question  ?     You  seem  to  understand  me 
By  each  at  once  her  choppy  finger  laying 
Upon  her  skinny  lips ;  you  should  be  women, 
And  yet  your  beards  forbid  me  to  interpret 
That  you  are  so. 

Mach.  Speak,  if  you  can ;  what  are  you  ? 

First  Witch.     All  hail,  Macbeth  I  hail  to  thee,  thane  of 
Glamis  I 


6  Macbeth  [Act  1 

Sec.  WitcK     All  hail,  Macbeth !  hail  to  thee,  thane  of 
Cawdor ! 

Third  Witch.     All  hail,  Macbeth,  that  shalt  be  king 
hereafter !  50 

Ban.     Good  sir,  why  do  you  start ;  and  seem  to  fear 
Things  that  do  sound  so  fair  ?     I'  the  name  of  truth, 

[To  the  Witches.] 
Are  ye  fantastical,  or  that  indeed 
Which  outwardly  ye  show  ?     My  noble  partner 
You  greet  with  present  grace  and  great  prediction 
Of  noble  having  and  of  royal  hope. 
That  he  seems  rapt  withal :  to  me  you  speak  not. 
If  you  can  look  into  the  seeds  of  time, 
And  say  which  grain  will  grow  and  which  will  not. 
Speak  then  to  me,  who  neither  beg:  nor  fear  60 

Your  favours  nor  your  hate. 

First  Witch.     Hail! 

Sec.  Witch.     Hail! 

Third  Witch.     Hail ! 

First  Witch.     Lesser  than  Macbeth,  and  greater. 

Sec.  Witch.     Not  so  happy,  yet  much  happier. 

Third  Witch.     Thou  shalt  get  kings,  though  thou  be 
none: 
So  all  hail,  Macbeth  and  Banquo ! 

First  Witch.     Banquo  and  Macbeth,  all  hail ! 

Macb.   Stay,  you  imperfect  speakers,  tell  me  more :    70 
By  Sinel's  death  I  know  I  am  thane  of  Glamis ; 
But  how  of  Cawdor  ?  the  thane  of  Cawdor  lives, 
A  prosperous  gentleman ;  and  to  be  king 
Stands  not  within  the  prospect  of  belief. 
No  more  than  to  be  Cawdor.     Say  from  whence 
You  owe  this  strange  intelligence  ?  or  why 


Scene  III]  Macbeth  7 

Upon  this  blasted  heath  you  stop  our  way 

With  such  prophetic  greeting  ?     Speak,  I  charge  you. 

[  Witches  vanish. 

Ban.     The  earth  hath  bubbles,  as  tlie  water  has. 
And  these  are  of  them.     "Whither  are  they  vanish'd  ?     so 

Mach.     Into  the  air ;  and  what  seem'd  corporal  melted 
A.S  breath  into  the  wind.     Would  they  had  stay'd  ! 

Ban.     Were  such  things  here  as  we  do  speak  about  ? 
Or  have  we  eaten  on  the  insane  root 
That  takes  the  reason  prisoner  ? 

Mach.     Your  children  shall  be  kings. 

Ban.  You  shall  be  king. 

Mach.     And  thane  of  Cawdor  too  ;  went  it  not  so  ? 

Ban.     To  the  selfsame  tune  and  words.     Who's  here  ? 

Enter  Ross  and  Angus. 

Ross.     The  lung  hath  happily  received,  Macbeth, 
The  news  of  thy  success ;  and  when  he  reads  90 

Tliy  personal  venture  in  the  rebels'  fight, 
His  wonders  and  his  praises  do  contend 
Which  should  be  thine  or  his :  silenced  with  that. 
In  viewing  o'er  tlie  rest  o'  the  selfsame  day. 
He  finds  thee  in  the  stout  Norwej'an  ranks. 
Nothing  afeard  of  what  thyself  didst  make, 
Stranjre  imatres  of  death.     As  thick  as  hail 
Came  post  with  post;  and  every  one  did  bear 
Thy  praises  in  his  kingdom's  great  defence, 
And  pour'd  them  down  before  him. 

A  nrj.  We  are  .sent         loo 

To  give  thee  from  our  royal  master  thanks ; 
Only  to  herald  thee  into  his  sight, 
Not  pay  thee. 


8  Macbeth  [aci  1 

Ross.     And,  for  an  earnest  of  a  greater  honour. 
He  bade  me,  from  him,  call  thee  thane  of  Cawdor : 
In  which  addition,  hail,  most  wortliy  thane  1 
For  it  is  thine. 

Ban.  [Aside.]     What,  can  the  devil  speak  true  ? 

Mach.     The    thane    of    Cawdor  lives:    why  do  you 
dress  me 
In  borrow'd  robes  ? 

Ang.  Who  was  the  thane,  lives  yet ; 

But  under  heavy  judgment  bears  that  life  llG 

Which  he  deserves  to  lose.     Whether  he  was  combined 
With  those  of  Norway,  or  did  line  the  rebel 
With  hidden  help  and  vantage,  or  that  with  both 
He  labour 'd  in  his  country's  wreck,  I  know  not ; 
But  treasons  capital,  confess 'd  and  proved. 
Have  overthrown  him. 

Mach.     [Aside.]     Glamis,  and  thane  of  Cawdor  1 

The  greatest  is  behind.      [To  Ross  and  Angus.] 

Thanks  for  your  pains. 
[To  Ban.]    Do  you  not  hope  your  children  shall  be  kings, 
When  those  that  gave  the  thane  of  Cawdor  to  me 
Promised  no  less  to  them  ? 

Ban.  That  trusted  home  120 

Might  yet  enkindle  you  unto  the  crown, 
Besides  the  thane  of  Cawdor.     But  'tis  strange : 
And  oftentimes,  to  win  us  to  our  harm. 
The  instruments  of  darkness  tell  us  truths, 
Win  us  with  honest  trifles,  to  betray  's 
In  deepest  consequence. 
Cousins,  a  word,  I  pray  you. 

Mach.  [Aside.]     Two  truths  are  told, 

As  happy  prologues  to  the  swelling  act 
Of  the  imperial  theme. — I  thank  you,  gentlemen. 


Scene  III]  Macbeth  9 

[Aft'id'.]     This  supernatural  soliciting  130 

Cannot  be  ill,  cannot  be  good  :  if  ill, 

Why  hatli  it  given  me  earnest  of  success. 

Commencing  in  a  truth  ? — 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  ?     Present  fears 

Are  less  than  horrible  imaginings : 

My  thought,  whose  murder  yet  is  but  fantastical, 

Shakes  so  my  single  state  of  man  that  function  uo 

Is  sraother'd  in  surmise,  and  nothing  is 

But  what  is  not. 

Ban.  Look,  how  our  partner  's  rapt. 

Mach.     [Aside.]     If    chance  will    have  me  king,  why, 
chance  may  crown  me, 
Without  my  stir. 

Ban.  New  honours  come  upon  him, 

Like  our  strange  garments,  cleave  not  to  their  mould 
But  with  the  aid  of  use. 

Mach.  [J.si(f<?.]     Come  what  come  may, 

Time  and  the  hour  runs  through  the  roughest  day. 

Ban.     Worthy  Macbeth,  we  stay  upon  your  leisure. 

Mach.     Give    me   yowc   favour :    m}^    dull    brain   was 
wrought 
With  tilings  forgotten.     Kind  gentlemen,  your  pains     150 
Are  register'd  w^here  every  day  I  turn 
The  leaf  to  read  them.     Let  us  toward  the  king. 
Think  upon  what  hath  chanced,  and,  at  more  time. 
The  interim  having  weigh 'd  it,  let  us  speak 
Our  free  hearts  each  to  other. 

Ban.  Very  gladly. 

Mach.     Till  then,  enough.     Come  friends.  [ExeunC 


10  Macbeth  [Act  I 

Scene  IV.     Forres.      The  palace. 

Flourish.     Enter  Duncan,  Malcolm,  Donalbain,  Lennox,  and 
Attendants. 

Dun.     Is  execution  done  on  Cawdor  ?     Are  not 
Those  in  commission  yet  return 'd  ? 

Mai.  My  liege, 

They  are  not  yet  come  back.     But  I  have  spoke 
With  one  that  saw  him  die :  who  did  report 
That  very  frankly  he  confess'd  his  treasons. 
Implored  your  highness'  pardon  and  set  forth 
A  deep  repentance  :  nothing  in  his  life 
Became  him  like  the  leaving  it ;  he  died 
As  one  that  had  been  studied  in  his  death 
To  throw  away  the  dearest  thing  he  owed,  '  lo 

As  'twere  a  careless  trifle. 

Dun.  There's  no  art 

To  find  the  mind's  construction  in  tlie  face 
He  was  a  gentleman  on  whom  I  built 
An  absolute  trust. 

Enter  Macbeth,  Banquo,  Ross,  and  Angus. 

O  worthiest  cousin ! 
The  sin  of  my  ingratitude  even  now 
Was  heavy  on  me :  thou  art  so  far  before 
That  swiftest  wing  of  recompense  is  slow 
To  overtake  thee.     Would  thou  hadst  less  deserved, 
That  the  proportion  both  of  thanks  and  payment 
Might  have  been  mine  !  only  I  have  left  to  say,  20 

More  is  thy  due  than  more  than  all  can  pay. 
Macb.     The  service  and  the  loyalty  I  owe, 
In  doing  it,  pays  itself.     Your  highness'  part 
Is  to  receive  our  duties ;  and  our  duties 


Scene  IV]  Macbeth  11 

Are  to  your  throne  and  state  cliildren  and  servants, 
Whicli  do  but  what  they  sliould,  by  doing  every  thing 
Safe  toward  your  love  and  honour. 

Dun.  Welcome  hither : 

I  have  begun  to  plant  thee,  and  will  labour 
To  make  thee  full  of  growing.     Noble  Banquo, 
That  hast  no  less  deserved,  nor  must  be  known  30 

No  less  to  have  done  so,  let  me  infold  thee 
And  hold  thee  to  my  heart. 

B<in.  There  if  I  grow. 

The  harvest  is  your  own. 

Dun.  My  plenteous  joys, 

Wanton  in  fulness,  seek  to  hide  themselves 
In  drops  of  sorrow.     Sons,  kinsmen,  thanes. 
And  you  whose  places  are  the  nearest,  know 
We  will  establish  our  estate  upon 
Our  eldest,  Malcolm,  whom  we  name  hereafter 
The  Prince  of  Cumberland ;  which  honour  must 
Not  unaccompanied  invest  him  only,  40 

But  signs  of  nobleness,  like  stars,  shall  shine 
On  all  deservers.  From  hence  to  Inverness, 
And  bind  us  further  to  you. 

Mach.     The  rest  is  labour,  which  is  not  used  for  j^ou. 
I'll  be  myself  the  harbinger  and  make  joyful 
The  hearing  of  my  wife  with  your  approach  ; 
So  humbly  take  my  leave. 

Dan.  My  worthy  Cawdor ! 

Mach.     [Axide.'\     The  Prince  of  Cumberland !  that  is  a 
step 
On  which  I  must  fall  down,  or  else  o'erleap, 
For  in  my  way  it  lie.s.     Stars,  hide  your  fires;  50 

Let  not  Ijp'ht  see  my  black  and  deep  desires : 


12  Macbeth  [Act  I 

The  eye  wink  at  the  hand  ;  yet  let  that  be, 

Which  the  eye  fears,  when  it  is  done,  to  see,  [Exit 

Dun.     True,  worthy  Banquo ;  he  is  full  so  valiant, 
And  in  his  commendations  I  am  fed ; 
It  is  a  banquet  to  me.     Let's  after  him, 
Whose  care  is  gone  before  to  bid  us  welcome : 

It  is  a  peerless  kinsman.  [Flourish.     Exeunt. 

Scene  Y.     Inverness.     Macbeth's  castle. 

Enter  Lady  Macbeth,  reading  a  letter. 

Lady  M.  They  met  me  in  the  day  of  success  :  and  I  have  learned  by 
the  perfectesfc  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  mightest  rot  lose  the  dues  of  rejoicing,  by  being  ignorant  of  what 
greatness  is  pro^jised  thee.     Lay  it  to  thy  heart,  and  farewell.  10 

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  'Idst  have,  great 

Glamis, 
That  which  cries   "  Thus  thou  must  do,  if  thou  have 

it;" 
And  that  which  rather  thou  dost  fear  to  do  20 

Than  wishest  should  be  undone.     Hie  thee  hither, 
That  I  may  pour  my  spirits  in  thine  ear ; 


Scene  V]  Macbeth  13 

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  ? 

Mess.     The  king  comes  here  to-night. 

Lady  M.  Thou  'rt  mad  to  say  it : 

Is  not  thy  mavster  with  him  ?  who,  were  't  so, 
Would  have  inform 'd  for  preparation.  30 

Mess.     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  M.  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  ;  40 

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, 


14  Macbeth  [Act  I 

That  my  keen  knife  see  not  the  wound  it  makes, 

Nor  heaven  peep  through  the  blanket  of  the  dark  50 

Tocry  "Hold,  hold!" 

Enter  Macbeth. 

Great  Glamis  !  worthy  Cawdor  I 
Greater  than  both,  by  the  all-hail  hereafter ! 
Thy  letters  have  transported  me  beyond 
This  ignorant  present,  and  I  feel  now 
The  future  in  the  instant. 

Mitch.  My  dearest  love, 

Duncan  comes  here  to-night. 

Lady  M.  And  when  goes  hence  ? 

Macb.     To-morrow,  as  he  purposes. 

Lady  M.  O,  never 

Shall  sun  that  morrow  see  ! 
Your  face,  my  thane,  is  as  a  book  where  men 
May  read  strange  matters.     To  beguile  the  time,  60 

Look  like  the  time ;  bear  welcome  in  your  eye,     6  - 
Your  hand,  your  tongue :  look  like  the  innocent  flower,  c 
But  be  the  serpent  under  't.     He  that's  coming  ^ 
Must  be  provided  for :  and  you  shall  put     t  ^ 
This  night's  great  business  into  my  dispatch ;. 
Which  shall  to  all  our  nights  and  days  to  come,  c 
Give  solely  sovereign  sway  and  masterdom. 

Macb.     We  will  speak  further. 

Lady  M.  Only  look  up  clear ;  L  ^^ 

To  alter  favour  ever  is  to  fear  : 
Leave  all  the  rest  to  me.  [Exeunt. 


Scene  VI]  Macbeth  16 

Scene  VI.     Before  Macbeth's  castle. 

Hautboys  and  torches.     Enter  DuscAifi,  Malcolm,  Donalbain,  Banquo, 
Lennox,  Macduff,  Ross,  Angus,  anti  Attendants. 

Dun.     This  castle  hath  a  pleasant  seat ;  the  air 
Nimbly  and  sweetly  recommends  itself 
Unto  our  gentle  senses. 

Ban.  This  guest  of  summer, 

The  temple-haunting  martlet,  does  approve, 
By  his  loved  mansionry,  that  the  heaven's  breath 
Smells  wooingly  here:  no  jutty,  frieze. 
Buttress,  nor  coign  of  vantage,  but  this  bird 
Hath  made  his  pendent  bed  and  procreant  cradle : 
Where  they  most  breed  and  haunt,  I  have  observed. 
The  air  is  delicate. 

Enter  Lady  Macbeth. 

Dan.  See,  see,  our  honour'd  hostess !         lo 

The  love  that  follows  us  sometime  is  our  trouble. 
Which  still  we  thank  as  love.     Herein  I  teach  you 
How  you  si)all  bid  God  'ild  us  for  your  pains. 
And  thank  us  for  your  trouble. 

Lady  M.  All  our  service 

In  every  point  twice  done  and  then  done  double 
Were  poor  and  single  business  to  contend 
Against  those  honours  deep  and  broad  wherewith 
Your  majesty  loads  our  house :  for  those  of  old. 
And  the  late  dignities  heap'd  up  to  them. 
We  rest  your  hermits. 

Dun.  Where's  the  thane  of  Cawdor  ?  20 

We  coursed  liim  at  the  heels,  and  had  a  purpose 
To  be  his  purveyor:  but  he  rides  well ; 
And  his  great  love,  sharp  as  his  spur,  hath  liolp  him 


16  Macbeth  [Act  I 

To  his  home  before  us.     Fair  and  noble  hostess. 
We  are  your  guest  to-niglit. 

Lady  M.  Your  servants  ever 

Have  theirs,  themselves  and  wliat  is  theirs,  in  compt, 
To  make  their  audit  at  your  highness'  pleasure. 
Still  to  return  your  own. 

Dun.  Give  me  your  hand 

Conduct  me  to  mine  host :  we  love  him  highly. 
And  shall  continue  our  graces  towards  him.  30 

By  your  leave,  hostess.  [Exeunt. 

Scene  VII.      Corridor  in  Macbeth's  castle. 

Hautboys  and  torches.     Enter  a  Sewer,  and  divers  Servants,  with  dishes 
and  service,  and  pass  over  the  stage.     Then  enter  Macbeth. 

Macb.     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  'Id  jump  the  life  to  come.     But  in  these  cases 
W^e  still  have  judgment  here ;  that  we  but  teach 
Bloody  instructions,  which,  being  taught,  return 
To  plague  the  inventor :  this  even-handed  justice  lO 

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 


Scene  VII]  Macbeth  17 

So  clear  in  his  great  office,  that  his  virtues 

Will  plead  like  angels,  trumpet-tongued  against 

The  deep  damnation  of  his  taking  off;  20 

And  pity,  like  a  naked  new-born  babe. 

Striding  the  blast,  or  heaven's  cherubim,  horsed 

Upon  the  siglitless  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'erieaps  itself 

And  falls  on  the  other — 

Enter  Lady  Macbeth. 

How  now  ?  what  news  ? 

Lady  M.     He  has  almost  supp'd :  wli}'-  have  j^ou  left 
the  chamber  ? 

Mach.     Hath  he  ask'd  for  me  ? 

Lady  M.  Know  you  not  lie  has  ?      30 

Mdch.     We  will  proceed  no  further  in  tliis  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.  Was  the  hope  drunk 

Wherein  you  dress'd  yourself  ?  hath  it  slept  since  ? 
And  wakes  it  now,  to  look  so  green  and  pale 
At  wiiat  it  did  so  freely  ?     From  tliis  time 
Such  I  account  thy  love.     Art  thou  afeard 
To  be  the  samo  in  thine  own  act  and  valour  40 

As  tliou  art  in  desire  ?     Wouldst  thou  have  that 
Which  thou  esteem'st  the  ornament  of  life. 
And  live  a  coward  in  thine  own  esteem, 


18  Macbeth  [Act  I 

Letting  "  I  dare  not "  wait  upon  "  I  would," 
Like  the  poor  cat  i'  the  adage  ? 

Macb.  Prithee,  peace : 

I  dare  do  all  that  may  become  a  man ; 
Who  dares  do  more  is  none. 

Lady  M.  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  50 

Be  so  much  more  the  man.     Nor  time  nor  place 
Did  then  adliere,  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. 

Macb.  If  we  should  fail  ? 

Lady  M.  We  fail. 

But  screw  your  courage  to  the  sticking-place,  60 

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 
Their  drenched  natures  lie  as  in  a  death. 
What  cannot  you  and  I  perform  upon 
The  unguarded  Duncan  ?  what  not  put  upon  70 


Scene  I]  Macbeth  19 

His  spongy  officers,  who  shall  bear  the  guilt 
Of  our  gi'eat  quell  ? 

Macb.  Bring  forth  men-children  only ; 

For  thy  undaunted  mettle  should  compose 
Nothing  but  males.     Will  it  not  be  received, 
When  we  have  mark'd  witli  blood  those  sleepy  two 
Of  his  own  chamber  and  used  their  very  daggers, 
That  they  have  done  't  ? 

Lii.dy  M.  Who  dares  receive  it  other, 

As  we  shall  make  our  griefs  and  clamour  roar 
Upon  his  death  ? 

Much.  I  am  settled,  and  bend  up 

Each  corporal  agent  to  this  terrible  feat.  80 

Away,  and  mock  the  time  with  fairest  show : 
False  face  must  hide  what  the  false  heart  doth  know. 

[Exeunt. 

ACT   TI 

Scene  I.     Court  oj  Macbeth's  castle. 
Enter  Banquo,  and  Fleance  hearing  a  torch  he/ore  him. 

Ban.     How  goes  the  night,  boy  ? 

Fie.     The  moon  is  down ;  I  have  not  lieard  the  clock. 

Ban.     And  she  goes  down  at  twelve. 

Fie.  I  take 't,  'tis  later,  sir. 

Ban.     Hold,  take  my  sword.     There's  husbandry  in 
heaven ; 
Their  candles  are  all  out.     Take  thee  that  too. 
A  heavy  summons  lies  like  lead  upon  me. 
And  yet  I  would  not  sleep  ;  merciful  powers. 
Restrain  in  me  the  cursed  thoughts  that  nature 
Gives  way  to  in  rcDose  ! 


30  Macbeth  [Act  II 

Bhder  Macbeth  and  a  Servant  with  a  torch. 

Give  me  my  sword. 
Who's  there  i  10 

Macb.     A  friend. 

Ban.     What,  sir,  not  yet  at  rest  ?     The  king  's  a-bed : 
He  hath  been  in  unusual  pleasure,  and 
Sent  forth  great  largess  to  your  offices. 
This  diamond  he  greets  your  wife  withal. 
By  the  name  of  most  kind  hostess ;  and  shut  up 
In  measureless  content, 

Mach.  Being  unprepared. 

Our  will  became  the  servant  to  defect ; 
Which  else  should  free  have  wrought. 

Ban.  All's  well. 

I  dreamt  last  night  of  the  three  weird  sisters ;  20 

To  you  they  have  show'd  some  truth. 

Macb.  I  think  not  of  them : 

Yet,  when  we  can  entreat  an  hour  to  serve. 
We  would  spend  it  in  some  words  upon  that  business. 
If  you  would  grant  the  time. 

Ban.  At  your  kind'st  leisure. 

Macb.     If  you  shall  cleave  to  my  consent,  when  'tis, 
It  shall  make  honour  for  you. 

Ban.  So  I  lose  none 

In  seeking  to  augment  it,  but  still  keep 
My  bosom  franchised  and  allegiance  clear, 
I  shall  be  counsell'd. 

Macb.  Good  repose  the  while  ! 

Ban.     Thanks,  sir :  the  like  to  you  !  30 

[Exeunt  Banquo  and  Fleance. 

Macb.     Go  bid  thy  mistress,  when  my  drink  is  ready, 

She  strike  upon  the  bell.     Get  thee  to  bed. 

{Exit  ServarU. 


Scene  I]  Macbeth  21 

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  40 

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  hair-world 

Nature  seems  dead,  and  wicked  dreams  abuse  50 

The  curtain'd  sleep  ;  now  witchcraft  celebrates 

Pale  Hecate's  offerings,  and  wither'd  murder, 

Alarum'd  by  his  sentinel,  the  wolf, 

"Whose  howl 's  his  watch,  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  tlie  heat  of  deeds  too  cool  breath  gives.  60 

[A   hell  r'uig.i. 

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.  [ExU. 


22  Macbeth  [Act  II 

Scene  IL 
Enter  Lady  Macbeth. 
Lady  M.     That  which  hath  made  them  drunk  hath 
made  me  bold  ; 
What  hath  quench'd  them  hath  given  me  fire.     Hark ! 

Peace  ! 
It  was  the  owl  tliat  shriek'd,  the  fatal  bellman, 
Wiiich  gives  the  stern'st  good-night.     He  is  about  it : 
The  doors  are  open ;  and  the  surfeited  grooms 
Do   mock    their   charge    with   snores :    I    have   drugg'd 

their  possets, 
That  death  and  nature  do  contend  about  them. 
Whether  they  live  or  die. 

Macb.    [  Within.l    Who's  there  ?  what,  ho  ! 
Lady  M.     Alack,  I  am  afraid  they  have  awaked,       lO 
And  'tis  not  done.     The  attempt  and  not  the  deed 
Confounds  us.     Hark  !  I  laid  their  daggers  ready ; 
He  could  not  miss  'em.     Had  he  not  resembled 
My  father  as  he  slept,  I  had  done  't. 

Enter  Macbeth. 

My  husband ! 

Macb.     I  have  done  the  deed.     Didst  thou  not  hear 
a  noise  ? 

Lady  M.    I  heard  the  owl  scream  and  the  crickets  cry. 
Did  not  you  speak  ? 

Macb.  When  ? 

Lady  M.  Now. 

Macb.  As  I  descended  ? 

Lady  M.     Ay. 

Macb.     Hark ! 
Who  lies  i'  the  second  chamber  ? 

Lady  M.  Donalbain.  20 


Scene  11]  Macbeth  23 

Macb.      This  is  a  sorry  sight.  [Looking  on  hix  hands. 

Lady  M.     A  foolish  thought,  to  say  a  sorry  sight. 

Macb.     There's   one  did    hiugh   in  's    sleep,   and   one 
cried  "  Murder  ! " 
That  they  did  wake  each  other :  I  stood  and  heard  them : 
But  they  did  say  their  prayers,  and  address'd  them 
Again  to  sleep. 

Lady  M.     There  are  two  lodged  together. 

Macb.     One  cried  "  God  bless  us  !  "  and  "  Amen  "  the 
other, 
As  they  had  seen  me  with  these  hangman's  hands, 
Listening  their  fear. — I  could  not  sa}''  "  Amen," 
When  they  did  say  "  God  bless  us  ! " 

Lady  M.  Consider  it  not  so  deeply.     30 

Macb.     But  wherefore  could  not  I  pronounce  "Amen"? 
I  had  most  need  of  blessing,  and  "  Amen  " 
Stuck  in  my  throat. 

Lady  M.  These  deeds  must  not  be  thought 

After  these  ways  ;  so,  it  will  make  us  mad. 

Macb.     Methought   I    heard   a  voice  cry   "  Sleep   no 
more ! 
Macbeth  does  murder  sleep," — the  innocent  sleep, 
Sleep  that  knits  up  the  ravell'd  sleave  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, — 

Lady  M.  What  do  you  mean  ?  40 

Macb.     Still   it  cried  "  Sleep   no   more  ! "   to   all   the 
house : 
"  Glamis  hath  raurder'd  sleep,  and  therefore  Cawdor 
Shall  sleep  no  more;  Macbeth  shall  sleep  no  more." 

Lady   M.      Who    was    it   that   thus   cried  ?       Why, 
worthy  thane, 


24  Macbeth  [Act  II 

You  do  unbend  your  noble  strength,  to  think 
So  braiiisickly  of  things.     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. 

Macb.  I'll  go  no  more :  50 

I  am  afraid  to  think  what  I  have  done ; 
Look  on  't  again  I  dare  not. 

Lady  M.  Infirm  of  purpose  ! 

Give  me  the  daggers :  the  sleeping  and  the  dead 
Are  but  as  pictures ;  'tis  the  eye  of  childhood 
That  fears  a  painted  devil.     If  he  do  bleed, 
I'll  gild  the  faces  of  the  grooms  withal ; 
For  it  must  seem  their  guilt.  [Exit.  Knocking  within. 

Macb.  Whence  is  that  knocking  ? 

How  is  't  with  me,  when  every  noise  appals  me  ? 
What  hands  are  here  ?  ha  !  they  pluck  out  mine  eyes. 
Will  all  great  Neptune's  ocean  wash  this  blood  60 

Clean  from  my  hand  ?     No,  this  my  hand  will  rather 
The  multitudinous  seas  incarnadine, 
Making  the  green  one  red. 

Re-enter  Lady  Macbeth. 

Lady  M.     My  hands  are  of  your  colour ;  but  I  shame 
To  wear  a  heart  so  white.     {Knocking  within.]     I  hear  a 

knocking 
At  the  south  entry ;  retire  we  to  our  chamber : 
A  little  water  clears  us  of  this  deed : 
How  easy  is  it,  then  !     Your  constancy 
Hath  left  you  unattended.    [Knocking  within.]     Hark  !  more 
knocking. 


Lady  Macbeth.     "Why  did  you  bring  these  daggers  from  the  place? 

They  must  lie  there:  go  carry  them,  and  smear 

The  sleepy  grooms  with  blood." 
IfacbeUi.  "Ill  go  no  more. 

!  am  afraid  to  think  what  I  have  done; 

Look  on't  again  I  dare  not." 

■I  rr    Seen*  II. 


Scene  III]  Macbeth  25 

Get  on  your  nightgown,  lest  occasion  call  us,  70 

And  show  us  to  be  watchers.     Be  not  lost 
So  poorly  in  your  thoughts. 

Mtich.      To  know   my   deed,   'twere    best    not  know 

myself.  [Knocking  within. 

Wake    Duncan    with    thy    knocking !     I    would    thou 

COuldst !  [Exeunt. 

Scene  III. 
Knocking  continued.     Enter  a  Porter. 

Porter.  Here's  a  knocking  indeed !  If  a  man  were 
porter  of  hell-gate,  he  should  have  old  turning  the  key. 
[Knocl-ing.^  Knock,  knock,  knock  !  Who's  there,  i'  the 
name  of  Beelzebub  ?  Here's  a  farmer,  that  hang'd 
himself  on  the  expectation  of  plenty:  come  in  time; 
have  napkins  enow  about  you  ;  here  you'll  sweat  for 't. 
[Knocking.'\  Knock,  knock !  Who's  there,  in  the  other 
devil's  name  ?  Faith,  here's  an  equivocator,  that  could 
swear  in  both  the  scales  against  either  scale ;  who 
committed  treason  enough  for  God's  sake,  yet  could  not 
equivocate  to  heaven  :  O,  coine  in,  equivocator.  [Knocking.] 
Knock,  knock,  knock !  Wlio's  there  ?  Faith,  here's 
an  English  tailor  come  hither,  for  stealincj  out  of  a 
Frencli  hose :  come  in,  tailor ;  here  you  may  roast  your 
goose.  [Knocking.]  Knock,  knock  ;  never  at  quiet !  What 
are  you  ?  But  tliis  place  is  too  cold  for  hell.  I'll  devil- 
porter  it  no  further:  I  had  thought  to  have  let  in  some 
of  all  professions  that  go  the  primrose  way  to  the 
everlasting  bonfire.  [Knocking.]  Anon,  anon.  I  pray  you, 
remember  the  porter.  [Opena  the  gate. 


26  Macbeth  [Act  II 

Enter  Macduff  and  Lennox. 

Macd.  Was  it  so  late,  friend,  ere  you  went  to  bed, 
That  you  do  lie  so  late  ? 

Port.  'Faith,  sir,  we  were  carousing  till  the  second 
cock. 

Macd.     Is  thy  master  stirring  ? 

Enter  Macbeth. 

Our  knocking  has  awaked  him  ;  here  he  comes. 

Len.     Good  morrow,  noble  sir. 

Macb.  Good  morrow,  both. 

Macd.     Is  the  king  stirring,  worthy  thane  ? 

Mach.  Not  yet. 

Macd.  He  did  command  me  to  call  timely  on  him: 
I  have  almost  slipp'd  the  hour. 

Mach.  I'll  bring  you  to  him.      30 

Macd.     I  know  this  is  a  joyful  trouble  to  you; 
But  yet  'tis  one. 

Macb.     The  labour  we  delight  in  physics  pain. 
This  is  the  door. 

Macd.  I'll  make  so  bold  to  call, 

For  'tis  my  limited  service.  {Exit. 

Len.     Goes  the  king  hence  to-day  ? 

Mach.  He  does :  he  did  appoint  so. 

Len.     The  night  has  been  unruly  :  where  we  lay 
Our  chimneys  were  blown  down ;  and,  as  they  say 
Lamen  tings  heard  i'  the  air ;  strange  screams  of  death, 
And  prophesying  with  accents  terrible 
Of  dire  combustion  and  confused  events  40 

New  hatch'd  to  the  woeful  time :  the  obscure  bird 
Clamour 'd  the  livelong  night :  some  say,  the  earth 
Was  feverous  and  did  shake. 


Scene  III]  Macbeth  27 

Mach.  'Twas  a  rough  night. 

Len.     My  young  remembrance  cannot  parallel 
A  fellow  to  it. 

Re-enter  Macduff. 

Macd.     O  horror,  horror,  horror !     Tongue  nor  heart 
Cannot  conceive  nor  name  thee ! 

T       '  I  What's  the  matter  ? 

Len.  J 

Macd.     Confusion  now  hath  made  his  masterpiece 
Most  sacrilegious  murder  hath  broke  ope 
The  Lord's  anointed  temple,  and  stole  thence  50 

The  life  o'  the  building  ! 

Maxib.  What  is  't  you  say  ?  the  life  ? 

Len.     Mean  you  his  majesty  ? 

Macd.     Approach    the    chamber,    and    destroy   your 
sight 
With  a  new  Gorgon :  do  not  bid  me  speak ; 
See,  and  then  speak  yourselves,      {Exeunt  Macbeth  and  Lennox. 

Awake,  awake ! 
Ring  the  alarum-bell.     Murder  and  treason  ! 
Banquo  and  Donalbain  !  Malcolm  !  awake  ! 
Shake  off  this  downy  sleep,  death's  counterfeit, 
And  look  on  death  itself !  up,  up,  and  see 
The  great  doom's  image  !  Malcolm  !  Banquo  !  60 

As  from  your  graves  rise  up,  and  walk  like  sprites, 
To  countenance  this  horror!     King  the  bell.         [Bell rings. 

Enter  Lady  Macbeth. 

Lady  M.     What's  the  business. 
That  such  a  hideous  trumpet  calls  to  parley 
The  sleepers  of  the  house  ?  speak,  speak  1 


28  Macbeth  [Act  11 

Macd.  O  gentle  lady, 

'Tis  not  for  you  to  hear  what  I  can  speak : 
The  repetition,  in  a  woman's  ear. 
Would  murder  as  it  fell. 

Enter  Banquo. 

O  Banquo,  Banquo,  7c 

Our  royal  master's  murder'd ! 

Lady  M.  Woe,  alas  ! 

What,  in  our  house  ? 

Ban.  Too  cruel  any  where. 

Dear  Duff,  I  prithee,  contradict  thyself, 
And  say  it  is  not  so. 

Re-enter  Macbeth  and  Lennox,  with  Ross. 

Macb.     Had  I  but  died  an  hour  before  this  chance, 
I  had  lived  a  blessed  time ;  for,  from  this  instant 
There's  nothing  serious  in  mortality: 
All  is  but  toys  :  renown  and  grace  is  dead  ; 
The  wine  of  life  is  drawn,  and  the  mere  lees 
Is  left  this  vault  to  bras:  of. 

Enter  Malcolm  and  Donalbain. 

Don.     What  is  amiss  ?  80 

Macb.  You  are,  and  do  not  know 't 

The  spring,  the  head,  the  fountain  of  your  blood 

Is  stopp'd ;  the  very  source  of  it  is  stopp'd. 
Macd.     Your  royal  father's  murder'd, 
Mai.  O,  by  whom  ? 

Len.     Those  of  his  chamber,  as  it  seem'd,  had  done  't : 

Their  hands  and  faces  were  all  badged  with  blood ; 

So  were  their  daggers,  which  unwiped  we  found 

Upon  their  pillows : 


Scene  III]  Macbeth  29 

They  stared,  and  were  distracted ;  no  man's  life 
Was  to  be  trusted  with  them. 

Much.     O,  yet  I  do  repent  me  of  my  fury,  90 

That  I  did  kill  them. 

Macd.  Wherefore  did  you  so  ? 

Mach.     Who   can   be    wise,    amazed,    temperate    and 
furious, 
Loyal  and  neutral,  in  a  moment  ?     No  man : 
The  expedition  of  my  violent  love 
Outrun  the  pauser,  reason.     Here  lay  Duncan, 
His  silver  skin  laced  with  his  golden  blood  ; 
And  his  gash'd  stabs  look'd  like  a  breach  in  nature 
For  ruin's  wasteful  entrance :  there,  the  murderers, 
Steep'd  in  the  colours  of  their  trade,  their  daggers 
Unmannerly  breech'd  with  gore  :  who  could  refrain,    100 
That  had  a  heart  to  love,  and  in  that  heart 
Courage  to  make  's  love  known  ? 

Lady  M.  Help  me  hence,  ho  ! 

Macd.     Look  to  the  lady, 

Mai.    [Aside  to  Don.]    Why  do  we  hold  our  tongues, 
That  most  may  claim  this  argument  for  ours  ? 

Don.     [Aside  to  Mai.]     What    should    be    spoken    here, 
where  our  fate, 
Hid  in  an  auger-hole,  may  rush  and  seize  us  ? 
Let's  away. 
Our  tears  are  not  yet  brew'd. 

Mai.     [Aside  to  Don.]     Nor  our  strong  sorrow 
Upon  the  foot  of  motion. 

Ban.  Look  to  the  lady  : 

[Lad;/  Macbeth  is  carried  out. 

And  when  we  have  our  naked  frailties  hid,  110 

That  suffer  in  exposure,  let  us  meet, 


30  Macbeth  [Act  II 

And  question  this  most  bloody  piece  of  work, 
To  know  it  further.     Fears  and  scruples  shake  us : 
In  the  great  hand  of  God  I  stand ;  and  thence 
Against  the  undivulged  pretence  I  fight 
Of  treasonous  malice. 

Macd.  And  so  do  I. 

All.  So  all. 

Macb.     Let's  briefly  put  on  manly  readiness, 
And  meet  i'  the  hall  together. 

All.  Well  contented. 

[Exeunt  all  hut  Malcolm  and  Donalbain. 

Mai.     What   will   you   do  ?     Let's   not   consort   with 
them : 
To  show  an  unfelt  sorrow  is  an  office  120 

Which  the  false  man  does  easy.     I'll  to  England. 

Don.     To  Ireland,  I ;  our  separated  fortune 
Shall  keep  us  both  the  safer :  where  we  are. 
There's  daggei's  in  men's  smiles :  the  near  in  blood, 
The  nearer  bloody. 

Mai.  This  murderous  shaft  that's  shot 

Hath  not  yet  lighted,  and  our  safest  way 
Is  to  avoid  the  aim.     Therefore,  to  horse ; 
And  let  us  not  be  dainty  of  leave-taking. 
But  shift  away :  there's  warrant  in  that  theft 
Which  steals  itself  when  there's  no  mercy  left.  130 

[Edxunt. 

Scene  IY.     Outside  Macbeth's  castle. 
Enter  Ross  and  an  old  Man. 

Old  M.     Threescore  and  ten  I  can  remember  well : 
Within  the  volume  of  which  time  I  have  seen 
Hours  dreadful  and  things  strange  ;  but  this  sore  night 
Hath  trifled  former  knowings. 


Scene  IV]  Macbeth  31 

Ross.  Ah,  good  father, 

Thou  seest,  the  heavens,  as  troubled  with  man's  act, 
Threaten  his  bloody  stage :  by  the  clock  'tis  day, 
And  yet  dark  night  strangles  the  travelling  lamp : 
Is  't  night's  predominance,  or  the  day's  shame, 
Tliat  darkness  does  the  face  of  earth  entomb, 
When  living  light  should  kiss  it  ? 

Old  M.  'Tis  unnatural,  lo 

Even  like  the  deed  that's  done.     On  Tuesday  last, 
A  falcon,  towering  in  her  pride  of  place, 
Was  by  a  mousing  owl  hawk'd  at  and  kill'd. 

Ross.    And  Duncan's  horses — a  tiling  most  strange  and 
certain — 
Beauteous  and  swift,  the  minions  of  their  race, 
Turn'd  wild  in  nature,  broke  their  stalls,  flung  out. 
Contending  'gainst  obedience,  as  they  would  make 
War  with  mankind. 

Old  M.  'Tis  said  they  eat  each  other. 

jRoss.     They  did  so,  to  the  amazement  of  mine  eyes. 
That  look'd  upon  't.     Here  comes  the  good  Macduff. 

Enter  Macduff. 

How  goes  the  world,  sir,  now  ?  20 

Macd.  Why,  see  you  not  ? 

Ross.      Is  't  known  who  did  this  more  than  bloody 
deed  ? 

Macd.     Those  that  Macbeth  hath  slain. 

Ross.  Alas,  the  day  ! 

"What  good  could  they  pretend  ? 

Macd.  Tiiey  we^e  subom'd : 

Malcolm  and  Donalbain,  the  King's  two  sonr^. 
Are  stol'n  away  and  fled ;  which  puts  upon  tbem 
Suspicion  of  the  deed. 


32  Macbeth  [Act  III 

Ross.  'Gainst  nature  still ! 

Thriftless  ambition,  that  wilt  ravin  up 
Thine  own  life's  means  !     Then  'tis  most  like 
The  sovereignty  will  fall  upon  Macbeth.  30 

Macd.     He  is  already  named,  and  gone  to  Scone 
To  be  invested. 

Ross.  Where  is  Duncan's  body  ? 

Macd.     Carried  to  Colmekill, 
The  sacred  storehouse  of  his  predecessors. 
And  guardian  of  their  bones. 

Ross.  Will  you  to  Scone  ? 

Macd.     No,  cousin,  I'll  to  Fife. 

Ross.  Well,  I  Mdll  thither. 

Macd.     Well,  may  you  see  things  well  done  there : 
adieu ! 
Lest  our  old  robes  sit  easier  than  our  new ! 

Ross.     Farewell,  father. 

Old  M.    God's  benison  go  with  you;  and  with  those    40 
That  would  make  good  of  bad,  and  friends  of  foes ! 

[Exeunt. 

ACT  III 

Scene  I.     Forres.     The  palace. 

Enter  Banquo. 

Ban.     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, 


Scene  I]  Macbeth  33 

May  they  not  be  my  oracles  as  well, 

And  set  me  up  in  hope  ?     But  hush  !  no  more  lo 

Sennet  sounded.     Enter  Macbeth,  as  king,  Lady  Macbeth,  as  queen, 
Lennox,  Eoss,   Lords,  Ladies,  and  Attendants. 

Mach.     Here's  our  chief  guest. 

Lady  M.  If  he  had  been  forgotten, 

It  had  been  as  a  gap  in  our  great  feast. 
And  all-thing  unbecoming. 

Mach.     To-night  we  hold  a  solemn  supper,  sir. 
And  I'll  request  your  presence. 

Ban.  Let  your  highness 

Command  upon  me ;  to  the  which  my  duties 
Are  with  a  most  indissoluble  tie 
For  ever  knit. 

Mach.     Ride  you  this  afternoon  ? 

Ban.     Ay,  my  good  lord.  20 

Mach.     We  should  have  else  desired  your  good  advice. 
Which  still  hath  been  both  grave  and  prosperous. 
In  this  day's  council ;  but  we'll  take  to-morrow. 
Is  't  far  you  ride  ? 

Ban.     As  far,  my  lord,  as  will  fill  up  the  time 
'Twixt  this  and  supper ;  go  not  my  horse  the  better, 
I  mu.st  become  a  borrower  of  the  nijjht 
For  a  dark  hour  or  twain. 

Mach.  Fail  not  our  feast. 

Ban.     My  lord,  I  will  not. 

Mach.     W^e  hear  our  bloody  cousins  are  bestow'd        30 
In  England  and  in  Ireland,  not  confessing 
Their  cruel  parricide,  filling  their  hearers 
With  strange  invention  :  but  of  that  to-morrow, 
When  therewithal  we  shall  have  cause  of  state 


34  Macbeth  [Act  III 

Craving  us  jointly.     Hie  you  to  horse  :  adieu, 
Till  you  return  at  night.     Goes  Fleance  with  you  ? 

Ban.     Ay,  my  good  lord  :  our  time  does  call  upon  's. 

Mach.     I  wish  your  horses  swift  and  sure  of  foot ; 
And  so  I  do  commend  you  to  their  backs. 

Farewell.  lEodt  Banquo. 

Let  every  man  be  master  of  his  time  41 

Till  seven  at  night.     To  make  society 

The  sweeter  welcome,  we  will  keep  ourself 

Till  supper-time  alone  :  while  then,  God  be  with  you  ! 

[Exeunt  all  but  Macbeth,  and  an  A  ttendant. 

Sirrah,  a  word  with  you :  attend  those  men 
Our  pleasure  ? 

Atten.     They  are,  my  lord,  without  the  palace  gate. 

Mach.     Bring  them  before  us.  [Exit  Attendant. 

To  be  thus  is  nothing ; 
But  to  be  safely  thus. — Our  fears  in  Banquo 
Stick  deep  ;  and  in  his  royalty  of  nature  50 

Reigns  that  which  would  be  fear'd :  'tis  much  he  dares : 
And,  to  that  dauntless  temper  of  his  mind. 
He  hath  a  wisdom  that  doth  guide  his  valour 
To  act  in  safety.     There  is  none  but  he 
Whose  being  I  do  fear :  and,  under  him, 
My  Genius  is  rebuked ;  as,  it  is  said, 
Mark  Antony's  was  by  Caesar.     He  chid  the  sisters 
When  first  they  put  the  name  of  king  upon  me, 
And  bade  them  speak  to  him  :  then  prophet-like 
They  hail'd  him  father  to  a  line  of  kings :  60 

Upon  my  head  they  placed  a  fruitless  crown, 
And  put  a  barren  sceptre  in  my  gripe, 
Thence  to  be  wrench'd  with  an  unlineal  hand, 
No  son  of  mine  succeeding.     If 't  be  so. 


Scene  I]  Macbeth  35 

For  Banquo's  issue  have  I  filed  my  mind ; 

For  them  the  gracious  Duncan  have  I  murder'd ; 

Put  rancours  in  the  vessel  of  my  peace 

Only  for  them  ;  and  mine  eternal  jewel 

Given  to  the  common  enemy  of  man, 

To  make  them  kings,  the  seed  of  Banquo  kings !  70 

Rather  than  so,  come  fate  into  the  list, 

And  champion  me  to  tiie  utterance  !     Who's  there  ? 

He-enter  Attendant,  with  two  Murderers. 

Now  go  to  the  door,  and  stay  there  till  we  call. 

[Exit  Attendant 

Was  it  not  yesterday  we  spoke  together  ? 

First  Mar.     It  was,  so  please  your  highness. 

Mach.  Well  then,  now 

Have  you  consider'd  of  my  speeches  ?     Know 
That  it  was  he  in  the  times  past  which  held  you 
So  under  fortune,  which  you  thought  had  been 
Our  innocent  self:  this  I  made  good  to  you 
In  our  last  conference,  pass'd  in  probation  with  you,      so 
How  you  were  borne  in  hand,  how  cross'd,  the  instru- 
ments, 
Who  wrought  with  them,  and  all  things  else  that  might 
To  half  a  soul  and  to  a  notion  crazed 
Say  "  Thus  did  Banquo." 

First  Mur.  You  made  it  known  to  us. 

Mach.     I  did  so,  and  went  further,  which  is  now 
Our  point  of  second  meeting.     Do  you  find 
Your  patience  so  predominant  in  your  nature 
That  you  can  let  this  go  ?     Are  you  so  gospell'd 
To  pray  for  this  good  man  and  for  his  issue, 
Whose  heavy  hand  hath  bow'd  you  to  the  grave  9( 

And  beggar'd  yours  for  ever  ? 


36  Macbeth  [Act  III 

First  Mur.  "We  are  men,  my  liege, 

Mach.     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  lOO 

That  writes  them  all  alike :  and  so  of  men. 
Now,  if  you  have  a  station  in  the  file, 
Not  i'  the  worst  rank  of  manhood,  say  't; 
And  I  will  put  that  business  in  your  bosoms, 
Whose  execution  takes  your  enemy  off, 
Grapples  you  to  the  heart  and  love  of  us. 
Who  wear  our  health  but  sickly  in  his  life, 
Which  in  his  death  were  perfect. 

Sec.  Mur.  I  am  one,  my  liege, 

Whom  the  vile  blows  and  buffets  of  the  world 
Have  so  incensed  that  I  am  reckless  what  110 

I  do  to  spite  the  world. 

First  Mur.  And  I  another 

So  weary  with  disasters,  tugg'd  with  fortune. 
That  I  would  set  my  life  on  any  chance, 
To  mend  it,  or  be  rid  on  't. 

Mach.  Both  of  you 

Know  Banquo  was  your  enemy 

Both  Mur.  True,  my  lord. 

Mach.     So  is  he  mine ;  and  in  such  bloody  distance, 
That  every  minute  of  his  being  thrusts 
Against  my  near'st  of  life :  and  though  I  could 


Scene  I]  Macbeth  37 

With  barefaced  power  sweep  him  from  my  sight 

And  bid  my  will  avouch  it,  yet  I  must  not,  120 

For  certain  friends  that  are  both  his  and  mine, 

Whose  loves  I  may  not  drop,  but  wail  his  fall 

Who  I  myself  struck  down ;  and  thence  it  is, 

That  I  to  your  assistance  do  make  love, 

Masking  the  business  from  the  common  eye 

For  sundry  weighty  reasons. 

Sec.  Mur.  We  sliall,  my  lord, 

Perform  what  you  command  us. 

First  Mur.  Though  our  lives — 

Mach.     Your  spirits  shine  through  you.     Within  this 
hour  at  most, 
I  will  advise  you  where  to  plant  yourselves ; 
Acquaint  you  with  the  perfect  spy  o'  the  time,  130 

The  moment  on't;  for 't  must  be  done  to-night. 
And  something  from  the  palace ;  always  thought 
Tliat  I  require  a  clearness:  and  with  him — 
To  leave  no  rubs  nor  botches  in  tlte  work — 
Fleance  his  son,  that  keeps  him  company, 
Whose  absence  is  no  less  material  to  me 
Than  is  his  father's,  must  embrace  the  fate 
Of  tliat  dark  hout'.     Resolve  yourselves  apart : 
I'll  come  to  you  anon. 

Both  Mur.  We  are  resolved,  my  lord. 

Mach.     I'll  call  upon  you  straight :  abide  within.       itO 

[Exeunt  Murderers. 

It  is  concluded.     Banquo,  thy  soul's  flight, 

If  it  find  heaven,  must  find  it  out  to-night.  [Exit. 


38  Macbeth  [Act  III 

Scene  II.      The  palace. 
Enter  Lady  Macbeth  and  a  Servant. 

Lady  M.     Is  Banquo  gone  from  court  ? 

Serv,     Ay,  madam,  but  returns  again  to-night. 

Lady  M.     Say  to  tlie  king  I  would  attend  his  leisure 
For  a  few  words. 

Serv.  Madam,  I  will.  [JSa»«. 

Lady  M.  Nought's  had,  all's  spent, 

Where  our  desire  is  got  without  content : 
'Tis  safer  to  be  that  which  we  destroy 
Than  by  destruction  dwell  in  doubtful  joy. 

Enter  Macbeth. 

How  now,  my  lord  !  why  do  you  keep  alone, 

Of  sorriest  fancies  your  companions  making, 

Using  those  thoughts  which  should  indeed  have  died     lO 

With  them  they  think  on  ?     Things  without  all  remedy 

Should  be  without  regard :  what's  done  is  done 

Macb.     We  have  scotch'd  the  snake ;  not  kill'd  it : 
She'll  close  and  be  herself,  whilst  our  poor  malice 
Remains  in  danger  of  her  former  tooth. 
But  let  the  frame  of  things  disjoint,  both  the  worlds 

suffer, 
Ere  we  will  eat  our  meal  in  fear,  and  sleep 
In  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,  20 

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 ; 
Treason  has  done  his  worst :  nor  steel,  nor  poison, 


Scene  II]  Macbeth  39 

Malice  domestic,  foreign  levy,  nothing, 
Can  toucli  him  further. 

Lady  M.  Come  on  ; 

Gentle  my  lord,  sleek  o'er  your  rugged  looks ; 
Be  bright  and  jovial  among  your  guests  to-night. 

Mach.     So  shall  I,  love ;  and  so,  I  pray,  be  you : 
Let  your  remembrance  apply  to  Banquo ;  30 

Present  him  eminence,  both  with  eye  and  tongue : 
Unsafe  the  while,  that  we 

Must  lave  our  honours  in  these  flattering  streams. 
And  make  our  faces  vizards  to  our  hearts, 
Disguising  what  they  are. 

Lady  M.  You  must  leave  this. 

Mach.     O,  full  of  scorpions  is  my  mind,  dear  wife  ! 
Thou  know'st  that  Banfjuo,  and  his  Flcance,  lives. 

Lady  M.     But  in  them  nature's  copy 's  not  eterne. 

Mach.     There's  comfort  yet ;  they  are  assailable ; 
Then  be  thou  jocund  :  ere  the  bat  hath  flown  40 

His  cloister'd  fliirht,  ere  to  black  Hecate's  sunnnons 
The  shard-borne  beetle  with  his  drows}''  hums 
Hath  rung  night's  yawning  peal,  there  shall  be  done 
A  deed  of  dreadful  note. 

Lady  M.  What's  to  be  done  ? 

Mach.     Be  innocent  of  the  knowledge,  dearest  chuck, 

Till  thou  applaud  the  deed.     Come,  seeling  night, 
Scarf  up  the  tender  eye  of  pitiful  day ; 
And  with  thy  bloody  and  invisible  hand 
Cancel  and  tear  to  pieces  tiiat  great  })ond 
Wliich  keeps  me  pale!  Light  thickens;  and  the  crow     50 
Makt'S  wing  to  the  rooky  wood: 
Good  tilings  of  day  begin  to  droop  and  drowse; 
Whiles  night's  black  agents  to  their  preys  do  rouse. 


40  Macbeth  [Act  III 

Thou  marvell'st  at  my  words :  but  hold  thee  still : 

Things  bad  begun  make  strong  themselves  by  ill. 

So,  prithee,  go  with  me.  [Exeunt. 

Scene  III.     A  park  near  the  palace. 
Enter  three  Murderers. 

First  Mur.     But  who  did  bid  thee  join  with  us  ? 

Third  Mur.  Macbeth. 

Sec.  Mur.    He  needs  not  our  mistrust,  since  he  delivers 
Our  offices  and  what  we  have  to  do 
To  the  direction  just. 

First  Mur.  Then  stand  with  us. 

The  west  yet  glimmers  with  some  streaks  of  day : 
Now  spurs  the  lated  traveller  apace 
To  gain  the  timely  inn ;  and  near  approaches 
The  subject  of  our  watch. 

Third  Mur.  Hark  !  I  hear  horses. 

Ban    [Within.'[     Give  us  a  light  there,  ho  ! 

Sec.  Mur.  Then  'tis  he :  the  rest 

That  are  within  the  note  of  expectation  10 

Already  are  i'  the  court. 

First  Mur.  His  horses  go  about. 

Third  Mur.     Almost  a  mile :  but  he  does  usually, 
So  all  men  do,  from  hence  to  the  palace  gate 
Make  it  their  walk. 

Sec.  Mur.  A  light,  a  light ! 

Enter  Banquo,  and  Flkance  with  a  torch. 

Third  Mur.  'Tis  he. 

First  Mur.     Stand  to  't. 

Ban.     It  will  be  rain  to-night. 

First  Mur.  Let  it  come  down. 

[They  set  upon  Banatio. 


Scene  IV]  Macbeth  41 

Ban.     O,  treachery  !     Fly,  good  Fleance,  fly,  fly,  fly  ! 

Thou  mayst  revenge.      O  slave  !  [Dies.     Fleance  escapes. 

Third  Mur.  Who  did  strike  out  tlie  light  ? 

First  Mur.  Was  't  not  the  way  ? 

Third  Mur.  There's  but  one  down ;  the  son  is  fled.  20 

Sec.  Mur.  We  have  lost 
Best  half  of  our  affair. 

First  Mar.  Well,  let's  away,  and  say  how  much  is 
done. 

[Exeunt. 
Scene  IY.     The  same.     Hall  in  the  palace. 

A  banquet  prepared.     Enter  Macbeth,  Lady  Macbeth,  Ross, 
Lennox,  Lords  and  Attendauta. 

Mach.     You  know  your  own  degrees ;  sit  down :  at  first 
A.nd  last  the  hearty  welcome. 

Lords.  Thanks  to  your  majesty. 

Mach.     Ourself  will  mingle  with  society. 
And  play  the  humble  host. 
Our  hostess  keeps  her  state,  but  in  best  time 
We  will  require  her  welcome. 

Lady  M.     Pronounce  it  for  me,  sir,  to  all  our  friends ; 
For  my  heart  speaks  they  are  welcome. 

First  Murderer  appears  at  the  door. 

Mach.     See,  they  encounter  thee   with   their    hearts' 
thanks. 
Both  sides  are  even  :  here  I'll  sit  i'  the  midst :  10 

Be  large  in  mirth  ;  anon  we'll  drink  a  measure 
The  table  round.    [Approaching  the  door.]   There's  blood  upon 
thy  face. 
Mur.     'Tis  Banquo's  then. 

Macb.     'Tis  better  thee  without  than  he  within. 
Is  he  deepatch'd  \ 


42  Macbeth  [Act  III 

Mur.     My  lord,  his  throat  is  cut ;  that  I  did  for  him. 

Macb.     Thou  art  the  best  o'  the  cut-throats :  yet  he's 
good 
That  did  the  like  for  Fleance :  if  thou  didst  it, 
Thou  art  the  nonpareil. 

Mur.  Most  royal  sir, 

Fleance  is  'scaped.  20 

Macb.     Then  comes  my   fit    again :   I  had  else  been 
perfect. 
Whole  as  the  marble,  founded  as  the  rock. 
As  broad  and  general  as  the  casing  air  : 
But  now  I  am  cabin'd,  cribb'd,  confinea,  bound  in 
To  saucy  doubts  and  fears.     But  Banquo  's  safe  ? 

Mnr.     Ay,  my  good  lord :  safe  in  a  ditch  he  bides, 
"With  twenty  trenched  gashes  on  his  head, 
The  least  a  death  to  nature. 

Macb.  Thanks  for  that : 

There  the  grown  serpent  lies ;  the  worm  that's  fled 
Hath  nature  that  in  time  will  venom  breed,  30 

No  teeth  for  the  present.     Get  thee  gone  :  to-morrow 
We'll  hear  ourselves  again.  [Exit  Murderers. 

Lady  M.  My  royal  lord. 

You  do  not  give  the  cheer  :  the  feast  is  sold 
That  is  not  often  vouch'd,  while  'tis  a-making, 
'Tis  given  with  welcome  :  to  feed  were  best  at  home; 
From  thence  the  sauce  to  meat  is  ceremony ; 
Meeting  were  bare  without  it. 

Macb.  Sweet  remembrancer ! 

Now,  good  digestion  wait  on  appetite, 
And  health  on  both  ! 

Len.  May  't  please  your  highness  sit  ? 

[The  Ghost  of  Banquo  enters,  and  sits  in  Macbeth' s  place. 


Lennox.      "Here  is  a  place  reserved,  Sir," 

Macbeth.     "Where?" 

Lermox.      "Here,  my  good  lord.    What  f$'t  that 


Scene  IV]  Macbeth  43 

Macb.     Here    had    we    now    our    country's    lionour 
roof  d,  40 

Were  tlie  graced  person  of  our  Banquo  present, 
Who  may  I  rather  challenge  for  uukindness 
Than  pity  for  mischance, — 

Ross.  His  absence,  sir. 

Lays  blame  upon  his  promise.     Please  't  your  highness 
To  grace  us  with  your  royal  company  ? 

Macb.     The  table's  full. 

Len.  Here  is  a  place  reserved,  sir. 

Macb.     Where  ? 

Len.     Here,  my  good   lord.      What   is 't  that   moves 
your  highness  ? 

Macb.     Which  of  you  have  done  this  ? 

Lords.  What,  my  good  lord  ? 

Macb.     Thou  canst  not  say  I  did  it :  never  shake       50 
Thy  gory  locks  at  me. 

Ross.     Gentlemen,  rise :  his  highness  is  not  well. 

Lady  M.     Sit,  worthy  friends:  my  lord  is  often  thus. 
And  hath  been  from  his  youth :  pray  you,  keep  seat ; 
The  fit  is  momentary  ;  upon  a  thought 
He  will  again  be  well :  if  much  you  note  mm. 
You  shall  offend  him  and  extend  his  passion : 
Feed,   and   regard  him  not.     [Aside  to  Macbeth.]     Are  you 
a  man  ? 

Macb.     Ay,  and  a  bold  one,  that  dare  look  on  that 
Which  might  appal  the  devil. 

Lady  M.     [Amle  to  Macbeth.]     O  proper  stuff!  60 

This  is  the  very  painting  of  your  fear : 
This  is  the  air-drawn  dagger  which,  you  said, 
lied  you  to  Duncan.     O,  these  flaws  and  starts. 
Impostors  to  true  fear,  would  well  become 


44  Macbeth  [Act  III 

A  woman's  story  at  a  winter's  fire, 
Authorized  by  her  grandam.     Shame  itself ! 
Why  do  you  make  such  faces  ?     When  all's  done, 
You  look  but  on  a  stool. 

Macb.     Prithee,  see  there  !  behold  !  look  !  lo  !  how  say 
you  ? 
Why,  what  care  I  ?     If  thou  canst  nod,  speak  too.  70 

If  charnel-houses  and  our  graves  must  send 
Those  that  we  bury  back,  our  monuments 

Shall  be  the  maws  of  kites.  [Ghost  vanishes. 

Lady  M.     [Aside  to  Macbeth]     What,  quite  unmann'd  in 
folly? 

Mach.     If  I  stand  here  I  saw  him. 

Lady  M.     [Aside  to  Macbeth.]     Fie,  for  shame  ! 

Mach.     Blood  hath  been  shed  ere  now,  i'  the  olden 
time, 
Ere  human  statute  purged  the  gentle  weal : 
Ay,  and  since  too,  murders  have  been  perform 'd 
Too  terrible  for  the  ear :  the  time  has  been, 
That,  when  the  brains  were  out,  the  man  would  die. 
And  there  an  end ;  but  now  they  rise  again,  80 

With  twenty  mortal  murders  on  their  crowns, 
And  push  us  from  our  stools :  this  is  more  strange 
Than  such  a  murder  is. 

Lady  M.  My  worthy  lord. 

Your  noble  friends  do  lack  you. 

Mach.  I  do  forget. 

Do  not  muse  at  me,  my  most  worthy  friends ; 
I  have  a  strange  infirmity,  which  is  nothing 
To   those   that   know   me.     Come,   love   and   health  to 

all; 
Then  I'll  sit  down.     Give  me  some  wine ;  fill  full. 


Scene  IV]  Macbeth  45 

I  drink  to  tlie  general  joy  o'  the  ^vllole  table, 

And  to  our  dear  friend  Ban  quo,  whom  we  miss ;  90 

Would  he  were  here  !  to  all  and  him  we  thirst, 

And  all  to  all. 

Lords.  Our  duties,  and  the  pledge. 

Re-enter  Ghost. 

Mach.     Avaunt !    and    quit   my    sight !    let  the   earth 
hide  thee ! 
Thy  bones  are  marrowless,  thy  blood  is  cold  ; 
Thou  hast  no  speculation  in  those  eyes 
AVliich  thou  dost  glare  with  ! 

Lady  M.  Think  of  this,  good  peers, 

But  as  a  thing  of  custom :  'tis  no  other ; 
Only  it  spoils  the  pleasure  of  the  time. 

Mach.     What  man  dare,  I  dare : 
Approach  thou  like  the  rugged  Russian  bear,  100 

The  arm'd  rliinoceros,  or  tlie  Hyrcan  tiger; 
Take  any  shape  but  that,  and  my  firm  nerves 
Shall  never  tremble :  or  be  alive  again, 
And  dare  me  to  the  desert  with  thy  sword  ; 
If  trembling  I  inhabit  then,  protest  me 
The  baby  of  a  girl.     Hence,  horrible  shadow  ! 
Unreal  mockery,  hence  !  [Ghost  vanishes. 

Why,  so :  being  gone, 
I  am  a  man  again.     Pray  you,  sit  still. 

Lady  M.     You  have  displaced   the   mirtli,  l)roke  the 
good  meeting. 
With  most  admired  disorder. 

Mach.  Can  such  things  be,       no 

And  overcome  us  like  a  summer's  cloud, 
Without  our  special  wonder  ?     You  make  me  strange 
Even  to  the  disposition  that  I  owe, 


46  Macbeth  [Act  III 

When  now  I  think  you  can  behold  such  sights, 
And  keep  the  natural  ruby  of  your  cheeks, 
When  mine  is  blanch'd  with  fear. 

Ross.  What  sights,  my  lord  ? 

Lady  M.     I  pray  you,  speak  not ;  he  grows  worse  and 
worse ; 
Question  enrages  him.     At  once,  good  night : 
Stand  not  upon  the  order  of  your  going, 
But  go  at  once. 

Len.  Good  night ;  and  better  health  120 

Attend  his  majesty  ! 

Lady  M.  A  kind  good  night  to  all ! 

[Exeunt  all  hut  Macbeth  and  Lady  Macbeth}. 

Macb.     It  will  have  blood;  they  say,  blood  will  have 
blood : 
Stones  have  been  known  to  move  and  trees  to  speak  ; 
Augurs  and  understood  relations  have 
By  magot-pies  and  choughs  and  rooks  brought  forth 
The  secret 'st  man  of  blood.     What  is  the  night  ? 

Lady  M.     Almost  at  odds   with   morning,  which  is 
which. 

Macb.     How    say'st    thou,    that    Macduff  denies   his 
person 
At  our  great  bidding  ? 

Lady  M.  Did  you  send  to  him,  sir  ? 

Macb.     I  hear  it  by  the  way ;  but  I  will  send :  130 

There's  not  a  one  of  them  but  in  his  house 
I  keep  a  servant  fee'd.     I  will  to-morrow, 
And  betimes  I  will,  to  the  weird  sisters : 
More  shall  they  speak ;  for  now  I  am  bent  to  know. 
By  the  worse  means,  the  worst.     For  mine  own  good, 
All  causes  shall  gi\*e  way :  I  am  in  blood 


Scene  V]  Macbeth  47 

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.  i40 

Lady  M.     You  lack  the  season  of  all  natures,  sleep. 

Mach.     Come,  we'll  to  sleep.     My  strange  and  self- 
abuse 
Is  the  initiate  fear  that  wants  hard  use : 
We  are  yet  but  young  in  deed.  [Exeunt. 

Scene  Y.     A  heath. 
Thunder.     Enter  the  three  Witches,  meeting  Hecatb. 

First    Witch.     Why,    how    now,    Hecate !    you    look 
angerly. 

Hec.     Have  I  not  reason,  beldams  as  you  are. 
Saucy  and  overbold  ?     How  did  you  dare 
To  trade  and  traffic  with  Macbeth 
In  riddles  and  affairs  of  death  ; 
And  I,  the  mistress  of  your  charms, 
The  close  contriver  of  all  harms, 
Was  never  call'd  to  bear  my  part, 
Or  show  the  glory  of  our  art  ? 

And,  which  is  worse,  all  you  have  done  10 

Hath  been  but  for  a  wayward  son. 
Spiteful  and  wrathful,  who,  as  others  do, 
Loves  for  his  own  ends,  not  for  you. 
But  make  amends  now  :  get  you  gone, 
And  at  the  pit  of  Acheron 
Meet  me  i  the  morning :  thither  he 
Will  come  to  know  his  destiny  : 
Your  vessels  and  your  spells  provide, 
Your  charma  and  every  thing  beside. 


48  Macbeth  [Act  III 

I  am  for  the  air ;  this  night  I'll  spend  20 

Unto  a  dismal  and  a  fatal  end  : 

Great  business  must  be  wrought  ere  noon : 

Upon  the  corner  of  the  moon 

There  hangs  a  vaporous  drop  profound ; 

I'll  catch  it  ere  it  come  to  ground  : 

And  that  distill'd  by  magic  sleights 

Shall  raise  such  artificial  sprites 

As  by  the  strength  of  their  illusion 

Shall  draw  him  on  to  his  confusion  : 

He  shall  spurn  fate,  scorn  death,  and  bear  30 

His  hopes  'bove  wisdom,  grace  and  fear : 

And  you  all  know,  security 

Is  mortals'  chiefest  enemy. 

[Music,  and  a  song  within  :  "  Come  away,  come  away,"  etc. 

Hark  !  I  am  call'd  ;  my  little  spirit,  see, 

Sits  in  a  foggy  cloud,  and  stays  for  me.  [Exit. 

First   Witch.     Come,  let's  make  haste ;  she'll  soon  be 

back  again.  [Exeunt. 

Scene  VI.     Forres.     The  palace. 
Enter  Lennox  and  another  Lord. 

Len.     My  former  speeches  have  but  hit  your  thoughts. 
Which  can  interpret  further :  only,  I  say. 
Things    have    been    strangely    borne.      The    gracious 

Duncan 
Was  pitied  of  Macbeth  :  marry,  he  was  dead  : 
And  the  right- valiant  Banquo  walk'd  too  late ; 
Whom,  you  may  say,  if  't  please  you,  Fleance  kill'd, 
For  Fleance  fled  :  men  must  not  walk  too  late. 
Who  cannot  want  the  thought  how  monstrous 
It  was  for  Malcolm  and  for  Donalbain 


Scene  VI]  Macbeth  49 

To  kill  their  gracious  father  ?  damned  fact !  10 

How  it  did  grieve  Macbeth  !  did  he  not  straight 

In  pious  rage  the  two  delinquents  tear, 

That  were  the  slaves  of  drink  and  thralls  of  sleep  ? 

Was  not  that  nobly  done  ?     Ay,  and  wisely  too ; 

For 't  would  have  anger'd  any  heart  alive 

To  hear  the  men  deny  't.     So  that,  I  say. 

He  has  borne  all  things  well :  and  I  do  think 

That  had  he  Duncan's  sons  under  his  key — 

As,   an 't    please    heaven,    he    shall     not — they   should 

find 
What  'twere  to  kill  a  fatlier ;  so  should  Fleance.  20 

But,  peace  !  for  from  broad  words  and  'cause  he  fail'd 
His  presence  at  the  t3'rant's  feast,  I  hear 
Macduff  lives  in  disgrace  :  sir,  can  you  tell 
Where  he  bestows  himself  ? 

Lord.  The  son  of  Duncan, 

From  whom  this  tyrant  holds  the  due  of  birth, 
Lives  in  the  English  court,  and  is  received 
Of  the  most  pious  Edward  with  such  grace 
That  the  malevolence  of  fortune  nothing 
Takes  from  his  high  respect :  thither  Macduff 
Is  gone  to  pray  the  holy  king,  upon  his  aid  30 

To  wake  Northumberland  and  warlike  Siward  : 
That,  by  the  help  of  these — with  Him  above 
To  ratify  tlie  work — we  may  again 
Give  to  our  tables  meat,  sleep  to  our  nights, 
Free  from  our  feasts  and  banquets  bloody  knives. 
Do  faithful  homage  and  receive  free  honouro : 
All  which  we  pine  for  now  :  and  this  report 
Hath  so  exasperate  the  king  that  he 
Prepares  for  some  attempt  of  war. 


50  Macbeth  [Act  IV 

Len.  Sent  he  to  Macduff^ 

Lord.     He  did  :  and  with  an  absolute  "  Sir,  not  I,"     4C 
The  cloudy  messenger  turns  me  his  back, 
And  hums,  as  who  should  say,  "  You'll  rue  the  time 
That  clogs  me  with  this  answer." 

Len.  And  that  well  might 

Advise  him  to  a  caution,  to  hold  what  distance 
His  wisdom  can  provide.     Some  holy  angel 
Fly  to  the  court  of  England  and  unfold 
His  message  ere  he  come,  that  a  swift  blessing 
May  soon  return  to  this  our  suffering  country 
Under  a  hand  accursed ! 

Lord.         I'll  send  my  prayers  with  him.  [Exeuru. 

ACT   IV 
Scene  I.     A  cavern.     In  the  middle,  a  boiling  cauldron. 

Thunder.     Enter  the  three  Witches 

Fi/rst  Witch.     Thrice  the  brinded  cat  hath  mew'd 
Sec.  Witch.     Thrice,  and  once  the  hedge -pig  whined. 
Third  Witch.     Harpier  cries,  '  'Tis  time,  'tis  time.' 
First  Witch.     Round  about  the  cauldron  go ; 

In  the  poison'd  entrails  throw. 

Toad,  that  under  cold  stone 

Days  and  nights  has  thirty- one 

Swelter'd  venom  sleeping  got, 

Boil  thou  first  i'  the  charmed  pot. 

All.     Double,  double  toil  and  trouble ;  10 

Fire  burn,  and  cauldron  bubble. 

Sec.  Witch.     Fillet  of  a  fenny  snake, 

In  the  cauldron  boil  and  bake  ; 

Eye  of  newt  and  toe  of  frog, 


Scene  I]  Macbeth  61 

Wool  of  bat  and  tongue  of  dog, 
Adder's  fork  and  blind-worm's  sting, 
Lizard's  leg  and  owlet's  wing, 
For  a  charm  of  powerful  trouble, 
Like  a  hell-broth  boil  and  bubble. 

All.     Double,  double  toil  and  trouble ;  20 

Fire  burn  and  cauldron  bubble. 

Third  Witch.     Scale  of  dragon,  tooth  of  wolf, 
Witches'  mummy,  maw  and  gulf 
Of  the  ravin'd  salt-sea  shark. 
Root  of  hemlock  digg'd  i'  the  dark. 
Liver  of  blaspheming  Jew, 
Gall  of  goat,  and  slips  of  yev/' 
Sliver'd  in  the  moon's  eclipse. 
Nose  of  Turk  and  Tartar's  lips, 

Finger  of  birth-strangled  babe ;  30 

Make  the  gruel  thick  and  slab : 
Add  thereto  a  tiger's  chaudron. 
For  the  ingredients  of  our  cauldron. 

All.     Double,  double  toil  and  trouble; 
Fire  burn  and  cauldron  bubble. 

Sec.  Witch.     Cool  it  with  a  baboon's  blood. 
Then  the  charm  is  firm  and  good. 

BrUer  Hkoate  to  the  other  three  Witches. 

Hec.     O,  well  done  !  I  commend  your  pains  ; 
And  every  one  shall  share  i'  the  gains  ; 
And  now  about  the  cauldron  sing,  40 

Like  elves  and  fairies  in  a  ring, 
Enchanting  all  that  you  put  in. 

[Mutic  and  a  aong :  "  Black  spirit*,"  etc.     Hecate  relirei. 


52  Macbeth  [Act  IV 

Sec.  Witch.     By  the  pricking  of  my  thumbs, 
Something  wicked  this  way  comes. 
Open,  locks, 
Whoever  knocks ! 

Enter  Macbeth. 

Macb.     How  now,   you    secret,    black,  and   midnight 
hags  ! 
What  is  't  you  do  ? 

All.  A  deed  without  a  name. 

Mach.     I  conjure  you,  by  that  which  you  profess, 
Howe'er  you  come  to  know  it,  answer  me :  50 

Though  you  untie  the  winds  and  let  them  fight 
Against  the  churches  ;  though  the  yesty  waves 
Confound  and  swallow  navigation  up ; 
Though  bladed  corn  be  lodged  and  trees  blown  down ; 
Though  castles  topple  on  their  warders'  heads ; 
Though  palaces  and  pyramids  do  slope 
Their  heads  to  their  foundations ;  though  the  treasure 
Of  nature's  germins  tumble  all  together. 
Even  till  destruction  sicken ;  answer  me 
To  what  I  ask  you.  60 

First  Witch.  Speak. 

Sec.  Witch.  Demand. 

Third  Witch.  We'll  answer. 

First   Witch.      Say,  if  thou  'dst  rather  hear  it  from 
our  mouths, 
Or  from  our  masters'  ? 

Mach.  Call  'em ;  let  me  see  'em. 

First  Witch.     Pour  in  sow's  blood,  that  hath  eaten 
Her  nine  farrow  ;  grease  that's  sweaten 
From  the  murderer's  gibbet  throw 
Into  the  flame. 


Scene  I]  Macbeth  53 

All.  Come,  high  or  low ; 

Thyself  and  office  deftly  show  ! 

Tliunder.     First  Apparition  :    an  armed  Head. 

Much.     Tell  me,  thou  unknown  power, — 

First  Witch.  He  knows  thy  thought : 

Hear  his  speech,  but  say  thou  nought. 

First  App.     Macbeth !    Macbeth  !     ]\Iacbeth  !    beware 
Macduff;  70 

Beware  the  thane  of  Fife.     Dismiss  me.     Enough. 

[Descends. 
Mach.     Whate'er    thou    art,    for    thy    good    caution, 
thanks ; 
Thou  hast  harp'd  my  fear  aright :  but  one  word  more, — 
First    Witch.      He   will   not   be   commanded :    here's 
another, 
More  potent  than  the  first. 

Thunder.     Second  Apparition  :  a  bloody  Child. 

Sec.  App.     Macbeth  !  Macbeth  !  Macbeth  ! 

Mach.     Had  I  three  ears,  I  'Id  hear  thee. 

Sec.  App.     Be  bloody,  bold,  and    resolute ;    laugh  to 
scorn 
The  power  of  man ;  for  none  of  woman  born 
Shall  harm  Macbeth.  [Descends.         80 

Mach.     Then  live,  Macduff:  what  need  I  fear  of  thee  ? 
But  yet  I'll  make  assurance  double  sui'e. 
And  take  a  bond  of  fate :  thou  shalt  not  live  ; 
That  I  may  tell  pale-hearted  fear  it  lies, 
And  sleep  in  spite  of  thunder. 
Thunder.     Tliird  Apparition  :  a  Child  croumed,  with  a  tree  in  his  hand. 

What  is  this 
That  rises  like  the  issue  of  a  king, 


54  Macbeth  [Act  IV 

And  wears  upon  his  baby-brow  the  round 
And  top  of  sovereignty  ? 

All  Listen,  but  speak  not  to  't. 

Tliird   App.      Be    lion-mettled,    proud,    and    take  no 
care 
Who  chafes,  who  frets,  or  where  conspirers  are :  90 

Macbeth  shall  never  vanquish'd  be  until 
Great  Birnam  wood  to  high  Dunsinane  hill 
Shall  come  against  him.  [Descends. 

Macb.  That  will  never  be : 

Who  can  impress  the  forest,  bid  the  tree 
Unfix  his  earth-bound  root  ?     Sweet  bodements  !  good  ! 
Rebellion's  head,  rise  never  till  the  wood 
Of  Birnam  rise,  and  our  high-placed  Macbeth 
Shall  live  the  lease  of  nature,  pay  his  breath 
To  time  and  mortal  custom.     Yet  my  heart 
Throbs  to  know  one  thing  :  tell  me,  if  your  art  100 

Can  tell  so  much  :  shall  Banquo's  issue  ever 
Reign  in  this  kingdom  ? 

All.  Seek  to  know  no  more. 

Macb.     I  will  be  satisfied :  deny  me  this 

And  an  eternal  curse  fall  on  you  !     Let  me  know. 

Why  sinks  that  cauldron  ?  and  what  noise  is  this  ? 

[HaiUboya. 
First  Witch.     Show! 

Sec.  Witch.     Show! 

Third  Witch.     Show ! 

All.     Show  his  eyes,  and  grieve  his  heart ; 

Come  like  shadows,  so  depart !  110 

A  show  of  Eight  Kings,   the  last  with  a  glass  in  his  hand;  Banquo's 
Ghost  following. 

Macb.     Thou  art  too  like  the  spirit  of  Banquo ;  down  ! 
Thy  crown  does  sear  mine  eye-balls.     And  thy  hair. 


Macbeth.     "Filthy  hags!  why  do  you  show  me  this? 

Horrible  sight! — Ay,  now  I  see  'tis  true; 

For  the  blood-boltered  Banquo  smiles  upon  me. 

And  points  at  them  for  his." 

Act  IV.  Scene  I. 


Scene  I]  Macbeth  55 

Thou  otlier  gold-bound  brow,  is  like  the  first. 
A  third  is  like  the  former,     Filtliy  hags ! 
Why  do  you  show  me  this  ?     A  fourth  !     Start,  eyes  ! 
Wiiat,  will  the  line  stretch  out  to  the  crack  of  doom  ? 
Another  yet !     A  seventh  !     I'll  see  no  more  : 
And  yet  the  eighth  appears,  who  bears  a  glass 
Wiiich  shows  me  many  more ;  and  some  I  see 
That  two-fold  balls  and  treble  sceptres  carry :  120 

Horrible  sight !  Now,  I  see,  'tis  true  ; 
For  the  blood-bolter'd  Banquo  smiles  upon  me, 
And  points  at  them  for  his.      [Apparitions vanish.]     What,  is 
this  so  ? 
First  Witch.     Ay,  sir,  all  this  is  so  ;  but  why 
Stands  Macbeth  thus  amazedly  ? 
Come,  sisters,  cheer  we  up  his  sprites, 
And  show  the  best  of  our  delights : 
I'll  charm  the  air  to  give  a  sound, 
While  you  perform  your  antic  round  : 
That  this  great  king  may  kindly  say,  130 

Our  duties  did  his  welcome  pay. 

[Munc.     The  Witches  dance,  and  then  vanish,  with  Hecate. 

Much.     Where  are  they  ?     Gone  ?     Let  this  pernicious 
hour 
Stand  aye  accursed  in  the  calendar ! 
Come  in,  without  there  ! 

Enter  Lennox. 

Len.  What's  your  grace's  will  ^ 

Much.     Saw  you  the  weird  sisters  ? 

Len.  No,  my  lord. 

Much.     Came  they  not  by  you  ? 

Len.  No,  indeed,  my  lord. 


56  Macbeth  [Act  IV 

Macb.     Infected  be  the  air  whereon  they  ride ; 
And  damn'd  all  those  that  trust  them  !     I  did  hear 
The  galloping  of  horse :  who  was  't  came  by  ? 

Len.     'Tis  two  or  three,  my  lord,  that  bring  you  word 
Macduff  is  fled  to  England.  140 

Mach.  Fled  to  England  ! 

Len.     Ay,  my  good  lord. 

Macb.     Time,  thou  anticipatest  my  dread  exploits : 
The  flighty  purpose  never  is  o'er  took 
Unless  the  deed  go  with  it :  from  this  moment 
The  very  firstlings  of  my  heart  shall  be 
The  firstlings  of  my  hand.     And  even  now, 
To  crown  my  thoughts  with  acts,  be  it  thought  and  done : 
The  castle  of  Macduff  I  will  surprise ; 
Seize  upon  Fife ;  give  to  the  edge  o'  the  sword  150 

His  wife,  his  babes,  and  all  unfortunate  souls 
That  trace  him  in  his  line.     No  boasting  like  a  fool ; 
This  deed  I'll  do  before  this  purpose  cool. 
But  no  more  sights ! — Where  are  these  gentlemen  ? 
Come,  bring  me  where  they  are.  [Ehceunt. 

ScENK   II.      Fife.      Macduff's   castle. 
Enter  Lady  Macduff,  her  Son  ayid  Ross. 

L.  Macd.    What  had  he  done,  to  make  him  fly  the  land  ? 

Ross.     You  must  have  patience,  madam, 

L.  Macd.  He  had  none ; 

His  flight  was  madness :  when  our  actions  do  not, 
Our  fears  do  make  us  traitors. 

Ross.  You  know  not 

Whether  it  was  his  wisdom  or  his  fear. 

L.  Macd.     Wisdom !  to  leave  his  wife,  to   leave  his 
babes. 


Scene  II]  Macbeth  67 

His  mansion  and  his  titles,  in  a  place 

From  whence  himself  does  fly  ?     He  loves  us  not ; 

He  wants  the  natural  touch :  for  the  poor  wren, 

The  most  diminutive  of  birds,  will  fight,  10 

Her  young  ones  in  her  nest,  against  the  owl. 

All  is  the  fear  and  nothing  is  the  love ; 

As  little  is  the  wisdom,  where  the  flight 

So  runs  against  all  reason. 

Ross.  My  dearest  coz, 

I  pray  you,  school  yourself :  but  for  your  husband. 
He  is  noble,  wise,  judicious,  and  best  knows 
The  fits  o'  the  season.     I  dare  not  speak  much  further ; 
But  cruel  are  the  times,  when  we  are  traitors 
And  do  not  know  ourselves ;  when  we  hold  rumour 
From  what  we  fear,  yet  know  not  what  we  fear,  20 

But  float  upon  a  wild  and  violent  sea 
Each  way  and  move.     I  take  my  leave  of  you : 
Shall  not  be  long  but  I'll  be  here  again : 
Things  at  the  worst  will  cease,  or  else  climb  upward 
To  what  they  were  before.     My  pretty  cousin. 
Blessing  upon  you  ! 

L.  Macd.     Father'd  he  is,  and  yet  he's  fatherless. 

Ross.     I  am  so  much  a  fool,  should  I  stay  longer, 
It  would  be  my  disgrace  and  your  discomfort : 
I  take  my  leave  at  once.  [Exit. 

L.  Macd.  Sirrah,  your  father's  dead :  30 

And  what  will  you  do  now  ?     How  will  you  live  ? 

Son.     As  birds  do,  mother. 

L.  Macd.  What,  with  worms  and  flies  ? 

Son.     With  what  I  get,  I  mean ;  and  so  do  they. 

L.  Macd.     Poor  bird  !  thou  'Idst  never  fear  the  net  nor 
lime. 
The  pitfall  nor  the  gin. 


58  Macbeth  [Act  IV 

Son.     Why  should  I,  mother  ?     Poor  birds  they  are 
not  set  for. 
My  father  is  not  dead,  for  all  your  saying. 

L.  Macd.     Yes,  he  is  dead :  how  wilt  thou  do  for  a 
father  ? 

Son.     Nay,  how  will  you  do  for  a  husband  ? 

L.  Macd.      Why,    I    can    buy    me    twenty    at     any 
marliet.  40 

Son.     Then  you'll  buy  'em  to  sell  again. 

L.  Macd.     Thou  speak 'st  with  all  thy  wit ;   and  yet, 
i'  faith. 
With  wit  enough  for  thee. 

Son.     Was  my  father  a  traitor,  mother  ? 

L.  Macd.     Ay,  that  he  was. 

Son.     What  is  a  traitor  ? 

L.  Macd.     Why,  one  that  swears  and  lies. 

Son.     And  be  all  traitors  that  do  so  ? 

L.  Macd.     Every  one  that  does  so  is  a  traitor,  and 
must  be  hang'd.  50 

Son.     And  must  they  all  be  hang'd  that  swear  and  lie  ? 

L.  Macd.     Every  one. 

Son.     Who  must  hang  them  ? 

L.  Macd.     Why,  the  honest  men. 

Son.  Then  the  liars  and  swearers  are  fools ;  for  there 
are  liars  and  swearers  enow  to  beat  the  honest  men  and 
hang  up  them. 

L.  Macd.     Now,  God  help  thee,  poor  monkey  ! 
But  how  wilt  thou  do  for  a  father  ?  59 

Son.  If  he  were  dead,  you  'Id  weep  for  him :  if  you 
would  not,  it  were  a  good  sign  that  I  should  q\iickly  have 
a  new  father. 

L.  Macd.     Poor  prattler,  how  thou  talk'st ! 


Scene  II]  Macbeth  69 

Enter  a  Messenger. 

Mess.    Bless  3'ou,  fair  dame  !     I  am  not  to  you  known, 
Tliou(,'li  in  3'our  state  of  honour  I  am  perfect. 
f  doubt  some  danger  does  approacli  you  nearly : 
If  you  will  take  a  homely  man's  advice, 
Be  not  found  here ;  hence,  with  3'our  little  ones. 
To  fright  you  thus,  methinks,  I  am  too  savage ; 
To  do  worse  to  you  were  fell  cruelty,  70 

Which  is  too  nigh  your  person.     Heaven  preserve  you  ! 
I  dare  abide  no  longer.  [Exit. 

L.  Macd.  Whither  should  I  fly  ? 

I  have  done  no  harm.     But  I  remember  now 
I  am  in  this  earthly  world,  where  to  do  harm 
]s  often  laudable;  to  do  good  sometime 
Accounted  dangerous  folly  :  wliy  then,  alas  ! 
Do  I  put  up  that  womanly  defence. 
To  say  I  have  done  no  harm  ? 

Enter  Murderers. 

What  are  these  faces  ? 
First  Mur.     Where  is  your  husband  ? 
Z.  Macd.     I  hope,  in  no  place  so  unsanctified  80 

Where  such  as  thou  mayst  find  him. 

First  Mur.  He  's  a  traitor. 

Son.     Thou  liest,  thou  shag-hair'd  villain  ! 

First  Mur.  What,  you  egg ! 

[Stabbing  him. 
Young  fry  of  treachery  ! 

Son.  He  has  kill'd  me,  mother: 

liua  away,  I  pray  you  !  [Dies. 

[Exit  Lady  Macduff,  crying  "  Munler  ! "    Exeunt  Murderers  follovoing  heir. 


60  Macbeth  [Act  IV 

Scene  III.     England.     Before  the  King's  palace. 
Enter  Malcolm  and  Macduw. 

Mai.     Let  us  seek  out  some  desolate  shade,  and  there 
Weep  our  sad  bosoms  empty. 

Macd.  Let  us  rather 

Hold  fast  the  mortal  sword,  and  like  good  men 
Bestride  our  down-fall'n  birthdom :  each  new  morn 
New  widows  howl,  new  orphans  cry,  new  sorrows 
Strike  heaven  on  the  face,  that  it  resounds 
As  if  it  felt  with  Scotland  and  yell'd  out 
Like  syllable  of  dolour. 

Mai.  What  I  believe,  I'll  wail, 

What  know  believe,  and  what  I  can  redress, 
As  I  shall  find  the  time  to  friend,  I  will.  IC 

What  you  have  spoke,  it  may  be  so  perchance. 
This  tyrant,  whose  sole  name  blisters  our  tongues. 
Was  once  thought  honest :  you  have  loved  him  well. 
He  hath  not  touch'd  you  yet.     I  am  young ;  but  some- 
thing 
You  may  deserve  of  him  through  me,  and  wisdom 
To  offer  up  a  weak  poor  innocent  lamb 
To  appease  an  angry  god. 

Macd.     I  am  not  treacherous. 

Mai.  But  Macbeth  is. 

A  good  and  virtuous  nature  may  recoil 
In  an  imperial  charge.   But  I  shall  crave  your  pardon ;    20 
That  which  you  are  my  thoughts  cannot  transpose : 
Angels  are  bright  still,  though  the  brightest  fell : 
Though  all  things  foul  would  wear  the  brows  of  grace^ 
Yet  grace  must  still  look  so. 

Macd.  I  have  lost  my  hopes. 


Scene  III]  Macbeth  $1 

Mai.     Perchance   even   there   where    I   did   find   my 
doubts. 
Why  in  that  rawness  left  you  wife  and  child, 
Those  precious  motives,  those  strong  knots  of  love, 
Without  leave-taking  ?     I  pray  you, 
Let  not  my  jealousies  be  your  dishonours, 
But  mine  own  safeties.     You  may  be  rightly  just,  30 

Whatever  I  shall  think. 

j\facd.  Bleed,  bleed,  poor  country  ! 

Great  tyranny  !  lay  thou  thy  basis  sure, 
For    goodness    dare    not   check    thee :    wear   thou   thy 

wrongs ; 
The  title  is  afFeer'd  !     Fare  thee  well,  lord  : 
I  would  not  be  the  villain  that  thou  think'st 
For  the  whole  space  that's  in  the  tyrant's  grasp, 
And  the  rich  East  to  boot. 

Mai.  Be  not  offended  : 

I  speak  not  as  in  absolute  fear  of  you. 
I  think  our  country  sinks  beneath  the  yoke ; 
It  weeps,  it  bleeds ;  and  each  new  day  a  gash  40 

Is  added  to  her  wounds:  I  think  withal 
There  would  be  hands  uplifted  in  my  right; 
And  here  from  gracious  England  have  I  offer 
Of  goodly  thousands :  but,  for  all  this, 
When  I  shall  tread  upon  the  tyrant's  head, 
Or  wear  it  on  my  sword,  yet  my  poor  country 
Shall  have  more  vices  than  it  had  before, 
More  suffer  and  more  sundry  ways  than  ever. 
By  him  that  shall  succeed. 

Macd.  What  should  he  be  ? 

Mai.     It  is  myself  I  mean :  in  whom  I  know  50 

All  the  particulars  of  vice  so  grafted 


62  Macbeth  [Act  IV 

That,  when  they  shall  be  openVl,  black  Macbeth 
Will  seem  as  pure  as  snow,  and  the  poor  state 
Esteem  him  as  a  lamb,  being  compared 
With  my  confineless  harms. 

Macd.  Not  in  the  legions 

Of  horrid  hell  can  come  a  devil  more  damn'd 
In  evils  to  top  Macbeth. 

Mai.  I  grant  him  bloody, 

Luxurious,  avaricious,  false,  deceitful, 
Sudden,  malicious,  smacking  of  every  sin 
That  has  a  name:  but  there's  no  bottom,  none,  60 

In  my  voluptuousness ;  better  Macbeth 
Than  such  an  one  to  reign. 

Macd.  Boundless  intemperance 

In  nature  is  a  tyranny  ;  it  hath  been 
The  untimely  emptying  of  the  happy  throne 
And  fall  of  many  kings.     But  fear  not  yet 
To  take  upon  you  what  is  yours  :  you  may 
Convey  your  pleasures  in  a  spacious  plenjj'-. 
And  yet  seem  cold,  the  time  you  may  so  hoodwink. 

Mai.  With  this  there  grows 

In  my  most  ill-compos'd  affection  such  70 

A  stanchless  avarice  that,  were  I  king, 
I  should  cut  off  the  nobles  for  their  lands, 
Desire  his  jewels  and  this  other's  house  : 
And  my  more-having  would  be  as  a  sauce 
To  make  me  hunger  more  ;  that  I  should  forge 
Quarrels  unjust  against  the  good  and  loyal, 
Destroying  them  for  wealth. 

Macd.  This  avarice 

Sticks  deeper,  grows  with  more  pernicious  root 
Than  summer-seeming  lust,  and  it  hath  been 


Scene  III]  Macbeth  63 

The  sword  of  our  slain  kings  :  3'et  do  not  fear',  80 

Scotland  hath  foisons  to  fill  up  }our  will, 
Of  your  mere  own  :  all  these  are  portable, 
With  other  p-races  weio'h'd. 

Mai.     But  I  have  none  :  the  king-becoming  graces, 
As  justice,  verity,  temperance,  stableness, 
Bounty,  perseverance,  mercy,  lowliness. 
Devotion,  patience,  courage,  fortitude, 
I  have  no  relish  of  them,  but  abound 
In  the  division  of  each  several  crime, 
Acting  it  many  ways.     Nay,  had  I  power,  I  should        90 
Pour  the  sweet  milk  of  concord  into  hell, 
Uproar  the  universal  peace,  confound 
All  unity  on  earth. 

Maccl.  0  Scotland,  Scotland  ! 

Mai.     If  such  an  one  be  fit  to  govern,  speak: 
I  am  as  I  have  spoken. 

Macd.  Fit  to  govern  ! 

No,  not  to  live.     O  nation  miserable, 
With  an  untitled  tyrant  bloody-scepter'd, 
When  shalt  thou  see  thy  wholesome  days  again, 
Since  that  the  truest  issue  of  thy  throne 
By  his  own  interdiction  stands  accurs'd,  lOO 

And  does  blaspheme  his  breed  ?     Thy  royal  father 
Was  a  most  sainted  king :  the  queen  that  bore  thee, 
Oftener  upon  her  knees  than  on  her  feet. 
Died  every  day  she  lived. — Fare  thee  well ! 
These  evils  thou  repeat'st  upon  thyself 
Have  banish'd  me  from  Scotland,     O  my  breast, 
Thy  hope  ends  here  ! 

Mai.  MacduflT,  this  noble  passion. 

Child  of  integrity,  hath  from  my  soul 


64  Macbeth  [Act  IV 

Wiped  the  black  scruples,  reconciled  my  thoughts 
To  thy  good  truth  and  honour.     Devilish  Macbeth       i  lo 
By  many  of  these  trains  hath  sought  to  win  me 
Into  his  power,  and  modest  wisdom  plucks  me 
From  over-credulous  haste :  but  God  above 
Deal  between  thee  and  me  !  for  even  now 
I  put  myself  to  thy  direction,  and 
Unspeak  mine  own  detraction  ;  here  abjure 
The  taints  and  blames  I  laid  upon  mj'self, 
For  strangers  to  my  nature.     I  am  yet 
Unknown  to  woman,  never  was  forsworn, 
Scarcely  have  coveted  what  was  mine  own,  120 

At  no  time  broke  my  faith,  would  not  betray 
The  devil  to  his  fellow,  and  delight 
No  less  in  truth  than  life  ;  my  first  false  speaking 
Was  this  upon  myself  :  what  I  am  truly, 
Is  thine  and  my  poor  country's  to  command : 
Whither  indeed,  before  thy  here-approach. 
Old  Siward,  with  ten  thousand  warlike  men. 
Already  at  a  point,  was  setting  forth. 
Now  we'll  together ;  and  the  chance  of  goodness  129 

Be  like  our  warranted  quarrel  !     Why  are  you  silent  ? 
Macd.     Such  welcome  and  unwelcome  things  at  once 
'Tis  hard  to  reconcile. 

Enter  a  Doctor. 
Mai.     Well ;    more  anon. — Comes  the  King  forth,  I 

pray  you  ? 
Doct.     Ay,  sir ;  there  are  a  crew  of  wretched  souls 
That  stay  his  cure :  their  malady  convinces 
The  great  assay  of  art ;  but  at  his  touch — 
Such  sanctity  hath  heaven  given  his  hand — 
They  presently  amend. 


Scene  III]  Macbeth  65 

J£al.  I  thank  you,  doctor.  [Exit  Doctor. 

Macd.     What's  the  disease  he  means  ? 

Mai.  Tis  call'd  the  evil : 

A  most  miraculous  work  in  this  good  king ; 
Which  often,  since  my  here-remain  in  England,  140 

I  have  seen  him  do.     How  he  solicits  heaven. 
Himself  best  knows  :  but  strangely-visited  people, 
All  swoll'n  and  ulcei'ous,  pitiful  to  the  eye, 
The  mere  despair  of  surgery,  he  cures, 
Hanging  a  golden  stamp  about  their  necks. 
Put  on  with  holy  prayers :  and  'tis  spoken, 
To  tlie  succeeding  royalty  he  leaves 
The  healing  benediction.     With  this  strange  virtue. 
He  hath  a  heavenly  gift  of  prophecy. 
And  sundry  blessings  hang  about  his  throne,  150 

That  speak  him  full  of  grace. 

Enter  Ross. 

Macd.  See,  who  comes  here  ? 

Mai.     My  countryman  ;  but  yet  I  know  him  not. 

Macd.     My  ever-gentle  cousin,  welcome  hither. 

Mai.     I  know  him  now.     Good  God,  betimes  remove 
The  means  that  makes  us  strangers ! 

Ross.  Sir,  amen, 

Macd.     Stands  Scotland*  where  it  did  ? 

Ross.  Alas,  poor  country ! 

ALlraost  afraid  to  know  itself.     It  cannot  i60 

Be  call  d  out  mother  bu   our  grave:  where  nothing, 
But  who  knows  nothing,  'f  on»''e  seen  to  smile; 
Where  sighs  and  groans  and  shrieks  that  rend  the  air 
Are  made,  not  mark'd  ;  where  violent  sorrow  seems 
A  modern  ecstasy :  the  dead  man's  knell 
Is  there  scarce  ask'd  for  who :  ^nd  good  men  s  Hves 


66  Macbeth  [Act  IV 

Expire  before  the  flowers  in  their  caps, 
Dying  or  ere  they  sicken. 

Macd.  O,  relation 

Too  nice,  and  yet  too  true  !  169 

3fal.  What  's  the  newest  grief  ? 

Ross.     That  of  an  hour's  age  doth  hiss  the  speaker : 
Each  minute  teems  a  new  one. 

Macd.  How  does  my  wife  ? 

Ross.     Why,  well. 

Macd.  And  all  my  children  ? 

Ross.  Well  too,, 

Macd.     The  tyrant  has  not  batter'd  at  their  peace  ? 

Ross.     No ;    they   were   well   at   peace   when   I   did 
leave  'em. 

Macd.     Be    not    a    niggard    of    your    speech :    how 
goes  't  ? 

Ross.     When  I  came  hither  to  transport  the  tidings, 
Which  I  have  heavily  borne,  there  ran  a  rumour  iso 

Of  many  worthy  fellows  that  were  out ; 
Which  was  to  my  belief  witness'd  the  rather. 
For  that  I  saw  the  tyrant's  power  a-f oot : 
Now  is  the  time  of  help ;  your  eye  in  Scotland 
Would  create  soldiers,  make  our  women  light, 
To  dofi  their  dire  distresses. 

Mai.  Be  't  their  comfort 

We  are  coming  thither :  gracious  England  hath 
Lent  us  good  Siward  and  ten  thousand  men ; 
An  older  and  a  better  soldier  none  190 

That  Christendom  gives  out. 

Ross.  Would  I  could  answer 

Thi?  comfort  with  the  like  !     But  I  have  words 
That  would  be  howl'd  out  in  the  desert  air, 


Scene  ill]  Macbeth  67 

Where  hearing  should  not  latch  them. 

Macd.  What  concern  they  ? 

The  general  cause  ?  or  is  it  a  fee-grief 
Due  to  some  single  breast  ? 

Ross.  No  mind  that's  honest 

But  in  it  shares  some  woe ;  though  the  main  part 
Pertains  to  you  alone. 

Macd.  If  it  be  mine, 

Keep  it  not  from  me,  quickly  let  me  have  it.  200 

Ross.     Let  not  your  ears  despise  my  tongue  for  ever. 
Which  shall  possess  them  with  the  heaviest  sound 
That  ever  yet  they  heard. 

Macd.  Hum  !  I  guess  at  it. 

Ross.     Your  castle  is  surprised  ;  your  wife  and  babes 
Savagely  slaughter'd  :  to  relate  the  manner, 
Were,  on  the  quarry  of  these  raurder'd  deer, 
To  add  the  death  of  you. 

Mai.  Merciful  heaven ! 

What,  man  !  ne'er  pull  your  hat  upon  your  brows ; 
Give  sorrow  words:  the  grief  that  does  not  speak 
Whispers  tlie  o'er-fraught  heart  and  bids  it  break.        210 

Macd.     My  children  too  ? 

Ross.  Wife,  children,  servants,  all 

That  could  be  found. 

Macd.  And  I  must  be  from  thence! 

My  wife  kill'd  too  ? 

Ross.  I  have  said. 

Mai.  Be  comforted : 

Let's  make  us  medicines  of  our  great  revenge, 
To  cure  this  deadly  grief. 

Macd.     He  has  no  children.     All  my  pretty  ones  f 
Did  you  say  all  ?     O  hell-kite  !     All  ? 


68  Macbeth  [Act  IV 

What,  all  my  pretty  chickens  and  their  dam 
At  one  fell  swoop  ? 

Mai.     Dispute  it  like  a  man. 

Macd.  I  shall  do  so ;  220 

But  I  must  also  feel  it  as  a  man : 
I  cannot  but  remember  such  things  were, 
That  were  most  precious  to  me.     Did  heaven  look  on, 
And  would  not  take  their  part  ?     Sinful  Macduff, 
They  were  all  struck  for  thee  !  naught  that  I  am. 
Not  for  their  own  demerits,  but  for  mine. 
Fell  slaughter  on  their  souls.     Heaven  rest  them  now  ! 

Mai.     Be  this  the  whetstone  of  your  sword  :  let  grief 
Convert  to  anger ;  blunt  not  the  heart,  enrage  it. 

Macd.     0,  I  could  play  the  woman  with  mine  eyes    230 
And  braggart  with  my  tongue  !     But,  gentle  heavens. 
Cut  short  all  intermission ;  front  to  front 
Bring  thou  this  fiend  of  Scotland  and  myself ; 
Within  my  sword's  length  set  him  ;  if  he  'scape. 
Heaven  forgive  him  too ! 

Mai.  This  tune  goes  manly. 

Come,  go  we  to  the  king  ;  our  power  is  ready ; 
Our  lack  is  nothing  but  our  leave  :  Macbeth 
Is  ripe  for  shaking,  and  the  powers  above 
Put  on  their  instruments.    Receive  what  cheer  you  may  : 
The  night  is  long  that  never  finds  the  day       [Exeunt.    240 


Scene  I]  Macbeth  69 

ACT  V 

Scene  I.     Dunsinane.     Ante-i'oom  in  the  castle. 
Enter  a  Doctor  of  Physic  and  a  Waiting-Gentlewomau. 

Doct.  I  have  two  nights  watch'd  with  you,  but  can 
perceive  no  truth  in  your  report.  When  was  it  she  last 
walk'd  ? 

Gent.  Since  his  majesty  went  into  the  field,  I  have 
seen  her  rise  from  her  bed,  throw  her  nightgown  upon 
her,  unlock  her  closet,  take  forth  paper,  fold  it,  write 
upon  't,  read  it,  afterwards  seal  it,  and  again  return  to 
bed ;  yet  all  this  while  in  a  most  fast  sleep. 

Doct  A  great  perturbation  in  nature,  to  receive  at 
once  the  benefit  of  sleep,  and  do  the  effects  of  watching ! 
In  this  slumbery  agitation,  besides  her  walking  and  other 
actual  performances,  what,  at  any  time,  have  j^ou  heard 
her  say  ?  13 

Gent.     That,  sir,  which  I  will  not  report  after  her. 

Doct.  You  may  to  me :  and  'tis  most  meet  you 
should. 

Gent.  Neither  to  you  nor  any  one ;  having  no  witness 
to  confirm  my  speech. 

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. 

Doct.     How  came  she  by  that  light  ? 

Gent.  Why,  it  stood  by  her;  she  has  light  by  her 
continually  ;  'tis  her  command.  2? 

Doct.     You  see,  her  eyes  are  open. 

Gent.     Ay,  but  their  sense  is  shut. 

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


70  Macbeth  [Act  V 

Gent.  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.  30 

Lady  M.     Yet  here's  a  spot. 

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

Lady  M.  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. 

Doct.     Do  you  mark  that  ?  40 

Lady  M.  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. 

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

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

Lady  M.  Here's  the  smell  of  the  blood  still :  all  the 
perfumes  of  Arabia  will  not  sweeten  this  little  hand. 
Oh   .   .    oh   .   .   oh !  50 

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

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

Doct.     Well,  well,  well,— 

Gent.     Pray  God  it  be,  sir. 

Doct.  This  disease  is  beyond  my  practice :  yet  I  have 
known  those  which  have  walk'd  in  their  sleep,  who  have 
died  holily  in  their  beds. 


Scene  II]  Macbeth  71 

Lady  M.  Wash  your  hands,  put  ou  your  nightgown ; 
look  not  so  pale. — I  tell  you  yet  again,  Banquo's  buried ; 
he  cannot  come  out  on  's  grave.  61 

Doct.     Even  so  ? 

Lady  M.  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. 

Doct.     Will  she  go  now  to  bed  ? 

Gent.     Directly. 

Doct.     Foul  whisperings  are  abroad  :   unnatural  deeds 
Do  breed  unnatural  troubles  :  infected  minds 
To  their  deaf  pillows  will  discharge  their  secrets :  70 

More  needs  she  the  divine  than  the  physician. 
God,  God  forgive  us  all !     Look  after  her ; 
Remove  from  her  the  means  of  all  annoyance, 
And  still  keep  eyes  upon  her.     So,  good  night : 
My  mind  she  has  mated,  and  amazed  my  sight. 
I  think,  but  dare  not  speak. 

Gent  Good  night,  good  doctor.         {Exeunt. 

Scene  II.      The  country  near  Dunsinane. 

Drum  and  colours.     Enter  Mknteith,  Caithness,  Angus,  Lennox, 
and  Soliliers. 

Ment.     The  English  power  is  near,  led  on  by  Malcolm, 
His  uncle  Si  ward  and  the  good  Macduff: 
Revenges  burn  in  them  ;  for  their  dear  causes 
Would  to  the  bleeding  and  the  grim  alarm 
Excite  the  mortified  man. 

Aug.  Near  Birnam  wood 

Shall  we  well  meet  them ;  that  way  are  they  coming. 


72  Macbeth  [Act  V 

Caith.     Who  knows  if  Donalbain  be  with  his  brother  ? 

Len.     For  certain,  sir,  he  is  not :  I  have  a  file 
Of  all  the  gentry :  there  is  Siward's  son, 
And  many  unrough  youths  that  even  now  10 

Protest  their  first  of  manhood. 

Ment.  What  does  the  tyrant  ? 

Caith.     Great  Dunsinane  he  strongly  fortifies : 
Some  say  he's  mad ;  others  that  lesser  hate  him 
Do  call  it  valiant  fury :  but,  for  certain, 
He  cannot  buckle  his  distemper'd  cause 
Within  the  belt  of  rule. 

Ang.  Now  does  he  feel 

His  secret  murders  sticking  on  his  hands  ; 
Now  minutely  revolts  upbraid  his  faith-breach ; 
Those  he  commands  move  only  in  command, 
Nothing  in  love :  now  does  he  feel  his  title  20 

Hang  loose  about  him,  like  a  giant's  robe 
Upon  a  dwarfish  thief. 

Ment.  Who  then  shall  blame 

His  pestered  senses  to  recoil  and  start. 
When  all  that  is  within  him  does  condemn 
Itself  for  being  there  ? 

Caith.  Well,  march  we  on. 

To  give  obedience  where  'tis  truly  owed  : 
Meet  we  the  medicine  of  the  sickly  weal, 
And  with  him  pour  we  in  our  country's  purge 
Each  drop  of  us. 

Leii.  Or  so  much  as  it  needs. 

To  dew  the  sovereign  flower  and  drown  the  weeds.         SO 
Make  we  our  march  towards  Birnam.         [Exeunt,  marching. 


Scene  III]  Macbeth  73 

Scene  III.     Dunsinane.     A  room  in  the  castle. 
Enter  Macbeth,  Doctor,  and  Attendants. 

Mach.     Bring  me  no  more  reports ;  let  them  fl}'  all", 
Till  Birnam  wood  i-emove  to  Dunsinane, 
I  cannot  taint  with  fear.     What's  the  boy  Malcolm  ? 
Was  he  not  born  of  woman  ?     The  spirits  that  know 
All  mortal  consequences  have  pronounced  me  thus : 
"  Fear  not,  Macbeth ;  no  man  that's  born  of  woman 
Shall  e'er  have  power  upon  thee."    Then  fl}',  false  thanes, 
And  mingle  with  the  English  epicures: 
The  mind  I  sway  by  and  the  heart  I  bear 
Shall  never  sag  wnith  doubt  nor  shake  wdth  fear.  10 

Enter  a  Servant. 

The  devil  damn  thee  black,  thou  cream-faced  loon ! 
Where  got'st  thou  that  goose  look  ? 

Serv.     There  is  ten  thousand — 

Mach.  Geese,  villain  ? 

Serv.  Soldiers,  sir. 

Mach.     Go  prick  thy  face,  and  over-red  thy  fear, 
Thou  lily-liver'd  boy.     What  soldiers,  patch  ? 
Death  of  thy  soul !  those  linen  cheeks  of  thine 
Are  counsellors  to  fear.     Wliat  soldiers,  wdiey-face  ? 

Serv.     The  English  force,  so  please  you. 

Mach.     Take  thy  face  hence.  [Exit  Servant. 

Seyton ! — I  am  sick  at  heart. 
When  I  behold — Seyton,  I  say  ! — This  push  20 

Will  cheer  me  ever,  or  disease  me  now. 
I  have  lived  long  enough :  my  way  of  life 
Is  fall'n  into  the  sear,  the  yellow  leaf ; 
And  that  which  should  accompany  old  age, 
As  honour,  love,  obedience,  troops  of  friends, 


74  Macbeth  [Act  V 

I  must  not  look  to  have ;  but,  in  their  stead, 
Curses,  not  loud  but  deep,  inouth-honour,  breath, 
Which  the  poor  heart  would  fain  deny,  and  dare  not. 
Seyton  i 

Enter  Skyton. 

Sey.     What  is  your  gracious  pleasure  ? 

Mach.  What  news  more  ?     30 

Sey.     All  is  confirm'd,  my  lord,  which  was  reported. 

Mach.     I'll  fight  till  from  my  bones  my  flesh  be  hack'd. 
Give  me  my  armour. 

Sey.  'Tis  not  needed  yet. 

Mach.     I'll  put  it  on. 
Send  out  more  horses ;  skirr  the  country  round ; 
Hang  those  that  talk  of  fear.     Give  me  mine  armour. 
How  does  your  patient,  doctor  ? 

Doct.  Not  so  sick,  my  lord, 

As  she  is  troubled  with  thick-coming  fancies. 
That  keep  her  from  her  rest. 

Mach.  Cure  her  of  that. 

Canst  thou  not  minister  to  a  mind  diseased,  40 

Pluck  from  the  memory  a  rooted  sorrow. 
Raze  out  the  written  troubles  of  the  brain 
And  with  some  sweet  oblivious  antidote 
Cleanse  the  stufl'd  bosom  of  that  perilous  stuff 
Which  weighs  upon  the  heart  ? 

Doct.  Therein  the  patient 

Must  minister  to  himself. 

Mach.     Throw  physic  to  the  dogs ;  I'll  none  of  it. 
Come,  put  mine  armour  on ;  give  me  my  staff'. 
Seyton,  send  out.     Doctor,  the  thanes  fly  from  me. 
Come,  sir,  dispatch.     If  thou  couldst,  doctor,  cast  50 

The  water  of  my  land,  find  her  disease. 


i 
Scene  IV]  Macbeth  75 

And  purge  it  to  a  sound  and  pristine  health, 

I  would  applaud  thee  to  the  very  echo, 

That  should  applaud  again. — Pull  't  off,  I  say. — 

What  rhubarb,  senna,  or  what  purgative  drug, 

Would  scour  these  English  hence  ?    Hearst  thou  of  them  ? 

Doct.     Ay,  my  good  lord  ;  your  royal  preparation 
Makes  us  hear  something. 

Mach.  Bring  it  after  me. 

I  will  not  be  afraid  of  death  and  bane. 
Till  Birnam  forest  cotne  to  Dunsiiiane.  60 

Doct.    [Aside.]    Were  I  from  Dunsinane  away  and  clear, 
Profit  again  should  hardly  draw  me  here.  [Exeunt. 

Scene  IV".     Country  near  Birnam  wood. 

Drum  and  colours.     Enter  Malcolm,  old  Stward  a7id  his  Son,  Mac- 
duff, Mentkith,  Caithness,  Angus,  Lennox,  Ross,  and 
Soldiers,  marching. 

Mai.     Cousins,  I  hope  the  days  are  near  at  hand 
That  chambers  will  be  safe. 

Ment.  We  doubt  it  nothing. 

Siiv.     What  wood  is  this  before  us  ? 

Ment.  The  wood  of  Birnam. 

Mai.     Let  every  soldier  hew  him  down  a  bough 
And  bear  't  before  him :  thereby  shall  we  shadow 
The  numbers  of  our  host  and  make  discovery 
Err  in  report  of  us. 

Soldiers.  it  shall  be  done. 

Siw.     We  learn  no  other  but  the  confident  tyrant 
Keeps  still  in  Dunsinane,  and  will  endure 
Our  setting  down  before  't. 

M<d.  'Tis  his  main  hope:     lO 

For  where  there  is  advantage  to  be  gain'd, 
Both  more  and  less  have  given  him  the  revolt, 


Macbeth  [Act  V 

And  none  serve  with  him  but  constrained  things 
Whose  hearts  are  absent  too. 

Macd.  Let  our  just  censures 

Attend  the  true  event,  and  put  we  on 
Industrious  soldiership. 

Siiv.  The  time  approaches 

That  will  with  due  decision  make  us  know 
What  we  shall  say  we  have  and  what  we  owe. 
Thoughts  speculative  their  unsure  hopes  relate, 
But  certain  issue  strokes  must  arbitrate :  20 

Towards  which  advance  the  war.  {Exeunt,  marching. 

Scene  Y.     Dunsinane.      Within  the  castle. 
Enter  Macbeth,  Seyton,  and  Soldiers,  ivith  drum,  and  colours. 

Mach.     Hang  out  our  banners  on  the  outward  walls ; 
The  cry  is  still  "  They  come :  "  our  castle's  strength 
Will  laugh  a  siege  to  scorn :  here  let  them  lie 
Till  famine  and  the  ague  eat  them  up : 
Were  they  not  forced  with  those  that  should  be  ours. 
We  might  have  met  them  dareful,  beard  to  beard. 
And  beat  them  backward  home.  [a  cry  of  women  within. 

What  is  that  noise  ? 

Sey.     It  is  the  cry  of  women,  my  good  lord.  [Exit. 

Mach.     I  have  almost  forgot  the  taste  of  fears : 
The  time  has  been,  my  senses  would  have  cool'd  lo 

To  hear  a  night-shriek ;  and  my  fell  of  hair 
Would  at  a  dismal  treatise  rouse  and  stir 
As  life  were  in  't :  I  have  supp'd  full  with  horrors ; 
Direness,  familiar  to  my  slaughterous  thoughts, 
Cannot  once  start  me. 


Scene  V]  Macbeth  77 

Re-enter  Sktton. 

Wherefore  was  that  cry  ? 

Sey.     The  Queen,  my  lord,  is  dead. 

Mach.     She  should  have  died  hereafter ; 
There  would  have  been  a  time  for  sucli  a  word. 
To-morrow,  and  to-morrow,  and  to-morrow, 
Creeps  in  this  petty  pace  from  day  to  day  2C 

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  com'st  to  use  thy  tongue ;  thy  story  quickly. 

Mess.     Gracious  my  lord,  30 

I  should  report  that  which  I  say  I  saw, 
But  know  not  how  to  do  it. 

Mach.  Well,  say,  sir. 

Mess.     As  I  did  stand  my  watch  upon  the  hill, 
I  look'd  toward  Birnam,  and  anon,  methought. 
The  wood  began  to  move. 

Mach.  Liar  and  slave  ! 

Mess.     Let  me  endure  your  wrath,  if  't  be  not  so  : 
Within  this  three  mile  may  you  see  it  coming ; 
I  say,  a  moving  grove. 

Mach.  If  thou  speak'st  false, 

Upon  the  next  tree  shalt  thou  hang  alive. 
Till  famine  cling  thee :  if  thy  speech  be  sooth,  40 

I  care  not  if  thou  dost  for  me  as  much. 


78  Macbeth  [Aci  V 

I  pull  in  resolution,  and  begin 

To  doubt  the  equivocation  of  the  fiend 

That  lies  like  truth :  "  Fear  not,  till  Birnam  wood 

Do  come  to  Dunsinane  : "  and  now  a  wood 

Comes  toward  Dunsinane.     Arm,  arm,  and  out ! 

If  this  which  he  avouches  does  appear, 

There  is  nor  flying  hence  nor  tarrying  here. 

I  gin  to  be  aweary  of  the  sun. 

And  wish  the  estate  o'  the  world  were  now  undone.        50 

Ring  the  alarum-bell !     Blow,  wind  !  come,  wrack  ! 

At  least  we'll  die  with  harness  on  our  back.  [Exeunt. 

Scene  YI.     Dunsinane.     Before  the  castle. 

Drum  and  colours.     Enter  Malcolm,  old  Siward,  Macduff,  and  their 
Army,  with  houghs. 

Mai.     Now  near  enough;   your  leafy  screens  throw 
down. 
And  show  like  those  you  are.     You,  worthy  uncle, 
Shall,  with  my  cousin,  your  right-noble  son, 
Lead  our  first  battle :  worthy  Macduff  and  we 
Shall  take  upon  's  what  else  remains  to  do. 
According  to  our  order. 

Siw.  Fare  you  well. 

Do  we  but  find  the  tyrant's  power  to-night, 
Let  us  be  beaten,  if  we  cannot  fight. 

Macd.     Make  all  our  trumpets  speak;  give  them  all 
breath, 
Those  clamorous  harbingers  of  blood  and  death.  10 

[Exeunt. 


Scene  VII]  Macbeth  79 

SCENE  VII.     AnotJver  part  of  the  field. 

Alarums.     Enter  Macbeth. 

Macb.     They  have  tied  me  to  a  stake ;  I  cannot  fly, 
But,  bear-like,  I  must  fight  the  course.     What's  he 
That  was  not  born  of  woman  ?     Such  a  one 
Am  I  to  fear,  or  none. 

Enter  young  SrwARD. 

Yo.  Siw.     What  is  thy  name  ? 
Macb.     Thou  'It  be  afraid  to  hear  it. 
Yo.  Siiv.     No;  though   thou  call'st  thyself  a  hotter 
name 
Than  any  is  in  hell. 

Macb.  My  name's  Macbeth. 

Yo.  Siw.     The  devil  himself  could  not  pronounce  a 
title 
More  hateful  to  mine  ear. 

Macb.  No,  nor  more  fearful. 

Yo.    Siw.    Thou    liest,    abhorred    tyrant ;    with    my 
sword  10 

111  prove  the  lie  thou  speak'st. 

[They  JigM  and  young  Siward  is  slain. 

Macb.  Thou  wast  born  of  woman. 

But  swords  I  smile  at,  weapons  laugh  to  scorn, 
Brandish'd  by  man  that 's  of  a  woman  bom.  [Exit. 

Alarums.     Enter  Macduff. 

Macd.     That  way   the   noise   is.     Tyrant,  show  thy 
face ! 
If  thou  be'st  slain  and  witli  no  stroke  of  mine, 
My  wife  and  children's  ghosts  will  haunt  me  still. 
I  cannot  strike  at  wretched  kerns,  whose  arms 


80  Macbeth  [Act  V 

Are  hired  to  bear  their  staves :  either  thou,  Macbeth, 

Or  else  my  sword  with  an  unbatter'd  edge 

I  sheathe  again  undeeded.     There  thou  should'st  be ;     20 

By  this  great  clatter,  one  of  greatest  note 

Seems  bruited.     Let  me  find  him,  fortune  ! 

And  more  I  beg  not.  [Exit.    Alarums. 

Enter  Malcolm  and  old  Siward. 

Siw.     This  way,  my  lord ;  the  castle's  gently  render'd ; 
The  tyrant's  people  on  both  sides  do  fight ; 
The  noble  thanes  do  bravely  in  the  war ; 
The  day  almost  itself  professes  yours, 
And  little  is  to  do. 

Mai.  We  have  met  with  foes 

That  strike  beside  us. 

Siw.  Enter,  sir,  the  castle.  [Exeunt,  Alarums. 

Scene  VIII.     Another  part  of  the  field. 

Enter  Macbeth. 

Mach.     Why  should  I  play  the  Roman  fool,  and  die 
On  mine  own  sword  ?  whiles  I  see  lives,  the  gashes 
Do  better  upon  them. 

Enter  Macduff. 

Macd.  Turn,  hell-hound,  turn  ! 

Mach.     Of  all  men  else  I  have  avoided  thee : 
But  get  thee  back ;  my  soul  is  too  much  charged 
With  blood  of  thine  already. 

Macd.  I  have  no  words  : 

My  voice  is  in  my  sword  :  thou  bloodier  villain 
Than  terms  can  give  thee  out !  [They  fight. 

Mach.  Thou  losest  labour : 

As  easy  mayst  thou  the  intrenchant  air 


Scene  VIII]  Macbeth  81 

With  thy  keen  sword  impress  as  make  me  bleed :  lo 

Let  fall  thy  blade  on  vulnerable  crests ; 

I  bear  a  charmed  life,  which  must  not  yield 

To  one  of  woman  born. 

Macd.  Despair  thy  charm ; 

And  let  the  angel  whom  thou  still  hast  serv'd 
Tell  thee,  Macduff  was  from  his  mother's  womb 
Untimely  ripp'd. 

Macb.     Accursed  be  that  tongue  tliat  tells  me  so, 
For  it  hath  cow'd  my  better  part  of  man  ! 
And  be  these  juggling  fiends  no  more  believed, 
That  palter  with  us  in  a  double  sense  ;  20 

That  keep  the  word  of  promise  to  our  ear, 
And  break  it  to  our  hope.     I'll  not  fight  with  thee. 

Macd.     Then  yield  thee,  coward, 
And  live  to  be  the  show  and  gaze  o'  the  time : 
We'll  have  thee,  as  our  rarer  monsters  are. 
Painted  upon  a  pole,  and  underwrit, 
"  Here  may  you  see  the  tyrant." 

Macb.  I  will  not  yield. 

To  kiss  the  ground  before  young  Malcolm's  feet, 

And  to  be  baited  with  the  rabble's  curse. 

Though  Birnam  wood  be  come  to  Dunsinane,  30 

And  thou  opposed,  being  of  no  woman  born, 

Yet  I  will  try  the  last.     Before  my  body 

I  throw  my  warlike  shield.     Lay  on,  Macduff, 

And  damn'd  be  liim  that  first  cries  "  Hold,  enough  !  " 

[Exeunt,  fightinij.     Alarums. 

Retreat.     Flourish.     Enter,  with  drum,  and  colours,  Malcolm,  old 
SiWARD,  I^ss,  the  other  Thanes  and  Soldiers. 

Mai.     I  would  the  friends  we  miss  were  safe  arrived. 
Siw.     Some  must  go  off:  and  yet,  by  these  I  see, 
So  great  a  day  as  this  is  cheaply  bought. 


82  Macbeth  [Act  V 

Mai.     Macduff  is  missing,  and  your  noble  son. 

Ross.     Your  son,  my  lord,  has  paid  a  soldier's  debt 
He  only  lived  but  till  he  was  a  man ;  40 

The  which  no  sooner  had  his  prowess  confirm'd 
In  the  unshrinking  station  where  he  fought, 
But  like  a  man  he  died. 

Siw.  Then  he  is  dead  ? 

Ross.     Ay,  and  brought  off"  the  field  :  your  cause  of 
sorrow 
Must  not  be  measured  by  his  worth ;  for  then 
It  hath  no  end. 

Siw.  Had  he  his  hurts  before  ? 

Ross.     Ay,  on  the  front. 

Siw.  Why  then,  God's  soldier  be  he ! 

Had  I  as  many  sons  as  I  have  hairs, 
I  w^ould  not  wish  them  to  a  fairer  death : 
And  so,  his  knell  is  knoll'd. 

Mai.  He's  worth  more  sorrow,  50 

And  that  I'll  spend  for  him. 

Siw.  He's  worth  no  more  : 

They  say  he  parted  well,  and  paid  liis  score : 
And  so,  God  be  with  him  !     Here  comes  newer  comfort. 

Re-enter  Macduff,   and  Soldiers  bearing  Macbeth's 
head   on  a  spear. 

Macd.     Hail,  king !  for  so  thou  art :   behold,  where 
stands 
The  usurper's  cursed  head  :  the  time  is  free : 
I  see  thee  compass'd  with  thy  kingdom's  pearl, 
That  speak  my  salutation  in  their  minds ; 
Whose  voices  I  desire  aloud  with  mine : 
Hail,  King  of  Scotland  ! 

All.  Hail,  King  of  Scotland.    [Flourish. 


Scene  VIII]  Macbeth  83 

Mai.     We  shall  not  spend  a  large  expense  of  time     60 
Before  we  reckon  with  your  several  loves, 
And  makes  us  even  with  you.    My  thanes  and  kinsmen, 
Henceforth  be  earls,  the  first  that  ever  Scotland 
In  such  an  honour  named.     What's  more  to  do, 
Which  would  be  planted  newly  with  the  time. 
As  calling  home  our  exiled  friends  abroad 
That  fled  the  snares  of  watchful  tyranny ; 
Producing  forth  the  cruel  ministers 
Of  this  dead  butcher  and  his  fiend-like  queen. 
Who,  as  'tis  thought,  by  self  and  violent  hands  70 

Took  off  her  life ;  this,  and  what  needful  else 
That  calls  upon  us,  by  the  grace  of  Grace, 
We  will  perform  in  measure,  time  and  place : 
So,  thanks  to  all  at  once  and  to  each  one, 
Whom  we  invite  to  see  us  crown'd  at  Scone. 

[Flourish.    iJxtuul. 


NOTES. 


Act  I. — Scene  I. 

In  the  opening  scene  of  the  phxy  of  Macbeth,  the  curtain 
rises  upon  a  desert  place,  with  thunder  and  Hghtning.  Then 
enter  three  witches.  To  many  people  of  Shakespeare's  time, 
witches  were  very  real,  and  we  may  be  sure  that  the  whole 
attention  of  the  audience  was  at  once  given  to  the  play. 
Imagine,  as  you  read  the  scene,  the  dress  and  expression  of 
face  of  these  malignant  creatures,  their  uncanny  movements, 
gestures,  and  tones  of  voice,  accompanied  as  they  were  by 
thimder  and  lightning,  and  you  may  form  some  idea  of  how 
their  appearance  might  affect  superstitious  people. 

Tliey  do  not  say  very  much,  but  we  learn  from  their  broken 
sentences^^that  somewhere  a  battle  is  in  progressjJaiid[_that 
when  the  battle  is  over  they  are  going  to  meet  witn  Macbeth^/ 
who  is  evidently  a  personage  of  some  importance  in  their  eyes. 

A\1iat  can  such  a  meeting  forebode  for  him  ?  These  witches 
are  not  creatures  of  good  omen,  for  we  know  that  their 
associates  are  cats,  toads,  and  other  repulsive  creatures ;  and 
they  tell  us  that  what  is  fair  and  good  to  other  people  is 
foul  and  evil  to  them,  and  they  "Hover  through  the  fog  and 
Slthy  air." 

This  scene  serves  then  three  purposes  in  the  play  : 

(a)  It  attracts  and  holds  the  attention  of  the  audience. 
(6)  It  tells  of  the  battle  and  speaks  of  Macbeth, 
(c)  It  gives  us  some  idea  of  the  mood  of  the  play — human 
struggle  against  the  power  of  evil. 

3.  hurlyburly.     Noise  and  confusion  of  battle. 

6.  heath.     A  bare  waste  tract  of  land. 

8.  Graymalkin.     The  name  of  a  cat. 

P.  Paddock.     A  toad. 

10.  Anon.     I'll  come  at  once. 

86 


86  NOTES  ON   MACBETH  [ACT  I. 

Questions. 

1.  What  do  we  learn  as  to  the  character  of  the  witches  in 
this  scene  ? 

2.  "The  opening  scene  in  a  play  of  Shakespeare  generally 
gives  the  audience  a,  sviggestion  as  to  the  character  of  the  play 
as  a  whole."  Show  that  this  statement  is  true  of  the  first 
scene  in  Macbeth, 

Scene  II. 

At  the  opening  of  Scene  II.  we  meet  with  Duncan,  King  of 
Scotland,  his  two  sons,  and  attendants,  who  are  in  a  soldiers' 
camp  near  the  town  of  Forres.  In  the  course  of  the  conver- 
sation which  follows,  we  learn  that  two  battles  have  taken 
place,  in  which  Macbeth  has  shown  great  personal  com-age. 
He  has  not  only  slain  the  rebel  Macdonwald,  but  has  forced  the 
Norwegian  king  to  make  humiliating  terms.  Duncan,  on  the 
other  hand,  although  a  mild  and  benevolent  man,  is  a  very 
weak  king.  His  place  should  have  been  at  the  head  of  his 
army ;  but  he  is  no  soldier,  and  he  is  content  to  leave  the 
defence  of  his  kingdom  in  the  hands  of  Macbeth  and  Banquo. 
Which  of  these  two  men,  Duncan  or  Macbeth,  is  best  fitted  to 
be  king  in  these  troubled  times  ? 

1-3.  Judging  by  his  condition  he  can  give  the  latest  news  of 
the  rebellion. 

8.  spent.     Exhausted. 

9.  choke  their  art.  Prevent  each  other  from  making  use  of 
their  art  of  swimming. 

10.  to  that.     To  that  end  ;  to  make  him  a  rebel. 

11.  villanies.     Evil  qualities. 

12.  the  western  isles.     Small  islands  to  the  west  of  Scotland. 

13.  of.     With,     kerns.     Light  armed  soldiers, 
gallowglasses.     Heavy  armed  soldiers. 

17.  smoked.     Steamed. 

18.  minion.    Favourite. 

19.  slave.     Here  used  in  contempt. 

20.  Which.  In  older  English  which  was  frequently  used  to 
refer  to  persons,  where  we  should  now  use  who. 


SCENE   II.]  NOTES  ON   MACBETH  87 

It  makes  little  difference  whether  we  consider  he  (Macbeth) 
or  the  slave  (Macdoiiwald)  as  the  antecedent.  In  the  former 
case  the  meaning  is  '^lacbeth  did  not  take  leave  of  Macdonwald 
until  he  killed  him;'  in  the  latter  case  the  meaning  is 
'Macdonwald  did  not  have  a  chance  to  take  leave  of  Macbeth 
before  he  was  killed.* 

shook  hands.     In  taking  his  leave. 

21.  from  the  nave  to  the  chaps.     From  the  navel  to  the  jaws. 

23.  cousin.     [Macbeth  and  Duncan  were  first  cousins. 

24.  whence  the  sun  'gins  his  reflection.     From  the  east. 

Tlie  sun  rises  in  the  east,  but  storms  also  come  from  the  east; 
so  from  the  same  soui'ce  from  which  you  have  received  the 
good  news  of  Macdonwald's  defeat  there  also  comes  the  bad 
news  of  the  Norwegian  king's  invasion. 

30.  Norweyan.     Norwegian. 

surveying  vantage.     Seeing  an  opportunity  to  attack  us. 
vantage.     Advantage. 

31.  furbished.     Bright,  polished. 

S^.  Yes.     Ironical,  as  the  following  line  shows. 

35.  sooth.    Truth. 

36.  cracks.  Literally,  reports.  Here,  the  charges  to  which 
the  '  cracks '  are  due. 

39.  memorize  another  Golgotha.  ^lake  this  battlefield  as  famous 
as  Golgotha. 

Golgotha.     Literally,  a  place  of  a  skull.     (Matthew,  xxvii,  .3.3.) 

40.  His  sentence  is  unfinished. 

44.  thane.  In  Anglo-Saxon  times,  a  nobleman  of  almost  the 
same  rank  as  an  earl. 

48-9.  The  Norwegian  banners  have  been  captured  by  the 
Scottish  army.  As  they  flcip  gaily  in  the  breeze  they  help  to 
cool  our  soldiers  off  after  the  fight. 

flout  the  sky.     Flap  mockingly  in  the  face  of  the  sky. 

49.  Norway,     The  Norwegian  king. 

53.  Bellona's  bridegroom.  Bellona  was  a  Roman  goddess  of 
war.  It  is  high  praise  of  Macbeth  to  speak  of  him  as  Bellond'a 
bindegroam. 


88  NOTES  ON  MACBETH  [ACT  L 

lapped  in  proof.     Clad  in  armour. 

54.  Made  him  compare  himself  with  Macbeth. 

55.  Point  ag'ainst  point.     Sword  against  sword. 

56.  lavish.     Insolent,  over-confident. 

57.  That.     So  that. 

58.  craves  composition.     Begs  for  terms  of  peace. 

60.  Saint  Colme's  inch.  The  island  of  St.  Colmnba  in  the 
Firth  of  Forth. 

inch.     Celtic  for  island. 

63.  Our  bosom  interest.  The  interests  that  we  have  most  at 
heart. 

Questions. 

1.  In  this  scene  what  impression  does  the  audience  get  of 
Malcolm,  Duncan,  and  Macbeth,  respectively  ? 

2.  "WTiat  is  the  object  of  the  dramatist  in  introducing  two 
different  battles  into  this  scene  ? 

3.  What  light  does  this  scene  throw  upon  the  condition  of 
Scotland  under  the  rule  of  Duncan  ? 

Scene  III. 

In  scene  III.  the  witches,  or  "weird  sisters,"  meet  with 
Macbeth  and  Banquo  on  the  heath  near  Forres.  They  greet 
Macbeth  as  thane  of  Glamis  and  thane  of  Cawdor,  and 
prophesy  that  he  shall  be  king  hereafter.  When  Macbeth 
hears  this  prophecy  he  starts ;  for,  since  he  has  saved  the 
kingdom,  he  has  no  doubt  been  thinking  about  the  chance  of 
his  some  day  becoming  king ;  but  when  he  tries  to  question 
the  weird  sisters  further,  they  vanish.  Banquo,  on  the  other 
hand,  does  not  trust  the  prophecies  of  the  weird  sisters,  and 
looks  upon  the  witches  as  "instruments  of  darkness"  who 
have  been  sent  to  tempt  him.  Shortly  after  this,  Macbeth 
learns  that  he  has  been  made  thane  of  Cawdor,  and  this 
encourages  him  to  think  that  perhaps  the  third  prophecy  may 
yet  come  true  also ;  and  with  the  thought  of  becoming  king 
comes  the  thought  of  murdering  Duncan  so  as  to  make  the 
prophecy  come  true.  Bvit  he  recoils  from  this,  and  decides  to 
let  things  take  their  coui'se.  He  has  not,  however,  finally 
given  up  all  thought  of  taking  some  action  to  help  to  fulfil  tha 


SCENE   III.]  NOTES  OS   MACBETH  89 

prophecy,  for  he  proposes  to  Banquo  that  they  think  over  the 
matter  and  discuss  it  together  at  some  future  time. 

G.  Aroint  thee.  Away  with  you.  The  expression  is  said  to  be 
derived  from  ?-^?if  ^//ee,  a  Cheshire  phrase,  meaning  "Get  out 
of  the  way." 

rump-fed.     Fed  on  the  best  joints  ;  hence,  fat  and  pampered. 

ronyon.     A  term  of  contempt. 

7.  Aleppo.     In  Asia  Minor. 

The  Tiger.     Tlie  name  of  a  vessel. 

8.  in  a  sieve.     "Witches  were  supposed  to  have  the  power  of 

sailing  in  a  sieve. 

9.  without  a  tail.  According  to  popular  belief,  witches  might 
take  the  form  of  any  animal  they  pleased,  but  the  animal  was 
always  without  a  tail. 

10.  I'll  do.     The  witch  threatens  to  gnaw  a  hole  in  the  vessel. 

15.     I  can  make  them  blow  to  any  port  I  wish. 

16-7.  All  the  directions  (quarters)  from  which  the  winds 
come,  as  maiked  on  the  sailors'  charts. 

the  shipman's  card.  Either  the  sailor's  chart,  or  the  card  in 
the  mariner's  compass  upon  which  the  directions  are  marked. 

18.  drain  him.     Drain  the  blood  from  his  body. 

iO.  pent-house  lid.  The  eyelid,  which  slopes  over  the  eye  like 
the  roitf  of  a  shed  or  lean-to  (pent-house). 

21.  forbid.     Placed  under  a  curse. 

22.  se'nnights.     "Weeks  ;  seven  nights. 

2:5.  peak.     Grow  thin. 

32.  weird  sisters.  The  witches  of  Macbeth  in  most  respects 
resemble  the  common  witches  of  vulgar  superstition ;  but  in 
speaking  of  them  as  tveird  sisters,  Shakespeare  evidently 
wishes  to  suggest  that  they  have  something  of  the  character 
of  the  three  Fates  of  classical  mythcjlogy.  ^]'ell•d  is  derived 
from  A.S.  ici/rd.  Fate. 

3:3.  Posters.     Swift  travellers. 

35.  Thrice  to  thine,  and  thrice  to  mine.  Circling  three  times  in 
your  direction,  three  Limes  in  mii>e. 


90  NOTES   ON   MACBETH  [ACT   I. 

38.  So  foul  and  fair  a  day.  Perhaps  in  reference  to  the 
changeable  weather ;  or  perhaps  because  the  weather  is  foul, 
while  his  fortunes  have  been  fair. 

39.  Forres.  A  town  in  Scotland  about  twenty-five  miles 
from  Inverness. 

42.  are  on  't.     Are  of  it ;  belong  to  it. 

44.  choppy.     Chapped. 

48.  Glamis.     A  village  in  the  eastern  part  of  Scotland. 

49.  Cawdor.     A  village  near  Inverness. 

53.  fantastical.     Creations  of  the  fancy  ;  unreal. 

54.  show.     Appear. 

55.  present  grace.  Immediate  favour.  The  news  that  he  was 
thane  of  Glamis. 

56.  noble  having.  The  prediction  that  he  was  to  become 
thane  of  Cawdor. 

57.  withal.     With  it ;  therewith. 
67.  get.     Beget. 

71.  Sinel.     Macbeth's  father. 

76.  owe.     Own,  possess. 

84.  insane  root.  The  root  that  makes  people  insane.  Perhaps 
either  hemlock  or  henbane. 

92-3.  In  Duncan's  mind  there  is  a  struggle  as  to  whether 
thy  praises  or  his  wonder  shall  occupy  his  thoughts. 

93.  silenced  with  that.  His  mind  is  so  full  of  these  conflicting 
feelings  that  he  cannot  speak. 

104.  earnest.     Pledge. 

106.  In  which  addition.     In  possession  of  this  added  title. 

112.  line.  Give  secret  help,  just  as  a  garment  is  lined  on  the 
inside. 

117.  behind.     Yet  to  come. 

120.  home.    To  its  full  extent. 

123-6.  Because  they  are  honest  with  us  in  trifles  we  trvLst 
them  ;  and  as  a  result  they  betray  us  in  important  things. 

128.  prologue.  A  speech  with  which  a  play  was  sometimes 
introduced, 


SCENE   III.]  NOTES  ON   MACBETH  91 

the  swelling'  act.  'Ilie  play  itself  would,  begin  when  Macbeth 
became  king. 

130.  supernatural  soliciting.  The  suggestion  of  the  witches 
that  he  might  become  king. 

134.  that  suggestion.  The  thought  that  he  might  nnirder 
Duncan. 

137-S.  Present  fears  are  less  than  horrible  imaginings.  IVIacbeth 
portiays  his  own  chaiacter  in  these  woicls.  "When  face  to  face 
with  an  enemy  in  battle  he  can  fight ;  he  is  then  not  afraid  of 
"strange  images  of  death;"  his  steel  "smokes  with  bloody 
execution."  But  at  the  very  thought  of  this  murder,  which 
requires  mental  and  moral  courage,  he  falls  a  prey  to  "horrible 
imaginings." 

1.39-42.  Although  my  thought  of  murdering  Duncan  as  yet 
exists  only  in  my  fancy,  it  shakes  my  whole  being  so  that  I 
can  do  nothing  but  think  of  the  future,  and  the  only  things 
that  exist  for  me  are  the  things  that  have  not  yet  taken  place. 

140.  my  single  state  of  man.  He  compares  his  mind  to  a 
kingdom.  SuigJe  may  refer  to  the  fact  that  this  "state" 
consists  of  only  one  man,  or  it  may  simply  mean  "weak." 

function.     Power  to  act. 

141.  surmise.     Conjecture  as  to  the  future, 

147.  Even  the  roughest  day  will  at  length  come  to  an  end ; 
I  shall  let  things  take  their  course,  and  wait  to  see  what  will 
happen. 

li>4.  The  interim  having  weighed  it.  Having  thought  it  over 
in  the  meantime. 

Questions. 

1.  What  is  the  dramatist's  purpose  in  reporting  the  witches' 
talk,  in  lines  1-30? 

2.  Contrast  the  attitude  of  Banquo  towards  the  witches  with 
that  of  Macbeth. 

3.  "  If  the  weird  sisters  had  not  greeted  Macbeth  as  thane  of 
Cawdor,  he  would  not  have  been  so  ready  to  believe  their 
prophecy  that  he  would  some  day  be  king."    Explain. 

4.  In  what  different  ways  do  Macibeth  and  Banquo  view  the 
fulfilment  of  the  witches'  prophecy  that  Macbeth  would  be 
thane  of  Cawdor  ? 


92  NOTES   ON   MACBETH  [ACT   1 

5.  Why  did  Macbeth  decide  that  he  would  do  nothing  to 
^ake  himself  king  (11.  43-4)  ? 

6,  What  qualities  of  Macbeth's  character  are  revealed  in  this 
!^v  ene  ? 

Scene  IV. 

After  receiving  the  title  of  thane  of  Cawdor,  Macbeth,  as  we 
have  seen,  had  apparently  decided  that  for  the  present  he 
would  let  things  take  their  corn-se.  "  If  chance  will  have  me 
king,  why  chance  may  crown  me  without  my  stir."  As 
matters  stood  he  had  good  reason  to  suppose  that  he  might 
be  elected  king  upon  Duncan's  death.  But,  in  Scene  IV., 
after  greeting  Macbeth  and  Banquo,  Duncan  names  his  son 
Malcolm — still  a  mere  boy — as  his  successor.  This  announce- 
ment makes  it  necessary  for  Macbeth  to  take  action  if  his 
hopes  are  to  be  realized,  since  it  is  clear  to  him  that  he  can  no 
longer  trust  to  chance. 

10.  owed.     Owned,  possessed. 

11-2.  It  is  impossible  to  tell  the  character  of  a  man's 
thoughts  from  the  expression  of  his  face. 

13-4.  These  words  are  scarcely  spoken  when  Macbeth  enters. 
Macbeth  is  another  gentleman  on  whona  Duncan  "builds  an 
absolute  trust,"  but  who  is  at  heart  just  as  great  a  traitor 
as  Cawdor.  Of  course  Duncan  does  not  know  of  Macbeth's 
thoughts,  but  the  audience  does,  and  to  them  the  words  of 
Duncan  express  a  sort  of  irony  or  double  meaning.  This 
element  of  double  meaning  in  the  speaker's  words,  of  which 
he  is  ignorant,  but  which  the  audience  sees,  is  known  as 
dramatic  irony ;  and  from  this  point  throughout  the  rest  of 
the  play,  dramatic  irony  is  I'epeatedly  introduced  to  give  added 
interest  to  the  plot. 

18-20.  I  wish  that  you  had  deserved  less,  so  that  the  reward 
I  give  you  might  have  been  more  instead  of  less  than  your 
deserts. 

23.  pays  itself.     Is  its  own  reward. 

24-5.  Our  duties  are  children  and  servants  to  your  throne 
and  state.     It  is  our  duty  to  serve  you. 

27.  Safe  toward.  So  as  not  to  fail  in  the  love  and  honoul 
that  is  due  you. 


SCENE   v.]  NOTES  ON   MACBETH  93 

S4.  Wanton.     Unrestrained. 

35.  drops  of  sorrow.     Tears. 

"Tlie  impression  of  the  audience  that  Duncan  is  a  weak 
king  is  strengthened   by  the  ftict  that  he  shows  a  lack  of  V 
control  over  his  feelings,  and  actually  weeps  (though  they  are 
tears  of  joy)  in  the  presence  of  his  two  generals." 

37.  establish  our  estate.     Name  as  our  successor. 

According  to  the  old  laws  of  the  realm,  "if  he  that  should 
succeed  were  not  of  able  age  to  take  the  chai'ge  upon  himself,  , 
he  that  was  next  of  blood  unto  him  should  be  admitted." 
Malcolm  was  a  mere  lad,  unable  to  defend  himself  (Act  I.,  Sc. 
II.,  11.  3-5),  and  Macbeth,  being  Duncan's  cousin,  had  a  good 
chance  of  becoming  king ;  but  Duncan's  action  in  naming 
Malcolm  as  his  successor  made  it  unlikely  that  Macbeth  Avould 
be  chosen. 

39.  The  Prince  of  Cumberland.  This  title  corresponds  to  the 
English  title  of  Prince  of  Wales. 

42.  Inverness.     The  seat  of  Macbeth's  castle. 

44.  Our  leisure  time  is  wearisome  if  it  is  not  spent  in  your 
service. 

54-.5.  Banquo  had  every  reason  to  be  jealous  of  Macbeth ; 
but  he  is  generous  enough  to  add  his  commendations  to 
Duncan's  praise  of  his  rival. 

57-8.     Another  instance  cf  dramatic  irony. 

Questions. 

1.  "  In  this  scene  we  find  further  evidence  of  Duncan's 
weakness."    Explain. 

2.  "What  is  the  dramatist's  purpose  in  having  Duncan  reward 
Macbeth  to  the  neglect  of  Bancjuo  ? 

3.  Can  you  suggest  any  reason  why  Duncan  sliould  name 
Malcolm  as  his  successor  at  this  particular  time  ? 

4.  Point  out  two  examples  of  dramatic  irony  in  this  scene. 

Scene  V. 

Lady  Macbeth's  first  words  after  reading  the  letter  which 
she  has  received  from  Macbeth,  show  us  the  kind  of  woman 
she  is  :  "  Glamis  thou  art,  and  Cawdor,  and  shalt  be  what  thou 


94  NOTES  ON   MACBETH  [ACT  t 

art  promised."  We  feel  at  once  that  here  is  a  woman  of 
invincible  will,  who  will  carry  through,  against  all  odds,  what- 
ever she  undertakes.  It  is  worth  while  noticing,  too,  that  in 
these  words  it  is  of  her  husband's  future,  not  of  her  own,  that 
she  speaks.  He  must  be  king.  Bvit  how  is  it  to  be  brought 
about?  She  realizes  at  once  that  Macbeth  is  not  the  kind  of 
man  to  carry  through  a  crime  such  as  this.  But  we  must 
read  her  w^ords  very  carefully,  or  w^e  are  likely  to  get  a 
wrong  idea  of  Macbeth's  character.     She  says  of  Macbeth : 

"Yet  do  I  fear  thy  nature. 
It  is  too  full  of  the  milk  of  hviraan  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." 

Taken  by  itself  this  part  of  Lady  Macbeth's  speech  seems  to 
mean  that  Macbeth  is  too  kind  and  gentle  in  disposition 
to  commit  a  crime,  and  that  his  desire  to  do  right  is  even 
stronger  than  his  ambition.     But  let  us  read  further  : 

"Thou  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.' " 

Here  we  get  the  full  explanation.  Macbeth  is  quite  willing 
to  do  wrong,  but  he  is  afraid  to  do  it, — perhaps  through  fear 
of  being  found  out;  and  Lady  Macbeth  sees  that  she  must  spur 
him  on  to  commit  the  deed  if  it  is  to  be  done  at  all. 

When  Macbeth  arrives  she  announces  her  resolve,  but  she 
sees  at  once  by  his  moody  expression  that  he  is  troubled  in 
mind.  In  response  to  her  spirited  appeal,  his  reply  is  "  We 
will  speak  further ; "  bvit  she  tries  to  reassure  him  with  the 
promise  that  she  herself  will  plan  and  carry  out  the  crime. 

2.  mortal.     Human. 

5.  missives.     Usually,  letters  ;  here,  messengers. 

7.  the  coming'  on  of  time.     The  future. 


SCENE   v.]  NOTES  ON   MACBETH  95 

9.  the  dues  of  rejoicing-.  The  opportunity  to  rejoice,  which  is 
due  to  you. 

16.  The  illness  should  attend  it.  The  evil  disposition  which 
should  accompany  (attend)  ambition. 

21.  Hie.     Hasten. 

24.  All  that  impedes  thee.     Your  fear  (see  1.  20). 
the  golden  round.     Tlie  crown. 

25.  metaphysical.     Supernatural. 

26.  withal.     With. 

32.  had  the  speed  of  him.     Made  greater  speed  than  he. 

35.  The  raven.  The  crofiking  of  the  raven  was  supposed  to 
forebode  death.  Perhaps  Lady  JNIacbeth  refers  to  the  hoarse 
voice  of  the  messenger. 

41.  Prevent  pity  (remorse)  from  finding  entrance  (access). 

42.  compunctious  visitings  of  nature.  Natural  feelings  of  pity 
pricking  me. 

43-4.  keep  peace  between  the  effect  and  it.  Prevent  it  (my 
purpose)  fiom  being  carried  out. 

45-7.  murdering  ministers,  etc.  The  invisible  agents  who 
help  to  carry  out  evil  designs. 

ministers.     Agents,  helpers,     sightless.     Invisible. 

nature's  mischief.     The  evil  things  in  oiu-  nature. 

48.  pall  thee.     Cloak  thyself. 

dunnest.     Daikost. 

50.  blanket  of  the  dark.  Tlie  darkness  covering  the  earth  like 
a  blanket. 

51.  Hold,  hold  I  Stop,  go  no  further.  The  word  "Hold!" 
was  used  in  mediaeval  times  as  an  authoritative  command  to 
combatants  to  stoj)  fighting. 

55.  the  instant.     The  present  moment. 

60.  To  beguile  the  time.     To  deceive  people. 

64.  provided  for.     Attended  to, — that  is,  murdered. 

67.  Give  solely  sovereign  sway.  Make  us  supi-eme,  beyond 
dispute. 

69.  If  you  change  your  expression  of  face  (favour)  so  as  to 
show  your  feelings,  you  will  always  live  in  fear  of  being 
discovered. 


96  NOTES  ON  MACBETH  [aCT  £ 

Questions. 

1.  (a)  "When  was  Macbeth's  letter  written  ? 
(6)  What  reason  does  he  give  for  writing  ? 

2.  "The  first  sentence  uttered  by  Lady  Macbeth  gives  us  the 
keynote  of  her  character."    Explain. 

3.  In  speaking  of  Macbeth,  Lady  Macbeth  says,  "Yet  do  I 
fear  thy  nature."     What  does  she  mean  ? 

4.  "Thou'rt  mad  to  say  it,"  (1.  28).  In  what  mood  are  these 
words  uttered?  Why  does  Lady  Macbeth  hasten  to  explain 
her  meaning  to  the  messenger  ? 

5.  WTiat  evidence  is  there  in  this  scene  that  Lady  Macbeth 
has  some  thought  of  committing  the  murder  herself  ? 

6.  In  reply  to  Lady  Macbeth,  Macbeth  says,  "To-morrow, 
as  he  purposes,"  (1.  57),  and,  "We  will  speak  further,"  (1.  68). 

What  do  these  speeches  show  as  to  his  state  of  mind  ? 

Scene  VI. 

In  Scene  VI.,  Duncan  and  Ban  quo  arrive  at  the  castle  of 
Macbeth,  and  are  welcomed  by  Lady  Macbeth.  The  chief 
interest  in  this  scene  lies  in  its  irony.  Duncan  and  Banquo, 
as  they  approach  the  castle,  join  in  praising  the  gentleness 
and  pleasantness  of  the  scene.  The  audience  know,  though 
Duncan  and  Banquo  do  not,  that  in  entering  this  pleasant 
castle  they  are  going  to  their  death. 

The  exchanging  of  loving  greetings  between  Duncan  and 
Lady  Macbeth  further  adds  to  the  irony  of  the  scene,  for  we 
know  that  Lady  Macbeth's  welcome  is  false,  and  that  Duncan 
is  heaping  up  kindness  on  those  who  have  already  plotted  his 
destruction. 

1.  seat.    Situation. 

2.  Nimbly.    Freshly. 

4.  The  temple-haunting  martlet.  The  martin  which  lives  in  the 
neighbourhood  of  churches  (temples). 

approve.    Show,  prove. 

5.  mansionry.     House-building. 

the  heaven's  breath,  etc.     The  air  is  inviting. 

6.  jutty.     Projecting  part  of  the  walL 


SCENE   VII.]  NOTES  ON  MACBETH  97 

frieze.  Referring  to  the  projections  at  the  top  of  the  columns 
in  the  building. 

7.  coig'n  of  vantage.     Corner  which  is  suitable  for  nesting. 

8.  pendent  bed.     Hanging  nest. 

procreant  cradle.     The  nest  where  the  young  are  hatched. 

11-4.  A  visit  from  those  we  love  may  give  us  trouble,  but 
we  are  thankful  for  this  trouble  because  it  proves  that  they 
love  us.  You  should,  then,  say,  "God  bless  you  for  the  trouble 
you  are  giving  us." 

16.  single.     Weak.  ^ 

20.  your  hermits.    Bound  to  pray  for  you. 

21.  coursed.     Followed  close,  pursued. 

22.  purveyor.     To  provide  for  his  coming. 

23.  holp.     Helped. 

25-8.  The  figure  here  is  taken  from  book-keeping.  The 
servant  holds  everything  in  readiness  to  have  his  accounts 
audited  whenever  his  master  desires. 

26.  compt.     Account. 

28.  Still.     Always. 

31.  By  your  leave.     He  offers  his  arm  to  Lady  Macbeth. 

Questions. 

1.  What  suggestion  does  this  scene  contain  that,  even  before 
the  play  opened,  Macbeth  had  already  received  honours  from 
Duncan  ? 

2.  Point  out  two  instances  of  dramatic  irony  in  this  scene. 

.3.  Why  did  Macbeth  not  come  to  welcome  Duncan  upon  his 
arrival  ? 

Scene  VII. 

In  Scene  VII.  the  chief  interest  lies  in  Macbeth's  indecision 
and  the  means  that  Lady  Macbeth  takes  to  overcome  it.  She 
knows  that  his  hesitation  is  due  to  cowardice  and  her  taunts 
are  such  as  mf)st  appeal  to  a  coward.  We  learn  from  this 
scene  that  it  was  Macbeth  who  first  proposed  the  crime  ;  but 
it  is  certain  that  if  left  to  himself  he  would  not  have  carried  it 
out.     Lady  Macbeth  has  less  to  gain  by  it ;  but  it  is  her  taunts. 


98  NOTES   ON   MACBETH  [aCT   1^ 

and  above  all  her  ability  to  supply  the  practical  details, 
that  finally  overcome  Macbeth's  fears  and  make  the  murder 
possible. 

Hautboy.     An  oboe — a  high-toned  wind  instrument. 

Sewer.  The  chief  servant,  whose  duty  it  was  to  taste  the 
food  before  it  was  served. 

1-7.  If  no  results  were  to  follow  the  murder  when  it  is 
committed,  then  I  should  be  glad  to  be  over  with  it  at  once  ; 
if  the  murder  could  be  free  from  disagreeable  consequences 
and  could  be  successful  as  soon  as  completed ;  if  I  couid  be 
sure  that  this  blow  would  be  the  end  of  it  all  in  this  life,  I 
would  take  chances  of  not  being  punished  in  the  life  to  come. 

3.  trammel  up.  To  trammel  is  to  impede  the  movements, 
sometimes  by  entangling  the  feet ;  literally,  to  catch  in  a  net. 

4.  his  surcease.  Duncan's  death.  In  Shakespeare,  his  is 
frequently  used  as  the  possessive  of  it.  If  we  give  it  this 
interpretation  here,  then  his  must  refer  to  assassination  (1.  2), 
and /lis  surcease  will  mean  "the  completion  of  the  murder." 
But  it  is  simpler  to  take  his  as  referring  to  Duncan. 

5.  the  be-all.    The  whole  thing. 

6.  Note  the  metaphor.  If  this  life  is  a  bank  and  shoal, 
what  is  the  life  to  come  ? 

7.  jump.  Jump  over,  disregard.  He  means  to  say  that  he 
would  take  the  risk  of  punishment  in  the  life  to  come. 

7-12.  We  always  have  punishment  in  this  life ;  for  in 
murdering  the  king  I  am  setting  the  example  for  some  one  to 
murder  me.  If  we  have  prepared  a  cup  of  poison  for  another, 
we  get  our  just  dues  by  having  the  contents  of  the  cup 
presented  to  us. 

8.  still.     Always. 

10.  even-handed.     Giving  each  one  exactly  what  he  deserves. 

11.  Commends.     Offers,     chalice.     Cup. 

17.  borne  his  faculties  so  meek.  Performed  his  duties  so 
humbly. 

18.  clear.    Free  from  blame. 

21.  Pity  is  "  like  a  naked  new-born  babe  "  because  it  touches 
our  feelings  of  tenderness. 


SCENE   VII.]  NOTES  ON   MACBETH  99 

22.  Striding-  the  blast.  Riding  u\Mm  the  stoi'm.  StHding 
modifies  "pity." 

23,  sightless  couriers  of  the  air.     Invisible  winds. 

25.  drown  the  wind.  Tears  shall  be  as  plentiful  as  the  rain- 
drops which  cause  the  wind  to  die  down. 

no  spur,  etc.  I  have  nothing  to  spur  me  on  to  carry  out  my 
intention.  He  compaies  hinist>lf  to  a  rider  who  has  no  spur 
by  which  he  might  urge  his  horse  forward. 

27,  Vaulting-  ambition,  Tlie  figure  is  changed.  He  compares 
himself  to  a  mtin  who  in  vaulting  to  his  horse's  back  leaps  too 
far  and  ftiUs  on  the  other  side, 

39.  Such  I  account  thy  love.  You  have  shown  yoiirself  to  be 
fickle  and  chjingeable  in  your  desire  to  bect)me  king,  P^'rom 
this  time  forward  I  will  consider  that  you  are  just  as  fickle  in 
your  protestations  of  love  to  me. 

41-3,  Would  you  have  these  "golden  opinions"  which  you 
esteem  so  highly,  and  yet  know  in  your  own  heart  that  you 
are  a  coward? 

the  ornament  of  life.  This  may  be  taken  to  refer  to  either  the 
"golden  opinicms"  or  to  the  crown. 

44.  "I  dare  not"  is  the  servant  who  is  afraid  to  carry  out 
the  wishes  of  his  master,  "I  would," 

4.5,  the  adage,  "The  cat  would  eate  fyshe,  and  would  not 
wet  her  feete."    (Hey wood's  Provei'bs,  1562,) 

48,  break.     Disclose, 

52,  Did  then  adhere.     Were  then  suitable, 
would  make.     Wished  to  make, 

53,  that  their  fitness.    Their  very  fitness, 

60,  But  Only.  The  metaphor  refers  to  the  screwing  v.p  of 
the  strings  of  a  musical  instrument,  such  as  a  violin. 

62,  the  rather.     All  the  more. 

61.  wassail.  (A.  S.  tvaes  hael.  Health  Ix^  to  you,)  Liquoi 
used  in  carousals, 

convince.     Overcome. 


100  NOTES  ON  MACBETH  [ACT  I.^ 

65-7.  According  to  an  old  belief  the  brain  was  divided  into 
three  chambers.  The  lowest  of  these  chambers  was  the  seat 
of  naemory ;  and  since  the  other  parts  of  the  brain  could  be 
reached  only  through  this  chamber,  memory  is  spoken  of  as 
"the  warder  of  the  brain."  The  idea  of  the  poet  seems  to  be 
that  memory  is  overcome  by  the  fumes  of  drink  which  then 
pass  up  into  the  chamber  of  reason  as  into  a  retort  (limbec). 

receipt.     Receptacle. 

71.  spongy.     Saturated  with  liquor. 

72.  quell.     Murder,  killing.     (A.  S.  cwellan,  to  kill.) 
74.  received.     Accepted  as  true. 

78.  As.     Since,  because. 

79-30.  bend  up  each  corporal  agent.  Strain  all  the  powers  of 
my  body. 

81.  mock  the  time.     Deceive  the  world. 

Questions. 

1.  (a)  What  reason  does  Macbeth  give  in  lines  1-12  for  not 
conunitting  the  murder  ? 

(6)  What  bearing  has  the  remainder  of  the  speech  upon  this 
reason  ? 

2.  In  line  28  Macbeth  says  "How  now?  What  news?" 
What  does  this  question  reveal  as  to  his  state  of  mind  ? 

3.  "The  reason  which  Macbeth  gives  in  lines 31-35  is  not  his 
real  reason,  and  he  does  not  deceive  Lady  Macbeth  by  it." 
Explain. 

4.  Macbeth  in  line  31,  says,  "We  will  proceed  no  further  in 
this  business."  What  means  did  Lady  Macbeth  use  to  make 
him  change  his  mind  ? 

5.  What  evidence  do  you  find,  in  this  scene,  that  Macbeth 
had  originally  suggested  the  murder  ? 

6.  (a)  In  line  60,  Macbeth  says,  "  If  we  should  fail  ?  "  Show 
by  reference  to  other  parts  of  the  scene  that  fear  of  failure 
was  his  real  reason  for  hesitating  to  commit  the  crime. 

(6)  Lady  Macbeth  replies,  "  We  fail ! "    It  is  possible  to  read 
Beatcaoo  in  two  wa^s  so  as  to  express  two    diS««nt 


-feuMMARY]  NOTES  ON   MACBETH  101 

meanings.  Explain.  TMiat  effect  would  it  have  on  the 
meaning  if  we  were  to  substitute  an  interrogation  mark  for 
the  exclamation  mark  ? 

Summary  op  Act  I. 

Act  I.  introduces  the  audience  to  most  of  the  leading  charac- 
ters in  the  play,  and  shows  the  circumstances  which  made  the 
murder  of  Duncan  possible.  The  chief  interest  in  Act  I.  lies 
in  the  various  stages  in  the  temptation  of  Macbeth,  from  the 
appearance  of  the  AVeird  Sisters  in  the  opening  scene  to  the 
final  decision  in  the  closing  lines  of  the  last  scene.  The  steps 
in  the  temptation  may  be  briefly  summarized  as  follows  : 

1.  Macbeth  appears  to  have  proposed  the  murder  of  Duncan 
at  some  time  previous  to  the  opening  of  the  play,  for  Lady 
Macbeth  says  in  Scene  7  : 

"  What  beast  was't  then,  that  made  you  break  this  enter- 
prise to  me  ? 

Nor  time  nor  place  did  thoTi  adhere  aiid  yet  you 

would  make  both." 

2.  Macbeth  "starts"  at  the  witches'  prophecies,  showing 
that  he  had  been  thinking  of  these  very  things.  He  asks  the 
witches  to  stay  and  tell  him  more,  and  when  they  vanish  he 
says,  "Would  they  had  stayed." 

3.  "WTien  part  of  the  prophecy  is  fulfilled,  he  debates  with 
himself  as  to  whether  it  is  good  or  evil.  Then  he  decides  to 
let  things  take  their  course ;  but  his  conversation  with  Banquo 
shows  that  he  is  still  thinking  of  it. 

4.  Malcolm  is  appointed  as  Duncan's  sviccessor.  Macbeth 
sees  that  he  must  take  some  action,  and  he  hints  at  murder. 

5.  In  speaking  to  Lady  Macbeth  in  Scene  Y.,  he  shows  that 
he  is  undecided.  Then  in  Scene  VIL  he  enumerates  the 
reasons  why  he  should  not  murder  Duncan.  He  shows  in  this 
soliloquy  that  ic  is  really  the  fear  of  consequence  that  deters 
him. 

6.  Lady  Macbeth  shows  him  how  he  may  commit  the  crime 
and  still  escape  punishment.    He  at  once  falls  in  with  her  plan. 


102  NOTES  ON   MACBETH  [ACT  11^^ 

Act  II, — Scene  I. 

This  scene  does  not  contain  any  important  incidents,  but 
yet  it  provides  a  necessary  preparation  for  the  scene  to 
follow.  It  shows  us  the  generosity  and  the  unsuspecting 
"content"  of  Duncan,  and  in  so  doing  it  adds  to  our  horror  of 
the  crime.  It  gives  us  a  glimpse  into  the  thoughts  of  Banquo 
as  contrasted  with  those  of  Macbeth  ;  and  finally  the  soliloquy 
of  Macbeth  prepares  the  way  for  the  half-hysterical  excitement 
of  the  miu'der  scene  which  follows. 

4.  husbandry.     Economy. 

5.  that.     Perhaps  his  dagger,  or  shield,  or  helmet. 

6.  A  heavy  summons.  A  feeling  of  heaviness  which  bids  him 
sleep. 

8.  the  cursed  thoughts.  Banquo,  as  well  as  Macbeth,  is 
tempted.  In  his  waking  moments  he  is  able  to  restrain  these 
thoughts,  but  he  cannot  control  his  dreams. 

14.  largess.     Liberal  gifts. 

offices.     Officers,  servants. 

17-9.  Being  unprepared  for  the  king's  coming,  we  have  not 
done  as  much  for  him  as  we  should  like. 

25.  cleave  to  my  consent  w^hen  'tis.  Give  me  your  support 
when  the  time  comes. 

26.  So.     So  long  as. 

28.  keep  my  bosom  franchised.  Keep  my  heart  free  from 
disloyalty. 

29.  I  shall  be  counsell'd.  I  shall  be  willing  to  listen  to  what 
you  advise. 

31.  my  drink.  It  was  the  custom  in  early  times  among  the 
nobles  to  drink  a  cup  of  spiced  wine  before  retiring  for  the 
night. 

36.  fatal  vision.  The  sight  of  the  dagger  upon  which  the  fate 
of  Duncan  depended. 

36-7.  sensible  to  feeling  as  to  sight.  Capable  of  being  felt  as 
well  as  seen. 

40.  palpable.     Capable  of  being  handled^  , 


SCENE   I.]  NOTES   ON   MACBETH  103 

42.  Thou  marshall'st  me.  The  sight  of  the  thvgger  iirgos  me 
forward. 

4-1-5.  Either  I  must  trust  to  my  sense  of  touch  which  tells 
me  that  there  is  no  dagger  and  that  my  eyes  ai-e  deceived ; 
or  else  I  must  conclude  that  my  eyes  are  more  trustworthy 
than  my  other  senses. 

46.  dudgeon.     Handle. 

gouts.     Drops. 

48.  It  is  the  thought  of  murder  which  presents  this  vision 
to  my  eyes. 

50.  abuse.     Deceive. 

51.  The  curtain'd  sleep.  Tlie  sleeper  whose  bed  is  curtained 
off  from  the  rest  of  the  room. 

51-2.  witchcraft  celebrates  pale  Hecate's  offerings.  The  witches 
are  making  their  offerings  to  Hecate. 

Pale.     Diana,  or  Hecate,  was  goddess  of  the  moon, 

Hecate.  The  name  given  to  Diana  as  goddess  of  the  lower 
world.  In  popular  mythology  she  is  spoken  of  as  queen  of  the 
witches. 

52.  Tvither'd  murder.  ^lurder  is  personified  as  an  ugly 
old  man. 

53.  The  wolf  is  the  sentinel  who  wakens  the  murderer  at 
the  proper  time. 

Alarum'd.  Awakened.  Another  form  of  the  word  alarm, 
which  means,  literally,  a  call  to  arms. 

54.  Whose  howl  's  his  watch.  Whose  howl  is  the  sound 
that  marks  the  piogiess  of  the   night. 

58-9.  Macbeth  feels  that  the  darkness  and  silence  are  in 
keeping  with  the  crime,  and  he  does  not  wish  to  have  the 
silence  broken  by  the  sound  of  his  steps  on  the  stones.  But 
the  expression,  "  the  present  horror"  may  refer  to  the  murder 
itself.  If  this  is  the  meaning  then  Macbeth  is  merely  express- 
ing the  fear  that  the  nnnder  may  have  to  be  deferred  to  some 
future  time  when  the  conditions  may  be  less  suitable. 

60.  He  feels  that  if  he  talks  about  the  muider  his  resolve  to 
commit  the  crime  may  be  weakened. 


104  NOTES  ON   MACBETH  [ACT  II. 

Questions. 

1.  What  interval  of  time  has  elapsed  between  Acts  I.  and  II.  ? 

2.  What  evidence  is  there  in  lines  1-10  that  Banquo  is  uneasy 
in  mind  ? 

3.  (a)  Why  does  Banquo  speak  of  the  weird  sisters  (11.  20-21)? 

(6)  Macbeth  replies,  "I  think  not  of  them."  Why  does  he 
say  this  ? 

4.  "In  this  scene  the  attitude  of  Banquo  towards  the  king 
stands  out  in  sharp  contrast  with  that  of  Macbeth."  Illustrate 
this  statement. 

5.  "In  lines  29-30  there  is  a  touch  of  dramatic  irony." 
Explain. 

6.  (a)  When  Macbeth  is  left  alone  he  fancies  that  he  sees  a 
dagger  before  him.     Can  you  account  for  this  ? 

(6)  In  line  47  he  says,  "There's  no  such  thing."  What  has 
led  him  to  this  conclusion  ? 

7.  Into  what  two  divisions  does  the  thought  in  this  soliloquy 
fall? 

8.  This  soliloquy  does  not  contribute  anything  to  the  action 
of  the  plot.     What  then  is  its  value  in  the  play  ? 

Scene  II. 

Lady  Macbeth  has  been  strong  enough  to  plan  and  carry  out 
the  preparations  for  the  crime  ;  but  in  the  excitement  of  the 
murder  scene  it  is  evident  that  she  is  under  intense  strain. 
When  Macbeth  returns  from  the  murder  he  is  in  a  half 
hysterical  state,  and  Lady  Macbeth  is  forced  to  nerve  herself 
to  return  to  the  chamber  to  smear  the  grooms  with  blood.  In 
the  first  part  of  this  scene  the  dramatist  has  attempted  to 
soften  her  character  by  a  number  of  suggestive  touches  which 
remind  us  of  the  feminine  qualities  of  her  nature  ;  but  in  the 
latter  part  of  the  scene  her  strength  of  will  and  her  power  of 
self-control  appear  at  their  strongest. 

2.  quenched.     Stupefied.     Note  the  metaphor. 

3.  the  owl.  The  owl  has  always  been  considered  a  bird  of 
ill  omen. 


SCENE  II.]  NOTES   ON   MACBETH  105 

the  fatal  bellman.  It  was  the  custom  to  send  the  bellman 
(the  town-crier)  to  :;oiulemnecl  persons  the  night  before  their 
execution  ;  hence  the  word  fatal. 

6.  mock  their  charg-e.  Their  snoring  shows  that  instead  of 
g^cxrding  the  king  as  was  their  duty,  they  are  asleep.  Hence 
it  is  a  mere  mockery. 

possets.     A  hot  drink,  generally  made  of  curdled  milk. 

7.  nature.  Here,  life. 

11-2.     If  we  attempt  the  murder  without  accomplishing  it, 
we  are  ruined. 
21.  sorry.     Pitiful,  \vretched. 

24.  That     So  that. 

25.  addressed.     Turned  their  thoughts. 

26.  lodged.  Lady  Macbeth  attempts  to  divert  Macbeth's 
thoughts  by  a  play  on  words.  Lodged  has  a  double  meaning, 
—  •"occupying  an  apartment,"  and  "lying  fiat." 

28.  As.     As  if. 
hangman's.     Executioner's. 

29.  Listening'  their  fear.     Listening  to  their  fear. 
35.  Methought.     It  seemed  to  me. 

.37.     Tlie  cares  of  the  day  are  compared  to  a  loose  skein  of 
silk  which  it  is  difficult  to  disenttmgle. 
ravelled.     Tangled. 
sleave.     A  skein  of  flossy  silk  ;  not  the  same  word  as  sleeve. 

38.  sore  labour's  bath.  »Sleep  is  as  refreshing  as  a  bath  to  the 
tired  (sore)  labourer. 

39.  second  course.  The  second  course  is  usually  the  sub- 
stantial nourishing  part  of  the  feast.  But  course  may  mean 
simply  "division  of  the  day." 

46.  brainsickly.     Foolishly. 

47.  witness.     Evidence  of  the  crime. 

54.  as  pictures.     As  harmless  as  people  in  pictures. 

56-7.  gild,  goiilt.  Lady  Macbeth  assmnes  an  air  of  bravado 
and  attempts  to  make  light  of  the  ordeal, 

56.  ^^thal,  A  sort  of  intensive  adverb  which  strengthens 
the  statement. 


106  NOTES  ON   MACBETH  [ACT  II. 

62.  multitudinous.     Referring  to  the  multitude  of  waves, 
incarnadine.     Redden. 

63.  one  red.     Altogether  red. 

68-9.  Your  self-control  which  usually  serves  (attends)  you, 
has  left  you. 

70.  nightgown.     Dressing  robe. 

lest  occasion  call  us.  Lest  it  should  happen  that  we  are 
called  on. 

71.  'watchers.     People  who  have  not  gone  to  bed. 

72.  poorly.     Showing  poor  control  of  yourself. 

73.  Rather  than  realize  what  I  have  done,  it  would  be  better 
for  me  to  forget  everything. 

Questions. 

1.  In  what  way  would  your  estimate  of  the  character  of 
Lady  Macbeth  be  affected  if  the  first  two  lines  of  this  scene 
were  omitted  ? 

2.  In  line  14  Lady  Macbeth  exclaims,  "My  husband!" 
What  emotion  do  you  think  these  words  express  ? 

3.  Upon  his  return  to  his  courtyard  Macbeth  appears  to  be 
in  a  half  hysterical  state. 

(a)  What  would  lead  you  to  this  conclusion  ? 

(b)  "Whut  different  means  did  Lady  Macbeth  use  to  bring 
him  back  to  a  proper  frame  of  mind  ? 

4.  Both  Macbeth  and  Lady  Macbeth  refer  to  the  blood  on 
their  hands.     Compare  what  they  say  regarding  it. 

5.  Aside  froin  the  speeches  of  Macbeth  and  Lady  Macbeth, 
whiit  details  in  this  scene  are  likely  to  affect  the  feelings  of 
the  audience  most  strongly  ? 

6.  In  the  fight  with  Macdonwald,  Macbeth  had  shown  great 
courage.  How  then  can  you  account  for  the  fact  that  in  this 
scene  he  shows  such  a  lack  of  self-control  ? 

Scene  III. 

The  porter's  speech  at  the  beginning  of  Scene  III.  serves  two 
piirposes.  It  gives  Macbeth  and  Lady  Macbeth  time  to  pre- 
pare for  the  entrance  of  the  visitors,  and  at  the  same  time  it 


SCENE   III.]  NOTES   ON   MACBETH  107 

affords  the  necessary  relaxation  to  the  audience  who  have 
been  under  an  intense  strain  during  the  murder  scene.  The 
porter's  speech  is  amusing ;  bub  to  the  audience  there  is  a 
certain  grimness  in  the  humour  for  they  cannot  help  feehng 
that  the  porter  of  Macbeth's  castle  was  the  porter  of  hell-gate 
in  a  much  truer  sense  than  he  himself  knew. 

Oiir  chief  interest  in  the  scene  lies  in  the  conduct  of  Macbeth 
and  Lady  Macbeth.  With  the  excitement  of  the  scene  and 
the  opportunity  of  renewed  action,  Macbeth  recovers  his  self- 
possession,  but  on  the  impulse  of  the  moment  kills  the  grooms. 
This  was,  of  coiu-se,  a  very  unwise  thing  to  do,  for  it  made  it 
appear  as  if  Macbeth  was  afraid  of  what  they  might  say. 
Indeed  the  observant,  ironical  Lennox  has  already  drawn  his 
own  conclusions,  and  remarks  significantly  on  the  fact  that 
the  grooms'  daggers  were  found  "unwiped,  upon  their pilloios.'* 

When  Lady  Macbeth  is  told  of  the  murder  she  shows  an 
unnatural  concern,  not  because  Duncan  has  been  murdered 
but  because  it  has  been  done  in  their  house.  She  is,  no  doubt, 
shrewd  enough  to  see  through  the  irony  of  Lennox  and  quick 
enough  to  see  the  folly  of  Macbeth's  action  in  killing  the 
grooms  ;  and  when,  to  add  to  her  horror,  Macbeth  describes  the 
scene  in  the  death  chamber  her  overwrought  nerves  can  stand 
no  more,  and  she  faints.  Is  the  fainting  real,  or  only  a  clever 
pretence  ?  Most  people  prefer  to  look  on  it  as  real — the  natural 
re-action  after  the  crime,  the  sign  that  in  Lady  Macbeth's 
nature  there  is  a  breaking  point,  which  will  later  on  show 
itself  in  a  still  more  terrible  way. 

2.  old.     A  slang  expression,  meaning  '  j^lenty  of.' 

4-5.  a  farmer.  TSTien  there  is  a  prospect  of  a  good  harvest 
the  price  of  grain  drops,  and  the  farmer  who  has  been  holding 
his  gi-ain  for  higher  prices  is  the  loser. 

5.  come  in  time.     You  have  come  in  time. 

6.  napkins.     Handkerchiefs, 
enow.     Enough. 

8.  an  equivocator.  One  who  makes  statements  which  are 
purposely  misleading. 

It  is  supposed  that  these  lines  refer  to  the  trial  of  the  Jesuit 
Garnet  in  1008,  for  having  been  implicated  in  the  Gunpowder 


108  NOTES   ON   MACBETH  [aCT  II. 

Plot.     In  the  cou-rse  of  his  trial  Garnet  is  said  to  have  declared 
that  it  is  not  »vrong  to  equivocate  upon  oath. 

10.  treason.     Probably  a  reference  to  the  Gunpowder  Plot. 

11.  equivocate  to  heaven.  Get  himself  into  heaven  by  equivo- 
cation. 

13-4.  stealing'  out  of  a  French  hose.  The  humour  lies,  perhaps, 
in  the  fact  that  French  hose  were  at  this  time  so  tight  that  it 
would  be  impossible  to  steal  any  cloth  out  of  them. 

15.  goose.     A  tailor's  iron. 

18.  the  primrose  way.     The  flow^ery  path. 

19.  Anon.     In  a  moment. 

20.  remember  the  porter.     With  a  fee,  or  "tip." 
23-4.  the  second  cock.     About  two  in  the  morning. 
29.  timely.     Early. 

81.  a  joyful  trouble.     A  figure  of  speech  known  as  oxyvioron. 
32.     The  pleasure  that  w^e  get  out  of  our  labour  is  a  cure  for 
the  pain  that  it  gives  us. 
34.  limited.     Appointed. 

40.  combustion.  Literally,  conflagration ;  here,  probably  a 
social  upheaval. 

41.  the  obscure  bird.     The  owl. 
48.  Confusion.     Destruction. 

50.  The  king  was  coinmonly  spoken  of  as  "the  Lord's  an- 
nointed,"  and  also  as  "the  temple  of  the  living  God." 

54.  Gorgon.  The  Gorgons,  in  classical  mythology,  were  three 
sisters,  whose  appearance  was  so  horrible  that  every  one  who 
gazed  on  them  was  turned  to  stone. 

60.  The  great  doom's  image.  A  picture  as  terrible  as  the  day 
of  3  udgment. 

61.  sprites.     Spirits. 

62.  countenance.     To  be  in  keeping  with. 
64.  parley.     Conference. 

75.  chance.     Event,  happening. 

77.  serious.     Important,  worth  while. 

mortality.     Human  life. 


SCENE   III]  NOTES   ON   MACBETH  109 

7S.  toys.     Trifles. 

80.  this  vault.     The  wiue-cellar  ;  here,  the  world. 

81.  You  are.  You  are  amiss,  i.e.,  lacking  a  father.  Macbeth 
plays  on  the  word  amiss. 

86.  badged.     Marked,  as  with  a  badge. 

94.  expedition.     Swiftness. 

95.  pauser.     Reason,  which  makes  men  pause. 

96.  laced.     Streaked. 

97-8.  Just  as  besiegers  enter  the  city  through  a  breach  in 
the  walls,  and  lay  it  waste  ;  s'^  death  entered  through  Duncan's 
gaping  wounds  jxnd  laid  his  life  waste. 

100.  breech'd.     Covered  as  with  breeches. 

104.  argument.     Subject  which  is  being  discussed. 

106.  Hid  in  an  auger-hole.  Coming  from  a  source  so  insignifi- 
cant that  we  would  not  notice  or  suspect  it. 

107-9.  Duncan's  sons  suspect  that  the  grief  of  Macbeth  and 
Liidy  Macl)eth  is  not  natiu-al  but  forced  ;  and,  in  their  opinion, 
the  very  commotion  that  Macbeth  is  making  shows  that  his 
sorrow  is  only  feigned. 

110.  frailties.     Our  bodies  which  feel  the  cold. 

113.  scruples.     Doubts. 

114.  thence.     Standing  in  God's  presence. 

115.  the  undivulged  pretence,  etc.  The  secret  purposes  of 
malicious  traitors. 

117.  manly  readiness.     Om-  clothing. 

119.  consort  vvith  them.     Remain  in  their  company. 

120.  an  office.     An  action,  a  duty. 

124-.5.  near.  Nearer.  The  more  closely  people  are  related 
the  more  likely  they  are  to  do  one  another  harm.  Macbeth 
was  Duncan's  cousin. 

129.  shift.     Slip,  steal  quietly. 

129-30.  There  is  an  excuse  for  stealing  ovirselves  away  when 
we  are  in  danger. 


110  NOTES   ON   MACBETH  [aCT  II. 

Questions. 

1.  Some  critics  consider  that  the  porter's  speech  detracts 
from  the  effectiveness  of  this  scene.     What  is  your  opinion  ? 

2.  Wliy  does  Shakespeare  introduce  the  reference  to  the 
'unruly'  night  (11.  35-43)? 

3.  "The  labour  we  delight  in  physics  pain"  (1.  33).  This 
sentiment  was  expressed  in  one  of  the  earlier  scenes  in  the 
play.     Give  the  reference. 

4.  Comment  on  Macbeth's  speeches;  "He  does;  he  did  ap- 
point so"  (1,  35) ;  and,  "'Twas  a  rough  night"  (1.  43). 

5.  "WnLiich  do  you  think  speaks  and  acts  more  naturally  when 
the  murder  is  discovered,  Macbeth  or  Lady  Macbeth  ?    Why  ? 

6.  Point  out  at  least  two  examples  of  dramatic  irony  in  this 
scene. 

7.  "Banqvio,  Macduff,  Lennox,  Malcolm  and  Donalbain,  all 
show  by  their  speeches  that  they  suspect  Macbeth."     Explain. 

8.  Do  you  think  that  Macbeth  did  a  wise  thing  in  killing  the 
grooms  ? 

9.  What  reasons  have  you  for  supposing  that  Lady  Macbeth 
really  faints  (1.  109),  or,  on  the  other  hand,  that  she  is  merely 
feigning  ? 

Scene  IV. 

It  is  a  comnaon  device  of  the  poet  to  add  to  the  impressive- 
ness  of  his  story  by  making  nature  appear  to  sympathize 
with  mankind  in  their  sufferings.  In  the  previous  scene 
Lennox  has  told  us  how  rough  the  night  has  been,  and  in 
Scene  IV.,  in  the  conver-sation  between  Ross  and  the  Old  Man^ 
we  are  given  further  details, 

4,  trifled.     JNIade  them  appear  as  trifles. 

5-6.  act,  stage.     Note  the  metaphor. 

7.  the  travelling-  lamp.     The  sun. 

8.  Is  it  because  night  has  overcome  the  day,  or  because  the 
day  is  ashamed  ? 

12.  towering.     Soaring  aloft, 

her  pride  of  place.  The  place  from  A\hich  she  swoops  down 
upon  her  prey. 


SCENE   IV.]  NOTES   ON   MACBETH  IH 

13.  mousing.     Mouse-hunting. 

hawk'd  at.     Attacked. 

15.  minions.     Most  highly  prized  ;  literally,  darlings. 

18.  eat.  The  past  tense  of  eat  is  either  ate,  or  eat  (pr.  et),  as 
here. 

24.  pretend.     Aim  at,  look  for. 

suborn'd.     Bribed. 

27.  still.  As  in  the  other  cases  about  which  they  have  been 
talking, 

28-9.     It  would  be  a  very  thriftless  thing  for  Malcolm  and 
Donalbain  to  kill  their  father  on  whom  they  were  dependent, 
ravin  up.     Devour. 

31.  Scone.  Formerly  a  city  of  some  importance,  two  miles 
from  the  present  town  of  Perth.  It  was  the  coronation  place 
of  the  early  Scottish  kings ;  but  in  1296,  Edwaid  I,  caused 
the  ancient  coronation  stone  to  be  removed  to  Westminster 
Abbey. 

33.  Colmekill.  Another  name  for  lona,  an  island  to  the  west 
of  Scotland,  near  the  island  of  Mull  in  Argyleshire.  It  was 
on  this  island  that  St.  Cohnnba  first  preached  Christianity ; 
hence  the  name  Colniekill,  which  means,  "  the  cell  (or  chapel) 
of  St.  Columba."    Both  Duncan  and  Macbeth  are  buried  there. 

36.  Fife.  The  seat  of  Macduff's  castle,  to  the  north  of  the 
Firth  of  Forth. 


40.  benison.     Blessing. 


Questions. 


1.  What  is  the  relation  between  the  two  iinnatural  incidents 
mentioned  in  lines  11-18,  and  the  nuirdor  of  Duncan  by 
Macbeth  ? 

2.  What  reasons  have  Ross  and  Macduff  for  thinking  that 
neither  the  grooms  nor  the  sons  of  Duncan  were  responsible 
for  the  murder  ? 

3.  What  do  lines  .36-38  show  as  to  Macduff's  frame  of  mind  ? 


112  NOTES   ON   MACBETH  [ACT  III. 

Summary  of  Act  II. 

Act  II.  deals  with  the  murder  of  Duncan,  the  discoveiy  of 
the  murder,  and  its  immediate  consequences.  Macbetli's  solilo- 
quy immediately  before  the  murder,  shows  that  he  is  excited 
and  overwrought ;  and  when  he  returns  to  the  courtyard  after 
the  murder,  he  is  in  a  half  hysterical  state.  In  the  excitement 
which  follows  upon  the  discovery,  he  once  more  gains  his  self- 
control,  for  he  is  now  able  to  find  an  outlet  for  his  feelings  in 
energetic  speech  and  action. 

When  Macbeth  gives  way  under  the  strain  of  excitement, 
Lady  Macbeth  is  able  to  summon  her  reserve  of  will-power  to 
meet  the  situation  ;  but  when  the  murder  is  discovered  she  is 
not  able  to  act  in  so  natural  a  manner  as  Macbeth.  He  is  a 
man  of  action  ;  her  strength  lies  in  her  power  of  will. 

Macbeth  has,  for  the  time  being,  escaped  the  consequences  of 
his  crime  by  the  killing  of  the  grooms,  who  could  be  the  only 
witnesses  against  him,  and  by  the  flight  of  Malcolm  and  Donal- 
bain.  But  various  circumstances  connected  with  the  murder 
have  aroused  the  suspicions  of  his  nobles ;  and  the  Act  closes 
with  uneasy  forebodings  as  to  the  future  welfare  of  the  king- 
dom under  Macbeth. 

Act  III. — Scene  I. 

By  the  murder  of  Duncan,  Macbeth  had  brought  about  the 
fulfilment  of  the  witches'  prophecy  that  he  should  become 
king.  But  the  witches  had  promised  further  that  the  seed  of 
Banquo  should  be  kings,  and  as  we  might  expect,  both  Banquo 
and  Macbeth  now  recall  this  promise.  Banquo  has  thus  far 
refused  to  fall  in  with  the  designs  of  Macbeth,  and  Macbeth 
feels  that  his  position  would  be  more  secure  if  Banquo  were 
out  of  the  way.  The  fact  that  he  has  carried  the  murder  of 
Duncan  through  successfully  has  given  him  confidence  and  he 
is  ready  to  undertake  this  second  crime  without  consulting 
Lady  Macbeth. 

4.  stand  in  thy  posterity.     Remain  with  your  descendants. 

7.  their  speeches  shine.  Their  speeches  have  brought 
prosperity. 

8.  verities.     Prophecies  which  have  come  true. 


SCENE   I.]  NOTES  ON   MACBETH  113 

9.  my  oracles.  AVliy  may  I  too  not  believe  their  piophecies 
regarding  me  ? 

sennet.     Flourish  of  trumpets. 

13.  all-thing.     Altogether. 

14.  solemn.     Ceremonious  ;  a  state  banquet. 

16.  the  which.  The  use  of  the  makes  the  pronoun  more 
definite. 

22.  stiU.     Always. 

grave  and  prosperous.  His  advice  was  weighty  (grave)  and 
led  to  happy  lesults. 

26.  the  better.     Better  than  I  expect. 

30.  bloody.     Guilty  of  murder. 

bestowed.     Established. 

32.  parricide.     Murder  of  their  fathei-. 

34.  cause  of  state  craving  us  jointly.  Public  affairs  requiring 
the  attention  of  us  both. 

37.  our  time  does  call  upon  's.      It  is  time  for  us  to  set  out. 

44.  while  then.     Till  then. 

45.  Sirrah.     Used  in  addressing  inferiors. 

48-9.  It  is  not  worth  being  king  unless  I  can  be  safe.  Ac- 
coi'ding  to  this  interpretation  hat  has  the  value  of  unless. 
Some  editors,  however,  place  a  semicolon  after  "  nothing,"  in 
which  case  the  sentence  is  eriuivalent  to :  •'  To  be  thiis  is 
nothing ;  but  to  be  safely  thus  would  be  something  worth 
while." 

49.  in  Banquo.     Concerning  Banquo. 

50-1.     Ho  has  king-like  qualities  which  I  cannot  help  fearing. 

56.  My  Genius,  llie  guardian  spirit  which  watches  over  my 
actions. 

&5.  filed.     Defiled. 

67.  rancours.     Poisons.     Note  the  nietajihor. 

68.  mine  eternal  jewel.     My  immortal  soid. 

71.  the  list.  Tile  euchjscd  gi-ound  Avhcre  tournaments  were 
fought. 

72.  champion  me  to  the  utterance.  Fight  against  me  to  the 
death.     The  phi-iuse  to  the  ufleraiice  comes  from  the  French 


114  NOTES  OS  MACBETH  [aCT  III. 

expression  d  Voutrance,   -which  was  used  of  combats  which 
ended  with  the  death  of  one  of  the  combatants. 

80.  passed  in  probation  with  you.     Spent  in  proving  this  to  you. 

81.  borne  in  hand.     Buoyed  up  with  false  hopes, 
the  instruments.     The  means  that  were  used. 

83.  a  notion  crazed.     A  man  with  weak  understanding. 
88.  g-ospell'd.     Taught  to  forgive  (Matthew  v.,  4). 

92-5.  Just  as  in  the  list  (catalogue)  of  dogs  the  poor  as 
well  as  the  good  are  included,  so  in  the  list  of  men  you 
would  be  included,   however  worthless  you  might  be. 

94.  Shougfhs.     Shaggy-haired  dogs, 
water-rugs.     Rough  -svater-dogs. 
demi-wolves.     A  cross  between  a  dog  and  a  Tvolf. 
clept.     Called.     Sometimes  spelled  yclept. 

95.  the  valued  file.  The  list  (file)  in  which  the  values  of 
different  breeds  are  given. 

97.  the  housekeeper.     The  ^vatch-dog. 

99.  closed.     Inclosed. 

99-101.  The  catalogue  (1.  92)  or  bill,  describes  them  all 
merely  as  dogs.  The  valued  file  (1.  95)  adds  some  particular 
information  about  each. 

102.  a  station  in  the  file.     A  place  in  the  list. 

106.  Grapples.     Binds. 

108.  Uege.     Lord,     iie^e  literally  means  "a  free  man." 

112.  tugg'd  with.     Pulled  about  by. 

116-8.  The  figure  is  that  of  two  men  fighting  a  duel  at  close 
quarters  (bloody  distance). 

my  near'st  of  life.     My  vital  parts,  nearest  to  the  seat  of  life. 

120.  bid  my  will  avouch  it  Justify  myself  only  on  the  grotmd 
that  it  is  my  will  that  he  should  die, 

125.  Concealing  it  from  the  knowledge  of  the  public. 

128.  I  see  by  looking  at  you  that  you  are  men  of  spirit. 

130.  the  perfect  spy  o'  the  time.  I  shall  watch  carefully  and  let 
you  know  the  exact  time  when  the  murder  is  to  be  conmoitted. 

132.  something.     A  short  distance. 


SCENE  II.]  NOTES   ON   MACBETH  115 

132-3.  (It)  being  always  kept  in  mind  thiit  I  must  be  kept 
clear  of  blame. 

134.  rubs.  Imperfections.  In  bowling,  a  nib  is  something 
that  inteiferes  with  the  free  movement  of  the  ball. 

136.  material.     Important. 

138.  Resolve  yourselves.  JNIake  up  your  minds ;  or  perhaps 
the  word  7T.so7rc  is  used  in  its  literal  sense,  in  which  case  the 
expression  means,  "separate  yourselves." 

Questions. 

1.  How  does  Banquo  view  the  fulfilment  of  the  prophecies  O! 
the  weird  sisters  regarding  Macbeth  ? 

2.  T\"hat  means  does  Macbeth  use  to  prevent  Banquo  from 
becoming  suspicious  regarding  the  inquiries  that  are  made  as 
to  his  plans  ? 

3.  "UTiat  evidence  do  you  find  in  this  scene  as  to  the  length 
of  time  that  has  elapsed  since  the  murder  of  Duncan  ? 

4.  "UTiat  two  reasons  does  Macbeth  give  for  fearing  Banquo  ? 

5.  Macbeth  hesitiited  to  murder  Duncan  because  of  his  fear 
of  the  consequences.  'Wliy  does  he  not  show  the  same  hesita- 
tion in  undertaking  the  murder  of  Banquo  ? 

Scene  II. 

Scene  II.  is  of  interest  because  it  gives  us  an  insight  into  the 
state  of  mind  of  Macbeth  and  Lady  Macbeth.  The  short 
soliloquy  of  Lady  Macbeth  at  the  opening  of  the  scene  shows 
us  that  even  though  she  has  become  queen  she  is  far  from 
happy : 

"Nought's  had,  all's  spent, 
"\Miere  our  desire  is  got  without  content." 

We  are  not  told  why  she  is  unhappy,  but  we  are  left  to 
suppose  that  in  some  degree  she  is  suffeiing  from  remorse. 
But  no  doubt  it  is  the  conduct  of  Macbeth  that  is  the  chief 
cause  of  her  depression.  She  finds  that  although  she  was 
able  to  force  him  into  the  crime,  she  is  unable  to  control  his 
actions  and  feelings  further,  and  she  sees  that  as  long  as  he 
is  in  these  moods  neither  of  them  can  have  any  real  peace  of 
mind. 


116  NOTES  ON  MACBETH  [aCT  III. 

4.  Nought's  had.     We  have  gained  nothing. 

9.  sorriest  fancies.     Most  melancholy  thoughts. 

10.  Using.     Keeping  in  your  mind. 

11-2.  When  things  cannot  be  helped  there  is  no  use  in 
woi'rying  over  them. 

13.  scotch'd.     Cut,  wounded. 

14.  She'll  close.     The  cuts  will  heal. 

16.  let  the  frame  of  things  disjoint.  Let  the  framework  of  the 
universe  fall  to  pieces. 

both  the  worlds.     Both  heaven  and  earth. 

21-2.  The  torture  of  the  mind  is  compared  to  the  torture  of 
a  person  on  the  rack. 

ecstasy.  Here,  agony.  Literally,  any  unusual  menta,l  state, 
as,  rapture,  frenzy,  or  trance. 

23.  fitful.     Intermittent,  as  in  fever  and  ague. 

25.  Malice  domestic.  Treachery  among  the  king's  own  sub- 
jects,— referring,  no  doubt,  to  the  Thane  of  Cawdor  and  the 
rebel  Macdonwald. 

foreign  levy.  Foreign  troops  raised  for  the  purpose  of  in- 
vading Scotland, — referring  to  the  invasion  of  Scotland  by 
Sweno,  king  of  Norway. 

31.  Present  him  eminence.     Single  him  out  for  special  favour. 

32.  Unsafe.     (We  being)  unsafe. 

33.  lave  our  honours.  Wash  away  the  suspicion  of  our  crime 
in  streams  of  flattery. 

Si.  vizards  to  our  hearts.     Masks  to  conceal  our  real  feelings. 
38.  nature's  copy  's  not  eterne.      They  have  not  a  perpetual 
lease  of  life, 
copy.     Copyhold, — a  lease  of  land  for  a  limited  period  of  time, 
eterne.     Eternal. 

41.  His  cloistered  flight.  Cloisters  are  covered  walks  around 
the  courtyards  of  monasteries  or  colleges.  Here  the  poet  com- 
pares the  dimness  of  twilight  in  which  the  bat  flies  to  and  fro, 
to  the  dim  light  of  the  narrow  cloisters.  Or,  cloistered  flight 
may  mean,  literally,  flight  within  the  cloisters,  which  are 
favourite  haunts  of  bats. 


SCENE   III.]  NOTES  ON  MACBETH  117 

Hecate.    The  goddess  of  night. 

42.  shard-borne.  The  wings  of  the  beetle  are  hard  and  sliiny, 
like  fragments  of  pottery  (shards). 

43.  yawning.     Drowsy. 

46.  seeling'.  Closing  the  eyelids.  Whsn  hawks  were  being 
tamed  it  was  customary  to  close  the  eyes  by  running  a  thread 
through  the  lids.     This  was  known  as  seeling. 

47.  Scarf  up.     Cover  over. 

49.  bond.  Anything  by  which  a  man  has  become  bound,  as, 
for  instance,  a  legal  docviment.  In  this  case,  Banquo's  life  is 
the  bond;  or  perhaps  Macbeth  is  thinking  of  the  witches' 
prophecy  as  the  bond. 

50.  keeps  me  pale.     Iveejjs  me  in  fear. 

51.  rooky.  IMisty,  foggy, — connected  with  the  verb  reck ;  or 
perhaps,  full  of  rooks. 

Questions. 

1.  The  first  line  of  the  scene  shows  that  Lady  Macbeth  has 
been  thinking  of  Banquo.  Is  there  any  indication  in  the  scene 
that  she  has  any  thought  of  his  death  ? 

2.  If  we  were  to  omit  Lady  Macbeth's  soliloquy  (11.  4-7),  how 
would  our  idea  of  the  character  of  Lady  Macbeth  be  affected  ? 

3.  "These  terrible  dreams"  (1.  18).  In  what  other  case  are 
terrible  dieams  referred  to  in  the  earlier  part  of  the  play  ? 

4.  'V\Tiat  different  means  does  Lady  Macbeth  use,  in  the 
course  of  the  scene,  to  influence  her  husband? 

5.  "  Macbeth's  feverish  state  of  mind  is  shown  by  the  fact 
that  his  language  is  highly  coloiu-ed."  Point  out  an  instance 
in  the  earlier  part  of  the  play  in  which  Macbeth's  language  is 
also  highly  coloured. 

6.  Lady  ^Macbeth  apparently  does  not  understand  Macbeth's 
hints  as  to  the  murder  of  Banquo.     Can  you  account  for  this  ? 

Scene  III. 

The  murder  of  Banquo,  in  this  scene,  is  the  last  of  Macbeth's 
successes;  the  escape  of  Fleance  marks  the  beginning  of  his 
downfalL    This  scene,  then,  forms  the  dramatic  centre  of  the 


118  NOTES   ON   MACBETH  [ACT   III. 

play ;  and,  coming  as  it  does,  in  the  centre  of  Act  III.,  it  forms 
the  mechanical  centre  also. 

2-4.  We  do  not  need  to  distrust  him,  since  he  gives  accurate 
(just)  dii'ections  as  to  our  duties  (offices). 

6-7.  Tlie  belated  traveller  spiu-s  fast  so  as  to  reach  the  inn 
in  time. 

10.  the  note  of  expectation.     The  list  of  expected  guests. 

11.  go  about.     Go  around  to  the  rear  of  the  castle. 

Questions. 

1.  It  has  been  suggested  that  the  third  murderer  is  Macbeth 
himself.  What  evidence  is  there  to  support  this  suggestion? 
Examine  the  speeches  of  the  third  murderer  carefully. 

2.  In  speaking  of  the  escape  of  Fleance,  the  second  murderer 
says  :  "We  have  lost  best  half  of  our  affair."     Explain. 

Scene  IV. 

In  Scenes  I.  and  II.  we  learned  that  Macbeth  was  brooding 
over  the  witches'  prophecy  to  Banquo  ;  and  in  Scene  II.  his 
highly-coloured  language  is  a  further  indication  of  his  dis- 
ordered state  of  mind.  We  are  not  surprised,  then,  that  in 
this  scene  the  news  which  the  murderer  has  brought  should 
have  left  him  "quite  unmann'd  in  folly."  When  the  ghost  of 
Banquo  appears,  Lady  Macbeth  tries  every  means  in  her  power 
to  save  the  situation,  but  fails  ;  and  when  the  guests  are  gone 
she  gives  way  to  an  unmistakable  mood  of  depression. 

1.  your  own  degrees.  Your  rank,  and  hence  your  places  at 
the  table. 

1-2.  at  first  and  last.     Once  for  all. 

5,  her  state.     Her  chtiir  of  state,  as  queen. 

14.  This  may  mean  either,  "  It  is  better  for  the  blood  to  be 
on  your  face  than  in  his  body  ; "  or,  "  It  is  better  for  you  to  be 
here  outside  the  door  than  for  him  to  be  seated  at  the  banquet 
within  the  hall." 

19.  nonpareil.     Without  an  equal. 

21.  my  fit.     My  fit  of  terror. 

23.  casing.     Surrounding. 


SCENE   IV.]  NOTES   ON   MACBETH  119 

21.  cabin'd,  cribb'd.  Confined  in  close  qnarters,  as  in  a  cabin 
or  a  crib. 

25.  saucy.     Sharp,  violent. 

27.  trenched.     Deeply  cut. 

32.  ourselves.     Each  other. 

Svo.  Unless  the  guests  are  made  "welcome,  it  is  like  a  feast 
for  which  they  are  paying,  instead  of  one  to  which  they  are 
invited. 

36.  When  away  from  home,  it  is  form  and  ceremony  that 
makes  the  guest  enjoy  the  feast. 

38.  •wait  on.     Attend,  accompany. 

40.  our  country's  honour.  All  the  distinguished  men  in  our 
country. 

roofd.     Under  this  roof. 

49.  this.     Tliis  muider. 

57.  extend  his  passion.     Prolong  his  fit. 

60.  proper  stuff.     Utter  nonsense.    Proper  is  used  ironically. 

61.  Tills  is  purely  an  imaginary  picture  painted  by  your  fear. 
63.  flaws.     Sudden  outbursts  ;  literally,  gusts  of  wind. 

66.  Authorized.     Whose  truth  is  vouched  for. 

71-3.  If  the  dead  are  to  come  out  of  their  graves  in  this  way 
they  will  have  no  monuments  but  the  stomachs  of  the  kites 
which  feed  upon  thein. 

charnel-houses.  Houses  in  wliich  the  dead  aie  placed  to 
await  burial. 

76.  Before  mankind  made  laws  to  purge  the  common- 
wealth of  its  evil  and  make  it  gentle. 

81.  mortal.    Deadly. 

92.  all  to  all.     All  good  wishes  to  you  all. 

the  pledge.     Which  Macbeth  had  just  proposed. 

93.  Avaunt.     Begone. 

95.  speculation.     Intelligence  ;  or  perhaps,  power  of  sight. 
101.  arm'd.     Referring  either  to  the  thick  hide,  or  to  the  tusk. 
Hyrcan.     H\Tcania  was  a  name  given  to  the  district  south  of 
the  Caspian  sea. 


120  NOTES   ON   MACBETH  [ACT   III.'. 

102.  that.     The  form  of  Banquo. 

105.  If  trembling  I  inhabit  then.  If  I  lemain  in  a  state  of  fear 
or  trembling.  ^ 

protest.     Declared 

106.  The  baby  of  a  girl.     Either,  a  doll ;  or  a  weak  puny  baby. 

109.  displaced.     Banished. 

110.  admired.  Literally,  to  be  wondered  at,  strange ;  but 
possibly  Lady  Macbeth  is  using  the  word  ironically. 

111.  overcome.     Overshadow. 

112-3.  You  make  me  think  that  my  own  disposition  must  be 
a  strange  one. 

owe.     Own,  possess. 

119.  Do  not  be  particular  about  going  in  the  order  of 
your  rank. 

123.     So  as  to  reveal  the  murderer. 

124-6.  The  ability  to  foretell  the  future  by  natural  signs,  and 
to  understand  the  meanings  of  the  actions  of  birds  such  as 
magpies,  choughs,  and  rooks,  has  resulted  in  the  discovery  of 
mui'derers,  no  matter  how  they  have  concealed  themselves. 

125.  magot-pies.  Magpies,  choughs.  Jackdaws.  Both  mag- 
pies and  choughs  belong  to  the  crow  family. 

127.  at  odds  with.     Struggling  with. 

128.  Hov/  say'st  thou  ?    What  do  you  say  to  this  ? 

137.  should  I  wade  no  more.  Should  I  decide  to  shed  no  more 
blood. 

140.  Which  I  do  not  dare  to  think  about  before  doing  them. 

141.  the  season.    That  which  keeps  our  natures  wholesom.e. 

142.  self-abuse.     Self-deception,  in  being  deluded  by  fancies. 

143.  the  initiate  fear.  The  fear  which  accompanies  the  be- 
ginning of  crime,  but  which  will  disappear  as  one  becomes 
hardened. 

Questions. 

1.  "The  man  who  is  guilty  of  a  crime  naturally  feels  that 
every  one  suspects  him,  and  in  the  effort  to  divert  suspicion 
from  himself  he  sometimes  betrays  his  guilt."  Show  in  what  re* 
spect  this  is  true  of  Macbeth's  words  and  actions  in  this  scene. 


SCENE  v.]  NOTES  ON  MACBETH  121 

2.  Why  does  the  di'amatist  represent  the  murderer  as 
bringing  tlie  news  of  Banquo's  murder  to  jNIacbeth  in  the 
midst  of  the  banquet  scene  ? 

3.  Point  out  the  instances  of  dramatic  irony  that  occur  in 
this  scene. 

4.  T\Tiat  is  there  in  the  appearance  and  actions  of  the  ghost 
that  terrifies  Macbeth  on  each  occasion  that  it  enters? 

5.  (a)  "\Miat  explanation  does  Lady  Macbeth  give  to  the 
lords  of  her  husband's  strange  behaviour  ? 

(&)  "WTiat  means  does  she  use  to  bring  IMacbeth  back  to  his 
proper  senses  ? 

6.  After  the  departure  of  the  guests,  Lady  Macbeth  at  once 
gives  way  to  a  mood  of  deep  dejection.  How  do  you  account 
for  this  ? 

7.  In  speaking  of  Banquo,  in  Scene  I.,  Macbeth  had  said, 
"We  wear  our  health  but  sickly  in  his  life,  ^vhich  in  his  health 
were  perfect."  How  is  it  that,  now  that  Banquo  is  dead,  he  is 
still  unsatisfied  ? 

8.  (a)  Why  did  Macbeth  decide  to  consult  the  weird  sisters 
again  ? 

(6)  How  does  Macbeth's  mental  state,  as  expressed  in  lines 
135-140,  differ  from  that  of  the  earlier  part  of  the  play,  so; 
expressed,  for  instance,  in  Act  I.,  Scene  III.,  11.  143-147? 
Accoimt  for  the  change  that  has  taken  place? 

(r)  How  does  !Macbeth  himself  account  for  his  state  of  mind 
during  the  banquet  scene  ? 

SCENK  V. 

This  scene  adds  little  to  the  play.  It  is  generally  supposed 
that  Shakespeai-e  did  not  wiite  it,  but  that  it  was  added  later 
by  a  playwright  named  Middleton. 

1.  ang^erly.    Angi-ily. 

2.  beldams.  Literally,  fine  ladies  (belles  dames) :  here  used 
ironically  for  old  hags. 

7.  close.    Secret. 

15.  Acheron.  A  river  in  Greece,  supposed  to  lead  to  the 
lower  world  ;  hence  '  the  pit  of  Acheron '  is  the  entrance  to  the 
lower  world. 


122  NOTES  ON  MACBETH  [aCT  III. 

24.  profound.  Literally,  deep  ;  but  here  there  is  a  suggestion 
of  mysterious  and  hidden  qualities. 

26.  sleights.     Arts,  tricks. 

27.  sprites.     Spirits. 

30-1.  bear  his  hopes,  etc.  He  shall  trust  in  his  hopes  in  a 
way  that  is  neither  wise  nor  becoming,  and  he  shall  have  no 
fear  of  the  future. 

32-.3.  security  is  mortals'  chiefest  enemy.  When  we  think  we 
are  safe,  we  neglect  to  take  proper  precautions.  Distinguish 
security  and  safety. 

33.  The  song,  "  Come  aAvay,  come  away,"  occurs  in  a  play 
of  Middleton's,  entitled  The  Witch. 

Scene  VI. 

We  learned  in  Scene  IV.  that  IMacbeth  kept  paid  spies  in 
the  houses  of  his  nobles ;  and  it  appears  that  this  system  of 
espionage  has  gone  so  far  that  men  are  afraid  to  speak  their 
thoughts  openly.  la  Scene  VI.  we  find  Lennox  and  another 
lord  discussing  what  has  taken  place.  Lennox  with  fine  irony 
reviews  the  crimes  of  Macbeth,  ths  inurder  of  Duncan,  of  the 
grooms,  and  of  Banquo  ;  and  in  the  remainder  of  the  scene  we 
learn  something  of  the  relations  that  exist  between  Macbeth 
and  Macduff.  It  is  these  relations  that  supply  the  motive  for 
the  action  in  the  remainder  of  the  play ;  and  this  scene  forms 
a  connecting  link  between  the  Macduff  story  and  Macbeth's 
previous  crimes. 

1-2.  From  what  I  have  already  said,  you  may  know  that  I 
think  as  you  do  about  this  matter ;  and  you  can  judge  fuilher 
as  to  my  opinions  without  my  telling  you  :  but  I  will  say  this, 
that  things  have  been  carried  on  (boi^ne)  in  a  strange  fashion. 

4.  marry.    A  mild  form  of  oath,  a  corruption  of  Mary. 

8.  Who  cannot  Tvant  the  thought.  Who  can  fail  to  think? 
Lennox  uses  a  double  negative  to  make  his  question  stronger. 

19.  an 't.     If  it. 

21.  from  broad  vrords.     Because  he  spoke  his  thoughts  plainly, 

27.  Edward.     Edward  the  Confessor. 

29.  his  high  respect.     Tlie  high  respect  in  which  he  is  held. 

30.  upon  his  aid.     In  his  behalf. 


'summary]  notes   on   MACBETH  123 

31.  To  wake.     To  arouse. 

Si'ward.  Earl  of  Northumberland,  who  had  put  down  the 
rebellion  of  Earl  Godwin. 

35.     Free  our  feasts  and  banquets  froin  bloody  knives. 

40-3.  "WHien  Macduff  says,  "Sir,  not  I,"  the  messenger 
frowns  and  hums  as  if  to  say,  "You'll  be  sorry  for  making  me 
carry  so  unwelcome  an  answer  back  to  the  king." 

cloudy.     Frowning. 

turns  me  his  back.  The  pronoun  me  is  ethical  dative,  suggest- 
ing the  interest  which  the  speaker  has  in  the  conduct  of  the 
messenger. 

clogs  me.     Burdens  me. 

49.  Under.     Related  to  suffering. 

Questions. 

1.  (a)  Judging  from  the  speech  of  Lennox,  ui:)on  whom  did 
Macbeth  place  the  blame  for  the  murder  of  Banquo  ? 

{h)  In  what  respect  did  the  murder  of  Banquo  and  the 
escape  of  Fleance  suggest  the  circumstances  connected  with 
Macbeth's  former  crime  ? 

2.  "Wliat  do  we  learn  from  this  scene  as  to  (a)  the  fortunes  of 
Malcolm,  {h)  the  action  of  Macduff,  and  (r)  the  further  action 
of  Macbeth  ? 

Summary. 

Act  III.  deals  almost  entirely  with  the  murder  of  Banquo, — 
its  causes  and  consequences  ;  and,  as  we  have  seen,  the  murder 
of  Banquo  and  the  escape  of  Fleance  mark  the  dramatic 
centre  of  the  play.  But  although  we  are  interested  in  the 
action  we  are  still  more  interested  in  the  further  development 
of  the  characters  of  Macbeth  and  Lady  Macbeth.  Macbeth, 
as  we  have  seen,  cannot  stand  the  strain  of  mental  suspense, 
and  his  fear  that  the  prophecy  of  the  weird  sisters  regarding 
Banquo  may  come  true  makes  him  take  action  to  pi-event  its 
fulfilment.  The  partial  failure  of  his  plans,  however,  pi-oves 
too  much  for  his  disordei'ed  imagination  and  he  beti-ays 
himself  before  the  assembled  nobles  at  the  banquet.  To  a 
man  of  Macbeth's  temperament,  lacking  in  mental  control 
and  unhappy  unless  in  action,  there  is  only  one  course  left 


124  NOTES  ON   MACBETH  [ACT  IV. 

open,  the  effort  to  escape  the  consequences  of  his  crimes  by- 
striking  down  blindly  all  those  who  attempt  to  oppose  him  or 
stand  in  his  way. 

At  the  opening  of  Act  III.,  Lady  Macbeth  appears  in  an 
unhappy,  dejected  mood — partly  as  a  result  of  her  own  re- 
morse, but  chiefly  because  she  sees  that  Macbeth  is  brooding 
over  his  crimes.  Her  self  control,  however,  never  forsakes 
her,  and  both  before  the  murder  of  Banquo  and  during  the 
banquet,  she  uses  all  her  resources  in  the  attempt  to  control 
the  mood  of  Macbeth  and  conceal  his  weaknesses.  Wlien  she 
sees  that  all  is  over,  however,  she  gives  way  to  a  mood  of  utter 
dejection,  which  prepares  the  way  for  her  "thick-coming 
fancies  "  in  the  final  scene  in  which  she  appears  in  the  play. 

Act  IV. — Scene  I. 

As  the  witches'  prophecies  and  their  fulfilment  form  the 
chief  source  of  interest  in  the  second  half  of  the  play,  the 
dramatist  takes  special  means  in  this  scene  to  make  the  inter- 
view with  the  witches  impressive.  The  witches'  cauldron  is 
introduced  and  the  gruesome  ingredients  of  the  "hell-broth" 
are  detailed  in  such  a  way  as  to  make  the  avidience  shudder  at 
the  charm.  Each  of  the  prophecies  is  accompanied  by  a 
mysterious  apjjarition  which  renders  it  more  impressive  ;  and 
the  prophecies  themselves  ai-e  so  striking  as  to  challenge  the 
interest  of  the  audience  in  their  fulfilment. 

1.  brinded.    Brindled,  streaked. 

2.  hedge-pig.     Hedge-hog. 

3.  Harpier.  This  niay  be  a  corruption  of  the  word  harpy. 
In  mythology,  a  harpy  was  a  monster  with  the  face  of  a 
woman  and  the  body  of  a  bird  of  prey. 

6-8.  It  makes  little  difference  whether  we  consider  the  verb 
to  be  lias  stoeltered  or  has  got. 

sweltered.     Like  a  cold  sweat. 

12.  Fillet.     A  little  strip  or  slice. 

fenny.     Living  in  a  bog  or  fen. 

14.  newt.  A  small  lizard.  Originally  this  word  was  spelled 
ewt,  but  in  the  course  of  time  the  expression  an  eivt  came  t,o'Di 
written  a  netvt,  and  the  form  eiot  disappeared. 


SCENE   I.J  NOTES   ON   MACBETH  125 

16.  fork.     The  forked  tongue. 

blind-worm.     The  slow-worm.     In  reality  it  has  no  sting. 

23.  mummy.     The  dried  carcase. 

maw  and  gulf.     Stomach  and  throat  or  g>illet  (gulf). 

24.  ravin'd.     Ravenous. 

27.  yew.  An  evergreen,  commonly  found  in  cluuch yards, 
It  was  formerly  thought  to  be  poisonous. 

31.  slab.     Slimy. 

32.  chaudron.     Entrails. 

38.  This  speech  of  Hecate  is  also  supposed  to  have  been 
interpolated  by  Middleton.  The  song,  "Black  Spirits,"  is 
found  in  Middleton's  play.  The  Witch. 

49.  conjure.  To  call  upon  by  oath.  In  modern  English 
conjure  (pr.  kun'jer)  means  "to  influence  by  magic,"  while 
conjure  (pr.  kon-jur')  means  "to  call  upon  by  oath." 

52.  yesty.     Yeasty,  foaming. 

5.3.  Confound.     Destroy. 

navigation.     Ships. 

at.  bladed  corn.     Corn  in  the  leaf  or  blade. 

lodged.     Laid  flat. 

58.  nature's  germens.     The  seeds  of  all  life  in  Nature. 

59.  sicken.     Grow  sick  of  destroying, 

62.  'em.  This  is  not  an  abbreviation  for  them,  but  another 
form  (if  hey)i,  the  dative  plural  of  the  third  person  ])ronoini  in 
Old  English. 

64.  Her  nine  farrow.     Her  litter  of  nine  pigs. 

♦)7.  deftly.     Smartly. 

an  armed  head.  The  armed  head  is  intended  to  lepresent 
Macbeth's  head,  cut  off  by  Macduff. 

7.3.  harp'd.     Touclied  upon,  struck  upon. 

70.  a  bloody  Child.  The  bloody  child  is  Macduff.  See  Act  V., 
Scene  VIII.,  U.  15-16. 

83.  take  a  bond  of  fate.  Just  as  we  try  to  make  certain  that  a 
man  will  pay  a  debt,  by  requiring  him  to  give  a  A\Titten  pronn'se 
(bond) ;  so  by  killing  Macduff,  Macbeth  will  make  certain  that 
fate  will  fulfil  its  promise  to  him. 


126  NOTES   ON   MACBETH  [ACT  IV. 

j().  a  Child  crowned.  This  refers  to  Malcolm,  who  afterwards 
became  king.     The  tree  in  his  hand  refers  to  Birnam  Wood. 

87-8.  round  and  top.  Referring  to  the  shape  and  position  of 
the  crown,  and  also  to  the  fact  that  the  crown  represents 
complete  authority. 

92.  The  village  of  Birnam  is  about  seven  miles  from  Perth. 
Dvmsinane  hill  is  about  twelve  miles  from  Birnam. 

94.  impress.     Force  into  his  service. 

95.  bodements.     Prophecies. 

98.  the  lease  of  nature.     For  the  natural  term  of  life. 

98-9.  pay  his  breath,  etc.     Die  in  due  time,  as  all  men  must. 

105.  noise.  Music, — a  common  use  of  the  word  in  Shake- 
peare's  time. 

A  show  of  eight  kings.  James  I.  of  England  and  the  Scottish 
kings  who  were  his  ancestors.  Those  shown  in  the  mirror 
(glass)  were  the  descendants  of  James. 

116.  the  crack  of  doom.  The  burst  of  thunder  announcing 
the  day  of  judgment. 

120.  two-fold  balls.  This  is  supposed  to  refer  to  the  double 
coronation  of  James  I.,  at  Scone  and  in  London. 

treble  sceptres.  This  probably  refers  to  the  fact  that  James 
was  ruler  over  three  kingdoms,  England,  Ireland,  and 
Scotland. 

122.  blood-bolter'd.  His  hair  being  matted  (boltered)  with 
blood. 

124-31.   This  speech  was  probably  not  written  by  Shakespeare. 

126.  sprites.     Spirits. 

129.  antic  round.  The  grotesque  movements  of  the  witches' 
dance.  In  these  dances  they  were  supposed  to  do  everything 
in  the  opposite  way  from  human  beings. 

131.     We  gave  hiin  a  proper  welcome,  as  was  our  duty. 

143.  anticipatest.     Dost  prevent,  or  forestall. 

144-5.  It  was  his  purpose  to  murder  Macduff,  but  he  has 
been  forced  to  give  up  this  purpose.  The  only  way  to  prevent 
your  purpose  from  escaping  you  is  to  carry  it  out  at  once. 

146-7.    The  things  that  I  wish  for  most,  shall  be  done  first. 


SCENE   II.]  NOTES  ON  MACBETH  l**;^ 

152.  That  trace  him  in  his  line.     That  follow  hiiu  in  his  lineage 
I'A.  no  more  sights.     Such  as  the  witches  had  shown  him. 

Questions. 

1.  Do  you  think  that  the  details  as  to  the  contents  of  the 
Ciiuldion  are  necessary  in  this  scene?  Why  sh(mld  the  witches 
now  make  more  elaborate  preparations  for  the  visit  of 
Macbeth  than  they  had  made  )n  the  first  scene  in  the  play? 

2.  Point  out  the  relation  between  the  character  of  each 
apparition  and  the  prophecy  or  warning  which  follows  in 
eiich  case. 

3.  Tlie  witches  had  told  Mficbeth  that  "none  of  w-oman 
born"  should  harm  him.  Why  then  did  he  decide  to  attack 
Macduff? 

4.  '*  In  calling  down  a  curse  upon  the  witches,  Macbeth 
imconsciously  calls  down  a  curse  upon  himself."    Explain. 

5.  How  do  you  iccount  for  the  fact  that  Macbeth  determined 
to  kill  the  wife  and  children  of  Macduff? 

6.  At  the  close  of  the  banquet-scene,  Macbeth  had  decided  to 
visit  the  weird  sisters  because  he  was  "bound  to  know  by  the 
w(3rst  means  the  worst."  What  was  "the  worst"  that  he 
learned  by  his  visit  ? 

7.  "Froni  this  moment  the  firstlings  of  my  heart  shall  be 
the  firstlings  of  my  hand."  What  has  led  Macbeth  to  make 
this  resolve?  Point  out  in  what  respects  this  resolve  is  in 
keeping  with  Macbeth's  character  as  seen  in  the  earlier  part 
of  the  play. 

Scene  II. 

The  second  scene  shows  some  of  the  details  of  the  crime 
which  Macbeth  had  resolved  upon  after  his  interview  with  the 
"Weird  sistei"s.  In  the  conversation  that  takes  place  between 
Lady  Macduff  and  Ross  it  becomes  clear  that  Macduff  was 
guilty  of  a  fearful  error  of  judgment  in  leaving  his  wife  and 
family  unprotected  while  he  fled  to  England.  In  the  first  half 
of  the  play  Banrpio  had  been  negligent  in  not  protecting 
himself  against  Macbeth,  and  he  had  paid  for  his  negligence 
with  his  own  life.  In  the  case  of  Macduff,  however,  it  is 
because  he  is  over-impulsive  and  over-hasty  that  the  punish- 
ment falls  upon  him,  and    in    this   cime    it  falls  upon  him 


128  NOTES   ON   MACBETH  [ACT  IV. 

indirectly.  The  conversation  has  a  further  purpose.  It  gives 
the  audience  the  impression  that  conditions  are  rapidly 
becoming  worse  in  Scotland ;  and  we  are  led  to  believe  that 
the  muider  of  the  family  of  Macduff  is,  after  all,  only  a  single 
incident  in  the  general  misrule. 

3-4.  Macduff  had  done  nothing  to  make  him  a  traitor  to  his 
country ;  but  his  fears  had  led  him  to  forsake  his  wife  and 
children,  and  thus  he  was  a  traitor  to  them. 

7.  titles.     Everything  to  which  he  had  a  title  or  claim. 

9.  the  natural  touch.    The  natural  feeling  of  affection. 

11.  Her  young  ones.     In  the  nominative  absolute  construction. 

15.  for.    As  for. 

17.  the  fits  o'  the  season.  "What  is  best  suited  to  (befits)  the 
times  ;  or  perhaps  fits  means  the  uncertainties  or  changing 
circumstances  of  the  times. 

19.  do  not  know^  ourselves.  Do  not  know  ourselves  to  be 
traitors. 

hold  rumour,  etc.  We  are  ready  to  believe  rumours  which 
are  in  accord  with  our  fears. 

22.  Each  way  and  move.  This  expression  is  awkward.  Some 
editions  read,  "And  each  way  move." 

25.  My  pretty  cousin.    Ross  turns  to  speak  to  the  boy. 

29.  my  disgrace.     I  should  disgrace  myself  by  weeping. 

34.  lime.     A  sticky  substance  used  for  catching  birds. 

35.  gin.     Trap,  or  snare. 

36.  Poor  birds.  There  is  a  pun  on  the  word  poor  (see  line  34). 
The  boy  uses  "poor"  in  the  sense  of  lean,  poor  in  flesh. 

48.  swears  and  lies.    Takes  an  oath  and  proves  false  to  it. 
56.  enow.     Enough. 

65.  in  your  state  of  honour  I  am  perfect.  I  am  perfectly  aware 
of  your  noble  rank. 

66.  doubt.     Fear. 

67.  homely.    Plain,  of  humble  rank. 

69.  methinks.     It  seems  to  me. 

70.  To  do  w^orse.  To  leave  you  to  meet  your  fate  without 
warning  you. 


SCENE   III.]  NOTES   ON   MACBETH  129 

82.  shag-hair'd.     "\\'ith  rough  shaggy  hair. 

83.  fry.     Spawn,  oi*  offspring. 

Questions. 

1.  Show  in  what  way  this  scene  contrihutes  to  the  action  ot 
the  pUiy.  In  what  way  would  the  development  of  the  plot  be 
affected  if  the  scene  were  omitted  ? 

2.  In  speiiking  of  her  husband,  Lady  ]\[acduff  says,  "His 
flight  was  madness  !  "    A^Hiat  is  your  opinion  of  his  action  ? 

3.  "Lady  ISIacduff's  son  is  an  old-fashioned  and  rather  un- 
natural boy."     In  what  ways  does  this  appear  in  the  scene? 

4.  T\'Tiy  does  the  dramatist  not  represent  the  murder  of 
Lady  Macduff  as  taking  place  on  the  stage  ? 

Scene  III. 

This  scene  is  generally  omitted  in  the  modern  acting  of  the 
play.  Yet  it  serves  several  important  purposes  in  the  develop- 
ment of  the  story.  LJn  the  first  place  it  gives  the  audience  an 
opportunitjfto  learn  more  about  JNIalcolm  and  to  satisfy  them- 
selves that  he  will  be  a  good  king.7  In  the  second  place  it 
shows  usithe  effect  upon  Macduff  of  the  news  that  Macbeth 
has  nuu'dered  his  wife  and  children*^  Tlie  audience  are  satisfied 
that  Macduff  has  been  punished  for  his  rashness,  and  they  are 
ready  to  SJ^npathize  with  him  in  his  grief  and  in  his  desire  for 
revenge.  In  the  middle  of  the  scene  there  is  a  slight  digression, 
in  which  Malcolm  speaks  of  King  Edward's  power  to  cure 
"the  king's  evil"  by  his  toiich.  This  passage  is  intended,  no 
doubt,  to  please  the  vanity  of  King  James  I.,  who  had  as- 
cended the  English  throne  only  a  few  years  before  this  play 
was  written. 

3.  mortal.     Deadly. 

4.  Bestride.     Stiind  over  it  to  defend  it. 

6.  that     So  that. 

8.  Like  syllable  of  dolour.  Similar  sounds  of  gi-ief.  Like  is  an 
adjective. 

10.     "VMien  I  shall  find  suitable  opportunities. 

12.  sole  name.    Very  name,  mere  name. 


130  NOTES  ON  MACBETH  [aCT  IV; 

14-5.     You  may  earn  his  favour  by  betraying  me. 

wisdom.     It  is  wisdom. 

19-20.  Even  a  good  man  may  become  corrupt  in  carrying 
put  the  king's  commands. 

21.  If  you  are  good,  my  suspicions  cannot  make  you  evil. 

23-4.  Malcolm  says  in  effect,  "There  is  no  way  of  judging 
between  persons  who  are  really  good  and  those  who  only  have 
the  appearance  of  being  so ;  and  even  though  I  suspect  you, 
you  may  nevertheless  be  virtuous." 

the  brows  of  grace.    The  appearance  of  goodness. 

26.  rawness.    Raw  haste. 

27.  motives.  The  fact  that  his  wife  and  children  were  pre- 
ciovis  should  have  been  a  reason  (motive)  for  protecting  them. 

knots.    He  was  bound  to  them  by  love. 

29-30.  I  do  not  wish  to  dishonour  you  by  my  suspicions 
(jealousies) ;  I  am  thinking  only  of  my  own  safety. 

83.  wear  thou  thy  wrongs.  Thou  seems  to  refer  to  tyranny, 
rather  than  to  country.  The  tyrant  may  now  continue  in 
his  course  of  wrong-doing.  His  right  (title)  to  do  wrong  is 
confirmed. 

34.  affeer'd.  Confirmed.  This  is  a  legal  term,  and  has  no 
connection  with  the  word  afeard. 

39.  I  think.     I  am  aware. 

41.  withal.     Besides. 

51.  particulars.     Particular  forms. 

55.  confineless  harms.     Boundless  evils. 

57.  to  top.     To  overtop,  to  exceed. 

59.  Sudden.     Violent. 

62-3.  The  man  who  gives  himself  up  to  boundless  intemper- 
ance is  subject  to  the  tyranny  of  his  own  passions. 

In  nature.     Either,  " in  its  nature,"  or  "in  one's  nature." 

67.  Convey  your  pleasures.     Enjoy  your  pleasures  in  secret. 

68.  the  time.    The  people  living  at  this  time. 

70.  ill-compos'd  affection.   Disposition  made  up  of  evil  qualities, 

71.  stanchless.    Insatiable. 


SCENE   III.]  NOTES  ON   MACBETH  131 

79.  summer-seeming.  Short-lived;  resembling  the  warmth  of 
summer-time. 

81.  foisons.     Abundance  (Latin  fiindo,  I  pour). 

82.  your  mere  ow^n.     Absolutely  your  own. 

82-3.  All  these  can  be  endured  when  counterbalanced  by 
other  good  qualities. 

88.  no  relish  of  them.  Not  the  slightest  flavour,  or  trace,  ol 
them. 

91.  Banish  peace  and  good-will  from  the  earth. 

92.  Uproar.     Stir  up  to  a  tumult. 
97.  untitled.     Without  rightful  title. 

101.  blaspheme  his  breed.     Slander  his  parentage. 
104.  Died.     Became  dead  to  her  sins. 

108.  Child  of  integrity.  Macduff's  emotion  could  have  resulted 
only  from  his  sincere  and  honest  love  of  his  country. 

111.  trains.     Ai'tifices,  snares. 

118.  For.     As. 

128.  at  a  point.     Fully  prepared, 

129-30.  May  our  chances  of  success  be  proportionate  to  the 
justice  of  our  quarrel. 

131.  stay  his  cure.     Wait  to  be  healed  by  him. 

13t-5.  convinces  the  great  assay  of  art.  Baffles  all  the  attempts 
of  the  physician. 

137.  presently.     Immediately. 

138.  the  evil.  Scrofula,  which  was  called  "the  king's 
evil "  because  it  was  believed  that  it  could  be  cured  only  by 
the  king's  touch.  In  speaking  of  Edward  the  Confessor, 
Holinshed  says  :  "  He  used  to  help  those  that  were  vexed  with 
the  disease  commonly  called  the  king's  evil,  and  left  that 
virtue,  as  it  were  a  portion  of  inheritance,  unto  his  successors 
the  kings  of  the  realm." 

144.  mere.     Absolute,  complete. 

145.  a  golden  stamp.  In  the  reign  t)f  James  I.  an  ordinary 
gold  coin  was  used  ;  but  in  the  reign  of  Charles  II.  a  special 
"  touch-piece  "  waa  coined. 


132  NOTES   ON   MACBETH  [ACT   IV, 

153.  My  countryman.  Malcolm  evidently  recognizes  him  by 
his  dress. 

158.     Is  Scotland  in  the  same  condition  as  it  was  ? 
162.  who  knows  nothing.     Infants  or  imbeciles. 
104.  not  mark'd.     "Without  attracting  attention. 

165.  A  modern  ecstasy.    An  ordinary  state  of  feeling. 

166.  for  who.     For  whom. 

168.  or  ere.  Or  and  ere  are  both  derived  from  A.S.  aer, 
meaning  "before."  The  use  of  the  two  words  gives  greater 
emphasis. 

relation.    Account,  story. 

169.  nice.     Exact,  full  of  minute  details. 

171.  There  are  so  many  crimes  that  the  account  of  one  that 
is  an  hour  old  is  stale,  and  the  speaker  is  hissed  for  telling  it. 

172.  teems.     Brings  forth. 

180.  heavily.     With  a  heavy  heart. 

181.  were  out.     "Were  up  in  arms. 

182.  w^itness'd  the  rather.  Made  more  credible  ;  seemed  more 
likely  to  be  true. 

183.  pow^er.    Forces. 
186.  doff.     Put  off. 

190.  none.     There  is  none. 

191.  gives  out.     Has  to  show^. 

194.  latch.     Catch. 

195.  general  cause.     Public  welfare. 

a  fee-grief.  A  grief  that  affects  a  single  person.  Land  held 
in  fee  is  property  that  has  a  private  owner. 

202.  possess  them  with.     Put  them  into  possession  of. 

206.  quarry.     Dead  bodies  ;  game  that  has  been  killed. 

209-10.  Grief  that  does  not  find  an  outlet  in  words  causes 
the  over-burdened  heart  to  break.    Supply  to  after  "whispers." 

212.  must.     Was  destined  to  be.     Past  tense. 

216.  He  has  no  children.  He  may  refer  to  either  Malcolm  or 
Macbeth.  Macbeth  had  one  son,  but  he  is  not  referred  to  in 
the  play.  ^ 


SCENE   III.]  NOTES   ON   MACBETH  133 

217-9.  The  kite  is  a  bii-d  of  prey.  Notice  the  figviie  of  speech 
in  these  three  lines. 

220.  Dispute  it.     Fight  against  yoiu*  grief. 

22.J.  naught.     "Worthless,  good  for  nothing. 

229.  Convert.     Change. 

235.  Heaven  forgive  him  too.  Tliis  may  mean  "  If  he  escape 
me,  nuiy  he  escape  the  vengeance  of  Heaven  too;"  or  else. 
"  May  Heaven  forgive  him  for  his  crime,  as  well  as  me  for 
mine." 

237.  The  only  thing  that  is  lacking  is  oui*  leave-taking. 

238.  ripe  for  shaking.  Ready  to  be  shaken  down  like  fruit 
from  a  tiee. 

239.  Put  on.     Urge  forward. 

their  instruments.     Macduff,  Malcolm,  Siwai  d,  and  the  others. 

Questions. 

1.  (a)  What  reason  has  Malcolm  to  doubt  the  sincerity  of 
Macduff? 

(b)  How  does  he  put  Macduff's  sincerity  to  the  test  ? 

2.  On  what  different  occasions  has  Malcolm  already  appeared 
in  the  i)lay?  In  what  respects  has  he  changed  since  his  first 
aj^pearance,  in  Act  I.  ? 

3.  In  order  that  the  audience  may  fully  sympathize  with 
Malcolm,  they  must  be  satisfied  that  ho  will  prove  to  i)e  a 
good  king.  What  means  does  the  dramatist  nse  to  satisfy 
them  on  this  point? 

4.  "Tlie  picture  of  the  good  King  Edward  stands  out  in 
strong  contrast  to  that  of  JNIacbeth  as  jjortrayed  in  this  scene." 
Quote  the  expressions  that  are  used  to  describe  Macbeth  and 
King  Edward  respectively. 

5.  "WTiat  purpose  is  served  in  this  scene  by  the  arrival  of 
Ross  and  the  announcement  to  Macduff  of  the  nnirdcr  of  his 
wife  and  childien  ? 

6.  "  lie  has  no  children  !  "  What  does  this  mean  as  applied 
to  Macbeth  and  to  Malcolm  respectively  ? 


134  NOTES   ON   MACBETH  [ACT  V, 

Summary  of  Act  IV. 

The  three  scenes  of  Act  IV.  do  not  in  themselves  form  a 
distinct  division  of  tlie  story.  They  are  rather  intended  as 
a  preparation  for  the  dramatic  movement  of  Act  V.  The 
prophecies  of  the  weird  sisters  have  the  effect  of  making 
Macbeth  over-confident.  If  he  had  not  trusted  these  prophe- 
cies he  might  not  have  gone  so  far  as  to  murder  the  family  of 
Macduff ;  and  if  it  had  not  been  for  this  murder  Macduff 
would  not  have  had  the  same  motive  for  pursuing  Macbeth, 
or  the  saine  strength  in  fighting  against  him. 

Act  V. — Scene  I. 

Since  the  close  of  the  banquet  scene  Macbeth  has  added  to 
his  hst  of  crimes  tlie  most  terrible  of  all,  the  murder  of  tlie 
wife  and  family  of  Macduff ;  and  as  a  result  of  his  crimes  he 
has  been  forced  to  prepare  to  pvit  down  a  revolt  among  his 
subjects.  During  this  interval  we  have  seen  nothing  of  Lady 
Macbeth,  but  we  are  told  by  tlie  waiting  gentlewoman  that 
from  the  time  that  Macbeth  "went  into  the  field"  she  had 
walked  in  her  sleep  and  had  shown  both  by  words  and  actions 
that  she  was  suffering  intensely  in  mind. 

In  the  midst  of  the  talk  between  the  doctor  and  the  gentle- 
woman, she  enters,  and  in  the  scene  that  follows  there  is 
gathered  up  the  greater  part  of  the  real  tragedy  of  the  play. 
It  is  evident  that  in  her  sleep-walking  she  is  living  over  the 
horrors  of  the  past — the  murder  of  Duncan,  the  banquet-scene, 
the  death  of  Macduff's  wife  ;  and  in  the  exclamation  "Hell  is 
murky "  there  is  a  flash  of  her  own  terror  of  mind  when  she 
thinks  of  her  own  punishment  for  the  deed.  The  under- 
current running  through  all  her  speeches  is  the  horror  of 
blood, — the  outward  and  visible  sign  of  the  crimes  that  she 
and  her  husband  have  committed.  T\Tien  Lady  Macbeth 
passes  out  we  feel  that  her  crime  has  brought  with  it  a  jvist, 
though  terrible,  punishment. 

4.  went  into  the  field.    Took  command  of  his  army. 

5.  nightgown.     Dressing-gown. 

10.  do  the  effects  of  watching.  Perform  the  same  actions  as 
when  awake. 


SCENE  II. J  NOTES   ON   MACBETH  135 

12.  actual.     Acts  as  opposed  to  words. 

45.  Go  to.     An  expression  commonly  used  in  reproof. 

61-2.  sorely  charged.     Heavily  burdened. 

61.  on's.     Of  his. 

73.  the  means  of  all  annoyance.  Every  thing  by  which  she 
might  harm  herself. 

74.  still.    Constantly. 

75.  mated.  Bewildered.  In  the  game  of  chess  when  a  player 
is  unable  to  move  his  king  he  is  said  to  be  checkmated,  and 
this  means  that  he  loses  the  game.  The  word  mated  as  here 
used  is  derived  from  the  word  clteckmate. 

Questions. 

1.  "WTiat  does  the  conversation  between  the  doctor  and  the 
gentlewoman  contribute  to  this  scene  ? 

2.  (a)  "UTiat  is  Lady  Macbeth's  object  in  taking  out  the 
paper  and  writing  upon  it? 

(6)  Why  does  she  keep  a  light  by  her  continually  ? 

3.  Point  out  the  expressions  in  Lady  Macbeth's  speeches 
that  refer  to  (a)  the  murder  of  Duncan,  (6)  the  murder  of 
Banquo,  and  (r)  the  murder  of  Lady  Macduff.  Which  of  these 
crimes  seems  to  be  uppermost  in  her  mind  ? 

4.  (a)  ""UTiat,  will  these  hands  ne'er  be  clean?"  (6)  "What's 
done  cannot  be  undone." 

What  speech  of  Lady  Macbeth  in  the  earlier  part  of  the 
play  does  each  of  these  expressions  call  up  ? 

5.  WTiat,  in  your  opinion,  wore  Shakespeare's  reasons  for 
introducing  this  sleep-walking  scene  into  the  play,  instead  of 
a  scene  in  which  Lady  Macbeth  should  appear  as  her  natural 
self  in  her  waking  moments? 

Scene  IL 

In  previous  scenes  we  were  told  that  the  Scottish  nobles 
had  revolted  against  Macbeth.  In  this  scene  we  meet  for  the 
first  time  with  the  army  of  Menteith,  Angus,  Lennox  and  the 
other  nobles,  and  incidentally  we  learn  something  fmther 
regai-ding  the  relations  that  exist  between  Macbeth  and  his 
ffubjecta. 


136  NOTES   ON   MACBETH  [ACT  V. 

3.  their  dear  causes.     Tlie  causes  which  they  have  at  heart. 

4.  the  bleeding  and  the  grim  alarm.     Bloody  and  fierce  warfare, 
alarm.     Literally,  a  call  to  arms. 

5.  the  mortified  man.  This  may  mean,  "even  a  dead  man;'' 
or  mortified  may  mean  simply  one  Avho  is  dead  to  the  Avorld 
and  takes  no  interest  in  worldly  affairs. 

8.  file.     List. 

10.  unrough.     Unbearded. 

11.  Protest.     Give  evidence  of. 

15-6.  The  figure  is  that  of  a  human  body  so  swollen  and 
diseased  that  the  belt  which  is  ordinarily  worn  cannot  be 
buckled  on. 

distempered  cause.  Disorganized,  disordered  affairs  w^hich  he 
cannot  control  (rule). 

18.  minutely.     Every  minute. 

faith-breach.     The  way  he  has  broken  faith  ■with  his  subjects. 

20.  Nothing.     Not  at  all. 

title.     His  title  of  king,  to  ^vhich  he  has  not  lived  up. 

23.  pestered.     Troubled. 

24.  all  that  is  within  him.     Ilis  thoughts  and  memories. 

27.  the  medicine  of  the  sickly  weal.  The  cure  for  our  sick 
country  ;  referring  to  Malcolm. 

weal.     Commonwealth. 

30.  dew.     Water,  to  make  it  grow. 

Questions. 

1.  Why  are  the  Scottish  forces  represented  as  marching 
towards  Birnam  ? 

2.  Show  what  this  scene  contributes  to  the  action  of  the  play. 

Scene  III. 

Scene  III.  shows  us  Macbeth's  state  of  mind  after  he  has 
shut  himself  up  in  Dunsinane  Castle.  He  is  evidently  in  a 
mood  of  extreme  irritation  and  dejection  ;  but  in  the  midst  of 
this  dejection  he  sbows  flashes  of  his  old  courage ;  and  his 


SCENE   III.J  NOTES   ON   MACBETH  ISI 

relijince  on  the  prophecies  of  the  weird  sisters  is  such  t  h;it  he 
decides  to  fight  it  out  against  all  odds. 

I.  Macheth  has  learned  that  his  followers  ai-e  deserting  him. 
3.  taint.     Be  infected. 

5.  All  mortal  consequences.     All  the  events  in  luiinaii  affairs, 
pronounced  me.     Announced  to  me. 

8.  epicures.  Enjoying  the  pleasures  of  editing  and  drinking. 
Epicurus  was  a  Greek  philosopher  who  taught  that  pleasure  is 
the  end  of  life  ;  but  according  to  Epictunis  the  highest  i)leasure 
is  found  in  meditation  and  contemplation,  rather  than  in  the 
enjoyment  of  sensual  pleasuies. 

9.  I  sway  by.     By  which  I  am  swayed  or  governed. 

10.  sag.     Droop. 

II.  cream-faced.     White  with  fear, 
loon.     A  stu{)id,  clumsy  fellow. 
15.  lily-liver'd.     Cowardly, 

patch.  Fool,  clown  ;  an  allusion  to  the  motley  gai-ments  that 
were  wcn-n  by  professional  jesters. 

17.  counsellors  to  fear.     "Will  make  others  feel  afraid. 

10.  Seyton.  Macbeth  is  calling  for  Seyton,  his  armour- 
bearer. 

2(j.  push.     The  attack  which  the  English  are  making. 

21.  disease.  Rob  me  of  my  ease, — the  opposite  of  cheer.  In 
some  editions  chair  and  disseat  are  substituted  for  cheer  and 
discdsc. 

22.  my  way  of  life.     The  course  of  my  life. 
Zi.  sear.     Withered. 

3.5.  skirr.     Scour. 

42.  Raze  out.     Erase. 

43.  oblivious.     Causing  forgetfulness. 

50.  Come,  sir,  dispatch.  Mi'cbeth  is  speaking  to  bir,  servant, 
telling  hiiu  to  hurry.  Distinguish  the  meanings?  of  dispatch 
and  denpalch. 

50-1.  In  the  figure  used  here  there  is  a  T-efcrciuf!  to  tlie 
means  conunonly  used  to  dis(;()ver  disease  of  the  kidneys. 
Her  refers  to  Scotland. 


138  NOTES   ON    MACBETH  [aCT   V. 

52.  pristine  health.     Health  enjoyed  in  former  times. 

54.  Puirt  off.     Pull  off  my  armour. 

55.  Rhubarb  and  senna  are  used  as  purgative  medicines. 
59.  bane.     Ruin. 

Questions. 

1.  Red  blood  was  looked  upon  as  a  sign  of  courage,  and 
whiteness  as  a  sign  of  cowardice.  Point  out  the  different 
expressions  that  Macbeth  uses  to  suggest  that  his  servant  is 
cowardly. 

2.  "In  spite  of  his  reliance  upon  the  prophecies  of  the  weird 
sisters,  Macbeth  is  filled  with  doubt  and  anxiety  as  to  the 
future."  Explain  this  statement  by  reference  to  Macbeth's 
words  and  actions  in  this  scene. 

3.  "In  spite  of  Macbeth's  crimes,  Shakespeare  does  not  wish 
the  audience  to  lose  all  sympathy  with  him."  Point  out 
any  details  in  this  scene  that  are  intended  to  appeal  to  the 
sympathy  of  the  audience. 

4.  "What  purpose  is  served  by  introducing  the  doctor  into 
this  scene? 

Scene  IV. 

This  short  scene  serves  to  reassure  the  audience  as  to  the 
approach  of  the  English  ;  and  at  the  same  time  it  prepares  us 
for  the  scene  following,  in  which  the  messenger  announces  to 
Macbeth  that  Birnam  Wood  does  "come  to  Dunsinane." 

2.  chambers  -will  be  safe.     From  mvirderers  and  spies. 

6-7.  make  discovery  err.  Cause  those  who  are  sent  out  to 
discover  our  numbers  to  make  a  mistake. 

11.  Wherever  they  get  an  advantage  or  opportunity  to 
desert  they  do  so. 

12.  more  and  less.     Great  and  small. 

13.  constrained  things.    Creatures  who  are  forced  to  serve  him. 
14-5.     We  shall  have  to  await  the  result  of  the  battle  before 

we  can  judge  accurately ;  in  the  meantime  let  us  do  our  best 
as  soldiers. 

just  censures.     Accurate  judgments. 

Attend.    Await. 


SCENE   v.]  NOTES   ON   MACBETH  139 

18.  what  we  owe.     '\\1iat  we  really  own  (owe)  or  possess. 

19-20.  '^^'^len  we  indulge  in  conjectures  (thoughts  specula- 
tive) we  only  state  what  we  hope  will  take  place.  It  is  only 
by  actual  fighting  that  we  can  decide  (arbitrate)  the  result  for 
a  certainty. 

Questions. 

1.  Contrast  the  mood  of  Malcolm,  Macduff,  and  Si  ward,  in 
this  scene,  with  that  of  Macbeth  in  the  previous  scene. 

2.  Point  out  the  details  in  this  scene  that  help  to  strengthen 
the  belief  of  the  audience  that  the  downfall  of  Macbeth  is 
certain. 

Scene  V. 

At  the  opening  of  Scene  V.  Macbeth  announces  his  resolve 
to  stand  siege  in  the  castle.  Then  comes  the  news  that  Lady 
Macbeth  is  dead,  and  at  the  same  time  a  messenger  brings 
him  word  that  Birnam  "Wood  is  actually  moving  towards 
Dunsinane.  To  a  man  of  Macbeth's  temperament,  his  only 
safety  appears  to  be  in  action,  and  he  i-esolves  to  go  forth  to 
fight  the  enemy  instead  of  remaining  in  the  castle  as  a  prey  to 
his  own  gloomy  thoughts. 

5.  forced.     Reinforced,  strengthened. 

10.  cool'd.     It  would  have  made  my  blood  lun  cold. 

11.  fell.     Skin,  scalp. 

12.  treatise.     Story. 
14.  Direness.     Horror. 

17.  Should  is  used  in  the  sense  of  xvould.  She  would  have 
died  some  time  anyway.     So  Brutus  says  in  Julius  Ccesar  : — • 

"  With  meditating  that  she  must  die  once, 
I  have  the  patience  to  endure  it  now." 

18.  such  a  word.     Such  a  word  as  "death." 

19-23.  Oay  by  day,  little  by  little,  time  passes,  and  men  will 
continue  to  die  in  the  future,  just  as  others  have  died  in  the 
past. 

23.  dusty  death.  "  Dust  thou  art  and  unto  dust  shalt  thou 
return."     (Gen.  iii.,  19.) 

candle.     Life  is  compared  to  a  caudle. 


140  NOTES   ON   MACBETH  [aCT  V. 

24.  shadow.     Having  no  real  substance. 

28.  Signifying  nothing.     Having  no  meaning. 

33.  As  I  did  stand  my  watch.     "V\niile  I  was  on  duty  as  sentinel. 

34.  anon.     By  and  by. 

40.  cling  thee.     Shrivel  thee  up. 

42.  I  pull  in  resolution.     I  begin  to  feel  less  resolute. 

50.  estate.     Settled  order. 

51.  wrack.     Wreck,  ruin. 

52.  harness.     Armour. 

Questions. 

1.  To  what  different  emotions  does  Macbeth  give  expression 
in  this  scene  ? 

2.  How  does  Macbeth  receive  the  news  of  the  Queen's  death  ? 
How  do  you  account  for  the  fact  that  he  does  not  seem  to  feel 
any  personal  grief  ? 

3.  "At  least  we'll  die  with  harness  on  our  back."  (a)  Ex- 
plain at  least.  (6)  What  light  does  this  line  throw  upon 
Macbeth's  character  ? 

Scene  VI. 

Scene  VI.  is  merely  intended  to  announce  the  arrival  of  the 
English  forces,  and  to  prepare  us  for  the  following  scenes. 

2.  show.     Appear. 

4.  battle.     Battalion,  division. 

6.  order.     Arrangement. 

7.  Do  we  but  find.     If  only  we  find. 
10.  harbingers.     Heralds. 

Scene  VII. 

Tlie  Siward  incident  in  this  scene  is  introduced  into  the 
play  apparently  for  the  purpose  of  setting  into  greater  relief 
the  struggle  with  Macduff  in  the  scene  following.  The  death 
of  young  Siward  gives  Macbeth  ci  gleam  of  hope  that  the 
remaining  prophecy  of  the  Weird  Sisters  may  still  hold  true  ; 
but  at  the  sarue  time  the  surrender  of  the  castle  makes  it 


SCENE   VIII.]  NOTES  ON   MACBETH  141 

quite  clear  to  the  audience  that  the  struggle  between  MactlufE 
and  ^lacbeth  can  have  but  one  ending. 

1-2.  Bear-baiting  was  a  common  spoit  in  Shakespeare's 
time.  Only  a  ceitain  ninnber  of  dogs  weie  allowed  to  attack 
the  bear  at  one  time.     Each  attack  was  called  a  course. 

7.  Than  any  is.     Than  any  (that)  is. 

16.  still.     Ever. 

17.  kerns.     I.ight-armed  soldiers. 

18.  staves.     Lances. 

20.  undeeded.     Unused. 

21.  note.     Importance. 

22.  bruited.     Announced,  leported. 

24.  gently  rendered.     Given  u]>  without  resistance. 
27.  professes.     Declares. 

29.  strike  beside  us.  Fight  on  our  side  ;  or  jjerhaps,  strike  so 
as  to  miss  us. 

QUESTIOXS. 

1.  In  this  strug  ;le  we  are  interested  chiefly  in  the  fortunes 
of  ^Macbeth,  Macduff  and  Malcolm.  '\\Tiat  do  we  learn  of  each 
in  this  scene? 

2.  "  In  these  closing  scenes  of  the  play,  although  the  audi- 
ence know  that  the  punishment  of  Macbeth  is  just,  the 
dramatist  nevertheless  contrives  to  awaken  a  feeling  of  pity 
for  him."  Point  out  any  expressions  in  Scenes  V.  and  VII. 
tliat  aie  intended  either  to  remind  the  audience  of  Macbeth's 
crimes  or  to  awaken  sympathy  for  him. 

3.  Point  out  the  dramatic  significance  of  Mjicbeth's  struggle 
with  young  Siwtird  and  the  death  of  the  latter. 

Scene  VIII. 

Tlie  audience  are  iccidy  to  anticipate  the  outcome  of  Mac- 
beth's struggle  with  Macduff  in  the  final  scene  of  the  play.  But 
there  are  nevertheless  a  number  of  conditions  which  render 
the  struggle  interesting.  Macbeth,  on  the  one  hand,  is  a  man 
of  great  pliysical  prowess  ;  and  in  his  fight  against  Macduff 
fate  seems  to  be  on  his  side,  for  he  has  been  told  l)y  the  Wi>ird 
Sisters  that    'none  of  woman    bora    shall    harm    Macbeth.' 


142  NOTES  ON  MACBETH  [ACT  V. 

Macduff,  on  the  other  hand,  is  impelled  by  the  desire  for 
revenge,  and  under  these  conditions  the  struggle  bids  fair  to 
be  equal.  But  before  the  fight  is  well  begun,  Macbeth  learns 
that  the  witches'  prophecy  is  once  more  false  and  that  Macduff 
is  not  '  a  man  of  woman  born ' ;  and  though  he  still  fights  with 
something  of  his  old  courage  there  is  no  longer  any  doubt  as 
to  how  the  struggle  must  end. 

1.  The  Roman  fool.  Among  the  great  Romans  who  took 
their  own  lives  were  Cato,  Brutus,  Cassius,  and  Antony. 

2.  lives.     Living  men. 

3.  Do  better  upon  them.     Are  better  upon  them  than  upon  me. 

4.  else.     There  is  a  confusion  of  construction  here. 

5.  charged.     Bm-dened. 

8.  Than  terms  can  give  thee  out.  Than  words  can  describe 
thee. 

9.  intrenchant.     That  cannot  be  cut,  or  divided. 
14.  angel.     Guardian  spirit,  demon. 

still.     Ever. 

18.  my  better  part  of  man.     The  better  part  of  my  spirit. 

20.  palter.    Equivocate. 

26.  Painted  upon  a  pole.  Painted  upon  a  cloth  attached  to  a 
pole,  as  at  a  circus. 

29.  baited.     Tormented,  as  in  bear-baiting. 

34.  him.     He  would  be  the  correct  form  here. 

36.  gooff.     Die. 

40.  but.    Repeats  the  sense  of  only. 

41-3.  He  held  his  post  without  shrinking  from  danger,  and 
as  soon  as  he  had  proved  by  his  covu'ageous  deeds  that  he  had 
reached  his  full  manhood,  he  died. 

41.  The  which.  The  was  formerly  used  to  give  greater 
definiteness  to  the  pronoim  which, 

52.  he  parted  well,  etc.  He  took  his  leave  of  life  in  a  becoming 
way  ;  he  did  his  duty  and  owed  nothing  to  life. 


summary]  notes   on    MACBETH  143 

55.  the  time  is  free.  Shakespeai-e  constantly  speaks  i)f  the 
time  to  signify  the  people  living  at  the  time. 

56.  pearl.  All  that  is  best  in  your  kingdom ;  the  flower  of 
the  nobility. 

61.  reckon  with.     Repay. 

65.  TMaich  should  be  iindei-tiiken  at  the  beginning  of  this 
new  period. 

68.  Producing  forth.     Bringing  to  justice. 

72.  That  calls  upon  us.     That  we  should  do. 

Questions. 

1.  *'  In  the  closing  scenes  of  the  play  the  dramatist  contrives 
to  relieve  the  blackness  of  Macbeth's  character  by  a  series  of 
skilful  touches,  which  helps  to  some  extent  to  reconcile  the 
audience  towards  him." 

Justify  this  statement  by  reference  to  particular  passages  in 
this  scene. 

2.  Why  does  the  dramatist  not  represent  the  triumph  of 
Macduff  and  the  death  of  Macbeth  as  taking  place  on  the 
stage? 

3.  Why  does  Shakespeare  think  it  necessary  to  introduce 
the  conversation  regarding  the  death  of  young  Siward  in  this 
scene  ? 

4.  (a)  T\Tiat  dramatic  purpo.^e  is  served  by  the  concluding 
speech  of  Malcolm  in  the  plav? 

(h)  We  are  told  in  11.  70-71  that  Lady  Macbeth  was  thought 
bo  have  taken  her  own  life.     Why  is  this  detail  necessary  ? 

5.  Which,  in  your  opinion,  received  the  greater  punishment, 
Macbeth  or  Lady  Macbeth  ?     Discuss  in  some  detail. 

SuMMAKY  OF  Act  V. 

With  the  conclusion  of  Act  IV.  Macbeth's  career  of  crime,  as 
far  as  the  play  is  concerned,  is  practically  complete.  Act  V. 
deals  almost  wholly  with  the  punishment  which  falls  upon 
Macbeth  and  Lady  Macbeth  as  a  result  of  their  crimes.     In 


144  NOTES   OX   MACBETH  [aCT  V. 

the  case  of  Lady  Macbeth  this  punishment  takes  the  form  of 
mental  suffering ;  and  although  she  does  not  appear  again 
directly  in  the  play,  except  in  the  sleep-walking  scene,  we 
learn  from  the  doctor  that  "she  is  troubled  with  thick-coming 
fancies  that  keep  her  from  her  rest ; "  and  at  the  close  of  the 
play  we  are  given  to  understand  that  in  a  fit  of  madness  she 
had  taken  her  own  life.  In  the  case  of  Macbeth  the  punish- 
ment for  his  crimes  takes  a  diffeient  form.  He  had  risked 
all  for  the  sake  of  place  and  power,  and  now  he  feels  that 
the  things  that  are  really  worth  having  "as  honour,  love, 
obedience,  troops  of  friends"  he  "must  not  look  to  have.'' 
And  in  the  end  even  the  physical  strength  and  coiu-age  upon 
which  he  staked  everything  proved  insufficient  to  save  him 
from  the  vengeance  of  Macduff. 


QUESTIONS  ON  "MACBETH' 

FROM   EXAMINATION    PAPERS 


Pass  Matriculation 

1.  "Wliat  are  the  three  great  crimes  of  Macbeth  ?  Point  out 
carefully  how  they  differ  in  character.  Show  by  definite  refer- 
ences to  the  play  how  far  the  Weird  Sisters  influenced  Macbeth  to 
commit  each  of  the  crimes. 

2.  (a)  Point  out  carefully  the  effect  produced  by  the  prophecy  of 
the  Weird  Sisters  on  Banquo  and  on  Macbeth. 

(6)  To  what  extent  did  Lady  Macbeth  influence  her  husband  to 
murder  Duncan?  What  part  did  she  take  in  the  actual  murder? 
What  do  you  think  was  her  motive  in  the  crime  ?  Give  reasons  for 
your  answer. 

3.  The  time  has  been,  my  senses  would  have  cool'd 
To  hear  a  night-shriek  ;  and  my  fell  of  hair 
Would  at  a  dismal  treatise  rouse  and  stir 

As  life  were  in  't :  I  have  supp'd  full  with  horrors  ; 
Direness,  familiar  to  my  slaughterous  thoughts, 
Cannot  once  start  me. 

(a)  Explain  the  change  in  Macbeth's  character  which  he  himself 
points  out  in  these  words. 

(6)  Explain  the  following  words  and  phrases: — "My  senses 
would  have  cool'd,"  "to  hear  a  night-shriek,"  "fell  of  hair,"  "a 
dismal  treatise,"  "supp'd  full  with  horrors,"  "Direness,"  "start." 

4.  After  the  scene  in  which  Lady  Macbeth  faints,  on  what 
occasions  does  she  apjjear  in  the  play,  or  do  other  characters  refer 
to  ht'r  ?  Discuss  each  of  these  appearances  or  references  in 
relation  to  Lady  Macbeth's  character. 

5.  ('«)  Outline  briefly  the  events  in  the  play  of  Machfih  which 
take  j)lace  between  the  reading  by  Lady  Macbetli  of  her  husband's 
letter  in  which  he  announces  his  meeting  with  the  witches  (Act  L, 

145 


146  QUESTIONS   ON   "MACBETH'* 

Sc.   5)  and  MacdufFs   discovery  that  Duncan  has  been  murdered 
(Act  II.,  Sc.  3). 

(b)  Is  it  fitting  and  effective  that  the  scene  of  Duncan's  murder 
should  be  followed  by  the  porter  scene  ?     Discuss. 

Entrance  into  the  Normal  Schools 

1.  Lady  M.  Noiighfs  had,  all's  apentj 

Where  our  desire  is  got  without  content : 
'Tis  safer  to  be  that  which  we  destroy 
Than  by  destruction  dwell  in  doubtful  joy. 

Enter  Macbeth. 

How  now,  my  lord  !  why  do  you  keep  alone, 

Of  sorriest  fancies  your  companions  making, 

Using  those  thoughts  which  should  indeed  have  died 

With  them  they  think  on  ?     Things  without  all  remedy 

Should  be  without  regard  :  what's  done  is  done. 

Macb.     We  have  scotch'd  the  snake  ;  not  kill'd  it : 
She'll  close  and  be  herself,  whilst  our  poor  malice 
Remains  in  danger  of  her  former  tooth. 
But  let  the  frame  of  things  disjoint,  both  the  worlds  suffer^ 
Ere  we  will  eat  our  m,eal  in  fear,  and  sleep 
In  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 ; 
Treason  has  dcme  his  worst :  nor  steel,  nor  poison. 
Malice  domestic,  foreign  levy,  nothing. 
Can  touch  him  further. 

Lady  M.  Come  on  ; 

Gentle  my  lord,  sleek  o'er  your  rugged  looks  ; 
Be  briglit  and  jovial  among  your  guests  to-night. 

(a)  State   the   circumstances   under   which   these  speeches    an. 
uttered. 

(b)  Compare  Lady  Macbeth's  attitude  of  mind  before  Macbeth'a 
entrance  with  that  afterwards.     Account  for  the  "bange. 


QUESTIONS   ON   "MACBETH"  147 

(c)  What  does  this  extract  show  regarding  Macbeth's  state  of 
miiid  ? 

(d)  What  contrast  in  the  characters  of  the  two  is  revealed  ? 

(e)  Select  from  the  extract  a  passage  spoken  by  each,  showing 
that  in  reality  they  share  the  same  opinion. 

(/)  Explain  the  meaning  of  the  italicized  parts. 

2.  (a)  Trace  carefully  the  changes  in  the  mental  attitude  of 
Macbeth  from  the  opening  of  the  plaj'^  till  the  murder  of  Duncan. 

(6)  What  purposes  do  the  following  incidents  serve  in  the  de- 
velopment of  tlie  plot : — 

(i)  Tlie  porter's  soliloquy  (II.,  3). 

(ii)  The  murder  of  Lady  Macduff  and  her  children  (IV.,  2). 
(iii)  The  sleep-walking  scene  (V.,  1). 

3.  ((t)  What  were  Lady  Macbeth's  motives  in  the  murder  of  the 
king? 

(b)  How  far  was  she  responsible  fur  tliis  murder  ? 

(c)  What  was  the  nature  of  her  influence  over  her  husband  after 
the  murder  ? 

(d)  Wliat  punishments  did  Macbeth  suffer  for  his  crimes  ? 

4.  Wliat  are  the  motives  and  the  circumstances  influencing 
Macbetli  in  (a)  the  murder  of  Duncan  ;  {b)  the  murder  of  Banquo  ; 
(c)  the  attempt  to  nuirder  Macduff? 

Honour  Matriculation  and  Entrance  into  the  Faculties 
of  Education 

1.  (a)  Show  h(jw  tlie  prophecies  of  the  witches  influenced  the 
actions  of  Macbeth. 

(6)  What  dramatic  purpose  is  served  by  introducing  tlie  murder 
of  Lady  Macduff  and  her  cliild  ? 

(c)  On  what  occasions  does  Lady  Macbeth  appear  in  the  play  t 
Give  the  dramatic  purpose  of  each  appearance. 

2.  (a)  State  the  features  of  Macbeth's  character  that  fit  him  to 
be  the  hero  of  a  Shakesperean  tragedy.     Illustrate. 


''148  QUESTIONS  ON   "MACBETH" 

(6)  Cite  all  the  things  said  and  done  by  Lady  Macbeth  in  the 
sleep-walking  scene  in  Macbeth  that  are  manifest  echoes  of  sayings 
and  incidents  in  the  earlier  parts  of  the  play,  referring  to  the 
li^tter  in  each  case. 

3.  Act  I. — Scene  I. 

A  desert  place.     Thunder  and  lightning.     Enter  three  Witches. 

First  Witch.     When  shall  we  three  meet  again 
In  thunder,  lightning,  or  in  rain  ? 

Sec.  Witch.      When  the  hnrlybui-ly's  done, 
When  the  battle's  lost  and  won. 

Third  Witch.     That  W'ill  be  ere  the  set  of  sun. 

First  Witch.     Where  the  place  'i 

Sec.  Witch.  Upon  the  heath. 

Third  Witch.     There  to  meet  with  Macbeth. 

First  Witch.     I  come,  Graymalkin  ! 

Sec.  Witch.     Paddock  calls. 

Third  Witch.     Anon. 

All.     Fair  is  foul,  and  foul  is  fair  ; 
Hover  through  the  fog  and  filthy  air.  [Exeunt. 

(a)  What  feelings  did  Shakespeare  probably  intend  to  awaken  in 
his  audience  by  this  scene  ? 

(b)  What  details  of  the  scene  contribute  directly  to  the  de- 
velopment of  these  feelings  ? 

(c)  Comment  on  the  dramatic  significance  of  the  line, 

' '  Fair  is  foul,  and  foul  is  fair. " 

4.  Write  notes  on  the  following  topics  : — 

(a)  The  supposed  indications  that  Macbeth  himself  was  the 
third  murderer  in  the  attack  on  Banquo. 

(6)  The  character  of  Ross  contrasted  with  that  of  Macduff  as 
shown  in  the  events  immediately  following  the  murder  of  Duncan. 

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  kindyiess 

To  catch  the  nearest  way:  thou  wouldst  be  great. 


QUESTIONS   ON   "  MACBETH  "  1-19 

Art  not  without  ambition,  but  without 

27ie  illness  sho\tld  attend  it  :  what  thou  wouldst  highly, 

That  icouldst  thou  holilij  ;  wouldst  not  play  false, 

And  yet  wouldst  wrongly  win  :  thou  'Idst  have,  great  Glamia, 

That  which  cries  "  Thus  thou  must  do,  if  thou  have  it  ; " 

And  tliat  which  rather  thou  dost  fear  to  do 

Than  wishest  should  be  inidone.     Hie  thee  hither, 

That  I  may  pour  my  spirits  in  thine  ear, 

And  chastise  with  the  valour  of  my  toiujue 

All  that  impedes  thee  from  the  golden  round. 

Which  fate  and  metaphiisical  aid  doth  seem 

To  have  thee  crown'd  withal. 

5.  (a)  Who  is  speaking  ?  In  what  circumstances  are  the  lines 
spoken  ? 

(5)  Explain  the  italicized  parts, 

(c)  Show  by  definite  references  to  Macbeth's  later  conduct  how 
far  this  analysis  of  his  character  is  correct. 

6.  What  were  the  influences,  motives  and  circumstances  that 
broucjht  about  each  of  tlie  three  great  crimes  of  Macbeth  ?  How 
do  these  three  crimes  differ  in  character  from  one  another  ? 

7.  Trace  the  changes  in  the  spiritual  life  of  Lady  Macbeth  from 
the  receipt  of  the  letter  announcing  Duncan's  visit,  to  the  sleep- 
walking scene, — noting  her  state  of  mind  (i)  before,  during  and 
after  the  murder  of  Duncan  ;  (ii)  before,  during  and  after  the 
banquet  scene. 

8.  "  The  witches  whose  contribution  to  the  atmosphere  of  Macbeth 
can  hardly  be  exaggerated  are  credited  with  far  too  great  an 
iuHuence  on  the  action.  Sometimes  they  are  descril)ed  as  god- 
desses, or  even  as  fates,  whom  Macbeth  is  powerless  to  resist. 
This  is  perversion  !  " 

Using  the  foregoing  quotation  as  a  basis,  give  an  estimate  A  the 
part  that  the  witches  play  in  Macbeth. 

9.  Mach.  Both  of  you 
Know  Banquo  was  your  enemy. 

Both  Mnr.  True,  my  lord. 

Macb.     So  is  he  mine  ;  and  in  such  bloody  distance, 


{50  QUESTIONS   ON   "MACBETH" 

That  every  minute  of  his  being  thrusts 
Against  my  nearest  life  :   and  though  I  could 
With  barefaced  power  sweep  him  from  my  sight 
And  hid  my  will  avouch  it,  yet  I  must  not. 
For  certain  friends  that  are  both  his  and  mine. 
Whose  loves  I  may  not  drop,  but  wail  his  fall 
Who  I  myself  struch  down  ;  and  thence  it  is, 
That  I  to  your  assistance  do  make  love, 
Masking  the  business  from  the  common  eye 
For  sundry  weighty  reasons. 

Sec.  Mur.  We  shall,  my  lord. 

Perform  what  you  command  us. 

First  Mnr.  Though  our  lives — 

Macb.     Your  spirits  shine  through  you.     Within  this  hour 
at  most, 
I  will  advise  you  where  to  plant  yourselves  ; 
Acquaint  you  with  the  perfect  rpy  o'  the  time. 
The  moment  on  't  ;  for  't  must  be  done  to-night, 
And  something  from  the  palace  ;  always  thought 
That  I  require  a  clearness  :  and  with  him — 
To  leave  no  rubs  nor  botches  in  the  work — ■ 
Fleance  his  son,  that  keeps  him  company. 
Whose  absence  is  no  less  material  to  me 
Than  is  his  father's,  must  embrace  the  fate 
Of  that  dark  hour.     Resolve  yourselves  apart : 
I'll  come  to  you  anon. 

Both  Mur.  We  are  resolved,  my  lord. 

Macb.     I'll  call  upon  you  straight :  abide  within. 

[Exeunt  Murderers. 
It  is  concluded.     Banquo,  thy  soul's  flight. 
If  it  find  heaven,  must  hna  it  out  to-night.  [Exit. 

(a)  Explain  the  figure  of  speech  miplied  in  the  expression  "in 
such  bloody  distance  that  every  minute  of  his  being  thrusts  against 
my  near'st  of  life. " 

Q>)  Explain  the  meaning  of  the  italicized  expressions, 
(c)  Comment  on  the  use  of  rhyme  in  the  last  two  lines. 


QUESTIONS   ON    "  MACBETH  "  151 

10.  Come,  seeling  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  : 

Good  things  of  d.iy  begin  to  droop  and  drowse  ; 

Wliiles  night's  black  agents  to  their  preys  do  rouse. 

(a)  Under  what  circumstances  were  these  words  uttered  ? 

(6)  "  That  great  bond."     What  was  the  "  great  bond  "  ? 

(c)  What  side  of  Macbeth's  character  appears  in  the  language? 
of  this  passage  ?     Give  two  details  that  illustrate  your  answer. 

(d)  In  this  passage  point  out  any  variations  from  the  normal 
iambic  pentameter  line. 

11.  (a)  Indicate  the  evil  eflFects  of  the  murder  of  Duncan  on  the 
character  and  fortunes  of  Macbeth. 

(6)  In  the  sleep-walking  scene,  select  five  details  that  show  the 
strong  impression  made  upon  Lady  Macbeth's  mind  by  her  earlier 
experiences.  Refer  in  each  case  to  the  passages  in  the  earlier  part 
of  the  play  which  are  recalled  to  the  reader  by  the  details  selected. 


SUBJECTS   FOR   COMPOSITION 


1.  The  Temptation  of  Macbeth  (a  study  of  Act  I.). 

2.  The  Weird  Sisters. 

3.  "  The  gracious  Duncan." 

4.  The  Visit  of  Duncan  to  Macbeth's  Castle. 

P  Macbeth  (as  he  appeared  immediately  before  tlie  murder  of 
Duncan,  immediately  after  the  murder,  and  upon  tlie  discovery  of 
the  murder). 

C.   "  'Twas  a  rough  night." 

7.  Macbeth  and  Banquo  (a  contrast). 

8.  The  scene  following  upon  the  discovery  of  the  murder  (aa 
viewed  by  the  audience). 

9.  Lady  Macbeth: 

(a)  Her  ambition. 

(6)  Her  strength  of  will. 

(c)  Her  influence  on  Macbeth. 

(d)  The  feminine  side  of  her  character. 

(e)  Her  physical  appearance. 

10.  Macbeth's   Interview  with   the  Murderers  (as  described  by 
one  of  the  audience). 

11.  The  Murder  of  Banquo  (the  causes  which  led  up  to  it,  the 
actual  murder,  and  the  results). 

12.  The  Banquet  Scene  (as  it  appears  to  the  audience  when  the 
ghost  enters  for  the  first  time). 

13.  The  Murders  of  Duncan  and  Banquo  (a  comparison). 

14.  "Nought's  had,  all's  spent, 

Where  our  desire  is  got  without  content. "     (Illustrate  by 
reference  to  the  play. ) 

152 


SUBJECTS   FOR  COMPOSITION  153 

15.  Fleance  tells  his  story. 

16.  Lennox  and  Ross  (as  they  appear  throughout  the  play). 

17.  The  Apparitions  in  tlie  ^Vitches'  Cavern. 

18.  "  Security  is  mortals'  chiefest  enemy."  (Illustrate  by  refer- 
ence to  Duncan,  Banquo,  MucJuft'and  Macbeth.) 

19.  The  Murder  of  Lady  Macduff  (the  events  which  led  to  it, 
and  its  results). 

20.  "  Things  bad  begun  make  strong  themselveu  by  ill." 

21.  The  Soliloquies  of  Macbeth. 

22.  The  Conversation  between  Malcolm  and  ]Macduff  at  the 
Engli.sh  Court  (as  described  by  some  one  "who  saw  the  meeting, 
the  gestures,  expressions,  etc.,  but  who  could  not  hear  what 
was  said). 

23.  Macduff.     (Trace  his  actions  throughout  the  play.) 

24.  "  Tliere's  no  art  to  find  the  mind's  construction  in  tlie  face." 
Illustrate  by  reference  to  Macbeth  and  Lady  Macbeth.) 

25.  Macduff  and  Banquo  (a  comparison). 

26.  Macbeth's  Physical  Courage  (as  shown  throughout  the  play). 

27.  The  Supernatural  in  Macbeth, 

28.  Malcolm. 

29.  Macbeth  and  Lady  Macbeth  (a  contrast). 

30.  The  Prophecies  and  their  Fulfilment. 


STAGING  A  PLAY  OF  SHAKESPEARE 

The  plaj's  of  Shakespeare  were  written  to  be  acted, 
and  they  are  much  more  effective  when  put  upon  the 
stage  than  when  merely  read  in  class.  In  some  schools, 
where  there  is  a  large  staff  and  a  large  number  of  students 
and  a  good  auditorium,  it  is  possible  to  stage  a  complete 
play;  and  even  in  the  smaller  schools  individual  scenes 
may  be  put  on  with  very  little  outlay  for  costume  or 
scenery. 

The  simplest  form  of  dramatic  production  consists 
merely  in  reading  or  reciting  single  scenes  from  a  play 
of  Shakespeare  before  the  class,  without  special  costumes 
or  scenery,  during  the  lesson  period;  and  an  occasional 
period  spent  in  this  way  is  a  pleasing  variation  from  the 
routine  of  class  work.  But  needless  to  say,  before  any 
attempt  is  made  tc  act  scenes  from  the  play  in  this  way, 
they  must  be  studied  in  class.  The  teacher,  in  this  case, 
assigns  the  parts  beforehand;  the  pupils  learn  the 
speeches  and  study  how  they  should  be  spoken,  and 
one  or  two  practices  are  held  after  school  hours  to  make 
the  acting  run  smoothly.  Sometimes  two  casts  are  chosen 
for  the  same  scene,  and  it  is  a  matter  of  rivalry  to  see 
which  group  of  actors  can  produce  the  scene  more 
effectively. 


Z  STAGING    A    PLAY    OF    SHAKESPEARE 

In  schools  where  the  teacher  and  pupils  decide  to 
stage  a  play  in  whole  or  in  part  for  public  performance, 
some  sort  of  dramatic  organization  is  required.  If 
there  is  a  dramatic  club  in  the  school  it  will  naturally 
take  full  charge  of  the  production;  but,  if  not,  the 
teacher  and  class  must  take  the  first  steps  to  arrange  for 
the  play. 

The  first  thing  to  be  done  is  to  select  the  play,  and  if 
possible  it  should  be  one  that  has  been  studied  in  class. 
The  dramatic  production  should  be  the  outgrowth  of 
class  work,  and  the  w'ould-be  actor  must  make  a  study 
of  the  characters,  the  development  of  the  plot,  the 
structure  of  the  play  and  the  purpose  of  each  scene. 
He  must  have  studied  the  play  so  thoroughly  that  he 
knows  the  exact  meaning  of  every  expression,  and  is 
able  to  interpret  the  feelings  of  the  various  speakers  in 
the  play. 

In  any  dramatic  organization,  the  most  important 
person  is  the  director  or  stage-manager  of  the  play,  who 
is  usually  also  the  "coach,"  w'ho  gives  instruction  to 
the  actors.  The  director  has  full  charge  of  the  production 
of  the  play,  the  rehearsals,  the  scenery  and  stage  effects, 
the  costumes,  etc.,  etc.  He  must,  of  course,  be  assisted 
by  various  committees,  but  he  directs  their  w^ork  and 
his  decisions  are  in  all  cases  final.  He  should  not  only 
have  some  knowledge  of  how  to  stage  a  play,  but  should 
have  certain  indispensable  personal  qualities  such  as 
tact,  good  humour,  executive  ability  and  decision.  It 
is  desirable,  for  obvious  reasons,  that  some  member 
of  the  staff  should  be  the  director  of  the  school  play: 
but  experience  and  knowledge  of  stage  production  is  the 
first  consideration.  The  director,  of  course,  does  not 
himself  take  part  in  the  play. 


STAGING  A  PLAY  OF  SHAKESPEARE  3 

Next  to  the  director,  or  stage-manager,  the  most 
important  member  of  the  organization  is  the  "prompter", 
who  is  usually  assistant  stage-manager.  He  must  be 
thoroughly  familiar  with  the  play,  and  in  addition  to 
his  general  services,  it  is  his  duty  to  prompt  the  actors 
at  rehearsals  and  on  the  night  of  the  performance. 

The  manager  is  assisted  by  a  committee  of  students, 
each  with  specific  duties.  Different  students,  or  com- 
mittees of  students,  are  given  charge  of: — 

(a)  The    scenery,     including    the     carpenter      work 

and  the  curtain. 
(6)  The  lighting,  and  electrical  devices. 

(c)  The  stage  properties, — i.e.  the  furnishings  and 
small  articles — everything,  in  fact,  except  the 
costumes  and  scenery. 

(d)  The  costumes. 

(e)  The  music,  including  the  orchestra. 
(/)    The  make-up. 

(g)  The  business  details,  advertising,  printing,  sale 
of  tickets,  ushers,  etc. 

It  is  necessary  to  guard  against  over-organization 
and  over-lapping;  and  the  director  must  use  his  discretion 
as  to  how  many  assistants  are  required. 

In  general,  a  play  of  Shakespeare  is  much  too  long 
for  presentation  on  a  modern  stage,  and  even  in  single 
scenes  certain  parts  may  be  cut  out  to  advantage.  The 
play  must  be  studied  carefully  by  the  director,  either 
with  or  without  the  class,  in  order  to  decide  what  scenes 
may  be  omitted  and  how  the  speeches  may  be  shortened. 
As  a  result  of  this  revision,  an  acting  edition  of  the  play 
is  produced.    It  is  better  if  possible,  to  give  to  each  actor 


A  STAGING   A    PLAY    OF    SHAKESPEARE 

a  typewritten  copy  of  his  own  part  in  the  play,  rather 
than  have  him  rely  on  the  text  as  a  whole. 

One  of  the  first  duties  of  the  director  is  to  choose  a 
cast  for  the  play,  and  in  making  the  selection  he  may  be 
assisted  by  a  committee  of  two  or  three  judges.  At 
the  "try-out,"  those  who  wish  to  take  part  in  the  play 
are  required  to  read  a  scene,  or  part  of  a  scene,  which 
they  have  prepared.  In  assigning  parts  to  different 
students,  the  judges  must  take  into  account  (a)  the 
voice, — its  carrying  power,  tone,  flexibility,  etc.  |(6) 
ability  of  the  actor  to  enter  into  the  spirit  of  the  play,  to 
feel  the  part  he  acts,  and  (c)  his  physical  suitability  for  the 
part.  No  student  should  accept  a  part  in  the  play 
unless  he  can  give  an  assurance  that  he  will  attend  the 
rehearsals  faithfully  and  punctually.  There  should  be 
a  definite  understanding  on  this  point  before  the  cast 
is  completed. 

Usually  at  least  twelve  or  fifteen  rehearsals  are  re- 
quired, that  is  about  three  a  week  for  five  or  six  weeks. 
The  first  two  or  three  rehearsals  are  given  over  to 
blocking  out  the  action.  The  actors  read  their  parts, 
and  the  director  gives  instructions  as  to  entrances,  exits, 
movements,  acting,  and  stage  "business."  At  these 
rehearsals  no  attention  is  paid  to  the  speaker's  voice 
or  expression,  but  the  actors  must  become  familiar  with 
their  positions  and  movements  on  the  stage,  and  the  same 
routine  must  be  followed  at  subsequent  rehearsals. 
After  this  preliminary  work  has  been  done,  the  play 
must  be  studied  scene  by  scene  and  line  by  line  for  the 
purpose  of  securing  the  proper  interpretation  and 
expression.  The  first  Act  is  rehearsed  repeatedly  before 
proceeding  with  the  second.  When  the  acting  and  the 
reading  go  hand  in  hand,  the  actors  learn  their  lines  with 


STAGING    A    PLAY    OF    SHAKESPEARE  3 

little  effort,  and  at  the  end  of  the  first  week,  Act  I 
should  be  letter-perfect.  It  is  not  always  necessary  to 
have  the  full  cast  present  at  the  rehearsals,  for  single 
speeches  and  single  scenes  may  sometimes  be  rehearsed 
to  better  advantage  when  only  those  immediately  con- 
cerned are  present.  During  the  w'eek  immediately  pre- 
ceding thv3  final  performance,  rehearsals  arc  held  every 
evening,  and  the  "dress"  rehearsals  on  the  last  two  or 
three  evenings  should  be  held  in  the  hall  or  theatre  where 
the  play  is  to  be  acted. 

It  is  impossible  within  the  limits  of  a  few  pages,  to 
give  detailed  instructions  regarding  staging  and  acting; 
but  there  are  one  or  two  general  directions  which  it  is 
well  for  the  actors  to  keep  in  mind: 

For  those  who  are  taking  part  in  the  play  the  all- 
important  thing  is  that  they  should  feel  the  parts  that 
they  are  acting.  The  actor  who  loses  himself  in  his  part 
is  scarcely  conscious  of  his  audience,  and  he  has  no 
temptation  to  declaim.  He  speaks  naturally,  usually  in 
a  conversational  tone,  and  he  gives  free  expression  to 
his  emotions,  "Did  you  see  Kean  in  Othello?"  some  one 
asked  Kemble.  "No,"  replied  Kemble,  "I  did  not  see 
Mr.  Kean.  I  saw  Othello."  The  student  who  enters  so 
completely  into  the  play  that  he  forgets  himself  in  the 
part  that  he  is  acting  is  Ukely,  on  the  whole,  to  prove  a 
better  actor  than  the  student  who  merely  recites  his 
lines.  His  speech  is  less  hurried;  his  acting  is  more 
natural ;  he  does  not  make  unnecessary  movements,  and 
he  does  not  let  his  eyes  wander  from  the  stage  to  the 
audience.  He  must,  however,  always  bear  in  mind  that 
his  speech  must  be  heard  by  the  audience.  This  necessi- 
tates clear  enunciation  and   proper  voice-control;  and 


S  STAGING  A  PLAY  OF  SHAKESPEARE 

the  actor  must  always  occupy  a  position  on  the  stage 
that  will  enable  the  audience  to  hear  him. 

On  the  mechanical  side,  in  staging  a  play  it  is  safer 
for  the  amateur  to  err  on  the  side  of  simphcity  rather 
than  make  his  production  too  elaborate.  The  scenery 
and  the  stage-furnishings  should  be  of  the  simplest. 
Most  of  the  text-books  on  dramatics  give  directions  for 
making  stage  settings  of  plain  and  cheap  materials.  In 
modern  play-production,  footlights  and  spotlights  are 
sparingly  used,  and  the  stage  is  lighted  from  the  wings 
and  from  above.  Most  amateur  producers  are  troubled 
as  to  "make-up";  but  for  most  plays  very  little  make-up 
is  required, — only  enough  to  prevent  the  face  from 
appearing  too  pale.  But  for  these  and  all  other  details 
relating  to  the  staging  of  the  play,  the  stage-manager 
may  be  relied  upon,  and  there  are  many  books  on 
dramatics  which  may  be  consulted  by  the  amateur. 

The  following  are  a  few  of  the  well-known  books  on 
the  subject: 

Shakespeare  for  Community  Players  by  Roj'  Mitchell. 

J.  M.  Dent  and  Sons,  Toronto. 
Practical  Stage-Directing  for  Amateurs,  by  Emerson 

Taylor.     E.  P.  Button  &  Co.,  New  York. 
Hovj  to  Produce  Amateur  Plays,  by  Barrett  H.  Clark. 

Little,  Brown  &  Co.,  Boston. 
Producing  in  Little   Theatres,  by  Clarence  Stratton. 

Henry  Holt  &  Co.,  New  York. 
Book  for  Shakespeare  Plays  and  Pageants,  by  O.  L. 

Hatcher.     E.  P.  Button  &  Co.,  New  York. 

Play  Production  for  Amateurs,  by  F.  H.  Koch.     Uni- 
versity of  North  Carolina  Extension  Bulletin. 


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