William Shakespeare, Macbeth – SEMINAR ASSIGNMENT

Read carefully the texts below and answer the questions, paying attention to the
dramatic context of each fragment. You may choose to develop one of these topics in
an extended final essay and present it in class.

1. One of the prominent motifs in the play is that of equivocation (the use of ambiguous language/discourse). Starting
from the fragments below, explain how the equivocation in the prophecies of the witches (Macbeth calls them
“imperfect speakers”) determines the tragic course of events for Macbeth (take into account all the apparitions of the
witches in the play).

Act I, scene 1. First Witch: When shall we three meet again

[The play opens with the eerie
conversation of three witches,
in “a desert place”]
In thunder, lightning, or in rain?
Second Witch: When the hurly-burly's done,
When the battle's lost and won.
Third Witch: That will be ere the set of sun.
First Witch: Where the place?
Second Witch: Upon the heath.
Third Witch: There to meet with Macbeth.
[…]
ALL: Fair is foul, and foul is fair:
Hover through the fog and filthy air.

Act I, scene 3
[“Brave Macbeth” and
Banquo, generals in King
Duncan’s army, return from a
fierce battle against a group
of traitor rebels.]
MACBETH: So foul and fair a day I have not seen.
BANQUO: How far is't call'd to Forres? What are these
So wither'd and so wild in their attire,
That look not like the inhabitants of the earth,
And yet are on it? Live you? or are you aught [anything]
That man may question [talk with]? You seem to
understand me,
By each at once her chappy [cracked] finger laying
Upon her skinny lips: you should be women,
And yet your beards forbid me to interpret
That you are so.
MACBETH: Speak, if you can: what are you?
First Witch: All hail, Macbeth! hail to thee, thane of Glamis!
[thane: Scottish nobiliary title]
Second Witch: All hail, Macbeth, hail to thee, thane of
Cawdor!
Third Witch: All hail, Macbeth, thou shalt be king hereafter!
BANQUO: Good sir, why do you start; and seem to fear
Things that do sound so fair? I' the name of truth,
Are ye fantastical [imaginary], or that indeed
Which outwardly ye show? My noble partner
You greet with present grace [honour] and great
prediction
Of noble having and of royal hope,
That he seems rapt withal [with that]: 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
Your favours nor your hate.
First Witch: Hail!
Second Witch: Hail!
Third Witch: Hail!
First Witch: Lesser than Macbeth, and greater.
Second Witch: Not so happy, yet much happier.
Third Witch: Thou shalt get kings, though thou be none:
So all hail, Macbeth and Banquo!
[Ross and Angus bring
Macbeth the news of his
being invested with the title
of Thane of Cawdor, as a
reward for his bravery and
success in the battle for “the
kingdom’s great defence”]
2. How much of the tragedy comes from Lady Macbeth’s personality and role in the play? Can we regard her as an
agent of Fate (like the witches)? What does the soliloquy below reveal about her character? Compare it to that of her
husband. What does she mean when she describes her husband as “too full of the milk of human kindness/To catch
the nearest way” (in the same scene)?
Act I, scene 5.
[Lady Macbeth has just
read the letter from
Macbeth in which he tells
her about the witches’
prophecies and she starts
making plans to obtain the
“golden round” (i.e. the
crown of Scotland) which
“fate and metaphysical aid”
seem to promise to her
husband.]
First Witch: Banquo and Macbeth, all hail!
[…]
BANQUO: What, can the devil speak true?
MACBETH: The thane of Cawdor lives: why do you dress me
In borrow'd robes?
[…]
BANQUO: […] oftentimes, to win us to our harm,
The instruments of darkness tell us truths,
Win us with honest trifles, to betray's [betray us]
In deepest consequence.
Cousins, a word, I pray you.
MACBETH: [Aside] Two truths are told,
As happy prologues to the swelling act
Of the imperial theme.--I thank you, gentlemen.
Aside
This supernatural soliciting [inciting, inviting, urging]
Cannot be ill, cannot be good: if ill,
Why hath 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 [normal way] of nature? Present fears
Are less than horrible imaginings:
My thought, whose murder yet is but fantastical,
Shakes so my single [weak, feeble] state of man that
function [normal operation of mind and body]
Is smother'd in surmise, and nothing is
But what is not.
BANQUO: Look, how our partner's rapt [lost in reverie].
MACBETH: [Aside] If chance will have me king, why, chance
may crown me,
Without my stir.
BANQUO: New honors come upon him,
Like our strange garments, cleave [adhere, stick fast]
not to their mould
But with the aid of use.
LADY MACBETH: […] Come, you spirits
That tend on mortal [deadly, fatal] thoughts, unsex me here,
And fill me from the crown to the toe top-full
Of direst cruelty! make thick my blood;
Stop up the access and passage to remorse [pity],
That no compunctious visitings of nature [natural feelings of
pity]
Shake my fell [fierce, cruel] purpose, nor keep peace
between
The effect and it! Come to my woman's breasts,
And take my milk for gall, you murdering ministers
[attendant spirits, agents],
Wherever in your sightless [invisible, unseen] substances
You wait on nature's mischief [harm, damage]! Come, thick
night,
And pall [cover, shroud] thee in the dunnest [darkest] smoke
of hell,
That my keen knife see not the wound it makes,
Nor heaven peep through the blanket of the dark,
 To cry 'Hold, hold!'

3. Comment on the following fragment from Macbeth’s soliloquy just before he murders Duncan, which emphasizes
the theme of the difference between illusion and reality. Can we argue that Macbeth’s fate is the product of his
extraordinary power of fantasy (imagination)?

Act II, scene 1. MACBETH: Is this a dagger which I see before me,
The handle toward my hand? Come, let me clutch thee.
I have thee not, and yet I see thee still.
Art thou not, fatal vision, sensible [sensitive, perceptive]
To feeling as to sight? or art thou but
A dagger of the mind, a false creation,
Proceeding from the heat-oppressed [fevered] brain?
I see thee yet, in form as palpable
As this which now I draw.
Thou marshall'st me the way that I was going;
And such an instrument I was to use.
Mine eyes are made the fools o' the other senses,
Or else worth all the rest; I see thee still,
And on thy blade and dudgeon [handle] gouts [large drops]
of blood,
Which was not so before. There's no such thing:
It is the bloody business which informs [creates impressions]
Thus to mine eyes.

4. Sleep is another prominent motif in the play. What does Macbeth’s sleeplessness (and, later, Lady Macbeth’s
sleepwalking) suggest about his/her conscience? Point out the relevance of this motif to the theme of death (compare
with Hamlet’s death-sleep equivalence in the “To be or not to be soliloquy”) as well as to that of reality vs. illusion.
Explain Macbeth’s reference to sleep as “chief nourisher in life’s feast” and “great nature’s second course”.

Act II, scene 2.
[Macbeth has just
murdered Duncan; his
mind is deeply troubled.]
MACBETH: 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 say 'Amen,'
When they did say 'God bless us!'
LADY MACBETH: Consider it not so deeply.
MACBETH: But wherefore could not I pronounce 'Amen'?
I had most need of blessing, and 'Amen'
Stuck in my throat.
LADY MACBETH: These deeds must not be thought
After these ways; so, it will make us mad.
MACBETH: Methought [it seemed to me] I heard a voice cry 'Sleep
no more!
Macbeth does murder sleep', the innocent sleep,
Sleep that knits up the ravell'd sleeve [smoothes out the
tangled skein] of care,
The death of each day's life, sore [causing grief] labour's
bath,
Balm of hurt minds, great nature's second course [dish in a
meal],
Chief [main] nourisher in life's feast,--
LADY MACBETH: What do you mean?
MACBETH: Still it cried 'Sleep no more!' to all the house:
'Glamis hath murder'd sleep, and therefore Cawdor
Shall sleep no more; Macbeth shall sleep no more.'

5. In Act II, scene 3, while Macduff has gone to wake king Duncan, Lennox, yet unaware of the murder, describes to
Macbeth the “unruly” night, the “lamentings,” “strange screams of death,/And prophesying with accents terrible” of
the tempestuous nature outside. Point out how the later conversation between Ross and an old man emphasizes the
belief in the correspondence between the natural world and the state of the kingdom.

Act II, scene 4. ROSS: Ah, good father,

[In Scene 3, In scene 4, Thou seest, the heavens, as [if] troubled with man's act,
the conversation between Threaten his bloody stage: by the clock, 'tis day,
Ross and an old man turns
upon the same motif of
the correspondence
between nature and the
state of the kingdom]
6. Several strands of imagery are interwoven in this conversation between Macduff’s companions, in which Macbeth is
depicted as a tyrant and a usurper. Identify and comment on these metaphorical references.
Act V, scene 2.
[Outside Dunsinane,
Macbeth’s castle, the
Scottish generals prepare
for battle against the
usurper king.]
7. The metaphors of disease and of cure/medicine are frequent in Macbeth. How can we interpret Macbeth’s request
that the doctor should try to cure his wife’s “diseased” mind? What other metaphor can you identify here to suggest
return to health (also present in the previous fragment)?
Act V, scene 3.
[Macbeth inquires about
the health of his wife,
whose hallucinations and
disturbed mind suggest
her imminent collapse
under the weight of the
horrible deeds they
committed]
And yet dark night strangles the travelling lamp [i.e. the sun]:
Is't night's predominance [supremacy, ascendancy], or the
day's shame,
That darkness does the face of earth entomb,
When living light should kiss it?
Old Man: 'Tis unnatural,
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 thing 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 [if] they would make
War with mankind.
MENTEITH: What does the tyrant?
CAITHNESS: 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 [diseased, evil] cause
Within the belt of rule [reason, control].
ANGUS: Now does he feel
His secret murders sticking on his hands;
Now minutely [every minute] revolts upbraid his faith-breach;
Those he commands move only in command,
Nothing in love: now does he feel his title
Hang loose about him, like a giant's robe
Upon a dwarfish thief.
MENTEITH: Who then shall blame
His pester'd [tormented, troubled] senses to recoil and start,
When all that is within him does condemn
Itself for being there?
CAITHNESS: Well, march we on,
To give obedience where 'tis truly owed:
Meet we the medicine of the sickly weal [commonwealth,
society],
And with him pour we in our country's purge
Each drop of us.
LENNOX: Or so much as it needs,
To dew [water] the sovereign flower and drown the weeds.
MACBETH: […] How does your patient, doctor?
Doctor: Not so sick, my lord,
As she is troubled with thick coming fancies,
That keep her from her rest.
MACBETH: Cure her of that.
Canst thou not minister [perform service or duty] to a mind
diseased,
Pluck from the memory a rooted sorrow,
Raze [erase] out the written troubles of the brain
And with some sweet oblivious antidote [opiate, medicine to
cause forgetfulness/oblivion]
Cleanse the stuffed bosom of that perilous stuff
Which weighs upon the heart?
Doctor: Therein [In this respect/in this matter] the patient
 Must minister to himself.

8. The following monologue, delivered immediately after Macbeth is informed about his wife’s death, illustrates best
the baroque vision of Shakespeare’s tragedies. The play-metaphor used by Macbeth is an instance of the baroque motif
of theatrical illusion, which contributes to the larger theme of reality vs. illusion in the play. Explain this metaphor,
showing how it depicts Macbeth’s state of mind at this final moment. (See the Introductory course notes, on the
Renaissance and the Baroque sensibility)

Act V, scene 5. MACBETH: […] Wherefore was that cry?

SEYTON: The queen, my lord, is dead.
MACBETH: She should have died hereafter [in some future
time];
There would have been a time for such a word.
To-morrow, and to-morrow, and to-morrow,
Creeps in this petty pace from day to day
To the last syllable of recorded time,
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life's but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more: it is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.