Analyze the Image

What theme about power does

the artist express?

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Get hooked by the unit topic.

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282 UNIT 4
 UNIT
4

Reckless
Ambition
“Be bloody, bold, and resolute.
Laugh to scorn
The power of man. . . .”
— Macbeth, Act IV, Scene 1

ESSENTIAL QUESTION:
When is ambition
dangerous?
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283
 Spark Your
Learning
As you read, you can
use the Response Log
Here are some opportunities to think about the (page R4) to track your
topics and themes of Unit 4: Reckless Ambition. thinking about the
Essential Question.

Think About the

Essential Question
When is ambition dangerous?
When you hear the word success, who comes to mind?
A famous entrepreneur, entertainer, or athlete, maybe?
List some examples of successful people in the space
provided, and then compare your list with a partner.
Make the Connection Together, choose one example and discuss what
obstacles that person might have overcome to reach
Think about a situation you’ve this goal.
been in that required competition
to achieve a goal. If you succeeded,
who might have felt hurt because
they failed? If you didn’t achieve
the goal, what was your attitude
toward the winner? Discuss with
a partner the effects of achieving
goals through competition.

Build Academic Vocabulary

You can use these Academic Vocabulary words to write and
talk about the topics and themes in the unit. How many of
Prove It! these words do you already feel comfortable using when
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When is ambition positive,

speaking or writing?
and when is it negative?
Discuss your ideas using one I can use it! I understand it. I’ll look it up.
of the Academic Vocabulary
comprise
words.
incidence

predominant

priority

ultimate

284 UNIT 4
 Preview the Texts
Look over the titles, images, and descriptions of the texts in the unit.
Mark the title of the text that interests you most.

The Tragedy of Macbeth from Macbeth

Drama by William Shakespeare Film by Rupert Goold
Wanting to be king at all costs A pair of victorious fighters
demands a high price. encounter an otherworldly trio
making unbelievable predictions.

from Manga Shakespeare: Shakespeare and Samurai

Macbeth (and Robot Ninjas?)
Graphic Novel by Robert Deas and Book Review by Caitlin Perry
Richard Appignanesi A novelist defends her opinion of a
Samurai warriors in a futuristic genre-bending graphic novel.
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landscape meet a spooky apparition.

Think Outside the Box

What does it mean to be a ruler? Use the space provided to draw a king or
queen, showing at least one perk of the position and at least one difficult
duty or responsibility of a monarch.
(tr) Great Performances: Macbeth ©WNET

285
 Shakespearean Drama

One reason Shakespeare’s works have endured for over 400 years is that
his characters, whether from history or his imagination, transcend any
particular time or place. Many of these characters are archetypes—
familiar character types that appear over and over again in literature.
The scheming characters and conspiracies at the heart of The Tragedy of
Macbeth are as relevant today as they were in Shakespeare’s time.

Characteristics of Shakespearean
Tragedy
A tragedy is a drama in which a series of actions leads to the downfall of
the main character, called the tragic hero. The plot builds to a catastrophe,
or a disastrous final outcome. A tragic hero

• is of high social rank

• has a tragic flaw that leads to a downfall
• suffers ruin or death, but faces this downfall with courage and dignity

Dramatic Conventions As you read, notice how Shakespeare builds

suspense with these techniques:

• Dramatic irony results when the audience knows something that a

character does not know.
• Soliloquy is a speech given by a character alone on stage, revealing
private thoughts, feelings, and motivations.
• Aside is a character’s remark, either to the audience or to another

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character, that no one else on stage is supposed to hear. Like a
soliloquy, an aside reveals a character’s secret thoughts.

286 UNIT 4
 The Language of Shakespeare
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Shakespearean language may use unfamiliar vocabulary and sentence

structure, but that shouldn’t stop you from getting caught up in the
intriguing plot that drives Macbeth. Here are some keys to reading
Shakespeare’s language:

Blank Verse Shakespeare’s plays are verse dramas, in which most of the
dialogue is written in the metrical patterns of poetry. Shakespeare wrote
primarily in blank verse, or unrhymed lines of iambic pentameter. Iambic
pentameter is a pattern of rhythm that has five unstressed syllables ( ˘ ),
each followed by a stressed syllable ( ‘ ). Read this line aloud, noticing how
the rhythm mimics that of everyday speech:

˘ foul
  ʹ and
˘ fair
ʹ a   ˘ day
    ʹ I˘ have
ʹ not˘ seen.
  ʹ
So

Most of Macbeth is written in blank verse. In some places, however,

Shakespeare broke the pattern to vary the rhythm, create dramatic
tension, or distinguish low-ranking characters from those of higher rank.

Shakespearean Drama 287

 Rhetorical Devices In Macbeth, characters often attempt to persuade each
other as they struggle to reach their goals. One key to persuasion is the use
of rhetorical devices such as these:

Rhetorical Device Example

Repetition: Thrice to thine, and thrice to mine

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the use of words and phrases more And thrice again, to make up nine.
than once to emphasize ideas         —Act I, Scene 3, lines 35–36

Parallelism: When the hurly-burly’s done,

the repetition of grammatical When the battle’s lost and won.
structures to express ideas that are         —Act I, Scene 1, lines 3–4
related or of equal importance

Rhetorical Questions: Do you not hope your children shall be kings

the use of questions that require When those that gave the Thane of Cawdor to me
no answer to make the speaker’s
Promised no less to them?
rightness seem self-evident
        —Act I, Scene 3, lines 118–120

Antithesis: Fair is foul, and foul is fair, . . .

the use of contrasting ideas within a         —Act I, Scene 1, line 10
sentence for effect

288 UNIT 4
 Reading Shakespearean Drama
Understanding Shakespearean drama can be challenging for modern
readers. Use these strategies to help you appreciate and analyze Macbeth:

• Study the opening cast of characters, which in Macbeth will tell you
the characters’ ranks and how they are related to one another.
• Try to visualize the setting and action by using information in the
stage directions and dialogue.
• Use the side glosses, or notes that appear in the margin next to the
text, to understand unfamiliar words and expressions.
• Remember that the end of a line does not necessarily mean the end of
a thought. Look closely at each line’s punctuation, and try to figure out
the meaning of the complete sentence or phrase.
• Paraphrase passages to help you understand the characters’ public
personas as well as their private schemes. When you paraphrase a
passage, you restate its key points in your own words.
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Shakespearean Drama 289

 Get Ready
ESSENTIAL QUESTION:
When is ambition
The Tragedy of Macbeth dangerous?

Drama by William Shakespeare

Engage Your Brain

Choose one or more of these activities to start
connecting with the drama you’re about to read.

Don’t Mind If I Do
Inspirational speakers, politicians, Internet
bloggers, television commercials, print
ads, and even ordinary people can all be
persuasive. People may be tempted or
even convinced to do something based
on what they read or listen to, even when
they doubt and question the information.
With a partner, discuss unlikely examples of
effective persuasion you have seen or heard.
Leadership Qualities
What qualities must an effective leader
have? Are some of these qualities both
I Wish I Hadn’t Done That negative and positive? Write a blog
Everyone has made a decision they later regretted. post or record a podcast in which you
explore the plusses and minuses of

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What is one of yours that you’re comfortable sharing?
What do you wish you had done differently, and key leadership qualities.
why? Use the space provided to sketch or describe
two versions of the decision: first, what actually
happened, and then, what you wish had happened
instead.

290 UNIT 4 ANALYZE & APPLY

 Get Ready

Analyze Drama
Use what you learned about the characteristics of Shakespearean tragedy
to help you analyze drama, including understanding the characters and Focus on Genre
plot of Macbeth. Watch for ways in which the play’s tragic hero, asides,
Drama
soliloquies, and dramatic irony build suspense and develop a theme.
• is meant to be performed
Use these aspects of drama to help you as you read: before an audience
• tells a story with a plot,
Feature How It Helps characters, setting, conflict,
and themes

Cast of characters
Provides a preview of “who’s who” and their • relies on stage directions,
relationships with one another speaker tags, and dialogue

Tell where and when events occur, describe how

Stage directions actions are performed, and note emotions or how a
character says a line of dialogue

Provide definitions and explanations of unfamiliar

Side glosses
terms and expressions

If you still find a passage confusing, read it aloud with a partner and then
paraphrase and discuss it.

Analyze Character and Theme

The theme is the insight about life or human nature that the writer wants
to communicate. Theme is often developed through characterization,
or the way a writer reveals the characters’ personalities, and plot. In The
Tragedy of Macbeth, Shakespeare explores themes related to ambition and
power. These themes are supported by the actions, thoughts, and speech
of the characters.
Shakespeare shaped Macbeth into a complex and believable character
who is driven by ambition. He develops all of his characters through a
range of literary devices, such as

• character foils, or characters who provide a striking contrast to

another character. A foil can call attention to certain traits of the main
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character.

• soliloquies and asides that reveal a character’s motivations and

secrets

• dialogue that shows what others think about a character

• responses of characters to others

• change and growth of a character over the course of the play

The Tragedy of Macbeth 291

 Get Ready

Analyze Figurative Language

Part of the enduring influence of Macbeth is Shakespeare’s deft use of figurative language,
or imaginative comparisons. When someone says something was done in “one fell swoop,”
they’re quoting a metaphor from Act IV of Macbeth: “one fell swoop” implies a comparison of
completing many actions at once with the deadly dive of a bird of prey attacking many helpless
creatures all together. Watch for these other types of figurative language as you read the play:

Figure of Speech Example from Macbeth

Antithesis presents ideas in opposition to each other

to make a point.
Fair is foul, and foul is fair (Act I, Scene 1, line 10)

Hyperbole exaggerates the importance or scope of As thick as hail / Came post with post (Act I, Scene 3,
something for effect. lines 97–98)

Rhetorical questions are asked for effect, not in Was the hope drunk / Wherein you dressed
expectation of an answer. yourself? (Act I, Scene 7, lines 35–36)

Metonymy substitutes something related to the The Thane of Cawdor lives. Why do you dress me
subject for the subject itself. / In borrowed robes? (Act I, Scene 3, lines 108–109)

Synecdoche uses a part of something to represent the Think upon what hath chanced, and . . . /. . . let us
whole thing (or the whole to represent only a part). speak / Our free hearts each to other. (Act I, Scene 3,
lines 153–155)

As you read, pay attention to the way figurative language develops this play’s ominous mood.

Annotation in Action
Here are one reader’s notes about elements of drama in the play’s
opening. As you read, mark details that develop characters and themes.

ACT I
Scene 1 An open place in Scotland.
Stage directions
[Thunder and lightning. Enter three Witches.]
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set up a spooky
First Witch. When shall we three meet again?
In thunder, lightning, or in rain?
mood for the play.
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.

292 UNIT 4 ANALYZE & APPLY

 The Tragedy of

Macbeth
Drama by William Shakespeare

William Shakespeare (1564–1616)

was born in Stratford-upon-Avon to a fairly prosperous family. He
attended the local grammar school, studying Latin and classical
literature. At age 18, he married Anne Hathaway. They had a
daughter and then twins, a boy and a girl.
Around 1590, Shakespeare moved to London. He worked as an Wanting to be king
at all costs demands
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actor and began writing plays. He performed for Queen Elizabeth I

a high price.
and helped renovate the Globe Theatre. His success enabled
him to buy a home in Stratford, where he returned in 1612. He
continued to write until his death four years later at age 52.
Shakespeare is recognized as the most influential writer in the
English language. He mastered the sonnet form, making it
his own with his highly original approach; he composed long
narrative poems; and he left a dramatic legacy unsurpassed by any
playwright before or since. Four centuries later, his plays continue
to be performed on stage and made into films.
Shakespeare’s plays are often grouped based on when they were
written. In the early 1590s, he wrote history plays and comedies.
As the century ended, Shakespeare began exploring darker views
of human nature in his work. Between 1600 and 1607, he wrote his
greatest tragedies, including Macbeth. His later comedies are often
called tragicomedies, as they are tinged with sadness.
After Shakespeare died, his plays were published in an edition
known as the First Folio. In the introduction, playwright Ben Jonson
wrote that Shakespeare “was not of an age, but for all time.”

The Tragedy of Macbeth 293

 About Macbeth
It is believed that Shakespeare wrote Macbeth largely to please
King James I. The Scottish-born king claimed to be descended
from an 11th-century historical figure named Banquo. In Macbeth,
the Witches predict that Banquo will sire a long line of kings.
James’s interest in witchcraft—he wrote a book on the subject in
1597—may explain the prominence of the Witches in the play. The
play also addressed James’s fears of assassination; he had survived
several attempts on his life.

THE TIME: The 11th century

THE PLACE: Scotland and England

Characters
Duncan, King of Scotland
His Sons
Malcolm
Donalbain
Noblemen of Scotland
Macbeth
Banquo
Macduff
Lennox

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Ross
Macbeth
Menteith (m≈n-t∏th´)
Angus
Caithness (k∑th´n∆s)
Fleance (fl∑´∂ns), son to Banquo
Siward (sy◊´∂rd), earl of Northumberland,
 general of the English forces
Young Siward, his son
Seyton (s∑´t∂n), an officer attending on Macbeth
Son, to Macduff
An English Doctor
A Scottish Doctor
A Porter
An Old Man
Lady Macbet
h Three Murderers
Lady Macbeth
Lady Macduff
A Gentlewoman attending on Lady Macbeth
Hecate (h≈k´∆t), goddess of witchcraft
Three Witches
Apparitions
Lords, Officers, Soldiers,
 Messengers, and Attendants

294 UNIT 4 ANALYZE & APPLY

 Act I Don’t forget to
Notice & Note as you
Scene 1 An open place in Scotland. read the text.
[Thunder and lightning. Enter three Witches.]
First Witch. When shall we three meet again?
In thunder, lightning, or in rain?
Second Witch. When the hurly-burly’s done, 3 hurly-burly: turmoil; uproar.
When the battle’s lost and won.
5 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.
First Witch. I come, Graymalkin. 8–9 Graymalkin . . .
Paddock: two demon helpers
Second Witch. Paddock calls. in the form of a cat and a toad;
Anon: at once.
Third Witch. Anon.
10 All. Fair is foul, and foul is fair,
Hover through the fog and filthy air.
[They exit.]

Scene 2 King Duncan’s camp near the battlefield.

[Alarum within. Enter King Duncan, Malcolm, Donalbain, [Stage Direction] Alarum within: the
Lennox, with Attendants, meeting a bleeding Captain.] sound of a trumpet offstage, a signal
that soldiers should arm themselves.
Duncan. What bloody man is that? He can report,
As seemeth by his plight, of the revolt
The newest state.
Malcolm. This is the sergeant
Who, like a good and hardy soldier, fought
5 ’Gainst my captivity.—Hail, brave friend! 5 ’Gainst my captivity: to save me
Say to the King the knowledge of the broil from capture.

As thou didst leave it. 6 broil: battle.

Captain.    Doubtful it stood,

As two spent swimmers that do cling together
And choke their art. The merciless Macdonwald
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9–13 Macdonwald’sevils
10 (Worthy to be a rebel, for to that (multiplying villainies) swarm like
insects around him. His army consists
The multiplying villainies of nature of soldiers (kerns and gallowglasses)
Do swarm upon him) from the Western Isles from the Hebrides (Western Isles).
Of kerns and gallowglasses is supplied;
And Fortune, on his damnèd quarrel smiling,
15 Showed like a rebel’s whore. But all’s too weak;
For brave Macbeth (well he deserves that name),
Disdaining Fortune, with his brandished steel,
Which smoked with bloody execution,
Like valor’s minion, carved out his passage 19 valor’s minion: the favorite of
valor, meaning the bravest of all.

The Tragedy of Macbeth, Act I, Scene 2 295

 20 Till he faced the slave;
Which ne’er shook hands, nor bade farewell to him,
22 unseamed him . . . chops: split Till he unseamed him from the nave to th’ chops,
him open from the navel to the jaw.
And fixed his head upon our battlements.
Duncan. O valiant cousin, worthy gentleman!
25–28 As the rising sun is sometimes 25 Captain. As whence the sun ’gins his reflection
followed by storms, a new assault on
Shipwracking storms and direful thunders break,
Macbeth began.
So from that spring whence comfort seemed to come
ANALYZE CHARACTER AND Discomfort swells. Mark, King of Scotland, mark:
THEME No sooner justice had, with valor armed,
Annotate: Mark words in the 30 Compelled these skipping kerns to trust their heels,
Captain’s speech in lines 7–41 that But the Norweyan lord, surveying vantage,
reveal Macbeth’s character traits. With furbished arms and new supplies of men,
Predict: What kind of person is Began a fresh assault.
Macbeth?
Duncan. Dismayed not this our captains, Macbeth and Banquo?
35 Captain. Yes, as sparrows eagles, or the hare the lion.
36 sooth: the truth. If I say sooth, I must report they were
37 double cracks: a double load of As cannons overcharged with double cracks,
ammunition. So they doubly redoubled strokes upon the foe.
39–40 The officer claims he cannot Except they meant to bathe in reeking wounds
decide whether (except) Macbeth 40 Or memorize another Golgotha,
and Banquo wanted to bathe in blood
or make the battlefield as famous
I cannot tell—
as Golgotha, the site of Christ’s But I am faint. My gashes cry for help.
crucifixion.
Duncan. So well thy words become thee as thy wounds:
They smack of honor both.—Go, get him surgeons.
[The Captain is led off by Attendants.]
[Enter Ross and Angus.]
45 Who comes here?
45 Thane: a Scottish noble. Malcolm. The worthy Thane of Ross.
Lennox. What a haste looks through his eyes!
So should he look that seems to speak things strange.
Ross. God save the King.
Duncan. Whence cam’st thou, worthy thane?
50 Ross. From Fife, great king,
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Where the Norweyan banners flout the sky

And fan our people cold.
49–59 Ross has arrived from Fife, Norway himself, with terrible numbers,
where Norway’s troops had invaded. Assisted by that most disloyal traitor,
There the king of Norway, with the
Thane of Cawdor, met Macbeth
55 The Thane of Cawdor, began a dismal conflict,
(described as the husband of Bellona, Till that Bellona’s bridegroom, lapped in proof,
the goddess of war). Macbeth, in Confronted him with self-comparisons,
heavy armor (proof), challenged the
Point against point, rebellious arm ’gainst arm,
enemy.
Curbing his lavish spirit. And to conclude,
60 The victory fell on us.

296 UNIT 4 ANALYZE & APPLY

 Duncan.    Great happiness!
Ross. That now Sweno,
The Norways’ king, craves composition. 62 craves composition: wants a
Nor would we deign him burial of his men treaty.

Till he disbursèd at Saint Colme’s Inch 63 deign: allow.

65 Ten thousand dollars to our general use. 64 disbursèd at Saint Colme’s Inch:
paid at Saint Colme’s Inch, an island in
Duncan. No more that Thane of Cawdor shall deceive
the North Sea.
Our bosom interest. Go, pronounce his present death,
66–67 deceive our bosom interest:
And with his former title greet Macbeth.
betray our friendship; present death:
Ross. I’ll see it done. immediate execution.

70 Duncan. What he hath lost, noble Macbeth hath won.

[They exit.]

Scene 3 A bleak place near the battlefield.

[Thunder. Enter the three Witches.]
First Witch. Where hast thou been, sister?
Second Witch. Killing swine.
Third Witch. Sister, where thou?
First Witch. A sailor’s wife had chestnuts in her lap
5 And munched and munched and munched. “Give me,” quoth I.
“Aroint thee, witch,” the rump-fed runnion cries. 6 “Aroint thee, witch,” . . .
Her husband’s to Aleppo gone, master o’ th’ Tiger; runnion cries: “Go away, witch!”
the fat-bottomed (rump-fed), ugly
But in a sieve I’ll thither sail creature (runnion) cries.
And, like a rat without a tail, 7–8 The woman’s husband, the master
10 I’ll do, I’ll do, and I’ll do. of a merchant ship (th’ Tiger), has
sailed to Aleppo. The Witch will pursue
Second Witch. I’ll give thee a wind. him. Witches were thought to sail on
strainers (sieve).
First Witch. Th’ art kind.
Third Witch. And I another.
First Witch. I myself have all the other, 14–23 The Witch controls the winds,
covering all points of a compass
15 And the very ports they blow,
(shipman’s card). She will make the
All the quarters that they know sailor sleepless, keeping his eyelids
I’ th’ shipman’s card. (penthouse lid) from closing. Thus,
I’ll drain him dry as hay. he will lead an accursed (forbid) life
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for weeks (sev’nnights), wasting away

Sleep shall neither night nor day with fatigue.
20 Hang upon his penthouse lid.
He shall live a man forbid.
Weary sev’nnights, nine times nine,
Shall he dwindle, peak, and pine.
Though his bark cannot be lost,
25 Yet it shall be tempest-tossed.
Look what I have.
Second Witch. Show me, show me.

The Tragedy of Macbeth, Act I, Scene 3 297

 First Witch. Here I have a pilot’s thumb,
Wracked as homeward he did come.
[Drum within]
30 Third Witch. A drum, a drum!
Macbeth doth come.
All. [Dancing in a circle] The Weïrd Sisters, hand in hand,
33 posters: quick riders. Posters of the sea and land,
Thus do go about, about,
35 Thrice to thine, and thrice to mine
36 Nine was considered a magical And thrice again, to make up nine.
number by superstitious people. Peace, the charm’s wound up.
[Enter Macbeth and Banquo.]
Macbeth. So foul and fair a day I have not seen.
Banquo. How far is ’t called to Forres?—What are these,
40 So withered, and so wild in their attire,
That look not like th’ inhabitants o’ th’ earth
42–46 aught: anything; choppy: And yet are on ’t?—Live you? Or are you aught
chapped; your beards: Beards on That man may question? You seem to understand me
women identified them as witches.
By each at once her choppy finger laying
45 Upon her skinny lips. You should be women,
NOTICE & NOTE And yet your beards forbid me to interpret
AGAIN AND AGAIN That you are so.
When you notice certain words
recurring over a portion of a text, Macbeth. Speak, if you can. What are you?
you’ve found an Again and Again First Witch. All hail, Macbeth! Hail to thee, Thane of Glamis!
signpost.
Second Witch. All hail, Macbeth! Hail to thee, Thane of Cawdor!
Notice & Note: Mark the word
the Witches repeat in lines 48–69. 50 Third Witch. All hail, Macbeth, that shalt be king hereafter!
Analyze: What is persuasive Banquo. Good sir, why do you start and seem to fear
about their repetition? Things that do sound so fair? I’ th’ name of truth,
53 Are you fantastical: Are you (the Are you fantastical, or that indeed
Witches) imaginary? Which outwardly you show? My noble partner
54–57 The Witches’ prophecies of
55 You greet with present grace and great prediction
noble possessions (having)—the Of noble having and of royal hope,
lands and wealth of Cawdor—and That he seems rapt withal. To me you speak not.
kingship (royal hope) have left
If you can look into the seeds of time
Macbeth dazed (rapt withal).
© Houghton Mifflin Harcourt Publishing Company

And say which grain will grow and which will not,
60 Speak, then, to me, who neither beg nor fear
Your favors nor your hate.
First Witch. Hail!
Second Witch. Hail!
Third Witch. Hail!
65 First Witch. Lesser than Macbeth and greater.
Second Witch. Not so happy, yet much happier.

298 UNIT 4 ANALYZE & APPLY

 Don’t forget to
Notice & Note as you
read the text.

Janet Whiteside, Ann Firbank, and

Jane Thorne as the Witches and
Simon Russell Beale as Macbeth,
Almeida Theatre, London.

Third Witch. Thou shalt get kings, though thou be none.

So all hail, Macbeth and Banquo!
First Witch. Banquo and Macbeth, all hail!
70 Macbeth. Stay, you imperfect speakers. Tell me more.
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,
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75 No more than to be Cawdor. Say from whence

You owe this strange intelligence or why
Upon this blasted heath you stop our way
With such prophetic greeting. Speak, I charge you.
[Witches vanish.]
Banquo. The earth hath bubbles, as the water has,
80 And these are of them. Whither are they vanished? 80 whither: where.

Macbeth. Into the air, and what seemed corporal melted, 81 corporal: physical; real.
As breath into the wind. Would they had stayed!
Banquo. Were such things here as we do speak about?
Or have we eaten on the insane root 84 insane root: A number of plants
85 That takes the reason prisoner? were believed to cause insanity when
eaten.
Macbeth. Your children shall be kings.
Banquo. You shall be king.
Macbeth. And Thane of Cawdor too. Went it not so?
Banquo. To th’ selfsame tune and words.—Who’s here?
[Enter Ross and Angus.]

The Tragedy of Macbeth, Act I, Scene 3 299

 Ross. The King hath happily received, Macbeth,
90 The news of thy success, and, when he reads
Thy personal venture in the rebels’ fight,
92–93 King Duncan hesitates His wonders and his praises do contend
between awe (wonders) and gratitude Which should be thine or his. Silenced with that,
(praises) and is, as a result, speechless.
In viewing o’er the rest o’ th’ selfsame day
95 He finds thee in the stout Norweyan ranks,
96–97 Although Macbeth left many Nothing afeard of what thyself didst make,
dead (strange images of death), he Strange images of death. As thick as hail
obviously did not fear death himself.
Came post with post, and every one did bear
Thy praises in his kingdom’s great defense,
100 And poured them down before him.
Angus.    We are sent
To give thee from our royal master thanks,
Only to herald thee into his sight,
Not pay thee.
104 earnest: partial payment. Ross. And for an earnest of a greater honor,
105 He bade me, from him, call thee Thane of Cawdor,
NOTICE & NOTE In which addition, hail, most worthy thane,
AHA MOMENT For it is thine.
When you notice a sudden
realization, you’ve found an Aha Banquo. What, can the devil speak true?
Moment signpost. Macbeth. The Thane of Cawdor lives. Why do you dress me
Notice & Note: Mark what In borrowed robes?
Banquo and Macbeth realize in
lines 107–120.
Angus.    Who was the Thane lives yet,
110 But under heavy judgment bears that life
Predict: How might this change
Which he deserves to lose. Whether he was combined
things?
With those of Norway, or did line the rebel
111–116 Whether the former Thane With hidden help and vantage, or that with both
of Cawdor allied (combined) with
the king of Norway or supported the
He labored in his country’s wrack, I know not;
traitor Macdonwald (did line the 115 But treasons capital, confessed and proved,
rebel), he is guilty of treasons that Have overthrown him.
deserve the death penalty (treasons
capital), having aimed at the country’s Macbeth[aside].    Glamis and Thane of Cawdor!
ruin (wrack). The greatest is behind. [To Ross and Angus] Thanks for your pains.
[Aside to Banquo] Do you not hope your children shall be kings
When those that gave the Thane of Cawdor to me
120 Promised no less to them?
© Houghton Mifflin Harcourt Publishing Company

120 home: fully; completely. Banquo. That, trusted home,

121 enkindle you unto: inflame your Might yet enkindle you unto the crown,
ambitions. Besides the Thane of Cawdor. But ’tis strange.
123–126 Banquowarns that evil And oftentimes, to win us to our harm,
powers often offer little truths to The instruments of darkness tell us truths,
tempt people. The Witches may be 125 Win us with honest trifles, to betray ’s
lying about what matters most (in
deepest consequence).
In deepest consequence.—
Cousins, a word, I pray you.   [They step aside.]
Macbeth[aside]. Two truths are told
As happy prologues to the swelling act

300 UNIT 4 ANALYZE & APPLY

 Of the imperial theme.—I thank you, gentlemen. Don’t forget to
130 [Aside] This supernatural soliciting Notice & Note as you
read the text.
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
135 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,
140 Shakes so my single state of man
That function is smothered in surmise,
And nothing is but what is not.
Banquo. Look how our partner’s rapt.
Macbeth [ aside]. If chance will have me king, why, chance may
crown me
Without my stir. 144 my stir: my doing anything.

Banquo. New honors come upon him,

145 Like our strange garments, cleave not to their mold
But with the aid of use.
Macbeth[aside]. Come what come may, 146–147 Come what . . . roughest
Time and the hour runs through the roughest day. day: The future will arrive no matter
what.
Banquo. Worthy Macbeth, we stay upon your leisure. 148 stay: wait.
Macbeth. Give me your favor. My dull brain was wrought
150 With things forgotten. Kind gentlemen, your pains 150–152 your pains . . . read them:
Are registered where every day I turn I will always remember your efforts.
The metaphor refers to keeping a diary
The leaf to read them. Let us toward the King. and reading it regularly.
[Aside to Banquo] Think upon what hath chanced, and
at more time, 153–155 Macbethwants to discuss
The interim having weighed it, let us speak the prophecies later, after he and
155 Our free hearts each to other. Banquo have had time to think about
them.
Very gladly.
Banquo.  
Macbeth. Till then, enough.—Come, friends.
[They exit.]
© Houghton Mifflin Harcourt Publishing Company

Scene 4 A room in the king’s palace at Forres.

[Flourish. Enter King Duncan, Lennox, Malcolm, Donalbain,
and Attendants.]
Duncan. Is execution done on Cawdor? Are not
Those in commission yet returned? 2 Those in commission: those who
have the responsibility for Cawdor’s
Malcolm.    My liege, execution.
They are not yet come back. But I have spoke
With one that saw him die, who did report

The Tragedy of Macbeth, Act I, Scene 4 301

 5 That very frankly he confessed his treasons,
6 set forth: showed. Implored your Highness’ pardon, and set forth
A deep repentance. Nothing in his life
8–11 He died as . . . trifle: He died Became him like the leaving it. He died
as if he had rehearsed (studied) the As one that had been studied in his death
moment. Though losing his life (the
dearest thing he owed), he behaved
10 To throw away the dearest thing he owed
with calm dignity. As ’twere a careless trifle.
Duncan.    There’s no art
To find the mind’s construction in the face.
14–21 The king feels that he cannot He was a gentleman on whom I built
repay (recompense) Macbeth An absolute trust.
enough. Macbeth’s qualities and
accomplishments are of greater value [Enter Macbeth, Banquo, Ross, and Angus.]
than any thanks or payment Duncan
can give.
O worthiest cousin,
15 The sin of my ingratitude even now
ANALYZE FIGURATIVE
Was heavy on me. Thou art so far before
LANGUAGE
That swiftest wing of recompense is slow
Annotate: Mark examples of To overtake thee. Would thou hadst less deserved,
hyperbole or exaggeration in lines
That the proportion both of thanks and payment
16–21.
20 Might have been mine! Only I have left to say,
Evaluate: What is the intended More is thy due than more than all can pay.
effect of this overstatement?
Macbeth. The service and the loyalty I owe
In doing it pays itself. Your Highness’ part
Is to receive our duties, and our duties
25 Are to your throne and state children and servants,
Which do but what they should by doing everything
Safe toward your love and honor.
Duncan.    Welcome hither.
28–29 Theking plans to give more I have begun to plant thee and will labor
honors to Macbeth. To make thee full of growing.—Noble Banquo,
30 That hast no less deserved nor must be known
No less to have done so, let me enfold thee
And hold thee to my heart.
Banquo.      There, if I grow,
The harvest is your own.
33–35 My plenteous . . . sorrow: The Duncan.   My plenteous joys,
king is crying tears of joy. Wanton in fullness, seek to hide themselves
© Houghton Mifflin Harcourt Publishing Company

35 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
39 Prince of Cumberland: the title The Prince of Cumberland; which honor must
given to the heir to the Scottish 40 Not unaccompanied invest him only,
throne.
But signs of nobleness, like stars, shall shine
42 Inverness: site of Macbeth’s On all deservers.—From hence to Inverness,
castle, where the king has just invited And bind us further to you.
himself, giving another honor to
Macbeth.

302 UNIT 4 ANALYZE & APPLY

 Macbeth. The rest is labor which is not used for you.
45 I’ll be myself the harbinger and make joyful 45 harbinger: a representative sent
The hearing of my wife with your approach. before a royal party to make proper
arrangements for its arrival.
So humbly take my leave.
Duncan. My worthy Cawdor.
Macbeth[aside]. The Prince of Cumberland! That is a step
On which I must fall down or else o’erleap,
50 For in my way it lies. Stars, hide your fires;
Let not light see my black and deep desires.
The eye wink at the hand, yet let that be
Which the eye fears, when it is done, to see.
[He exits.]
Duncan. True, worthy Banquo. He is full so valiant,
55 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. They exit.]

Scene 5 Macbeth’s castle at Inverness. ANALYZE DRAMA

[Enter Lady Macbeth, alone, with a letter.] Annotate: Mark stage directions
Lady Macbeth. [Reading the letter] “They met me in the day of at the beginning of Scene 5 that
success, and I have learned by the perfect’st report they have more provide important information.
in them than mortal knowledge. When I burned in desire to Interpret: How has the scene
question them further, they made themselves air, into which they changed? Whose words are being
5 vanished. Whiles I stood rapt in the wonder of it came missives spoken by Lady Macbeth in lines
1–11?
from the King, who all-hailed me ‘Thane of Cawdor,’ by which
title, before, these Weïrd 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
10 thou might’st not lose the dues of rejoicing by being ignorant of
what greatness is promised thee. Lay it to thy heart, and farewell.”
Glamis thou art, and Cawdor, and shalt be
What thou art promised. Yet do I fear thy nature; 13–18 Lady Macbeth fears her
It is too full o’ th’ milk of human kindness husband is too good (too full o’ th’
© Houghton Mifflin Harcourt Publishing Company

milk of human kindness) to seize the

15 To catch the nearest way. Thou wouldst be great, throne by murder (the nearest way).
Art not without ambition, but without Lacking the necessary wickedness
The illness should attend it. What thou wouldst highly, (illness), he wants to gain power
virtuously (holily).
That wouldst thou holily; wouldst not play false
And yet wouldst wrongly win. Thou’d’st have, great Glamis,
20 That which cries “Thus thou must do,” if thou have it,
And that which rather thou dost fear to do,
Than wishest should be undone. Hie thee hither,
That I may pour my spirits in thine ear
And chastise with the valor of my tongue
25 All that impedes thee from the golden round

The Tragedy of Macbeth, Act I, Scene 5 303

 Which fate and metaphysical aid doth seem
To have thee crowned withal.
[Enter Messenger.]
What is your tidings?
Messenger. The King comes here tonight.
Lady Macbeth.    Thou’rt mad to say it!
Is not thy master with him? who, were’t so,
30 Would have informed for preparation.
Messenger. So please you, it is true. Our Thane is coming.
32 had the speed of him: rode faster One of my fellows had the speed of him,
than he. Who, almost dead for breath, had scarcely more
Than would make up his message.
Lady Macbeth. Give him tending.
35 He brings great news.
[Messenger exits.]
35 raven: The harsh cry of The raven himself is hoarse
the raven, a bird symbolizing evil and
That croaks the fatal entrance of Duncan
misfortune, was supposed to indicate
an approaching death. 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
Close Read Screencast
40 Of direst cruelty. Make thick my blood.
Listen to a modeled close Stop up th’ access and passage to remorse,
read of this text.
That no compunctious visitings of nature
37–51 LadyMacbeth calls Shake my fell purpose, nor keep peace between
on the spirits of evil to rid
Th’ effect and it. Come to my woman’s breasts
her of feminine weakness (unsex
me) and to block out guilt. She wants 45 And take my milk for gall, you murd’ring ministers,
no normal pangs of conscience Wherever in your sightless substances
(compunctious visitings of nature) You wait on nature’s mischief. Come, thick night,
to get in the way of her murderous
plan. She asks that her mother’s milk
And pall thee in the dunnest smoke of hell,
be turned to bile (gall) by the unseen That my keen knife see not the wound it makes,
evil forces (murd’ring ministers, 50 Nor heaven peep through the blanket of the dark
sightless substances) that exist in To cry “Hold, hold!”
nature. Furthermore, she asks that the
night wrap (pall) itself in darkness as [Enter Macbeth.]
black as hell so that no one may see or
stop the crime.    Great Glamis, worthy Cawdor,
Greater than both by the all-hail hereafter!
© Houghton Mifflin Harcourt Publishing Company

Thy letters have transported me beyond

This ignorant present, and I feel now
55 The future in the instant.
Macbeth.    My dearest love,
Duncan comes here tonight.
Lady Macbeth. And when goes hence?
Macbeth. Tomorrow, as he purposes.
Lady Macbeth. O, never
Shall sun that morrow see!

304 UNIT 4 ANALYZE & APPLY

 Your face, my thane, is as a book where men
60 May read strange matters. To beguile the time, 60–63 To beguile . . . under ’t: To fool
Look like the time. Bear welcome in your eye, (beguile) everyone, act as expected at
such a time.
Your hand, your tongue. Look like th’ innocent flower,
But be the serpent under ’t. He that’s coming
Must be provided for; and you shall put
65 This night’s great business into my dispatch, 65 my dispatch: my management.
Which shall to all our nights and days to come 67 give solely sovereign sway: bring
Give solely sovereign sway and masterdom. absolute royal power.

Macbeth. We will speak further.

Lady Macbeth.    Only look up clear.
To alter favor ever is to fear. 69 To alter . . . fear: To change your
70 Leave all the rest to me. expression (favor) is a sign of fear.

[They exit.]

Scene 6 In front of Macbeth’s castle. [Stage Direction] Hautboys: oboes.

[Hautboys and Torches. Enter King Duncan, Malcolm, ANALYZE DRAMA

Donalbain, Banquo, Lennox, Macduff, Ross, Angus, and Annotate: Mark King Duncan’s
Attendants.] impression of Macbeth’s castle.

Duncan. This castle hath a pleasant seat. The air Analyze: What makes this view
ironic? What do you know that
Nimbly and sweetly recommends itself
Duncan does not know?
Unto our gentle senses.
Banquo. This guest of summer, 3–10 The martin (martlet) usually
The temple-haunting martlet, does approve, built its nest on a church (temple),
where every projection (jutty),
5 By his loved mansionry, that the heaven’s breath sculptured decoration (frieze),
Smells wooingly here. No jutty, frieze, support (buttress), and convenient
Buttress, nor coign of vantage, but this bird corner (coign of vantage) offered
a good nesting site. Banquo
Hath made his pendant bed and procreant cradle.
sees the presence of the martin’s
Where they most breed and haunt, I have observed, hanging (pendant) nest, a breeding
10 The air is delicate. (procreant) place, as a sign of
healthy air.
[Enter Lady Macbeth.]
Duncan. See, see, our honored hostess!—
The love that follows us sometime is our trouble,
Which still we thank as love. Herein I teach you
How you shall bid God ’ild us for your pains
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And thank us for your trouble.

Lady Macbeth. All our service,
15 In every point twice done and then done double,
Were poor and single business to contend 16 single business: weak service.
Against those honors deep and broad wherewith
Your Majesty loads our house. For those of old,
And the late dignities heaped up to them,
20 We rest your hermits. 20 We rest your hermits: We can only
repay you with prayers. The rich hired
hermits to pray for the dead.

The Tragedy of Macbeth, Act I, Scene 6 305

 Duncan. Where’s the Thane of Cawdor?
21 coursed him at the heels: We coursed him at the heels and had a purpose
followed closely. To be his purveyor; but he rides well,
22 purveyor: one who makes And his great love (sharp as his spur) hath helped him
advance arrangements for a royal visit. To his home before us. Fair and noble hostess,
25–28 Legally,Duncan owns 25 We are your guest tonight.
everything in his kingdom. Lady
Macbeth politely says that they hold
Lady Macbeth. Your servants ever
his property in trust (compt), ready to Have theirs, themselves, and what is theirs in compt
return it (make their audit) whenever To make their audit at your Highness’ pleasure,
he wants.
Still to return your own.
Duncan. Give me your hand.
[Taking her hand]
Conduct me to mine host. We love him highly
30 And shall continue our graces towards him.
By your leave, hostess.
[They exit.]

Scene 7 A room in Macbeth’s castle.

[Stage Direction] Sewer: the steward, [Hautboys. Torches. Enter a Sewer, and divers Servants with
the servant in charge of arranging the dishes and service over the stage. Then enter Macbeth.]
banquet and tasting the king’s food;
divers: various. Macbeth. If it were done when ’tis done, then ’twere well
1–10 If Duncan’s murder would have It were done quickly. If th’ assassination
no negative consequences and be Could trammel up the consequence and catch
successfully completed with his death With his surcease success, that but this blow
(surcease), then Macbeth would
risk eternal damnation. He knows,
5 Might be the be-all and the end-all here,
however, that terrible deeds (bloody But here, upon this bank and shoal of time,
instructions) often backfire. We’d jump the life to come. But in these cases
We still have judgment here, that we but teach
Bloody instructions, which, being taught, return
10 To plague th’ inventor. This even-handed justice
Commends th’ ingredience of our poisoned 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,
15 Who should against his murderer shut the door,
© Houghton Mifflin Harcourt Publishing Company

Not bear the knife myself. Besides, this Duncan

Hath borne his faculties so meek, hath been
So clear in his great office, that his virtues
Will plead like angels, trumpet-tongued, against
20 The deep damnation of his taking-off;
And pity, like a naked newborn babe
Striding the blast, or heaven’s cherubim, horsed
Upon the sightless couriers of the air,
Shall blow the horrid deed in every eye,
25 That tears shall drown the wind. I have no spur
To prick the sides of my intent, but only

306 UNIT 4 ANALYZE & APPLY

 Ray Fearon as Macbeth and Tara
Fitzgerald as Lady Macbeth,
Vaulting ambition, which o’erleaps itself directed by Iqban Khan, The Globe
And falls on th’ other— Theatre, London, England, 2016.
[Enter Lady Macbeth.]
   How now? What news?
Lady Macbeth. He has almost supped. Why have you left the
© Houghton Mifflin Harcourt Publishing Company • Image credits: ©Robbie Jack/Corbis Entertainment/Getty Images

chamber?
30 Macbeth. Hath he asked for me?
Lady Macbeth. Know you not he has?
Macbeth. We will proceed no further in this business.
He hath honored me of late, and I have bought 32–35 I have . . . so soon: The praises
Golden opinions from all sorts of people, that Macbeth has received are, like
new clothes, to be worn, not quickly
Which would be worn now in their newest gloss, thrown away.
35 Not cast aside so soon.
35–38 Lady Macbeth sarcastically
Lady Macbeth.    Was the hope drunk suggests that Macbeth’s ambition
Wherein you dressed yourself? Hath it slept since? must have been drunk, because it now
seems to have a hangover (to look so
And wakes it now, to look so green and pale green and pale).
At what it did so freely? From this time
39–45 Lady Macbeth criticizes
Such I account thy love. Art thou afeard Macbeth’s weakened resolve and
40 To be the same in thine own act and valor compares him to a cat in a proverb
As thou art in desire? Wouldst thou have that (adage) who wouldn’t catch fish
because it feared wet feet.
Which thou esteem’st the ornament of life
And live a coward in thine own esteem,
Letting “I dare not” wait upon “I would,”
45 Like the poor cat i’ th’ adage?

The Tragedy of Macbeth, Act I, Scene 7 307

 Macbeth.   Prithee, peace.
I dare do all that may become a man.
Who dares do more is none.
ANALYZE FIGURATIVE Lady Macbeth. What beast was’t, then,
LANGUAGE That made you break this enterprise to me?
Annotate: Mark the rhetorical When you durst do it, then you were a man;
question Lady Macbeth asks in 50 And to be more than what you were, you would
lines 47–48. Be so much more the man. Nor time nor place
Infer: What does she really want Did then adhere, and yet you would make both.
to know? They have made themselves, and that their fitness now
54 I have given suck: I have nursed Does unmake you. I have given suck, and know
a baby. 55 How tender ’tis to love the babe that milks me.
I would, while it was smiling in my face,
Have plucked my nipple from his boneless gums
And dashed the brains out, had I so sworn as you
Have done to this.
Macbeth. If we should fail—
Lady Macbeth. We fail?
60 When each string of a guitar or 60 But screw your courage to the sticking place
lute is tightened to the peg (sticking And we’ll not fail. When Duncan is asleep
place), the instrument is ready to be
played.
(Whereto the rather shall his day’s hard journey
Soundly invite him), his two chamberlains
Will I with wine and wassail so convince
65–67 Lady Macbeth will get the 65 That memory, the warder of the brain,
guards so drunk that their reason Shall be a fume, and the receipt of reason
will become like a still (limbeck),
producing confused thoughts.
A limbeck only. When in swinish sleep
Their drenchèd natures lie as in a death,
What cannot you and I perform upon
70 Th’ unguarded Duncan? What not put upon
His spongy officers, who shall bear the guilt
72 quell: murder. Of our great quell?
72–74 Bring forth . . . males: Your Macbeth. Bring forth men-children only,
bold spirit (undaunted mettle) is For thy undaunted mettle should compose
better suited to raising males than
females.
Nothing but males. Will it not be received,
75 When we have marked with blood those sleepy two
Of his own chamber and used their very daggers,
That they have done ’t?
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Lady Macbeth. Who dares receive it other,

As we shall make our griefs and clamor roar
Upon his death?
79–82 Now that Macbeth has made Macbeth. I am settled and bend up
up his mind, every part of his body 80 Each corporal agent to this terrible feat.
(each corporal agent) is tightened
like a bow. He and Lady Macbeth will
Away, and mock the time with fairest show.
deceive everyone (mock the time), False face must hide what the false heart doth know.
hiding their evil plan with gracious
faces.
[They exit.]

308 UNIT 4 ANALYZE & APPLY

 COLLABORATIVE DISCUSSION ESSENTIAL QUESTION:
When is ambition
How do key characters—Macbeth, Banquo, and Lady Macbeth—
dangerous?
react differently to the Witches’ predictions? What do these reactions
tell you about the characters? Discuss your ideas with a partner.
Review your notes and
add your thoughts to your
Response Log.

Assessment Practice
Answer these questions before moving on to the Analyze the Text
section on the following page.

1. What future do the three Witches predict for Macbeth?

A He will never be killed in battle.

B He will be happier than Banquo in the future.

C His children will become kings, though he will not.

D He will become Thane of Cawdor and King of Scotland.

2. This question has two parts. First, answer Part A. Then, answer Part B.
Part A

In Scene 5, what action by Lady Macbeth advances the plot?

A She thanks King Duncan and repays him with her prayers.

B She decides to talk Macbeth into killing King Duncan.

C She manipulates Duncan into naming Macbeth heir to the throne.

D She begs Macbeth for another son who can replace King Duncan.

Part B

Which excerpt from Scene 5 best supports the answer to Part A?

A “. . . Yet do I fear thy nature; / It is too full o’ th’ milk of human kindness”
© Houghton Mifflin Harcourt Publishing Company

(Scene 5, lines 13–14)

B “. . . Hie thee hither, / That I may pour my spirits in thine ear”

(Scene 5, lines 22–23)

C “Thy letters have transported me beyond / This ignorant present, . . .”

(Scene 5, lines 53–54)

D “. . . and you shall put / This night’s great business into my

dispatch, . . .” (Scene 5, lines 64–65)

Test-Taking Strategies

The Tragedy of Macbeth, Act I 309

 Respond

Analyze the Text

Support your responses with evidence from the text.
NOTICE & NOTE

1 ANALYZE What is the purpose of the first short scene? Explain. Review what
you noticed and
noted as you read
2 DRAW CONCLUSIONS A paradox is an apparent contradiction that the text. Your
annotations can
reveals a truth. The Witches end the first scene with a paradox: “Fair is
help you answer
foul, and foul is fair.” Explain the ways in which this contradiction or these questions.
antithesis is shown to be true in Act I.

3 ANALYZE How is Macbeth’s conflict intensified by the events in Scene 4?

What lines from his aside in Scene 4 (lines 48–53) develop the audience’s
understanding of this conflict?

4 INFER What does Lady Macbeth’s response to the Witches’ prophecy

reveal about her character?

5 EVALUATE Review Act I to find images of darkness or night. How do

these references that occur Again and Again relate to plot events?

Choices
Here are some other ways to demonstrate your understanding of Act I.

Writing
Character Contrast
Although Macbeth and Lady Macbeth share the
same goal, their feelings about how to achieve
© Houghton Mifflin Harcourt Publishing Company

it differ. Review their speeches in Scene 7, and Speaking & Listening

make notes about what each thinks they should Discuss Plot
do and why. Write a one-page explanation of their
Shakespeare could have gotten rid of the
differences, citing scene and line references as
previous Thane of Cawdor by having him killed
evidence for your ideas.
in battle. What choice did he make instead?
Review lines 2–14 of Scene 4 with a partner, and
discuss the significance of this plot point. What
does Shakespeare’s description of the previous
Thane of Cawdor’s actions and ultimate fate
foreshadow, or hint at, for Macbeth?

310 UNIT 4 ANALYZE & APPLY

 Act II Don’t forget to
Notice & Note as you
Scene 1 The court of Macbeth’s castle. read the text.
[Enter Banquo, and Fleance with a torch before him.]
Banquo. How goes the night, boy?
Fleance. The moon is down. I have not heard the clock.
Banquo. And she goes down at twelve.
Fleance.    I take ’t, ’tis later, sir.
Banquo. Hold, take my sword. [Giving his sword to Fleance]

There’s husbandry in heaven; 4–5 The heavens show economy
(husbandry) by keeping the lights
5 Their candles are all out. Take thee that too. (candles) out—it is a starless night.
A heavy summons lies like lead upon me,
6 heavy summons: desire for sleep.
And yet I would not sleep. Merciful powers,
Restrain in me the cursèd thoughts that nature
Gives way to in repose.
[Enter Macbeth, and a Servant with a torch.]
   Give me my sword.—Who’s there?
10 Macbeth. A friend.
Banquo. What, sir, not yet at rest? The King’s abed.
He hath been in unusual pleasure, and
Sent forth great largess to your offices. 13 largess to your offices: gifts to
This diamond he greets your wife withal, the servants’ quarters.

15 By the name of most kind hostess, and shut up 15 shut up: went to bed.
In measureless content. [He gives Macbeth a diamond.]
Macbeth.   Being unprepared,
Our will became the servant to defect,
Which else should free have wrought.
Banquo.   All’s well.
I dreamt last night of the three Weïrd Sisters.
20 To you they have showed some truth.
Macbeth.    I think not of them. 21 can entreat an hour: both have
Yet, when we can entreat an hour to serve, the time.

We would spend it in some words upon that business,

© Houghton Mifflin Harcourt Publishing Company

If you would grant the time.

Banquo. At your kind’st leisure.
Macbeth. If you shall cleave to my consent, when ’tis, 24–28 Macbeth asks Banquo for his
25 It shall make honor for you. support (cleave to my consent),
promising honors in return. Banquo
Banquo. So I lose none is willing to increase (augment) his
In seeking to augment it, but still keep honor provided he can keep a clear
conscience and remain loyal to the
My bosom franchised and allegiance clear, king (keep my bosom . . . clear).
I shall be counseled.
Good repose the while.
Macbeth.  

The Tragedy of Macbeth, Act II, Scene 1 311

 Banquo. Thanks, sir. The like to you.
[Banquo and Fleance exit.]
30 Macbeth. Go bid thy mistress, when my drink is ready,
She strike upon the bell. Get thee to bed.
[Servant exits.]
32–42 Macbeth sees a dagger Is this a dagger which I see before me,
hanging in midair before him and The handle toward my hand? Come, let me clutch thee.
questions whether it is real (palpable)
or the illusion of a disturbed (heat-
I have thee not, and yet I see thee still.
oppressèd) mind. The floating, 35 Art thou not, fatal vision, sensible
imaginary dagger, which leads To feeling as to sight? or art thou but
(marshal’st) him to Duncan’s room,
A dagger of the mind, a false creation
prompts him to draw his own dagger.
Proceeding from the heat-oppressèd brain?
I see thee yet, in form as palpable
40 As this which now I draw. [He draws his dagger.]
Thou marshal’st me the way that I was going,
And such an instrument I was to use.
43–44 Either his eyes are mistaken Mine eyes are made the fools o’ th’ other senses
(fools) or his other senses are. Or else worth all the rest. I see thee still,
45 He sees drops of blood on the 45 And, on thy blade and dudgeon, gouts of blood,
blade and handle. Which was not so before. There’s no such thing.
ANALYZE DRAMA It is the bloody business which informs
Thus to mine eyes. Now o’er the one-half world
Annotate: Mark what Macbeth
imagines seeing during this Nature seems dead, and wicked dreams abuse
soliloquy. 50 The curtained sleep. Witchcraft celebrates
Pale Hecate’s off ’rings, and withered murder,
Analyze: How does
understanding Macbeth’s Alarumed by his sentinel, the wolf,
thoughts at this point in the play Whose howl’s his watch, thus with his stealthy pace,
help you understand the internal With Tarquin’s ravishing strides, towards his design
conflict he faces? 55 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 whereabouts
And take the present horror from the time,
Which now suits with it. Whiles I threat, he lives.
60 Words to the heat of deeds too cold breath gives.
[A bell rings.]
I go, and it is done. The bell invites me.
© Houghton Mifflin Harcourt Publishing Company

62 knell: funeral bell. Hear it not, Duncan, for it is a knell

That summons thee to heaven or to hell.
[He exits.]

Scene 2 Macbeth’s castle.

[Enter Lady Macbeth.]
Lady Macbeth. That which hath made them drunk hath made
   me bold.
What hath quenched them hath given me fire. Hark!—Peace.
3 fatal bellman: town crier. It was the owl that shrieked, the fatal bellman,

312 UNIT 4 ANALYZE & APPLY

 Which gives the stern’st good-night. He is about it.
5 The doors are open, and the surfeited grooms 5 surfeited grooms: drunken
Do mock their charge with snores. I have drugged their possets, servants.

That death and nature do contend about them 6 possets: drinks.

Whether they live or die.
Macbeth [ within].    Who’s there? what, ho!
Lady Macbeth. Alack, I am afraid they have awaked,
10 And ’tis not done. Th’ attempt and not the deed
Confounds us. Hark!—I laid their daggers ready; 11 Confounds: destroys. If Duncan
He could not miss ’em. Had he not resembled survives, they will be killed (as his
attempted murderers).
My father as he slept, I had done ’t.
[Enter Macbeth with bloody daggers.]
  My husband?
Macbeth. I have done the deed. Didst thou not hear a noise?
15 Lady Macbeth. I heard the owl scream and the crickets cry.
Did not you speak? ANALYZE DRAMA
When?
Macbeth.   Annotate: Mark brackets around
the beginnings and endings of
Lady Macbeth.     Now. lines 16, 17, and 18.
Macbeth. As I descended? Interpret: Reread these lines to
Lady Macbeth. Ay. identify the iambic pentameter.
What dramatic effect does
Hark!—Who lies i’ th’ second chamber?
Macbeth.   Shakespeare achieve by breaking
these lines between Lady
Lady Macbeth. Donalbain.
Macbeth and Macbeth?
Macbeth.     This is a sorry sight.
Lady Macbeth. A foolish thought, to say a sorry sight.
20 Macbeth. There’s one did laugh 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 addressed them
Again to sleep.
Lady Macbeth. There are two lodged together.
Macbeth. One cried “God bless us” and “Amen” the other,
25 As: as if. He imagines that the
25 As they had seen me with these hangman’s hands, sleepers could see him.
List’ning their fear. I could not say “Amen”
© Houghton Mifflin Harcourt Publishing Company

When they did say “God bless us.” NOTICE & NOTE
AGAIN AND AGAIN
Lady Macbeth. Consider it not so deeply. When you notice certain words
Macbeth. But wherefore could not I pronounce “Amen”? recurring over a portion of a text,
30 I had most need of blessing, and “Amen” you’ve found an Again and Again
signpost.
Stuck in my throat.
Notice & Note: Mark the
Lady Macbeth. These deeds must not be thought repeated word in lines 24–31 that
After these ways; so, it will make us mad. Macbeth cannot say.
Macbeth. Methought I heard a voice cry “Sleep no more! Analyze: Why might Macbeth
Macbeth does murder sleep”—the innocent sleep, now be saying this word again
and again?

The Tragedy of Macbeth, Act II, Scene 2 313

 34–38 Sleep eases worries (knits up 35 Sleep that knits up the raveled sleave of care,
the raveled sleave of care), relieves The death of each day’s life, sore labor’s bath,
the aches of physical work (sore
labor’s bath), soothes the anxious
Balm of hurt minds, great nature’s second course,
(hurt minds), and nourishes like food. Chief nourisher in life’s feast.
Lady Macbeth. What do you mean?
Macbeth. Still it cried “Sleep no more!” to all the house.
40 “Glamis hath murdered sleep, and therefore Cawdor
Shall sleep no more. Macbeth shall sleep no more.”
Lady Macbeth. Who was it that thus cried? Why, worthy thane,
You do unbend your noble strength to think
So brainsickly of things. Go get some water
45 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
Macbeth and Lady Macbeth, the The sleepy grooms with blood.
Ice Globe Theatre in Jukkasjarvi,
Sweden, 2004.

© Houghton Mifflin Harcourt Publishing Company • Image credits: ©Peter Grant/Getty Images News/Getty Images

314 UNIT 4 ANALYZE & APPLY

 Macbeth. I’ll go no more. Don’t forget to
I am afraid to think what I have done. Notice & Note as you
read the text.
50 Look on ’t again I dare not.
Lady Macbeth.     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, 54–55 She’ll cover (gild) the servants
55 For it must seem their guilt. with blood, blaming them for the
murder.
[She exits with the daggers. Knock within.]
Macbeth.      Whence is that knocking?
How is ’t with me when every noise appalls me?
What hands are here? Ha, they pluck out mine eyes.
Will all great Neptune’s ocean wash this blood
Clean from my hand? No, this my hand will rather 59–61 this my hand . . . one red:
60 The multitudinous seas incarnadine, The blood on my hand will redden
(incarnadine) the seas.
Making the green one red.
[Enter Lady Macbeth.]
Lady Macbeth. My hands are of your color, but I shame
To wear a heart so white.   [Knock]
    I hear a knocking
At the south entry. Retire we to our chamber.
65 A little water clears us of this deed.
How easy is it, then! Your constancy 66–67 Your constancy . . .
Hath left you unattended.          [Knock] unattended: Your courage has left
you.
           Hark, more knocking.
Get on your nightgown, lest occasion call us 68–69 lest . . . watchers: in case
And show us to be watchers. Be not lost we are called for and found awake
(watchers), which would look
70 So poorly in your thoughts. suspicious.
Macbeth. To know my deed ’twere best not know myself. 71 To know . . . myself: To come to
terms with what I have done, I must
[Knock]
lose my conscience.
Wake Duncan with thy knocking. I would thou couldst.
[They exit.]
© Houghton Mifflin Harcourt Publishing Company

Scene 3 Within Macbeth’s castle, near the gate.

[Knocking within. Enter a Porter.]
Porter. Here’s a knocking indeed! If a man were porter of hell
gate, he should have old turning the key. [Knock] Knock, knock, 2 old turning the key: plenty of key
knock! Who’s there, i’ th’ name of Beelzebub? Here’s a farmer turning. Hell’s porter would be busy in
such evil times.
that hanged himself on th’ expectation of plenty. Come in time!
5 Have napkins enough about you; here you’ll sweat for ’t. [Knock] 3 Beelzebub: a devil.

Knock, knock! Who’s there, in th’ 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

The Tragedy of Macbeth, Act II, Scene 3 315

 3–11 The porter pretends he is yet could not equivocate to heaven. O, come in, equivocator.
welcoming a farmer who killed 10 [Knock] Knock, knock, knock! Who’s there? Faith, here’s an
himself after his schemes to get rich
(expectation of plenty) failed, a
English tailor come hither for stealing out of a French hose.
double talker (equivocator) who Come in, tailor. Here you may roast your goose. [Knock] Knock,
perjured himself yet couldn’t talk his knock! Never at quiet. —What are you? —But this place is too
way into heaven, and a tailor who
cold for hell. I’ll devilporter it no further. I had thought to have
cheated his customers by skimping
on material (stealing out of a French 15 let in some of all professions that go the primrose way to th’
hose). everlasting bonfire. [Knock] Anon, anon! [The Porter opens the
door to Macduff and Lennox.] I pray you, remember the porter.
Macduff. Was it so late, friend, ere you went to bed
That you do lie so late?
20 Porter. Faith, sir, we were carousing till the second cock, and
drink, sir, is a great provoker of three things.
Macduff. What three things does drink especially provoke?
Porter. Marry, sir, nose-painting, sleep, and urine. Lechery, sir, it
provokes and unprovokes. It provokes the desire, but it takes
25 away the performance. Therefore much drink may be said
to be an equivocator with lechery. It makes him, and it mars
him; it sets him on, and it takes him off; it persuades him and
disheartens him; makes him stand to and not stand to; in
conclusion, equivocates him in a sleep and, giving him the lie,
30 leaves him.
31–34 Alcohol is described as a Macduff. I believe drink gave thee the lie last night.
wrestler thrown off (cast) by the
porter, who thus paid him back Porter. That it did, sir, i’ th’ very throat on me; but I requited
(requited him) for disappointment in him for his lie, and, I think, being too strong for him, though he
love. Cast also means “to vomit” and took up my legs sometime, yet I made a shift to cast him.
“to urinate.”
35 Macduff. Is thy master stirring?
[Enter Macbeth.]
Our knocking has awaked him. Here he comes.
[Porter exits.]
Lennox. Good morrow, noble sir.
Macbeth.  Good morrow, both.
Macduff. Is the King stirring, worthy thane?
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Macbeth.   Not yet.

39 timely: early. Macduff. He did command me to call timely on him.
40 slipped the hour: missed the time. 40 I have almost slipped the hour.
Macbeth. I’ll bring you to him.
Macduff. I know this is a joyful trouble to you,
But yet ’tis one.
43 physics: cures. Macbeth. The labor we delight in physics pain.
This is the door.

316 UNIT 4 ANALYZE & APPLY

 Macduff.   I’ll make so bold to call,
45 For ’tis my limited service. [Macduff exits.] 45 limited service: appointed duty.

Lennox. Goes the King hence today?

Macbeth. He does. He did appoint so.
Lennox. The night has been unruly. Where we lay,
Our chimneys were blown down and, as they say,
50 Lamentings heard i’ th’ air, strange screams of death, ANALYZE CHARACTER AND
THEME
And prophesying, with accents terrible,
Of dire combustion and confused events Annotate: Mark descriptions in
lines 48–55 of the turmoil that
New hatched to th’ woeful time. The obscure bird
occurred overnight.
Clamored the livelong night. Some say the earth
55 Was feverous and did shake. Analyze: How do these natural
events reflect not only what
Macbeth. ’Twas a rough night. has occurred inside the castle
but what has occurred within
Lennox. My young remembrance cannot parallel
Macbeth himself?
A fellow to it.
[Enter Macduff.]
Macduff. O horror, horror, horror!
Tongue nor heart cannot conceive nor name thee!
Macbeth and Lennox. What’s the matter?
60 Macduff. Confusion now hath made his masterpiece. 60–63 Macduff mourns Duncan’s
Most sacrilegious murder hath broke ope death as the destruction (confusion)
of order and as sacrilegious, violating
The Lord’s anointed temple and stole thence all that is holy. In Shakespeare’s time
The life o’ th’ building. the king was believed to be God’s
sacred representative on earth.
Macbeth.   What is ’t you say? The life?
Lennox. Mean you his majesty?
65 Macduff. Approach the chamber and destroy your sight
With a new Gorgon. Do not bid me speak. 66 new Gorgon: Macduff compares
See and then speak yourselves. the shocking sight of the corpse to a
Gorgon. In Greek mythology, anyone
[Macbeth and Lennox exit.] who saw a Gorgon turned to stone.

  Awake, awake!
Ring the alarum bell.—Murder and treason!
Banquo and Donalbain, Malcolm, awake!
70 Shake off this downy sleep, death’s counterfeit, 70 counterfeit: imitation.
© Houghton Mifflin Harcourt Publishing Company

And look on death itself. Up, up, and see

The great doom’s image. Malcolm. Banquo. 72 great doom’s image: a picture
As from your graves rise up and walk like sprites like the Last Judgment, the end of the
world.
To countenance this horror.—Ring the bell.
73 sprites: spirits. The spirits of
[Bell rings.] the dead were supposed to rise on
[Enter Lady Macbeth.] Judgment Day.

75 Lady Macbeth. What’s the business,

That such a hideous trumpet calls to parley 76 trumpet calls to parley: She
The sleepers of the house? Speak, speak! compares the clanging bell to a
trumpet used to call two sides of a
battle to negotiation.

The Tragedy of Macbeth, Act II, Scene 3 317

 Macduff. O gentle lady,
’Tis not for you to hear what I can speak.
The repetition in a woman’s ear
80 Would murder as it fell.
[Enter Banquo.]
   O Banquo, Banquo,
Our royal master’s murdered.
Lady Macbeth. Woe, alas!
What, in our house?
Banquo.   Too cruel anywhere. —
Dear Duff, I prithee, contradict thyself
And say it is not so.
[Enter Macbeth, Lennox, and Ross.]
85 Macbeth. Had I but died an hour before this chance,
86–90 for from . . . brag of: From I had lived a blessèd time; for from this instant
now on, nothing matters (there’s There’s nothing serious in mortality.
nothing serious) in human life
(mortality); even fame and grace
All is but toys. Renown and grace is dead.
have been made meaningless. The The wine of life is drawn, and the mere lees
good wine of life has been removed 90 Is left this vault to brag of.
(drawn), leaving only the dregs (lees).
[Enter Malcolm and Donalbain.]
Donalbain. What is amiss?
Macbeth. You are, and do not know ’t.
The spring, the head, the fountain of your blood
Is stopped; the very source of it is stopped.
Macduff. Your royal father’s murdered.
Malcolm. O, by whom?
95 Lennox. Those of his chamber, as it seemed, had done ’t.
96 badged: marked. Their hands and faces were all badged with blood.
So were their daggers, which unwiped we found
Upon their pillows. They stared and were distracted.
No man’s life was to be trusted with them.
100 Macbeth. O, yet I do repent me of my fury,
That I did kill them.
Wherefore did you so?
Macduff.  
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Macbeth. Who can be wise, amazed, temp’rate, and furious,

Loyal, and neutral, in a moment? No man.
104–105 He claims his emotions Th’ expedition of my violent love
overpowered his reason, which would 105 Outrun the pauser, reason. Here lay Duncan,
have made him pause to think before
he killed Duncan’s servants.
His silver skin laced with his golden blood,
And his gashed stabs looked like a breach in nature
107 breach: a military term to
For ruin’s wasteful entrance; there the murderers,
describe a break in defenses, such as a
hole in a castle wall. Steeped in the colors of their trade, their daggers
110 Unmannerly breeched with gore. Who could refrain

318 UNIT 4 ANALYZE & APPLY

 That had a heart to love, and in that heart
Courage to make ’s love known?
Lady Macbeth.   Help me hence, ho! 112 Lady Macbeth faints.

Macduff. Look to the lady.

Malcolm [aside to Donalbain]. Why do we hold our tongues,
That most may claim this argument for ours?
Donalbain [aside to Malcolm]. Close Read Screencast
115 What should be spoken here, where our fate,
Listen to a modeled close
Hid in an auger hole, may rush and seize us? read of this text.
Let’s away. Our tears are not yet brewed.
Malcolm [aside to Donalbain].
Nor our strong sorrow upon the foot of motion.
Banquo. Look to the lady.
[Lady Macbeth is assisted to leave.]
120 And when we have our naked frailties hid, 120–121 Banquo suggests that they
That suffer in exposure, let us meet all meet to discuss the murder after
they have dressed (our naked frailties
And question this most bloody piece of work hid), since people are shivering in their
To know it further. Fears and scruples shake us. nightclothes (suffer in exposure).
In the great hand of God I stand, and thence
123–126 Though shaken by fears
125 Against the undivulged pretense I fight and doubts (scruples), he will fight
Of treasonous malice. against the secret plans (undivulged
pretense) of the traitor.
Macduff.   And so do I.
All. So all.
Macbeth. Let’s briefly put on manly readiness
And meet i’ th’ hall together.
All. Well contented.
[All but Malcolm and Donalbain exit.]
Malcolm. What will you do? Let’s not consort with them. 129–131 Malcolm does not want to
130 To show an unfelt sorrow is an office join (consort with) the others because
one of them may have plotted the
Which the false man does easy. I’ll to England. murder.
Donalbain. To Ireland I. Our separated fortune
Shall keep us both the safer. Where we are,
There’s daggers in men’s smiles. The near in blood,
© Houghton Mifflin Harcourt Publishing Company

135 The nearer bloody.

Malcolm. 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 139–140 There’s . . . left: There’s good
140 Which steals itself when there’s no mercy left. reason (warrant) to steal away from a
situation that promises no mercy.
[They exit.]

The Tragedy of Macbeth, Act II, Scene 3 319

 Scene 4 Outside Macbeth’s castle.
[Enter Ross with an Old Man.]
1–4 Nothing the old man has seen Old Man. Threescore and ten I can remember well,
in 70 years (threescore and ten) has Within the volume of which time I have seen
been as strange and terrible (sore)
as this night. It has made other
Hours dreadful and things strange, but this sore night
times seem trivial (hath trifled) by Hath trifled former knowings.
comparison.
Ross.   Ha, good father,
5 Thou seest the heavens, as troubled with man’s act,
6–10 By th’ clock . . . kiss it: Though Threaten his bloody stage. By th’ clock ’tis day,
daytime, an unnatural darkness blots And yet dark night strangles the traveling lamp.
out the sun (strangles the traveling
lamp).
Is ’t night’s predominance or the day’s shame
That darkness does the face of earth entomb
10 When living light should kiss it?

© Houghton Mifflin Harcourt Publishing Company • Image credits: ©Roberto Ricciuti/Getty Images Entertainment/Getty
Images

Teatro Regio Torino perform

Verdi’s Macbeth at Festival
Theatre, Edinburgh, Scotland,
2017.

320 UNIT 4 ANALYZE & APPLY

 Old Man.    ’Tis unnatural,
Even like the deed that’s done. On Tuesday last 12–13 The owl would never be
A falcon, tow’ring in her pride of place, expected to attack a high-flying
(tow’ring) falcon, much less defeat
Was by a mousing owl hawked at and killed. one.
Ross. And Duncan’s horses (a thing most strange and certain), 15 minions: best or favorites.
15 Beauteous and swift, the minions of their race, 17 Contending ’gainst obedience:
Turned wild in nature, broke their stalls, flung out, The well-trained horses rebelliously
Contending ’gainst obedience, as they would fought against all constraints.
Make war with mankind.
Old Man.     ’Tis said they eat each other.
Ross. They did so, to th’ amazement of mine eyes
20 That looked upon ’t.
[Enter Macduff.]
Here comes the good Macduff.—
© Houghton Mifflin Harcourt Publishing Company • Image credits: ©Roberto Ricciuti/Getty Images Entertainment/Getty
Images

The Tragedy of Macbeth, Act II, Scene 4 321

 How goes the world, sir, now?
Why, see you not?
Macduff.  
Ross. Is ’t known who did this more than bloody deed?
Macduff. Those that Macbeth hath slain.
Ross. Alas, the day,
24 What . . . pretend: Ross wonders What good could they pretend?
what the servants could have hoped
to achieve (pretend) by killing; Macduff. They were suborned.
suborned: hired or bribed. 25 Malcolm and Donalbain, the King’s two sons,
Are stol’n away and fled, which puts upon them
Suspicion of the deed.
27–29 He is horrified by the thought Ross.    ’Gainst nature still!
that the sons could act contrary to Thriftless ambition, that will ravin up
nature (’gainst nature still) because
of wasteful (thriftless) ambition
Thine own lives’ means. Then ’tis most like
and greedily destroy (ravin up) their 30 The sovereignty will fall upon Macbeth.
father, the source of their own life
(thine own lives’ means).
Macduff. He is already named and gone to Scone
To be invested.
31–32 Macbeth went to the
traditional site (Scone) where Ross.    Where is Duncan’s body?
Scotland’s kings were crowned.
Macduff. Carried to Colmekill,
The sacred storehouse of his predecessors
35 And guardian of their bones.
Ross. Will you to Scone?
Macduff. No, cousin, I’ll to Fife.
Ross.   Well, I will thither.
Macduff. Well, may you see things well done there. Adieu,
Lest our old robes sit easier than our new.
Ross. Farewell, father.
40–41 The old man gives his blessing 40 Old Man. God’s benison go with you and with those
(benison) to Macduff and all those That would make good of bad and friends of foes.
who would bring peace to the
troubled land. [All exit.] © Houghton Mifflin Harcourt Publishing Company

322 UNIT 4 ANALYZE & APPLY

 COLLABORATIVE DISCUSSION ESSENTIAL QUESTION:
When is ambition
Which parts of Macbeth’s and Lady Macbeth’s plan go smoothly?
dangerous?
Which do not? Discuss your ideas with a partner.

Review your notes and

add your thoughts to your
Response Log.

Assessment Practice
Answer these questions before moving on to the Analyze the Text
section on the following page.

1. This question has two parts. First, answer Part A. Then, answer Part B.
Part A

Why does Macbeth refuse to return to the king’s bedroom with the bloody knives?

A He is afraid that the king might have survived the attack.

B He wants Lady Macbeth to do her part by returning the knives.

C He is filled with remorse and lacks the courage to go back.

D He worries that he will be caught if he leaves his rooms.

Part B

Select the passage that best supports the answer to Part A.

A “Go get some water / And wash this filthy witness from your hand.”
(Scene 2, lines 44–45)

B “I am afraid to think what I have done. / Look on ’t again I dare not.”

(Scene 2, lines 49–50)

C “. . . The sleeping and the dead / Are but as pictures.” (Scene 2, lines 52–53)

D “A little water clears us of this deed. / How easy is it, then!” (Scene 2, lines 65–66)

2. Which of the following is a central idea in Act II?

© Houghton Mifflin Harcourt Publishing Company

A The Witches’ prophecies will ultimately prove false.

B The knocking sounds are the ghost of the king coming back.

C Macbeth deserves the crown more than the king’s sons do.

D The king’s murder has upset the natural rule of order.

Test-Taking Strategies

The Tragedy of Macbeth, Act II 323

 Respond

Analyze the Text

Support your responses with evidence from the text.
NOTICE & NOTE

1 SUMMARIZE What are some examples of Macbeth’s active imagination Review what
that add to his internal conflict? you noticed and
noted as you read
the text. Your
annotations can
2 ANALYZE What are some things the Porter says that provide comic
help you answer
relief? Why does Shakespeare include them in such a dramatic play? these questions.

3 INFER How is Macbeth’s explanation of why he killed the king’s servants

an example of dramatic irony? Use text from Scene 3, lines 100–112 to
support your answer.

4 CITE EVIDENCE What does Shakespeare tell you about Lady Macbeth’s
and Macbeth’s relationship in his description of the murder scene? Cite
examples from Scene 2 to support your answer.

5 ANALYZE What is the effect of the repeated idea of sleep in Act II? How
does this idea occurring Again and Again point toward a theme?

Choices
Here are some other ways to demonstrate your understanding of Act II.

Writing Speaking & Listening

Character Chat Argue Opinions
In Scene 3, Donalbain tells Malcolm, “There’s Why does Lady Macbeth faint? Is it a distraction,
daggers in men’s smiles.” How does this statement or is it real? Discuss your views using these steps:
© Houghton Mifflin Harcourt Publishing Company

relate to the brothers’ decision to flee, and how

is their action interpreted? Write a series of social
• Jot down ideas about what Lady Macbeth
does and says in Act II that might explain why
media posts or messages in a group chat that she faints.
explore this idea. Your imagined discussion should
include at least three characters from Act II. • In a small group, discuss causes and effects
related to the fainting incident, citing specific
lines to support your ideas.

• Try to reach a consensus within your group,

and then share your group’s conclusion with
the class.

324 UNIT 4 ANALYZE & APPLY

 Act III Don’t forget to
Notice & Note as you
Scene 1 Macbeth’s palace at Forres. read the text.
[Enter Banquo.]
Banquo. Thou hast it now—King, Cawdor, Glamis, all
ANALYZE DRAMA
As the Weïrd Women promised, and I fear
Thou played’st most foully for ’t. Yet it was said Annotate: Mark what Banquo
It should not stand in thy posterity, suspects in lines 1–10.
5 But that myself should be the root and father Infer: What does this soliloquy
Of many kings. If there come truth from them reveal about Banquo’s internal
(As upon thee, Macbeth, their speeches shine), conflict?
Why, by the verities on thee made good,
May they not be my oracles as well,
10 And set me up in hope? But hush, no more.
[Sennet sounded. Enter Macbeth as King, Lady Macbeth, Lennox, [Stage Direction] Sennet sounded: A
Ross, Lords, and Attendants.] trumpet is sounded.

Macbeth. Here’s our chief guest.

Lady Macbeth.   If he had been forgotten,
It had been as a gap in our great feast
And all-thing unbecoming.
Macbeth. Tonight we hold a solemn supper, sir, 14–15 A king usually uses the royal
15 And I’ll request your presence. pronoun we. Macbeth switches to the
pronoun I with Banquo.
Banquo.   Let your Highness 15–18 Banquo says he is duty bound
Command upon me, to the which my duties to serve the king.
Are with a most indissoluble tie
Forever knit.
Macbeth. Ride you this afternoon?
Banquo. Ay, my good lord.
20 Macbeth. We should have else desired your good advice
(Which still hath been both grave and prosperous) 21 grave and prosperous: thoughtful
In this day’s council, but we’ll take tomorrow. and profitable.

Is ’t far you ride?

Banquo. As far, my lord, as will fill up the time
25 ’Twixt this and supper. Go not my horse the better, 25–27 If his horse goes no faster than
I must become a borrower of the night usual, he’ll be back an hour or two
© Houghton Mifflin Harcourt Publishing Company

(twain) after dark.

For a dark hour or twain.
Lady Macbeth.    Fail not our feast.
Banquo. My lord, I will not.

The Tragedy of Macbeth, Act III, Scene 1 325

 29 bloody cousins: murderous Macbeth. We hear our bloody cousins are bestowed
relatives (Malcolm and Donalbain);
30 In England and in Ireland, not confessing
bestowed: settled.
Their cruel parricide, filling their hearers
32 strange invention: lies; stories
With strange invention. But of that tomorrow,
they have invented.
When therewithal we shall have cause of state
33–34 When . . . jointly: when
Craving us jointly. Hie you to horse. Adieu,
matters of state will require the
attention of us both. 35 Till you return at night. Goes Fleance with you?
Banquo. Ay, my good lord. Our time does call upon ’s.
Macbeth. I wish your horses swift and sure of foot,
And so I do commend you to their backs.
Farewell.
[Banquo exits.]
40 be master of his time: do what 40 Let every man be master of his time
he wants. Till seven at night. To make society
The sweeter welcome, we will keep ourself
43 While: until. Till suppertime alone. While then, God be with you.
[Lords and all but Macbeth and a Servant exit.]
44–45 sirrah: a term of address to an Sirrah, a word with you. Attend those men
inferior; Attend . . . pleasure: Are they 45 Our pleasure?
waiting for me?
Servant. They are, my lord, without the palace gate.
Macbeth. Bring them before us.
[Servant exits.]
47–48 To be thus . . . safely thus:   To be thus is nothing,
To be king is worthless unless my But to be safely thus. Our fears in Banquo
position as king is safe.
Stick deep, and in his royalty of nature
50 Reigns that which would be feared. ’Tis much he dares,
51 dauntless temper: fearless And to that dauntless temper of his mind
temperament. He hath a wisdom that doth guide his valor
To act in safety. There is none but he
Whose being I do fear; and under him
55–56 Banquo’s mere presence forces 55 My genius is rebuked, as it is said
back (rebuked) Macbeth’s ruling spirit Mark Antony’s was by Caesar. He chid the sisters
(genius). In ancient Rome, Caesar, who
became emperor, had the same effect
When first they put the name of king upon me
on his rival, Mark Antony. And bade them speak to him. Then, prophet-like,
They hailed him father to a line of kings.
© Houghton Mifflin Harcourt Publishing Company

60–69 They gave me a childless 60 Upon my head they placed a fruitless crown
(fruitless, barren) rule, which will be And put a barren scepter in my grip,
taken away by someone outside my
family (unlineal). I have committed
Thence to be wrenched with an unlineal hand,
murder, poisoned (filed) my mind, No son of mine succeeding. If ’t be so,
and destroyed my soul (eternal jewel) For Banquo’s issue have I filed my mind;
only to benefit Banquo’s heirs.

326 UNIT 4 ANALYZE & APPLY

 65 For them the gracious Duncan have I murdered, ANALYZE CHARACTER AND
Put rancors in the vessel of my peace THEME

Only for them, and mine eternal jewel Annotate: Mark passages in
Given to the common enemy of man lines 47–71 that reveal Macbeth’s
To make them kings, the seeds of Banquo kings. thoughts about what he has done
and how he feels about Banquo.
70 Rather than so, come fate into the list,
And champion me to th’ utterance.—Who’s there? Infer: What has Macbeth
realized? How will he solve this
[Enter Servant and two Murderers.] problem?
[To the Servant] Now go to the door, and stay there till we call.
[Servant exits.]
Was it not yesterday we spoke together?
Murderers. It was, so please your Highness.
Macbeth.   Well then, now
75 Have you considered of my speeches? Know 75–83 Macbeth supposedly proved
That it was he, in the times past, which held you (passed in probation) Banquo’s
deception (how you were borne
So under fortune, which you thought had been in hand), methods, and allies. Even
Our innocent self. This I made good to you a half-wit (half a soul) or a crazed
In our last conference, passed in probation with you person would agree that Banquo
caused their trouble.
80 How you were borne in hand, how crossed, the instruments,
Who wrought with them, and all things else that might
To half a soul and to a notion crazed
Say “Thus did Banquo.”
First Murderer.    You made it known to us.
Macbeth. I did so, and went further, which is now
85 Our point of second meeting. Do you find
Your patience so predominant in your nature
That you can let this go? Are you so gospeled 87–90 He asks whether they are so
To pray for this good man and for his issue, influenced by the gospel’s message of
Whose heavy hand hath bowed you to the grave forgiveness (so gospeled) that they
will pray for Banquo and his children
90 And beggared yours forever?
despite his harshness, which will leave
First Murderer. We are men, my liege. their own families beggars.

Macbeth. Ay, in the catalogue you go for men, 91–100 The true worth of a dog can
As hounds and greyhounds, mongrels, spaniels, curs, be measured only by examining the
record (valued file) of its special
Shoughs, water-rugs, and demi-wolves are clept qualities (particular addition).
All by the name of dogs. The valued file
© Houghton Mifflin Harcourt Publishing Company

95 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
100 That writes them all alike. And so of men.
Now, if you have a station in the file,
Not i’ th’ worst rank of manhood, say ’t,

The Tragedy of Macbeth, Act III, Scene 1 327

 103–107 Macbeth will give them a And I will put that business in your bosoms
secret job (business in your bosoms) Whose execution takes your enemy off,
that will earn them his loyalty
(grapples you to the heart) and love.
105 Grapples you to the heart and love of us,
Banquo’s death will make this sick king Who wear our health but sickly in his life,
healthy. Which in his death were perfect.
Second Murderer. I am one, my liege,
Whom the vile blows and buffets of the world
Hath so incensed that I am reckless what
110 I do to spite the world.
First Murderer.    And I another
111 tugged with: knocked about by. So weary with disasters, tugged with fortune,
That I would set my life on any chance,
To mend it or be rid on ’t.
Macbeth.     Both of you
Know Banquo was your enemy.
True, my lord.
Murderers.
115–117 Banquo is near enough 115 Macbeth. So is he mine, and in such bloody distance
to draw blood, and like a menacing That every minute of his being thrusts
swordsman, his mere presence
threatens (thrusts against) Macbeth’s
Against my near’st of life. And though I could
existence. With barefaced power sweep him from my sight
119 bid my will avouch it: justify it And bid my will avouch it, yet I must not,
as my will. 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
125 For sundry weighty reasons.
Second Murderer. We shall, my lord,
Perform what you command us.
First Murderer.   Though our lives—
127 Your spirits shine through you: Macbeth. Your spirits shine through you. Within this hour at most
Your courage is evident. I will advise you where to plant yourselves,
Acquaint you with the perfect spy o’ th’ time,
130 The moment on ’t, for ’t must be done tonight
131–132 something from . . . And something from the palace; always thought
© Houghton Mifflin Harcourt Publishing Company

clearness: The murder must be done That I require a clearness. And with him
away from the palace so that I remain
blameless (I require a clearness).
(To leave no rubs nor botches in the work)
Fleance, his son, that keeps him company,
135 absence: death. 135 Whose absence is no less material to me
Than is his father’s, must embrace the fate
137 Resolve yourselves apart: Of that dark hour. Resolve yourselves apart.
Decide in private. I’ll come to you anon.
Murderers.   We are resolved, my lord.
139 straight: soon. Macbeth. I’ll call upon you straight. Abide within.
[Murderers exit.]

328 UNIT 4 ANALYZE & APPLY

 Don’t forget to
Notice & Note as you
read the text.

Banquo and Fleance, The

Conservatory of Theatre and
Dance, Southeast Missouri State
University, 2014.

140 I t is concluded. Banquo, thy soul’s flight,

If it find heaven, must find it out tonight.
[He exits.]

Scene 2 Macbeth’s palace at Forres.

© Houghton Mifflin Harcourt Publishing Company • Image credits: ©Kenneth L. Stilson/Conservatory of Theatre & Dance,

[Enter Lady Macbeth and a Servant.]

Lady Macbeth. Is Banquo gone from court?
Servant. Ay, madam, but returns again tonight.
Lady Macbeth. Say to the King I would attend his leisure
For a few words.
Servant.     Madam, I will.
[He exits.]
Lady Macbeth. Naught’s had, all’s spent, 4–7 Nothing (naught) has been
5 Where our desire is got without content. gained; everything has been wasted
(spent). It would be better to be
’Tis safer to be that which we destroy dead like Duncan than to live in
Than by destruction dwell in doubtful joy. uncertain joy.
Southeast Missouri State University

[Enter Macbeth.]
 ow now, my lord? Why do you keep alone,
H
Of sorriest fancies your companions making,
10 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.
Macbeth. We have scorched the snake, not killed it.
She’ll close and be herself whilst our poor malice

The Tragedy of Macbeth, Act III, Scene 2 329

 15 Remains in danger of her former tooth.
16–22 He would rather have the But let the frame of things disjoint, both the worlds suffer,
world fall apart (the frame of things Ere we will eat our meal in fear, and sleep
disjoint) than be afflicted with
such fears and nightmares. Death is
In the affliction of these terrible dreams
preferable to life on the torture rack of That shake us nightly. Better be with the dead,
mental anguish (restless ecstasy). 20 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 done his worst; nor steel nor poison,
25 Malice domestic, foreign levy, nothing
Can touch him further.
Lady Macbeth.    Come on, gentle my lord,
27 Sleek: smooth. Sleek o’er your rugged looks. Be bright and jovial
Among your guests tonight.
Macbeth.     So shall I, love,
And so I pray be you. Let your remembrance
30 present him eminence: pay 30 Apply to Banquo; present him eminence
special attention to him. Both with eye and tongue: unsafe the while that we
32 lave . . . streams: wash (lave) our Must lave our honors in these flattering streams
honor in streams of flattery—that is, And make our faces vizards to our hearts,
falsify our feelings.
Disguising what they are.
33 vizards: masks.
Lady Macbeth.    You must leave this.
35 Macbeth. O, full of scorpions is my mind, dear wife!
Thou know’st that Banquo and his Fleance lives.
37 in them . . . not eterne: Nature did Lady Macbeth. But in them Nature’s copy’s not eterne.
not give them immortality.
Macbeth. There’s comfort yet; they are assailable.
39–43 jocund: cheerful; merry; Ere Then be thou jocund. Ere the bat hath flown
the bat . . . note: Before nightfall, 40 His cloistered flight, ere to black Hecate’s summons
when the bats and beetles fly,
something dreadful will happen.
The shard-borne beetle with his drowsy hums
Hath rung night’s yawning peal, there shall be done
A deed of dreadful note.
Lady Macbeth.    What’s to be done?
44 chuck: a term of affection. Macbeth. Be innocent of the knowledge, dearest chuck,
45 seeling: blinding.
45 Till thou applaud the deed.—Come, seeling night,
© Houghton Mifflin Harcourt Publishing Company

Scarf up the tender eye of pitiful day,

And with thy bloody and invisible hand
48 great bond: Banquo’s life. Cancel and tear to pieces that great bond
Which keeps me pale. Light thickens, and the crow
50 rooky: gloomy; also, filled with 50 Makes wing to th’ rooky wood.
rooks, or crows. Good things of day begin to droop and drowse,
Whiles night’s black agents to their preys do rouse.—
Thou marvel’st at my words, but hold thee still.
54 Things brought about through Things bad begun make strong themselves by ill.
evil need additional evil to make them 55 So prithee go with me.
strong.
[They exit.]

330 UNIT 4 ANALYZE & APPLY

 Scene 3 A park near the palace. Don’t forget to
Notice & Note as you
[Enter three Murderers.] read the text.
First Murderer. But who did bid thee join with us?
Third Murderer. Macbeth.
Second Murderer [to the First Murderer].
He needs not our mistrust, since he delivers 2–5 He needs . . . just: Macbeth
Our offices and what we have to do should not be distrustful, since he
gave us the orders (offices) and we
To the direction just. plan to follow his directions exactly.
First Murderer.   Then stand with us.—
5 The west yet glimmers with some streaks of day.
Now spurs the lated traveler apace 6 lated: tardy; late.
To gain the timely inn, and near approaches
The subject of our watch.
Third Murderer. Hark, I hear horses.
Banquo [ within]. Give us a light there, ho! 9 Give us a light: Banquo, nearing
the palace, calls for servants to bring
Second Murderer. Then ’tis he. The rest a light.
10 That are within the note of expectation
Already are i’ th’ court. 9–11 Then ’tis . . . court: It must be
Banquo, since all the other expected
First Murderer. His horses go about. guests are already in the palace.

Third Murderer. Almost a mile; but he does usually

(So all men do) from hence to th’ palace gate
Make it their walk.
[Enter Banquo and Fleance, with a torch.]
Second Murderer. A light, a light!
Third Murderer.   ’Tis he.
15 First Murderer. Stand to ’t. 15 Stand to ’t: Be prepared.

Banquo. It will be rain tonight.

First Murderer. Let it come down!
[The three Murderers attack.]
Banquo. O, treachery! Fly, good Fleance, fly, fly, fly!
Thou mayst revenge—O slave! 18 Thou mayst revenge: You might
live to avenge my death.
[He dies. Fleance exits.]
© Houghton Mifflin Harcourt Publishing Company

Third Murderer. Who did strike out the light?

First Murderer.    Was ’t not the way? 19 Was ’t not the way: Isn’t that what
we were supposed to do?
20 Third Murderer. There’s but one down. The son is fled.
Second Murderer. We have lost best half of our affair.
First Murderer. Well, let’s away and say how much is done.
[They exit.]

The Tragedy of Macbeth, Act III, Scene 3 331

 Scene 4 The hall in the palace.
[Banquet prepared. Enter Macbeth, Lady Macbeth, Ross, Lennox,
Lords, and Attendants.]
1 your own degrees: where your rank Macbeth. You know your own degrees; sit down. At first
entitles you to sit. And last, the hearty welcome.
[They sit.]
Lords. Thanks to your Majesty.
Macbeth. Ourself will mingle with society
And play the humble host.
5 keeps her state: sits on her throne 5 Our hostess keeps her state, but in best time
rather than at the banquet table. We will require her welcome.
Lady Macbeth. Pronounce it for me, sir, to all our friends,
For my heart speaks they are welcome.
[Enter First Murderer to the door.]
Macbeth. See, they encounter thee with their hearts’ thanks.
10 Both sides are even. Here I’ll sit i’ th’ midst.
11 measure: toast. Macbeth keeps Be large in mirth. Anon we’ll drink a measure
talking to his wife and guests as he The table round. [Approaching the Murderer] There’s blood upon
casually edges toward the door to
speak privately with the murderer.
   thy face.
Murderer. ’Tis Banquo’s then.
Macbeth. ’Tis better thee without than he within.
15 dispatched: killed. 15 Is he dispatched?
Murderer. My lord, his throat is cut. That I did for him.
Macbeth. Thou art the best o’ th’ cutthroats,
Yet he’s good that did the like for Fleance.
19 nonpareil: best. If thou didst it, thou art the nonpareil.
20 Murderer. Most royal sir, Fleance is ’scaped.
Macbeth [ aside]. Then comes my fit again. I had else been
   perfect,
Whole as the marble, founded as the rock,
23 casing: surrounding. As broad and general as the casing air.
But now I am cabined, cribbed, confined, bound in
25 To saucy doubts and fears.—But Banquo’s safe?
© Houghton Mifflin Harcourt Publishing Company

Murderer. Ay, my good lord. Safe in a ditch he bides,

With twenty trenchèd gashes on his head,
The least a death to nature.
Macbeth.     Thanks for that.
29 worm: little serpent, that is, There the grown serpent lies. The worm that’s fled
Fleance. 30 Hath nature that in time will venom breed,
31 No teeth for th’ present: too No teeth for th’ present. Get thee gone. Tomorrow
young to cause harm right now. We’ll hear ourselves again.
32 hear ourselves: talk together.
[Murderer exits.]

332 UNIT 4 ANALYZE & APPLY

 Lady Macbeth. My royal lord, 32–37 Macbeth must not forget
his duties as host. A feast will be no
You do not give the cheer. The feast is sold
different from a meal that one pays
That is not often vouched, while ’tis a-making, for unless the host gives his guests
35 ’Tis given with welcome. To feed were best at home; courteous attention (ceremony), the
From thence, the sauce to meat is ceremony; best part of any meal.

Meeting were bare without it.

[Enter the Ghost of Banquo, and sits in Macbeth’s place.]
Macbeth [ to Lady Macbeth]. Sweet remembrancer!— 37 Sweet remembrancer: a term
Now, good digestion wait on appetite of affection for his wife, who has
reminded him of his duty.
And health on both!
Lennox.   May’t please your Highness sit.
40 Macbeth. Here had we now our country’s honor roofed, 40–43 The best people of Scotland
Were the graced person of our Banquo present, would all be under Macbeth’s roof
if Banquo were present too. He
Who may I rather challenge for unkindness hopes Banquo’s absence is due to
Than pity for mischance. rudeness rather than to some accident
(mischance).
Ross.    His absence, sir,
Lays blame upon his promise. Please ’t your Highness
45 To grace us with your royal company?
Macbeth. The table’s full. 46 Macbeth notices Banquo’s ghost
sitting in the king’s chair.
Lennox.     Here is a place reserved, sir.
Macbeth. Where?
Lennox. Here, my good lord. What is ’t that moves your Highness?
Macbeth. Which of you have done this?
Lords.    What, my good lord?
50 Macbeth [ to the Ghost]. Thou canst not say I did it. Never shake
Thy gory locks at me.
Ross. Gentlemen, rise. His Highness is not well.
Lady Macbeth. Sit, worthy friends. My lord is often thus
And hath been from his youth. Pray you, keep seat.
55 The fit is momentary; upon a thought
He will again be well. If much you note him
You shall offend him and extend his passion.
Feed and regard him not. [Drawing Macbeth aside] Are you a man?
© Houghton Mifflin Harcourt Publishing Company

Macbeth. Ay, and a bold one, that dare look on that

60 Which might appall the devil.
Lady Macbeth. O, proper stuff! 60–68 She dismisses his hallucination
This is the very painting of your fear. as utter nonsense (proper stuff). His
outbursts (flaws and starts) are the
This is the air-drawn dagger which you said product of imaginary fears (impostors
Led you to Duncan. O, these flaws and starts, to true fear) and are unmanly, the
Impostors to true fear, would well become kind of behavior described in a
woman’s story.

The Tragedy of Macbeth, Act III, Scene 4 333

 65 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.
Macbeth. Prithee see there. Behold, look! [To the Ghost] Lo, how
   say you?
70 Why, what care I? If thou canst nod, speak too.—
71–73 If burial vaults (charnel If charnel houses and our graves must send
houses) give back the dead, then we Those that we bury back, our monuments
may as well throw our bodies to the
birds (kites), whose stomachs (maws)
Shall be the maws of kites.
will become our tombs (monuments). [Ghost exits.]
Lady Macbeth.    What, quite unmanned in folly?
Macbeth. If I stand here, I saw him.
Lady Macbeth.    Fie, for shame!
75–78 Macbeth desperately tries to 75 Macbeth. Blood hath been shed ere now, i’ th’ olden time,
justify his murder of Banquo. Murder Ere humane statute purged the gentle weal;
has been common from ancient times
to the present, though laws (humane
Ay, and since too, murders have been performed
statute) have tried to rid civilized Too terrible for the ear. The time has been
society (gentle weal) of violence. That, when the brains were out, the man would die,
80 And there an end. But now they rise again
With twenty mortal murders on their crowns
And push us from our stools. This is more strange
Than such a murder is.
Lady Macbeth.    My worthy lord,
Your noble friends do lack you.
Macbeth.   I do forget.—
85 muse: wonder. 85 Do not muse at me, my most worthy friends.
ANALYZE DRAMA
I have a strange infirmity, which is nothing
To those that know me. Come, love and health to all.
Annotate: Mark words that
Then I’ll sit down.—Give me some wine. Fill full.
reflect happiness and love in lines
87–92. [Enter Ghost.]
Analyze: What is ironic about I drink to the general joy o’ th’ whole table
these expressions, given what 90 And to our dear friend Banquo, whom we miss.
Macbeth has done and what he is Would he were here! To all and him we thirst,
seeing?
And all to all.
© Houghton Mifflin Harcourt Publishing Company

Lords.   Our duties, and the pledge.

[They raise their drinking cups.]
93–96 Avaunt: go away. Macbeth Macbeth [ to the Ghost]. Avaunt, and quit my sight! Let the earth
tells Banquo that he is only a ghost,    hide thee.
with unreal bones, cold blood, and no
consciousness (speculation).
Thy bones are marrowless; thy blood is cold;
95 Thou hast no speculation in those eyes
Which thou dost glare with.

334 UNIT 4 ANALYZE & APPLY

 Don’t forget to
Notice & Note as you
read the text.

Dmitry Belosselskiy and Zeljko

Lucic perform Guiseppe Verdi’s
opera Macbeth, directed by Peter
Stein and conducted by Ricardo
Muti, Salzburg, 2011.

Lady Macbeth.     Think of this, good peers,

But as a thing of custom. ’Tis no other;
Only it spoils the pleasure of the time.
Macbeth [ to the Ghost]. What man dare, I dare. 99–104 Macbeth would be willing to
100 Approach thou like the rugged Russian bear, face Banquo in any other form, even
his living self.
The armed rhinoceros, or th’ 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.
105 If trembling I inhabit then, protest me 105–106 If trembling . . . girl: If I still
The baby of a girl. Hence, horrible shadow! tremble, call me a girl’s doll.

Unreal mock’ry, hence!

[Ghost exits.]
 Why, so, being gone,
I am a man again.—Pray you sit still.
© Houghton Mifflin Harcourt Publishing Company • Image credits: ©Wildbild/AFP/Getty Images

Lady Macbeth. You have displaced the mirth, broke the good
  meeting
110 With most admired disorder. 110 admired: astonishing.

Macbeth. Can such things be 110–116 Macbeth is bewildered by

And overcome us like a summer’s cloud, his wife’s calm, which makes him seem
Without our special wonder? You make me strange a stranger to himself (strange even
to the disposition that I owe): she
Even to the disposition that I owe, has all the courage, while he is white
When now I think you can behold such sights (blanched) with fear.
115 And keep the natural ruby of your cheeks
When mine is blanched with fear.
Ross.  What sights, my lord?
Lady Macbeth. 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, 119 Stand . . . going: Don’t worry
120 But go at once. about the proper formalities of
leaving.
Lennox.    Good night, and better health
Attend his Majesty.

The Tragedy of Macbeth, Act III, Scene 4 335

 Lady Macbeth.   A kind good night to all.
[Lords and all but Macbeth and Lady Macbeth exit.]
122–126 Macbeth fears that Banquo’s Macbeth. It will have blood, they say; blood will have blood.
murder (it) will be revenged by his Stones have been known to move, and trees to speak;
own murder. Stones, trees, or talking
birds (maggot pies and choughs
Augurs and understood relations have
and rooks) may reveal the hidden 125 By maggot pies and choughs and rooks brought forth
knowledge (augurs) of his guilt. The secret’st man of blood.—What is the night?
Lady Macbeth. Almost at odds with morning, which is which.
128–129 How say’st . . . bidding: Macbeth. How say’st thou that Macduff denies his person
What do you think of Macduff’s refusal At our great bidding?
to come?
Lady Macbeth.    Did you send to him, sir?
131–132 Macbeth has paid (fee’d)
household servants to spy on every
130 Macbeth. I hear it by the way; but I will send.
noble, including Macduff. There’s not a one of them but in his house
133 betimes: early. I keep a servant fee’d. I will tomorrow
(And betimes I will) to the Weïrd Sisters.
ANALYZE CHARACTER AND More shall they speak, for now I am bent to know
THEME 135 By the worst means the worst. For mine own good,
Annotate: Reread lines 134–144 All causes shall give way. I am in blood
and mark words that indicate Stepped in so far that, should I wade no more,
Macbeth has gone too far in his Returning were as tedious as go o’er.
quest for power.
Strange things I have in head, that will to hand,
Evaluate: What theme is being 140 Which must be acted ere they may be scanned.
developed in this scene?
Lady Macbeth. You lack the season of all natures, sleep.
142–144 His vision of the ghost Macbeth. Come, we’ll to sleep. My strange and self-abuse
(strange and self-abuse) is only the Is the initiate fear that wants hard use.
result of a beginner’s fear (initiate
fear), to be cured with practice (hard
We are yet but young in deed.
use). [They exit.]

Scene 5 A heath.
[Thunder. Enter the three Witches, meeting Hecate.]
First Witch. Why, how now, Hecate? You look angerly.
2 beldams: hags. Hecate. Have I not reason, beldams as you are,
Saucy and overbold, how did you dare
To trade and traffic with Macbeth
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5 In riddles and affairs of death,

And I, the mistress of your charms,
The close contriver of all harms,
Was never called to bear my part
Or show the glory of our art?
10 And which is worse, all you have done
Hath been but for a wayward son,
Spiteful and wrathful, who, as others do,
13 Loves . . . you: cares only about his Loves for his own ends, not for you.
own goals, not about you. But make amends now. Get you gone,

336 UNIT 4 ANALYZE & APPLY

 15 And at the pit of Acheron 15 Acheron: a river in hell, according
Meet me i’ th’ morning. Thither he to Greek mythology.

Will come to know his destiny.

Your vessels and your spells provide,
Your charms and everything beside.
20 I am for th’ air. This night I’ll spend 20–21 This . . . end: Tonight I’m
Unto a dismal and a fatal end. working for a disastrous (dismal) and
fatal end for Macbeth.
Great business must be wrought ere noon.
Upon the corner of the moon
There hangs a vap’rous drop profound.
Close Read Screencast
25 I’ll catch it ere it come to ground,
Listen to a modeled close
And that, distilled by magic sleights, read of this text.
Shall raise such artificial sprites
As by the strength of their illusion
23–29 Hecate will obtain a
Shall draw him on to his confusion. magical drop from the moon, treat
30 He shall spurn fate, scorn death, and bear it with secret art, and so create
His hopes ’bove wisdom, grace, and fear. spirits (artificial sprites) that will
And you all know, security lead Macbeth to his destruction
(confusion).
Is mortals’ chiefest enemy.
[Music and a song]
 ark! I am called. My little spirit, see,
H 34–35 Hecate has a demon helper
35 Sits in a foggy cloud and stays for me. (my little spirit), to which she is raised
by pulley to “the heavens” of the stage.
[Hecate exits.]
[Sing within “Come away, come away,” etc.]
First Witch. Come, let’s make haste. She’ll soon be back again.
[They exit.]

Scene 6 The palace at Forres.

[Enter Lennox and another Lord.]
Lennox. My former speeches have but hit your thoughts, 1–3 Lennox and the other lord have
Which can interpret farther. Only I say shared suspicions of Macbeth.

Things have been strangely borne. The gracious Duncan

Was pitied of Macbeth; marry, he was dead.
5 And the right valiant Banquo walked too late,
Whom you may say, if ’t please you, Fleance killed, 6–7 Fleeing the scene of the crime
For Fleance fled. Men must not walk too late. must make Fleance guilty of his
© Houghton Mifflin Harcourt Publishing Company

father’s murder.
Who cannot want the thought how monstrous
It was for Malcolm and for Donalbain 8–10 Everyone agrees on the horror
of Duncan’s murder by his sons.
10 To kill their gracious father? Damnèd fact,
How it did grieve Macbeth! Did he not straight
In pious rage the two delinquents tear 12 pious: holy.
That were the slaves of drink and thralls of sleep?
Was not that nobly done? Ay, and wisely, too,

The Tragedy of Macbeth, Act III, Scene 6 337

 15 For ’twould have angered 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
20 What ’twere to kill a father. So should Fleance.
21 from broad words: because of his But peace. For from broad words, and ’cause he failed
frank talk. His presence at the tyrant’s feast, I hear
Macduff lives in disgrace. Sir, can you tell
24 bestows himself: is staying. Where he bestows himself?
Lord.      The son of Duncan
25 Macbeth keeps Malcolm from his 25 (From whom this tyrant holds the due of birth)
rightful throne. Lives in the English court and is received
27 Edward: Edward the Confessor, Of the most pious Edward with such grace
king of England from 1042 to 1066, a That the malevolence of fortune nothing
man known for his virtue and religion.
Takes from his high respect. Thither Macduff
28–29 That . . . respect: Despite 30 Is gone to pray the holy king upon his aid
his bad fortune, Malcolm is treated
To wake Northumberland and warlike Siward
respectfully by Edward.
That, by the help of these (with Him above
29–37 Macduff wants the To ratify the work), we may again
king to persuade the people of
Give to our tables meat, sleep to our nights,
Northumberland and their earl,
Siward, to join Malcolm’s cause. 35 Free from our feasts and banquets bloody knives,
Do faithful homage, and receive free honors,
All which we pine for now. And this report
Hath so exasperate the King that he
Prepares for some attempt of war.
Lennox. Sent he to Macduff?
40–43 The messenger, fearing 40 Lord. He did, and with an absolute “Sir, not I,”
Macbeth’s anger, was unhappy The cloudy messenger turns me his back
(cloudy) with Macduff’s refusal to
cooperate. Because Macduff burdens
And hums, as who should say, “You’ll rue the time
(clogs) him with bad news, he will not That clogs me with this answer.”
hurry back.
Lennox. And that well might
Advise him to a caution t’ hold what distance
45 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
© Houghton Mifflin Harcourt Publishing Company

Under a hand accursed.

Lord.   I’ll send my prayers with him.
[They exit.]

338 UNIT 4 ANALYZE & APPLY

 COLLABORATIVE DISCUSSION ESSENTIAL QUESTION:
When is ambition
How happy are the Scottish people with Macbeth’s rule? What does
dangerous?
the way he governs reveal about him? Discuss your ideas with a
partner.
Review your notes and
add your thoughts to your
Response Log.

Assessment Practice
Answer these questions before moving on to the Analyze the Text
section on the following page.

1. This question has two parts. First, answer Part A. Then, answer Part B.
Part A

How does Macbeth react to the sight of Banquo’s ghost?

A He sees that he has made the right choice in eliminating Banquo.

B He feels guilty about Banquo’s murder and fears his own death.

C He is overcome with fear and confesses his crimes to the gathering.

D He is relieved because he thinks Banquo has come back to life.

Part B

Select the passage that best supports the answer in Part A.

A “If I stand here, I saw him.” “Fie, for shame!” (Scene 4, line 74)

B “I drink to the general joy o’ th’ whole table / And to our dear friend Banquo,
whom we miss.” (Scene 4, lines 89–90)

C “Thou hast no speculation in those eyes / Which thou dost glare with.”
(Scene 4, lines 95–96)

D “It will have blood, they say; blood will have blood.” (Scene 4, line 122)

2. Which sentence best describes a theme of Act III?

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A Maintaining power through violence only leads to more violence.

B A true hero can overcome fate and write his own destiny.

C In the case of human ambition, the ends justify the means.

D No escape from the temptation of power is possible.

Test-Taking Strategies

The Tragedy of Macbeth, Act III 339

 Respond

Analyze the Text

Support your responses with evidence from the text.
NOTICE & NOTE

1 INFER Reread lines 47–56 in Scene 1. Why does Macbeth fear Banquo Review what
and feel threatened by his “being”? What is suggested about Macbeth’s you noticed and
noted as you read
character through his action of hiring murderers to carry out his plan?
the text. Your
annotations can
help you answer
2 ANALYZE Review Scene 2. How has Duncan’s murder affected the these questions.
relationship between Macbeth and Lady Macbeth? Cite evidence from
the text to support your ideas.

3 DRAW CONCLUSIONS What does Fleance’s escape suggest about the

Witches’ prophecy?

4 ANALYZE What does Banquo’s ghost in Scene 4 represent? Explain how

the presence of the ghost affects Lady Macbeth’s behavior even though
she cannot see it.

5 COMPARE Review lines 135–140 in Scene 4. What does Macbeth realize,

and in what way does this speech reveal a change in Macbeth’s attitude
from how he has felt in the past about his deeds?

Choices
Here are some other ways to demonstrate your understanding of Act III.

Writing
Critical Evaluation
© Houghton Mifflin Harcourt Publishing Company

Some critics believe that Scene 5 was not part of

the original text but was added to the play later. Speaking & Listening
What is the purpose of Scene 5? Write a review in Irony Analysis
which you argue either for or against the inclusion
How does dramatic irony intensify the impact
of Scene 5, providing evidence from the play to
of Act III? Work with a partner to identify the
support your opinion.
strongest instances of dramatic irony in Act III
and discuss what they reveal about Macbeth’s
character. Choose one instance to present to
the class, citing relevant lines from the play as
evidence for your ideas.

340 UNIT 4 ANALYZE & APPLY

 Act IV Don’t forget to
Notice & Note as you
Scene 1 A cave. In the middle, a boiling cauldron. read the text.
[Thunder. Enter the three Witches.]
First Witch. Thrice the brinded cat hath mewed.
1–3 Magical signals and the call of
Second Witch. Thrice, and once the hedge-pig whined. the Third Witch’s attending demon
(Harpier) tell the Witches to begin.
Third Witch. Harpier cries “’Tis time, ’tis time!”
First Witch. Round about the cauldron go; 4–34 The Witches are stirring up
5 In the poisoned entrails throw. a magical stew to bring trouble to
humanity. Their recipe includes
Toad, that under cold stone intestines (entrails, chaudron), a slice
Days and nights has thirty-one (fillet) of snake, eye of salamander
Sweltered venom sleeping got, (newt), snake tongue (adder’s fork),
a lizard (blindworm), a baby owl’s
Boil thou first i’ th’ charmed pot.
(howlet’s) wing, a shark’s stomach and
[The Witches circle the cauldron.] gullet (maw and gulf), the finger of a
baby strangled by a prostitute (drab),
10 All. Double, double toil and trouble; and other gruesome ingredients. They
Fire burn, and cauldron bubble. stir their brew until it is thick and slimy
(slab).
Second Witch. Fillet of a fenny snake
In the cauldron boil and bake.
Eye of newt and toe of frog,
15 Wool of bat and tongue of dog,
Adder’s fork and blindworm’s sting,
Lizard’s leg and howlet’s wing,
For a charm of powerful trouble,
Like a hell-broth boil and bubble.
20 All. Double, double toil and trouble;
Fire burn, and cauldron bubble.
Third Witch. Scale of dragon, tooth of wolf,
Witch’s mummy, maw and gulf
Of the ravined salt-sea shark,
25 Root of hemlock digged i’ th’ dark,
Liver of blaspheming Jew,
Gall of goat and slips of yew
Slivered in the moon’s eclipse,
Nose of Turk and Tartar’s lips,
30 Finger of birth-strangled babe
© Houghton Mifflin Harcourt Publishing Company

Ditch-delivered by a drab,
Make the gruel thick and slab.
Add thereto a tiger’s chaudron
For th’ ingredience of our cauldron.

The Tragedy of Macbeth, Act IV, Scene 1 341

 35 All. Double, double toil and trouble;
Fire burn, and cauldron bubble.
Second Witch. Cool it with a baboon’s blood.
Then the charm is firm and good.
[Enter Hecate to the other three Witches.]
Hecate. O, well done! I commend your pains,
40 And everyone shall share i’ th’ gains.
And now about the cauldron sing
Like elves and fairies in a ring,
Enchanting all that you put in.
[Music and a song: “Black Spirits,” etc. Hecate exits.]
Second Witch. By the pricking of my thumbs,
45 Something wicked this way comes.
Open, locks,
Whoever knocks.
[Enter Macbeth.]
Macbeth. How now, you secret, black, and midnight hags?
What is ’t you do?
All.       A deed without a name.
50–61 Macbeth calls upon (conjure) 50 Macbeth. I conjure you by that which you profess
the Witches in the name of their dark (Howe’er you come to know it), answer me.
magic (that which you profess).
Though they unleash winds to topple
Though you untie the winds and let them fight
churches and make foaming (yeasty) Against the churches, though the yeasty waves
waves to destroy (confound) ships, Confound and swallow navigation up,
though they flatten wheat (corn)
55 Though bladed corn be lodged and trees blown down,
fields, destroy buildings, and reduce
nature’s order to chaos by mixing Though castles topple on their warders’ heads,
all seeds (germens) together, he Though palaces and pyramids do slope
demands an answer to his question. Their heads to their foundations, though the treasure
Of nature’s germens tumble all together
60 Even till destruction sicken, answer me
To what I ask you.
First Witch.    Speak.
Second Witch.      Demand.
Third Witch.           We’ll answer.
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First Witch. Say if th’ hadst rather hear it from our mouths
63 masters: the demons whom the Or from our masters’.
Witches serve.
Call ’em. Let me see ’em.
Macbeth.      

342 UNIT 4 ANALYZE & APPLY

 Don’t forget to
Notice & Note as you
read the text.

Universal Arts and Polish

Cultural Institute perform
Macbeth on stilts, Edinburgh
Fringe Festival 2007, Edinburgh,
Scotland.

First Witch. Pour in sow’s blood that hath eaten

65 Her nine farrow; grease that’s sweaten 65–66 farrow: newborn pigs;
From the murderers’ gibbet throw grease . . . gibbet: grease from a
gallows where murderers were hung.
Into the flame.
All.      Come high or low;
Thyself and office deftly show.
© Houghton Mifflin Harcourt Publishing Company • Image credits: ©Jeff J. Mitchell/Getty Images News/Getty Images

[Thunder. First Apparition, an Armed Head.] [Stage Direction] Each of the three
apparitions holds a clue to Macbeth’s
Macbeth. Tell me, thou unknown power— future.
First Witch.              He knows thy thought.
70 Hear his speech but say thou naught.
First Apparition. Macbeth! Macbeth! Macbeth! Beware Macduff!
Beware the Thane of Fife! Dismiss me. Enough.
[He descends.]
Macbeth. Whate’er thou art, for thy good caution, thanks.
Thou hast harped my fear aright. But one word more— 74 harped: guessed.

75 First Witch. He will not be commanded. Here’s another ANALYZE CHARACTER AND
More potent than the first. THEME

Annotate: Mark what is foretold

[Thunder. Second Apparition, a Bloody Child.]
in lines 79–81.
Second Apparition. Macbeth! Macbeth! Macbeth!—
Predict: Consider what you know
Macbeth. Had I three ears, I’d hear thee. about the Witches. Can Macbeth
trust this prediction? How might
Second Apparition. Be bloody, bold, and resolute. Laugh to scorn
he act in response to it?
80 The power of man, for none of woman born
Shall harm Macbeth.
[He descends.]

The Tragedy of Macbeth, Act IV, Scene 1 343

 Macbeth. Then live, Macduff; what need I fear of thee?
But yet I’ll make assurance double sure
84 The murder of Macduff will give And take a bond of fate. Thou shalt not live,
Macbeth a guarantee (bond) of his 85 That I may tell pale-hearted fear it lies,
fate and put his fears to rest.
And sleep in spite of thunder.
[Thunder. Third Apparition, a Child Crowned, with a tree in
his hand.]
             What is this
87 issue: child. That rises like the issue of a king
88–89 the round and top: the crown. And wears upon his baby brow the round
And top of sovereignty?
All.         Listen, but speak not to ’t.
90–94 The third apparition tells 90 Third Apparition. Be lion-mettled, proud, and take no care
Macbeth to take courage. He cannot Who chafes, who frets, or where conspirers are.
be defeated unless Birnam Wood
travels the 12-mile distance to
Macbeth shall never vanquished be until
Dunsinane Hill, where his castle is Great Birnam Wood to high Dunsinane Hill
located. Shall come against him.           [He descends.]
Macbeth.       That will never be.
95 impress: force into service. 95 Who can impress the forest, bid the tree
96 bodements: prophecies. Unfix his earthbound root? Sweet bodements, good!
97–100 Macbeth boasts that he will Rebellious dead, rise never till the wood
never again be troubled by ghosts Of Birnam rise, and our high-placed Macbeth
(rebellious dead) and that he will live
out his expected life span (lease of
Shall live the lease of nature, pay his breath
nature). He believes he will die (pay 100 To time and mortal custom. Yet my heart
his breath) by natural causes (mortal Throbs to know one thing. Tell me, if your art
custom).
Can tell so much: shall Banquo’s issue ever
Reign in this kingdom?
All.         Seek to know no more.
Macbeth. I will be satisfied. Deny me this,
105 And an eternal curse fall on you! Let me know!
        [Cauldron sinks. Hautboys.]
Why sinks that cauldron? And what noise is this?
First Witch. Show.
Second Witch. Show.
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Third Witch. Show.

110 All. Show his eyes, and grieve his heart.
Come like shadows; so depart.
[Stage Direction] A show . . . : [A show of eight kings, the eighth king with a glass in his hand,
Macbeth next sees eight kings, the last and Banquo last.]
carrying a mirror (glass). According to
legend, Fleance escaped to England, Macbeth. Thou art too like the spirit of Banquo. Down!
where he founded the Stuart family, to Thy crown does sear mine eyeballs. And thy hair,
which King James belonged.

344 UNIT 4 ANALYZE & APPLY

 Thou other gold-bound brow, is like the first. 112–124 All eight kings look like
Banquo. The mirror shows a future
115 A third is like the former.—Filthy hags,
with many more Banquo look-alikes
Why do you show me this?—A fourth? Start, eyes! as kings. The twofold balls and treble
What, will the line stretch out to th’ crack of doom? scepters foretell the union of Scotland
Another yet? A seventh? I’ll see no more. and England in 1603, the year that
James became king of both realms.
And yet the eighth appears who bears a glass Banquo, his hair matted (boltered)
120 Which shows me many more, and some I see with blood, claims all the kings as his
That twofold balls and treble scepters carry. descendants.
Horrible sight! Now I see ’tis true,
For the blood-boltered Banquo smiles upon me
And points at them for his.
           [The Apparitions disappear.]
           What, is this so?
125 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
130 While you perform your antic round,
That this great king may kindly say
Our duties did his welcome pay.
[Music. The Witches dance and vanish.]
Macbeth. Where are they? Gone? Let this pernicious hour 133 pernicious: evil.
Stand aye accursèd in the calendar!— 134 aye: always.
135 Come in, without there. 135 After the Witches vanish,
Macbeth hears noises outside the cave
[Enter Lennox.] and calls out.
Lennox.       What’s your Grace’s will?
Macbeth. Saw you the Weïrd Sisters?
Lennox.             No, my lord.
Macbeth. Came they not by you?
Lennox.           No, indeed, my lord.
Macbeth. Infected be the air whereon they ride,
And damned all those that trust them! I did hear
140 The galloping of horse. Who was ’t came by?
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Lennox. ’Tis two or three, my lord, that bring you word

Macduff is fled to England.
Macbeth.        Fled to England?
Lennox. Ay, my good lord.
Macbeth[aside]. Time, thou anticipat’st my dread exploits.
145 The flighty purpose never is o’ertook
Unless the deed go with it. From this moment

The Tragedy of Macbeth, Act IV, Scene 1 345

 144–156 Frustrated in his desire to The very firstlings of my heart shall be
kill Macduff, Macbeth blames his own The firstlings of my hand. And even now,
hesitation, which gave his enemy time
to flee. He concludes that one’s plans
To crown my thoughts with acts, be it thought and done:
(flighty purpose) are never achieved 150 The castle of Macduff I will surprise,
(o’ertook) unless carried out at once. Seize upon Fife, give to th’ edge o’ th’ sword
From now on, Macbeth promises, he
His wife, his babes, and all unfortunate souls
will act immediately on his impulses
(firstlings of my heart) and complete That trace him in his line. No boasting like a fool;
(crown) his thoughts with acts. He will This deed I’ll do before this purpose cool.
surprise Macduff’s castle at Fife and kill 155 But no more sights!—Where are these gentlemen?
his wife and children.
Come bring me where they are.
[They exit.]

Scene 2 Macduff’s castle at Fife.

[Enter Lady Macduff, her Son, and Ross.]
Lady Macduff. What had he done to make him fly the land?
Ross. You must have patience, madam.
Lady Macduff.           He had none.
3–4 Macduff’s wife is worried that His flight was madness. When our actions do not,
others will think her husband a traitor Our fears do make us traitors.
because his fears made him flee
the country (our fears do make us Ross.           You know not
traitors), though he was guilty of no 5 Whether it was his wisdom or his fear.
wrongdoing.
Lady Macduff. Wisdom? To leave his wife, to leave his babes,
His mansion and his titles in a place
From whence himself does fly? He loves us not;
9 wants the natural touch: lacks the He wants the natural touch; for the poor wren
instinct to protect his family. 10 (The most diminutive of birds) will fight,
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.
14 coz: cousin (a term used for any Ross.          My dearest coz,
close relation). 15 I pray you school yourself. But for your husband,
15 school: control; for: as for. He is noble, wise, judicious, and best knows
17 fits o’ th’ season: disorders of the The fits o’ th’ season. I dare not speak much further;
present time. But cruel are the times when we are traitors
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18–22 Ross laments the cruelty of the And do not know ourselves; when we hold rumor
times that made Macduff flee. Fears
make people believe (hold) rumors,
20 From what we fear, yet know not what we fear,
though they do not know what to fear But float upon a wild and violent sea
and drift aimlessly like ships tossed by Each way and move—I take my leave of you.
a tempest.
Shall not be long but I’ll be here again.
Things at the worst will cease or else climb upward
25 To what they were before.—My pretty cousin,
Blessing upon you.

346 UNIT 4 ANALYZE & APPLY

 Don’t forget to
Notice & Note as you
read the text.

Lady Macduff and children,

The Conservatory of Theatre
© Houghton Mifflin Harcourt Publishing Company • Image credits: ©Kenneth L. Stilson/Conservatory of Theatre & Dance,

and Dance, Southeast Missouri

State University, 2014.

Lady Macduff. Fathered he is, and yet he’s fatherless.

Ross. I am so much a fool, should I stay longer 28–30 Moved by pity for Macduff’s
It would be my disgrace and your discomfort. family, Ross is near tears (my
disgrace). He will leave before he
30 I take my leave at once.            [Ross exits.] embarrasses himself.
Lady Macduff.     Sirrah, your father’s dead.
And what will you do now? How will you live?
Son. As birds do, mother. Close Read Screencast
Listen to a modeled close
Lady Macduff.      What, with worms and flies? read of this text.
Son. With what I get, I mean; and so do they.
Southeast Missouri State University

32–35 The spirited son refuses to be

Lady Macduff. Poor bird, thou’dst never fear the net nor lime,
defeated by their bleak situation. He
35 The pitfall nor the gin. will live as birds do, taking whatever
comes his way. His mother responds in
Son. Why should I, mother? Poor birds they are not set for.
kind, calling attention to devices used
My father is not dead, for all your saying. to catch birds: nets, sticky birdlime
(lime), snares (pitfall), and traps (gin).
Lady Macduff. Yes, he is dead. How wilt thou do for a father?
Son. Nay, how will you do for a husband?

The Tragedy of Macbeth, Act IV, Scene 2 347

 40–43 Lady Macduff and her son 40 Lady Macduff. Why, I can buy me twenty at any market.
affectionately joke about her ability
to find a new husband. She expresses Son. Then you’ll buy ’em to sell again.
admiration for his intelligence (with
wit enough).
Lady Macduff. Thou speak’st with all thy wit,
And yet, i’ faith, with wit enough for thee.
Son. Was my father a traitor, mother?
45 Lady Macduff. Ay, that he was.
Son. What is a traitor?
Lady Macduff. Why, one that swears and lies.
Son. And be all traitors that do so?
Lady Macduff. Every one that does so is a traitor and must be
  hanged.
50 Son. And must they all be hanged that swear and lie?
Lady Macduff. Every one.
Son. Who must hang them?
Lady Macduff. Why, the honest men.
54–60 Her son points out that traitors Son. Then the liars and swearers are fools, for there are liars and
outnumber honest men in this 55 swearers enough to beat the honest men and hang up them.
troubled time. The mother’s terms
of affection, monkey and prattler Lady Macduff. Now God help thee, poor monkey! But how wilt
(childish talker), suggest that his thou do for a father?
playfulness has won her over.
Son. If he were dead, you’d weep for him. If you would not, it
were a good sign that I should quickly have a new father.
60 Lady Macduff. Poor prattler, how thou talk’st!
[Enter a Messenger.]
61–69 The messenger, who knows Messenger. Bless you, fair dame. I am not to you known,
Lady Macduff is an honorable Though in your state of honor I am perfect.
person (in your state of honor I
am perfect), delivers a polite but
I doubt some danger does approach you nearly.
desperate warning, urging her to flee If you will take a homely man’s advice,
immediately. While he apologizes for 65 Be not found here. Hence with your little ones!
scaring her, he warns that she faces a
To fright you thus methinks I am too savage;
deadly (fell) cruelty, one dangerously
close (too nigh). To do worse to you were fell cruelty,
Which is too nigh your person. Heaven preserve you!
NOTICE & NOTE I dare abide no longer.         [Messenger exits.]
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TOUGH QUESTIONS
Lady Macduff.   Whither should I fly?
When you notice characters
asking questions that reveal their 70 I have done no harm. But I remember now
internal struggles, you’ve found a I am in this earthly world, where to do harm
Tough Questions signpost. Is often laudable, to do good sometime
Notice & Note: Mark the Accounted dangerous folly. Why then, alas,
questions Lady Macduff asks Do I put up that womanly defense
herself in lines 69–75. 75 To say I have done no harm?
Infer: What do these questions
make you wonder about?

348 UNIT 4 ANALYZE & APPLY

 [Enter Murderers.] Don’t forget to
Notice & Note as you
             
What are these faces?
read the text.
Murderer. Where is your husband?
Lady Macduff. I hope in no place so unsanctified
77 unsanctified: unholy.
Where such as thou mayst find him.
Murderer. He’s a traitor.
Son. Thou liest, thou shag-eared villain! 79 shag-eared: longhaired.

Murderer.             What, you egg!

[Stabbing him]
80 Young fry of treachery! 80 young fry: small fish.

Son.         He has killed me, mother.

Run away, I pray you,
[Lady Macduff exits, crying “Murder!” followed by the Murderers
bearing the Son’s body.]

Scene 3 England. Before King Edward’s palace.

[Enter Malcolm and Macduff.]
Malcolm. Let us seek out some desolate shade and there
Weep our sad bosoms empty.
Macduff.         Let us rather 2–8 Macduff advises that they grab
Hold fast the mortal sword and, like good men, a deadly (mortal) sword and defend
their homeland (birthdom). The
Bestride our downfall’n birthdom. Each new morn anguished cries of Macbeth’s victims
5 New widows howl, new orphans cry, new sorrows strike heaven and make the skies
Strike heaven on the face, that it resounds echo with cries of sorrow (syllable of
dolor).
As if it felt with Scotland, and yelled out
Like syllable of dolor.
Malcolm.      What I believe, I’ll wail; 8–15 Malcolm will strike back only
What know, believe; and what I can redress, if the time is right (as I shall find
the time to friend). Macduff may
10 As I shall find the time to friend, I will. be sincere, but he may be deceiving
What you have spoke, it may be so, perchance. Malcolm to gain a reward from
This tyrant, whose sole name blisters our tongues, Macbeth (something you may
deserve of him through me).
Was once thought honest. You have loved him well.
He hath not touched you yet. I am young, but something
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15 You may deserve of him through me, and wisdom

To offer up a weak, poor, innocent lamb
T’ appease an angry god.
Macduff. I am not treacherous.
Malcolm.          But Macbeth is.
A good and virtuous nature may recoil

The Tragedy of Macbeth, Act IV, Scene 3 349

 18–24 Even a good person may fall 20 In an imperial charge. But I shall crave your pardon.
(recoil) into wickedness because of a That which you are, my thoughts cannot transpose.
king’s command (imperial charge).
Suspicions cannot change (transpose)
Angels are bright still, though the brightest fell.
the nature (that which you are) of Though all things foul would wear the brows of grace,
an innocent person. Virtue cannot be Yet grace must still look so.
damaged even by those like Lucifer
(the brightest angel), who can Macduff.         I have lost my hopes.
disguise themselves as virtuous (wear
the brows of grace).
25 Malcolm. Perchance even there where I did find my doubts.
Why in that rawness left you wife and child,
26 rawness: vulnerability.
Those precious motives, those strong knots of love,
Without leave-taking? I pray you,
29 jealousies: suspicions. Let not my jealousies be your dishonors,
30 But mine own safeties. You may be rightly just,
Whatever I shall think.
Macduff.       Bleed, bleed, poor country!
Great tyranny, lay thou thy basis sure,
For goodness dare not check thee. Wear thou thy wrongs;
34 affeered: confirmed. The title is affeered.—Fare thee well, lord.
35 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.
Malcolm.        Be not offended.
I speak not as in absolute fear of you.
I think our country sinks beneath the yoke.
40 It weeps, it bleeds, and each new day a gash
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,
45 When I shall tread upon the tyrant’s head
46–49 yet my . . . succeed: To test Or wear it on my sword, yet my poor country
Macduff’s honor and loyalty, Malcolm Shall have more vices than it had before,
begins a lengthy description of his
own fictitious vices.
More suffer, and more sundry ways than ever,
By him that shall succeed.
Macduff.        What should he be?
50–55 Malcolm says that his own 50 Malcolm. It is myself I mean, in whom I know
vices are so plentiful and deeply All the particulars of vice so grafted
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planted (grafted) that Macbeth will

seem innocent by comparison.
That, when they shall be opened, black Macbeth
Will seem as pure as snow, and the poor state
Esteem him as a lamb, being compared
55 With my confineless harms.
Macduff.      Not in the legions
Of horrid hell can come a devil more damned
In evils to top Macbeth.

350 UNIT 4 ANALYZE & APPLY

 Malcolm.       I grant him bloody,
Luxurious, avaricious, false, deceitful, 58 luxurious: lustful.
Sudden, malicious, smacking of every sin
60 That has a name. But there’s no bottom, none,
In my voluptuousness. Your wives, your daughters, 61 voluptuousness: lust.
Your matrons, and your maids could not fill up
The cistern of my lust, and my desire 63 cistern: large storage tank.
All continent impediments would o’erbear 63–65 His lust is so great that it would
65 That did oppose my will. Better Macbeth overpower (o’erbear) all restraining
Than such an one to reign. obstacles (continent impediments).

Macduff.        Boundless intemperance 66–69 Macduff describes

uncontrolled desire (boundless
In nature is a tyranny. It hath been intemperance) as a tyrant of human
Th’ untimely emptying of the happy throne nature that has caused the early
And fall of many kings. But fear not yet (untimely) downfall of many kings.
70 To take upon you what is yours. You may
Convey your pleasures in a spacious plenty
And yet seem cold—the time you may so hoodwink.
We have willing dames enough. There cannot be
That vulture in you to devour so many
75 As will to greatness dedicate themselves,
Finding it so inclined.
Malcolm.      With this there grows 76–78 Malcolm adds insatiable greed
In my most ill-composed affection such (stanchless avarice) to the list of evils
in his disposition (affection).
A stanchless avarice that, were I king,
I should cut off the nobles for their lands,
80 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.
Macduff.         This avarice 84–90 Macduff recognizes that greed
85 Sticks deeper, grows with more pernicious root is a deeper-rooted problem than
lust, which passes as quickly as the
Than summer-seeming lust, and it hath been summer (summer‑seeming). But the
The sword of our slain kings. Yet do not fear. king’s property alone (of your mere
Scotland hath foisons to fill up your will own) offers plenty (foisons) to satisfy
his desire. Malcolm’s vices can be
Of your mere own. All these are portable,
tolerated (are portable).
90 With other graces weighed.
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Malcolm. But I have none. The king-becoming graces, 91–95 Malcolm lists the kingly
As justice, verity, temp’rance, stableness, virtues he lacks: truthfulness (verity),
consistency (stableness), generosity
Bounty, perseverance, mercy, lowliness, (bounty), humility (lowliness), and
Devotion, patience, courage, fortitude, religious devotion.
95 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
Pour the sweet milk of concord into hell,

The Tragedy of Macbeth, Act IV, Scene 3 351

 Uproar the universal peace, confound

© Houghton Mifflin Harcourt Publishing Company • Image credits: ©Hans Neleman/Stone/Getty Images
100 All unity on earth.
Macduff.     O Scotland, Scotland!
Malcolm. If such a one be fit to govern, speak.
I am as I have spoken.
102–114 Macduff can see no relief Macduff.      Fit to govern?
for Scotland’s suffering under a
No, not to live.—O nation miserable,
tyrant who has no right to the throne
(untitled). The rightful heir (truest With an untitled tyrant bloody-sceptered,
issue), Malcolm, bans himself from 105 When shalt thou see thy wholesome days again,
the throne (by his own interdiction) Since that the truest issue of thy throne
because of his evil. Malcolm’s vices
slander his parents (blaspheme his
By his own interdiction stands accursed
breed)—his saintly father and his And does blaspheme his breed?—Thy royal father
mother who renounced the world Was a most sainted king. The queen that bore thee,
(died every day) for her religion. 110 Oft’ner upon her knees than on her feet,
Died every day she lived. Fare thee well.
These evils thou repeat’st upon thyself
Have banished me from Scotland.—O my breast,
Thy hope ends here!

352 UNIT 4 ANALYZE & APPLY

 Don’t forget to
Notice & Note as you
read the text.

Malcolm.      Macduff, this noble passion, 114–125 Macduff has finally
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115 Child of integrity, hath from my soul convinced Malcolm of his honesty.
Malcolm explains that his caution
Wiped the black scruples, reconciled my thoughts (modest wisdom) resulted from his
To thy good truth and honor. Devilish Macbeth fear of Macbeth’s tricks. He takes
By many of these trains hath sought to win me back his accusations against himself
(unspeak mine own detraction)
Into his power, and modest wisdom plucks me
and renounces (abjure) the evils he
120 From overcredulous haste. But God above previously claimed.
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 myself
125 For strangers to my nature. I am yet
Unknown to woman, never was forsworn,
Scarcely have coveted what was mine own,
At no time broke my faith, would not betray
The devil to his fellow, and delight
130 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,

The Tragedy of Macbeth, Act IV, Scene 3 353

 133–137 Malcolm already has an Old Siward with ten thousand warlike men,
army, 10,000 troops belonging to old 135 Already at a point, was setting forth.
Siward, the earl of Northumberland.
Now that Macduff is an ally, he hopes
Now we’ll together, and the chance of goodness
the battle’s result will match the justice Be like our warranted quarrel. Why are you silent?
of their cause (warranted quarrel).
Macduff. Such welcome and unwelcome things at once
’Tis hard to reconcile.
[Enter a Doctor.]
140 Malcolm. Well, more anon.—Comes the King forth, I pray you?
141–159 Edward the Confessor, king Doctor. Ay, sir. There are a crew of wretched souls
of England, could reportedly heal the That stay his cure. Their malady convinces
disease of scrofula (the evil) by his
saintly touch. The doctor describes
The great assay of art, but at his touch
people who cannot be helped by (Such sanctity hath heaven given his hand )
medicine’s best efforts (the great 145 They presently amend.
assay of art) waiting for the touch
of the king’s hand. Edward has cured Malcolm.       I thank you, doctor.
many victims of this disease. Each
time, he hangs a gold coin around
[Doctor exits.]
their neck and offers prayers, a healing Macduff. What’s the disease he means?
ritual that he will teach to his royal
descendants (succeeding royalty). Malcolm.             ’Tis called the evil:
A most miraculous work in this good king,
Which often since my here-remain in England
I have seen him do. How he solicits heaven
150 Himself best knows, but strangely visited people
All swoll’n and ulcerous, 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,
155 To the 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
That speak him full of grace.
[Enter Ross.]
Macduff.         See who comes here.
160 Malcolm. My countryman, but yet I know him not.
Macduff. My ever-gentle cousin, welcome hither.
© Houghton Mifflin Harcourt Publishing Company

162–163 Good God . . . strangers: Malcolm. I know him now.—Good God betimes remove
May God remove Macbeth, who is the The means that makes us strangers!
cause (means) of our being strangers.
Ross.             Sir, amen.
Macduff. Stands Scotland where it did?
Ross.              Alas, poor country,
165 Almost afraid to know itself. It cannot
Be called our mother, but our grave, where nothing
But who knows nothing is once seen to smile;
Where sighs and groans and shrieks that rent the air
Are made, not marked; where violent sorrow seems

354 UNIT 4 ANALYZE & APPLY

 170 A modern ecstasy. The dead man’s knell Don’t forget to
Is there scarce asked for who, and good men’s lives Notice & Note as you
read the text.
Expire before the flowers in their caps,
Dying or ere they sicken.
Macduff. O relation too nice and yet too true! 174 relation too nice: news that is
too accurate.
175 Malcolm. What’s the newest grief?
176–177 If the news is more than an
Ross. That of an hour’s age doth hiss the speaker. hour old, listeners hiss at the speaker
Each minute teems a new one. for being outdated; every minute gives
birth to a new grief.
How does my wife?
Macduff.         
Ross. Why, well.
Macduff.   And all my children?
Ross.             Well too.
Macduff. The tyrant has not battered at their peace?
180 Ross. No, they were well at peace when I did leave ’em. 180 well at peace: Ross knows about
the murder of Macduff’s wife and
Macduff. Be not a niggard of your speech. How goes ’t? children, but the news is too terrible
to report.
Ross. When I came hither to transport the tidings
Which I have heavily borne, there ran a rumor 182–189 Ross mentions the rumors of
Of many worthy fellows that were out; nobles who are rebelling (out) against
185 Which was to my belief witnessed the rather Macbeth. Ross believes the rumors
because he saw Macbeth’s troops on
For that I saw the tyrant’s power afoot.
the march (tyrant’s power afoot).
Now is the time of help. Your eye in Scotland The presence (eye) of Malcolm and
Would create soldiers, make our women fight Macduff in Scotland would help raise
To doff their dire distresses. soldiers and remove (doff) Macbeth’s
evil (dire distresses).
Malcolm.        Be ’t their comfort
190 We are coming thither. Gracious England hath ANALYZE DRAMA
Lent us good Siward and ten thousand men; Annotate: Mark lines that Ross
An older and a better soldier none speaks that relate to Macduff’s
That Christendom gives out. family in lines 177–200.

Ross.          Would I could answer Analyze: How does dramatic

irony create tension in this scene?
This comfort with the like. But I have words
195 That would be howled out in the desert air, 195 would: should.
Where hearing should not latch them. 196 latch: catch.

Macduff.            What concern they—

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The general cause, or is it a fee-grief 197 fee-grief: private sorrow.

Due to some single breast?
Ross.         No mind that’s honest 198–199 No mind . . . woe: Every
But in it shares some woe, though the main part honorable (honest) person shares in
this sorrow.
200 Pertains to you alone.
Macduff.      If it be mine,
Keep it not from me. Quickly let me have it.
Ross. Let not your ears despise my tongue forever,
Which shall possess them with the heaviest sound
That ever yet they heard.

The Tragedy of Macbeth, Act IV, Scene 3 355

 Hum! I guess at it.
Macduff.       
205 Ross. Your castle is surprised, your wife and babes
206–208 Ross won’t add to Macduff’s Savagely slaughtered. To relate the manner
sorrow by telling him how his family Were on the quarry of these murdered deer
was killed. He compares Macduff’s
dear ones to the piled bodies of killed
To add the death of you.
deer (quarry). Malcolm.      Merciful heaven!
What, man, ne’er pull your hat upon your brows.
210–211 The grief . . . break: Silence 210 Give sorrow words. The grief that does not speak
will only push an overburdened heart Whispers the o’erfraught heart and bids it break.
to the breaking point.
Macduff. My children too?
Ross. Wife, children, servants, all that could be found.
Macduff. And I must be from thence? My wife killed too?
215 Ross. I have said.
Malcolm. Be comforted.
Let’s make us med’cines of our great revenge
To cure this deadly grief.
219–222 He has no children: Macduff. He has no children. All my pretty ones?
possibly a reference to Macbeth, 220 Did you say “all”? O hell-kite! All?
who has no children to be killed for
revenge. Macduff compares Macbeth
What, all my pretty chickens and their dam
to a bird of prey (hell-kite) who kills At one fell swoop?
defenseless chickens and their mother.
Malcolm. Dispute it like a man.
Macduff.          I shall do so,
But I must also feel it as a man.
225 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,
228 Naught: nothing. They were all struck for thee! Naught that I am,
Not for their own demerits, but for mine,
230 Fell slaughter on their souls. Heaven rest them now.
231 whetstone: grindstone used for Malcolm. Be this the whetstone of your sword. Let grief
sharpening. Convert to anger. Blunt not the heart; enrage it.
Macduff. O, I could play the woman with mine eyes
And braggart with my tongue! But, gentle heavens,
Cut short all intermission! Front to front
© Houghton Mifflin Harcourt Publishing Company

235
Bring thou this fiend of Scotland and myself.
Within my sword’s length set him. If he scape,
Heaven forgive him too.
Malcolm.      This tune goes manly.
239–243 Our troops are ready to Come, go we to the King. Our power is ready;
attack, needing only the king’s
240 Our lack is nothing but our leave. Macbeth
permission (our lack is nothing but
our leave). Like a ripe fruit, Macbeth is Is ripe for shaking, and the powers above
ready to fall, and heavenly powers are Put on their instruments. Receive what cheer you may.
preparing to assist us. The night is long that never finds the day.
[They exit.]

356 UNIT 4 ANALYZE & APPLY

 COLLABORATIVE DISCUSSION ESSENTIAL QUESTION:
When is ambition
How does Macbeth descend further into evil in Act IV? Is there any
dangerous?
way for him to redeem himself? Discuss your ideas with a partner.

Review your notes and

add your thoughts to your
Response Log.

Assessment Practice
Answer these questions before moving on to the Analyze the Text
section on the following page.

1. This question has two parts. First, answer Part A. Then, answer Part B.
Part A

What effect do the Apparitions the Witches show Macbeth have on him?

A He decides that he can no longer trust the Witches.

B He relaxes because no obstacles stand in the way of his rule.

C He becomes filled with regret for his wrongful deeds.

D He commits to a plan to consolidate his power.

Part B

Select the excerpt that best supports the answer to Part A.

A “Whate’er thou art, for thy good caution, thanks.” (Scene 1, line 73)

B “Then live, Macduff; what need I fear of thee?” (Scene 1, line 82)

C “But yet I’ll make assurance double sure / And take a bond of fate.”
(Scene 1, lines 83–84)

D “. . . our high-placed Macbeth / Shall live the lease of nature, pay his breath”
(Scene 1, lines 98–99)

2. How does Malcolm test Macduff’s loyalty and honesty?

© Houghton Mifflin Harcourt Publishing Company

A by ordering Macduff to return alone to his home in Scotland

B by falsely describing himself as motivated by lust and greed

C by asking Macduff to spy on Macbeth in order to discover his plans

D by blaming Macduff for all the evil that has befallen Scotland

Test-Taking Strategies

The Tragedy of Macbeth, Act IV 357

 Respond

Analyze the Text

Support your responses with evidence from the text.
NOTICE & NOTE

1 ANALYZE How does Macbeth interpret the prophecies pronounced by the first Review what
three Apparitions? How does the dramatic irony of knowing the Witches’ intent you noticed and
noted as you read
affect your reading of Macbeth’s interpretations?
the text. Your
annotations can
help you answer
2 INFER What is the purpose of the appearance and speech of the messenger in these questions.
Scene 2? Who might have sent this messenger?

3 DRAW CONCLUSIONS What is Macduff’s motive for fleeing Scotland? Why might
Macduff have thought his family would be safe at his castle?

4 INFER Why did Shakespeare choose to show the murder of Lady Macduff’s son
on stage? How might watching this scene rather than hearing about it occurring
offstage affect the audience’s view of Macbeth?

5 CRITIQUE What is the effect of Malcolm’s use of hyperbole, or exaggeration, in

describing his faults?

6 EVALUATE Consider Macduff’s question about his family: “Did heaven look on /
And would not take their part?” What theme does this Tough Question develop?

Choices
Here are some other ways to demonstrate your Speaking & Listening
understanding of Act IV. Debate
Some directors omit the passage in which
Writing Malcolm tests Macduff. What would be lost or
© Houghton Mifflin Harcourt Publishing Company

Job Description gained by omitting this part of the play?

What ideas about royalty are explored in Act • In a group, discuss why Shakespeare chose to
include this scene.
IV, Scene 3? Review Malcolm’s discussion
of “king-becoming graces” and his own • Assign half of your group to argue in favor
of including this section, with the other half
intentions for ruling in lines 91–135 as well
as the description of Edward, the English arguing in favor of leaving it out.
king, in lines 146–159. Use these passages to
write a want ad for a good king that includes
•  onduct your debate for the class, with each
C
side using evidence from the play to support
a one-paragraph job description and a ideas. Have listeners decide which argument
bulleted list of important skills and traits. is stronger and why.

358 UNIT 4 ANALYZE & APPLY

 Act V Don’t forget to
Notice & Note as you
Scene 1 Macbeth’s castle at Dunsinane. read the text.
[Enter a Doctor of Physic and a Waiting Gentlewoman.]
Doctor. I have two nights watched with you but can perceive no
truth in your report. When was it she last walked?
Gentlewoman. Since his Majesty went into the field, I have 3 went into the field: went to battle.
seen her rise from her bed, throw her nightgown upon her,
5 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.
Doctor. A great perturbation in nature, to receive at once the 8–9 A great . . . of watching: To
benefit of sleep and do the effects of watching. In this slumb’ry behave as though awake (watching)
while sleeping is a sign of a greatly
10 agitation, besides her walking and other actual performances, troubled nature.
what at any time have you heard her say?
Gentlewoman. That, sir, which I will not report after her.
Doctor. You may to me, and ’tis most meet you should. 13 meet: appropriate.

Gentlewoman. Neither to you nor anyone, having no witness to

15 confirm my speech.
[Enter Lady Macbeth with a taper.]
Lo you, here she comes. This is her very guise and, upon my life, 16 guise: usual manner.
fast asleep. Observe her; stand close. 17 stand close: hide yourself.
Doctor. How came she by that light? 18 that light: her candle.

Gentlewoman. Why, it stood by her. She has light by her

20 continually. ’Tis her command.
Doctor. You see her eyes are open.
Gentlewoman. Ay, but their sense are shut.
Doctor. What is it she does now? Look how she rubs her hands. ANALYZE CHARACTER
AND THEME
Gentlewoman. It is an accustomed action with her to seem thus
Annotate: Mark phrases in
25 washing her hands. I have known her continue in this a quarter
lines 23–37 that tell what Lady
of an hour. Macbeth is doing.
Lady Macbeth. Yet here’s a spot. Analyze: What possible theme
Doctor. Hark, she speaks. I will set down what comes from her, to of the play might her actions
© Houghton Mifflin Harcourt Publishing Company

support?
satisfy my remembrance the more strongly.
30 Lady Macbeth. Out, damned spot, out, I say! One. Two. Why
then, ’tis time to do ’t. Hell is murky. Fie, my lord, fie, a soldier
and afeard? What need we fear who knows it, when none can
call our power to account? Yet who would have thought the old
man to have had so much blood in him?

The Tragedy of Macbeth, Act V, Scene 1 359

 35 Doctor. Do you mark that?
36–38 Lady Macbeth shows guilt Lady Macbeth. The Thane of Fife had a wife. Where is she now?
about Macduff’s wife. Then she What, will these hands ne’er be clean? No more o’ that, my lord,
addresses her husband, as if he were
having another ghostly fit (starting).
no more o’ that. You mar all with this starting.
Doctor. Go to, go to. You have known what you should not.
40 Gentlewoman. She has spoke what she should not, I am sure of
that. Heaven knows what she has known.
Lady Macbeth. Here’s the smell of the blood still. All the
perfumes of Arabia will not sweeten this little hand. O, O, O!
44 sorely charged: heavily burdened. Doctor. What a sigh is there! The heart is sorely charged.
45–46 The gentlewoman says that she 45 Gentlewoman. I would not have such a heart in my bosom for
would not want Lady Macbeth’s heavy the dignity of the whole body.
heart in exchange for being queen.
Doctor. Well, well, well.
Gentlewoman. Pray God it be, sir.
49 practice: skill. Doctor. This disease is beyond my practice. Yet I have known
50 those which have walked in their sleep, who have died holily in
their beds.
Lady Macbeth. Wash your hands. Put on your nightgown. Look
not so pale. I tell you yet again, Banquo’s buried; he cannot come
54 on ’s: of his. out on ’s grave.
55 Doctor. Even so?
Lady Macbeth. To bed, to bed. There’s knocking at the gate.
Come, come, come, come. Give me your hand. What’s done
cannot be undone. To bed, to bed, to bed.
[Lady Macbeth exits.]
Doctor. Will she go now to bed?
60 Gentlewoman. Directly.
61 Foul whisp’rings are abroad: Doctor. Foul whisp’rings are abroad. Unnatural deeds
Rumors of evil deeds are circulating. Do breed unnatural troubles. Infected minds
To their deaf pillows will discharge their secrets.
64 She needs a priest more than a More needs she the divine than the physician.
doctor. 65 God, God forgive us all. Look after her.
© Houghton Mifflin Harcourt Publishing Company

66 annoyance: injury. The doctor may Remove from her the means of all annoyance
be worried about the possibility of And still keep eyes upon her. So good night.
Lady Macbeth’s committing suicide.
My mind she has mated, and amazed my sight.
68 mated: astonished. I think but dare not speak.
Gentlewoman.      Good night, good doctor.
[They exit.]

360 UNIT 4 ANALYZE & APPLY

 Don’t forget to
Notice & Note as you
read the text.

Russian soprano Anna Netrebko

as Lady Macbeth in Verdi’s
Macbeth at the Metropolitan
Opera House, Lincoln Center,
New York, 2014.

Scene 2 The country near Dunsinane.

[Drum and Colors. Enter Menteith, Caithness, Angus, Lennox,
and Soldiers.]
Menteith. The English power is near, led on by Malcolm,
© Houghton Mifflin Harcourt Publishing Company • Image credits: ©Jack Vartoogian/Archive Photos/Getty Images

His uncle Siward, and the good Macduff.

Revenges burn in them, for their dear causes 3–5 for their dear . . . man: The cause
Would to the bleeding and the grim alarm of Malcolm and Macduff is so deeply
felt that a dead (mortified) man
5 Excite the mortified man. would respond to their call to arms
Angus.         Near Birnam Wood (alarm).

Shall we well meet them. That way are they coming.

Caithness. Who knows if Donalbain be with his brother?
Lennox. For certain, sir, he is not. I have a file
Of all the gentry. There is Siward’s son
10 And many unrough youths that even now 10–11 many . . . manhood: many
Protest their first of manhood. soldiers who are too young to grow
beards (unrough).
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
15 He cannot buckle his distempered cause 15–16 Like a man so swollen with
Within the belt of rule. disease (distempered) that he cannot
buckle his belt, Macbeth cannot
Angus.        Now does he feel control his evil actions.
His secret murders sticking on his hands.

The Tragedy of Macbeth, Act V, Scene 2 361

 18 Every minute, revolts against Now minutely revolts upbraid his faith-breach.
Macbeth shame him for his treachery Those he commands move only in command,
(faith-breach).
20 Nothing in love. Now does he feel his title
Hang loose about him, like a giant’s robe
Upon a dwarfish thief.
22–25 Macbeth’s nerves, troubled by Menteith.      Who, then, shall blame
guilt (pestered senses), have made His pestered senses to recoil and start
him jumpy.
When all that is within him does condemn
25 Itself for being there?
25–29 They give their loyalty to the Caithness.     Well, march we on
only help (med’cine) for the sick To give obedience where ’tis truly owed.
country (weal). They are willing to
sacrifice their last drop of blood to
Meet we the med’cine of the sickly weal,
cleanse (purge) Scotland. And with him pour we in our country’s purge
Each drop of us.
29–31 Lennox compares Malcolm to a Lennox.    Or so much as it needs
flower that needs the blood of patriots 30 To dew the sovereign flower and drown the weeds.
to water (dew) it and drown out weeds
like Macbeth.
Make we our march towards Birnam.
[They exit marching.]

Scene 3 Dunsinane. A room in the castle.

[Enter Macbeth, the Doctor, and Attendants.]
1 Macbeth wants no more news of Macbeth. Bring me no more reports. Let them fly all.
thanes who have gone to Malcolm’s Till Birnam Wood remove to Dunsinane
side.
I cannot taint with fear. What’s the boy Malcolm?
2–10 Macbeth will not be infected
(taint) with fear, because the Witches
Was he not born of woman? The spirits that know
(spirits), who know all human 5 All mortal consequences have pronounced me thus:
events (mortal consequences), have “Fear not, Macbeth. No man that’s born of woman
convinced him that he is invincible. Shall e’er have power upon thee.” Then fly, false thanes,
He mocks the self-indulgent English
(English epicures), then swears that
And mingle with the English epicures.
he will never lack confidence. The mind I sway by and the heart I bear
10 Shall never sag with doubt nor shake with fear.
[Enter Servant.]
11 loon: stupid rascal. The devil damn thee black, thou cream-faced loon!
12 goose-look: look of fear. Where got’st thou that goose-look?
Servant. There is ten thousand—
© Houghton Mifflin Harcourt Publishing Company

Macbeth.           Geese, villain?

Servant.                 Soldiers, sir.
14–17 Macbeth suggests that the Macbeth. Go prick thy face and over-red thy fear,
servant cut his face so that blood will 15 Thou lily-livered boy. What soldiers, patch?
hide his cowardice. He repeatedly
insults the servant, calling him a
Death of thy soul! Those linen cheeks of thine
coward (lily-livered) and a clown Are counselors to fear. What soldiers, whey-face?
(patch) and making fun of his white
complexion (linen cheeks, whey-
face).

362 UNIT 4 ANALYZE & APPLY

 Servant. The English force, so please you. Don’t forget to
Notice & Note as you
Macbeth. Take thy face hence. read the text.
[Servant exits.]
Seyton!—I am sick at heart
20 When I behold—Seyton, I say!—This push 20–28 This push . . . dare not: The
Will cheer me ever or disseat me now. upcoming battle will either make
Macbeth secure (cheer me ever) or
I have lived long enough. My way of life dethrone (disseat) him. He bitterly
Is fall’n into the sere, the yellow leaf, compares his life to a withered (sere)
And that which should accompany old age, leaf. He cannot look forward to old
age with friends and honor, but only
25 As honor, love, obedience, troops of friends,
to curses and empty flattery (mouth-
I must not look to have, but in their stead honor, breath) from those too timid
Curses, not loud but deep, mouth-honor, breath (the poor heart) to tell the truth.
Which the poor heart would fain deny and dare not.—
Seyton!
[Enter Seyton.]
30 Seyton. What’s your gracious pleasure?
Macbeth.             What news more?
Seyton. All is confirmed, my lord, which was reported.
Macbeth. I’ll fight till from my bones my flesh be hacked.
Give me my armor.
Seyton.      ’Tis not needed yet.
Macbeth. I’ll put it on.
35 Send out more horses. Skirr the country round. 35 skirr: scour.
Hang those that talk of fear. Give me mine armor.—
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.
40 Canst thou not minister to a mind diseased,
Pluck from the memory a rooted sorrow,
Raze out the written troubles of the brain,
And with some sweet oblivious antidote
Cleanse the stuffed bosom of that perilous stuff
© Houghton Mifflin Harcourt Publishing Company

45 Which weighs upon the heart?

Doctor.         Therein the patient
Must minister to himself.
Macbeth. Throw physic to the dogs, I’ll none of it.—
Come, put mine armor on. Give me my staff.
[Attendants begin to arm him.]

The Tragedy of Macbeth, Act V, Scene 3 363

 47–54 Macbeth has lost his faith in Seyton, send out.—Doctor, the thanes fly from me.—
the ability of medicine (physic) to
50 Come, sir, dispatch.—If thou couldst, doctor, cast
help his wife. He says that if the doctor
could diagnose Scotland’s disease The water of my land, find her disease,
(cast . . . land) and cure it, Macbeth And purge it to a sound and pristine health,
would never stop praising him. I would applaud thee to the very echo
54 Pull ’t off: Macbeth is referring to That should applaud again.—Pull ’t off, I say.—
a piece of armor. 55 What rhubarb, senna, or what purgative drug
56 scour: purge; them: the English. Would scour these English hence? Hear’st thou of them?
Doctor. Ay, my good lord. Your royal preparation
Makes us hear something.
58–60 Macbeth leaves for battle, Macbeth.        Bring it after me.—
telling Seyton to bring the armor. I will not be afraid of death and bane
60 Till Birnam Forest come to Dunsinane.
Doctor [aside]. Were I from Dunsinane away and clear,
Profit again should hardly draw me here.
[They exit.]

Scene 4 The country near Birnam Wood.

[Drum and Colors. Enter Malcolm, Siward, Macduff, Siward’s
son, Menteith, Caithness, Angus, and Soldiers, marching.]
ANALYZE DRAMA Malcolm. Cousins, I hope the days are near at hand
Annotate: Mark dialogue
That chambers will be safe.
in lines 3–7 that reveals how Menteith.        We doubt it nothing.
Malcolm plans to attack
Macbeth’s castle. Siward. What wood is this before us?
Infer: How does this plan fulfill Menteith.            The wood of Birnam.
the prophecy Macbeth was
Malcolm. Let every soldier hew him down a bough
given?
5 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.
Siward. We learn no other but the confident tyrant
Keeps still in Dunsinane and will endure
10 setting down: siege. 10 Our setting down before ’t.
© Houghton Mifflin Harcourt Publishing Company

10–14 Malcolm says that men of all Malcolm.        ’Tis his main hope;
ranks (both more and less) have For, where there is advantage to be given,
abandoned Macbeth. Only weak men
forced into service remain with him.
Both more and less have given him the revolt,
And none serve with him but constrainèd things
Whose hearts are absent too.
14–16 Macduff warns against Macduff.         Let our just censures
overconfidence and advises that they 15 Attend the true event, and put we on
focus on fighting.
Industrious soldiership.

364 UNIT 4 ANALYZE & APPLY

 Siward.       The time approaches 16–21 Siward says that the
approaching battle will decide
That will with due decision make us know
whether their claims will match what
What we shall say we have and what we owe. they actually possess (owe). Now, their
Thoughts speculative their unsure hopes relate, hopes and expectations are guesswork
20 But certain issue strokes must arbitrate; (thoughts speculative); only fighting
(strokes) can settle (arbitrate) the
Towards which, advance the war. issue.
[They exit marching.]

Scene 5 Dunsinane. Within the castle.

[Enter Macbeth, Seyton, and Soldiers, with Drum and Colors.]
Macbeth. 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. 4 ague: fever.
5 Were they not forced with those that should be ours, 5–7 Macbeth complains that the
We might have met them dareful, beard to beard, attackers have been reinforced
And beat them backward home. (forced) by deserters (those that
should be ours), which has forced
[A cry within of women.] him to wait at Dunsinane instead of
seeking victory on the battlefield.
      What is that noise?
Seyton. It is the cry of women, my good lord. [He exits.]
Macbeth. I have almost forgot the taste of fears. 9–15 There was a time when a
10 The time has been my senses would have cooled scream in the night would have frozen
Macbeth in fear and a terrifying tale
To hear a night-shriek, and my fell of hair (dismal treatise) would have made
Would at a dismal treatise rouse and stir the hair on his skin (fell of hair) stand
As life were in ’t. I have supped full with horrors. on end. But since he has fed on horror
(direness), it cannot stir (start) him
Direness, familiar to my slaughterous thoughts,
anymore.
15 Cannot once start me.
[Enter Seyton.]
   Wherefore was that cry?
Seyton. The Queen, my lord, is dead.
Macbeth. She should have died hereafter. 17–18 Macbeth wishes that his wife
There would have been a time for such a word. had died later (hereafter), when he
would have had time to mourn her.
Tomorrow and tomorrow and tomorrow
20 Creeps in this petty pace from day to day ANALYZE CHARACTER AND
© Houghton Mifflin Harcourt Publishing Company

THEME
To the last syllable of recorded time,
And all our yesterdays have lighted fools Annotate: Mark words in lines
The way to dusty death. Out, out, brief candle! 17–28 that reveal Macbeth’s
state of mind.
Life’s but a walking shadow, a poor player
25 That struts and frets his hour upon the stage Infer: What has Lady
And then is heard no more. It is a tale Macbeth’s death made Macbeth
realize?
Told by an idiot, full of sound and fury,
Signifying nothing.

The Tragedy of Macbeth, Act V, Scene 5 365

 [Enter a Messenger.]
Thou com’st to use thy tongue: thy story quickly.
30 Messenger. Gracious my lord,
I should report that which I say I saw,
But know not how to do ’t.
Macbeth.        Well, say, sir.
Messenger. As I did stand my watch upon the hill,
I looked toward Birnam, and anon methought
35 The wood began to move.
Macbeth.        Liar and slave!
Messenger. Let me endure your wrath, if ’t be not so.
Within this three mile may you see it coming.
I say, a moving grove.
38–52 The messenger’s news has Macbeth.      If thou speak’st false,
dampened Macbeth’s determination Upon the next tree shall thou hang alive
(resolution); Macbeth begins to fear
that the Witches have tricked him
40 Till famine cling thee. If thy speech be sooth,
(to doubt th’ equivocation of the I care not if thou dost for me as much.—
fiend). His fear that the messenger I pull in resolution and begin
tells the truth (avouches) makes
To doubt th’ equivocation of the fiend,
him decide to confront the enemy
instead of staying in his castle. Weary That lies like truth. “Fear not till Birnam Wood
of life, he nevertheless decides to face 45 Do come to Dunsinane,” and now a wood
death and ruin (wrack) with his armor Comes toward Dunsinane. —Arm, arm, and out!—
(harness) on.
If this which he avouches does appear,
There is nor flying hence nor tarrying here.
I ’gin to be aweary of the sun
50 And wish th’ estate o’ th’ world were now undone.—
Ring the alarum bell! —Blow wind, come wrack,
At least we’ll die with harness on our back.
[They exit.]

Scene 6 Dunsinane. Before the castle.

[Drum and Colors. Enter Malcolm, Siward, Macduff, and their
army, with boughs.]
1–6 Malcolm commands the Malcolm. Now near enough. Your leafy screens throw down
troops to put down their branches And show like those you are. —You, worthy uncle,
© Houghton Mifflin Harcourt Publishing Company

(leafy screens) and gives the battle

instructions.
Shall with my cousin, your right noble son,
Lead our first battle. Worthy Macduff and we
5 Shall take upon ’s what else remains to do,
According to our order.
Siward.       Fare you well.
7 power: forces. Do we but find the tyrant’s power tonight,
Let us be beaten if we cannot fight.
Macduff. Make all our trumpets speak; give them all breath,
10 harbingers: announcers. 10 Those clamorous harbingers of blood and death.
[They exit. Alarums continued.]

366 UNIT 4 ANALYZE & APPLY

 Scene 7 Another part of the battlefield.
[Enter Macbeth.]
Macbeth. They have tied me to a stake. I cannot fly, 1–4 Macbeth compares himself to a
But, bear-like, I must fight the course. What’s he bear tied to a post (a reference to the
sport of bearbaiting, in which a bear
That was not born of woman? Such a one was tied to a stake and attacked by
Am I to fear, or none. dogs).

[Enter Young Siward.]

5 Young Siward. What is thy name?
Macbeth.           Thou’lt be afraid to hear it.
Young Siward. No, though thou call’st thyself a hotter name
Than any is in hell.
Macbeth.     My name’s Macbeth.
Young Siward. The devil himself could not pronounce a title
More hateful to mine ear.
Macbeth.       No, nor more fearful.
10 Young Siward. Thou liest, abhorrèd tyrant. With my sword
I’ll prove the lie thou speak’st. Chinese bass Haojiang Tian
performs Verdi’s opera Macbeth
[They fight, and Young Siward is slain.] at the Hong Kong Cultural
Centre, 2003.
© Houghton Mifflin Harcourt Publishing Company • Image credits: ©Richard A. Brooks/AFP/Getty Images

The Tragedy of Macbeth, Act V, Scene 7 367

 Macbeth.         Thou wast born of woman.
But swords I smile at, weapons laugh to scorn,
Brandished by man that’s of a woman born. [He exits.]
[Alarums. Enter Macduff.]
14–20 Macduff hopes to find Macbeth Macduff. That way the noise is. Tyrant, show thy face!
before someone else has the chance 15 If thou beest slain, and with no stroke of mine,
to kill him. Macduff does not want
to fight the miserable hired soldiers
My wife and children’s ghosts will haunt me still.
(kerns), who are armed only with I cannot strike at wretched kerns, whose arms
spears (staves). If he can’t fight Are hired to bear their staves. Either thou, Macbeth,
Macbeth, Macduff will leave his sword Or else my sword with an unbattered edge
unused (undeeded).
20 I sheathe again undeeded. There thou shouldst be;
By this great clatter, one of greatest note
22 bruited: rumored or heard. Seems bruited. Let me find him, Fortune,
And more I beg not.
[He exits. Alarums.]
[Enter Malcolm and Siward.]
24 gently rendered: surrendered Siward. This way, my lord. The castle’s gently rendered.
without a fight. 25 The tyrant’s people on both sides do fight,
The noble thanes do bravely in the war,
27 You have almost won the day. The day almost itself professes yours,
And little is to do.
28–29 During the battle many of Malcolm.    We have met with foes
Macbeth’s men deserted to Malcolm’s That strike beside us.
army.
Siward.       Enter, sir, the castle.
[He exits. Alarum.]

Scene 8 Another part of the battlefield.

[Enter Macbeth.]
1–3 Macbeth refuses to commit Macbeth. Why should I play the Roman fool and die
suicide in the style of a defeated On mine own sword? Whiles I see lives, the gashes
Roman general.
Do better upon them.
[Enter Macduff.]
Macduff.      Turn, hellhound, turn!
© Houghton Mifflin Harcourt Publishing Company

4–6 Macbeth does not want to fight Macbeth. Of all men else I have avoided thee.
Macduff, having already killed so many 5 But get thee back. My soul is too much charged
members of Macduff’s family.
With blood of thine already.

368 UNIT 4 ANALYZE & APPLY

 Macduff.         I have no words; Don’t forget to
My voice is in my sword, thou bloodier villain Notice & Note as you
read the text.
Than terms can give thee out.
[Fight. Alarum.]
Macbeth.         Thou losest labor. 8–13: Macbeth says that Macduff is
As easy mayst thou the intrenchant air wasting his effort. Trying to wound
Macbeth is as useless as trying to
10 With thy keen sword impress as make me bleed. wound the invulnerable (intrenchant)
Let fall thy blade on vulnerable crests; air. Macduff should strike at the
I bear a charmèd life, which must not yield helmets (crests) of more vulnerable
foes.
To one of woman born.
Macduff.    Despair thy charm,
And let the angel whom thou still hast served
15 Tell thee Macduff was from his mother’s womb 15–16 Macduff . . . untimely
Untimely ripped. ripped: Macduff was a premature
baby delivered by cesarean section,
Macbeth. Accursèd be that tongue that tells me so, an operation that removes the child
For it hath cowed my better part of man! directly from the mother’s womb.

And be these juggling fiends no more believed 18 cowed: made fearful.

20 That palter with us in a double sense, 19–22 The cheating Witches
That keep the word of promise to our ear (juggling fiends) have tricked him
(palter with us) with words that have
And break it to our hope. I’ll not fight with thee.
double meanings.
Macduff. Then yield thee, coward, 23–27 Macduff tells Macbeth to
And live to be the show and gaze o’ th’ time. surrender and become a public
spectacle (the show and gaze o’
25 We’ll have thee, as our rarer monsters are,
th’ time), with his picture displayed
Painted upon a pole, and underwrit (painted upon a pole) as if he were in
“Here may you see the tyrant.” a circus sideshow.

Macbeth.         I will not yield

To kiss the ground before young Malcolm’s feet
And to be baited with the rabble’s curse.
30 Though Birnam Wood be come to Dunsinane
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 damned be him that first cries “Hold! Enough!”
[They exit fighting. Alarums.]
[They enter fighting, and Macbeth is slain. Macduff exits [Stage Direction] Retreat . . . : The
carrying off Macbeth’s body. Retreat and flourish. Enter, with first trumpet call (retreat) signals the
© Houghton Mifflin Harcourt Publishing Company

battle’s end. The next one (flourish)

Drum and Colors, Malcolm, Siward, Ross, Thanes, and Soldiers.] announces Malcolm’s entrance.
35 Malcolm. I would the friends we miss were safe arrived.
Siward. Some must go off; and yet by these I see 36–37 Though some must die (go off)
So great a day as this is cheaply bought. in battle, Siward can see that their side
does not have many casualties.
Malcolm. Macduff is missing, and your noble son.

The Tragedy of Macbeth, Act V, Scene 8 369

 Ross. Your son, my lord, has paid a soldier’s debt.
40 He only lived but till he was a man,
The which no sooner had his prowess confirmed
In the unshrinking station where he fought,
But like a man he died.
Siward.       Then he is dead?
Ross. Ay, and brought off the field. Your cause of sorrow
45 Must not be measured by his worth, for then
It hath no end.
46 hurts before: wounds in the front Siward.    Had he his hurts before?
of his body, which indicate he died
facing his enemy. Ross. Ay, on the front.
Siward.       Why then, God’s soldier be he!
Had I as many sons as I have hairs,
I would not wish them to a fairer death;
50 knell is knolled: Young Siward’s 50 And so his knell is knolled.
death bell has already rung.
Malcolm. He’s worth more sorrow, and that I’ll spend for him.
Siward. He’s worth no more.
They say he parted well and paid his score,
And so, God be with him. Here comes newer comfort.
[Stage Direction] Macduff is probably [Enter Macduff with Macbeth’s head.]
carrying Macbeth’s head on a pole.
55 Macduff. Hail, King! for so thou art. Behold where stands
56–57 The time . . . pearl: Macduff
Th’ usurper’s cursèd head. The time is free.
declares that the age (time) is now I see thee compassed with thy kingdom’s pearl,
freed from tyranny. He sees Malcolm That speak my salutation in their minds,
surrounded by Scotland’s noblest men Whose voices I desire aloud with mine.
(thy kingdom’s pearl).
60 Hail, King of Scotland!
All.         Hail, King of Scotland!
[Flourish.]
61–76 Malcolm promises that he will Malcolm. We shall not spend a large expense of time
quickly reward his nobles according to Before we reckon with your several loves
the devotion (several loves) they have
shown. He gives the thanes new titles
And make us even with you. My thanes and kinsmen,
(henceforth be earls) and declares Henceforth be earls, the first that ever Scotland
his intention, as a sign of the new 65 In such an honor named. What’s more to do,
age (planted newly with the time),
Which would be planted newly with the time,
© Houghton Mifflin Harcourt Publishing Company

to welcome back the exiles who fled

Macbeth’s tyranny and his cruel agents As calling home our exiled friends abroad
(ministers). That fled the snares of watchful tyranny,
Producing forth the cruel ministers
70 Of this dead butcher and his fiend-like queen
(Who, as ’tis thought, by self and violent hands,
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.
75 So thanks to all at once and to each one,
Whom we invite to see us crowned at Scone.
[Flourish. All exit.]

370 UNIT 4 ANALYZE & APPLY

 COLLABORATIVE DISCUSSION ESSENTIAL QUESTION:
When is ambition
Even though they seemed impossible, the Witches’ prophecies are
dangerous?
fulfilled in the end. With a partner, discuss how each prophecy is
fulfilled in a way that doesn’t fit with Macbeth’s interpretation.
Review your notes and
add your thoughts to your
Response Log.

Assessment Practice
Answer these questions before moving on to the Analyze the Text
section on the following page.

1. Read the excerpt from Act V of the drama.

“. . . It is a tale / Told by an idiot, full of sound and fury, / Signifying

nothing.” (Scene 5, lines 26–28)

What does this metaphor convey about Macbeth’s feelings after hearing that Lady
Macbeth has died?

A Macbeth feels that life is difficult and meaningless.

B Macbeth is confused by the injustices in his life.

C Macbeth feels that suffering is part of being a king.

D Macbeth is outraged by the doctor’s inability to cure his wife.

2. This question has two parts. First, answer Part A. Then, answer Part B.
Part A

Why is Macbeth upset by the Messenger’s news about Birnam Wood in Scene 5?
A He thinks the Messenger has lost his mind.

B He suspects that the Messenger is tricking him.

C He fears the truth of the Witches’ prophecies.

D He understands he must stay inside the castle.

© Houghton Mifflin Harcourt Publishing Company

Part B

How does the answer to Part A foreshadow Macbeth’s fate?

A The Messenger reveals Macbeth’s battle plans to Macduff.

B Macduff kills Macbeth in accordance with the prophecies.

C Macbeth’s army does not remain loyal to him in his final battle.

D The castle protects Macbeth but not Lady Macbeth from Macduff.

Test-Taking Strategies

The Tragedy of Macbeth, Act V 371

 Respond

Analyze the Text

Support your responses with evidence from the text.
NOTICE & NOTE

1 ANALYZE Do the Witches merely reveal what will happen, or do they Review what
manipulate events? Explain your ideas. you noticed and
noted as you
read the text. Your
annotations can
2 CITE EVIDENCE In what ways do Macbeth’s strengths contribute to his
help you answer
downfall? Cite examples from the entire play to support your ideas. these questions.

3 INFER Complete the graphic organizer to track the causes and effects of
Macbeth’s rise and fall. At which points in this sequence of events could
Macbeth have prevented his tragic end? Why?

4 EVALUATE One scholar says that if we don’t see ourselves in Macbeth,

we misunderstand either the play or ourselves. In what way might this
play be an allegory, or a lesson that we can apply to our own lives?

5 DRAW CONCLUSIONS Explain how Lady Macbeth’s actions in Act V,

Scene 1, draw meaning from repeated images of blood, darkness, and
sleep. Does her deterioration redeem her character? Why or why not?
© Houghton Mifflin Harcourt Publishing Company

6 ANALYZE Reread the following passages from the play. How does
Macbeth’s attempt to resolve his conflict change him?

• Act I, Scene 3, lines 130–142; Scene 7, lines 31–35

• Act II, Scene 2, lines 56–61

• Act III, Scene 4, lines 93–96 and lines 122–126

• Act V, Scene 3, lines 19–28; Scene 5, lines 9–15

7 CITE EVIDENCE How does figurative language develop mood over the
course of the play? Cite examples from the text.

372 UNIT 4 ANALYZE & APPLY

 Respond

Choices
Here are some other ways to demonstrate your understanding of the
ideas in this lesson.

Writing
As you write and discuss,
Character Evaluation be sure to use the
Is Macbeth a tragic hero? Refer to the introductory essay on Academic Vocabulary
words.
Shakespearean drama to help you evaluate this iconic character in a
short essay. comprise

• Review the definition of a tragic hero. Decide which

characteristics fit Macbeth, and find evidence in the text to
incidence

support your points. predominant

• Organize your ideas logically to write an essay in which you

defend your view of Macbeth.
priority

• Use the conventions of standard English in your essay. ultimate

Social & Emotional Learning

Group Discussion
In Act V, Scene 8, a fearless Macbeth brags that
it’s impossible to kill him. He thinks this because
the Witches told him that no man of woman born
can slay him. With a small group, discuss the ways
Research
in which people are misled by what other people
tell them about dangers they may face. Reflect on Developing Questions
ways that misinformation and misinterpretation When you finish reading a long work like a
might cause people to make bad choices. Shakespearean tragedy, you might be left with
as many questions as answers. What do you
wonder after reading this play? Conduct research
© Houghton Mifflin Harcourt Publishing Company

to explore the question of your choice about

Macbeth. Consult reliable sources such as the
Folger Shakespeare Library.

The Tragedy of Macbeth 373

 Respond

Vocabulary Strategy:
Archaic Language
Archaic language includes old words and phrases that are not commonly
used in modern speech. Although Shakespeare’s works brought to the
English language a multitude of new words and expressions that people
still use today, his poetic sentence structures are different from what we
hear every day. In addition, many of the archaic words Shakespeare uses,
such as thee and hath, fell out of fashion centuries ago, so their meanings
are not always easy to understand.

To untangle a sentence, find the subject (who or what the sentence is

about) and the predicate (what the subject is or does). Then you can
separate out any other clauses in the sentence and consider the function
of each one.

When you come across an unfamiliar word, use these strategies:

• Search the surrounding dialogue for helpful context clues.

• Try to break down the word into base or root words, suffixes, and
prefixes and figure out the meaning from these parts.

• Use a dictionary to look up the definitions of any unfamiliar words.

• Use the word in a sentence of your own to explore its meaning.

PRACTICE AND APPLY

Use the steps listed to paraphrase what Macbeth asks of the Doctor in
Act V, Scene 3:

. . . If thou couldst, doctor, cast

The water of my land, find her disease,
And purge it to a sound and pristine health,
I would applaud thee to the very echo
That should applaud again. . . .

1. Mark archaic words and any other words with unclear meanings.
© Houghton Mifflin Harcourt Publishing Company

2. Reword as much of the speech as you can in today’s English,

maintaining a logical order of ideas. Leave a space in your rewording
for any words whose meanings are still unclear.
3. In your reworded speech, bracket your best guesses from context at
the meanings of the archaic words, or consult a dictionary.

374 UNIT 4 ANALYZE & APPLY

 Respond

Watch Your Language!

Inverted Sentence Structure
Shakespeare often uses inverted sentence structure. In an inverted sentence,
the normal word order is reversed. Some examples of this include when

• all or part of the predicate comes before the subject (There go I.)

• a subject comes between a helping verb and a main verb (Had they known.)

• a direct object precedes a verb (Her triumph I celebrated.)

• a prepositional phrase comes before the noun or verb it modifies (Within

the castle he waits.)

Read these lines from The Tragedy of Macbeth:

Come, go we to the King. (Act IV, Scene 3, line 239)

The castle of Macduff I will surprise. (Act IV, Scene 1, line 150)

In the first example, the verb go precedes the subject we. In the second, the
direct object the castle and its modifier of Macduff appear before both the
subject I and the verb phrase will surprise. Shakespeare could have written:

Come, we go to the King.

I will surprise the castle of Macduff.

However, his use of inverted structures creates a poetic effect and helps
maintain the rhythm of iambic pentameter. Writers may also use inverted
sentence structures to add variety or to emphasize a word or an idea.

PRACTICE AND APPLY

Identify the part that is inverted in each sentence. Rewrite each sentence in
a standard order. Then, with a partner, write five new sentences that use the
same inverted structures as Shakespeare’s sentences.
© Houghton Mifflin Harcourt Publishing Company

1. O, full of scorpions is my mind, dear wife! 4. For them the gracious Duncan have I murdered.
(Act III, Scene 2, line 35) (Act III, Scene 1, line 65)

2. I’ll fight till from my bones my flesh be 5. Then comes my fit again. (Act III, Scene 4, line 21)
hacked. (Act V, Scene 3, line 32)

3. Retire we to our chamber. (Act II, Scene 2, line 64)

The Tragedy of Macbeth 375

 Get Ready
ESSENTIAL QUESTION:
When is ambition
MEDIA
dangerous?
from
Macbeth
Film by Rupert Goold

Engage Your Brain

You’re about to watch a scene from a film adaptation of The Tragedy
of Macbeth. Think about other times when you’ve watched a movie
that was adapted from a book. Which version did you prefer, and why?
Discuss your opinions with a small group.

Background © Houghton Mifflin Harcourt Publishing Company • Image Credits: (t) ©Elnur Amikishiyev/Alamy; (b) ©AF Archive/Alamy

In 2010, the BBC (British Broadcasting Corporation) broadcast a new version

of Shakespeare’s Scottish play starring Sir Patrick Stewart in the title role.
Director Rupert Goold (b. 1972) modernized the play’s setting to place it in
a 20th-century military dictatorship while retaining Shakespeare’s powerful
language. Goold has directed numerous stage versions of Shakespeare’s plays.
This production won a Peabody Award and aired in the United States on PBS’s
Great Performances.

376 UNIT 4 ANALYZE & APPLY

 Get Ready

Analyze Media Representations

The Witches in Macbeth not only serve a crucial role in driving the plot,
they also establish the tone of the entire play from their first appearance. Focus on Genre
Every director who stages the scene in which the Witches deliver their Film
first prophecy to Macbeth brings a unique approach to it. This approach • is intended to be viewed by a
comprises a mix of Shakespeare’s words, the mood the director wants to wide, public audience
evoke, and the special effects that will create the strongest impact. • tells a story visually, using
actors on sets or locations
Consider what this production emphasizes in the scene as well as what
it omits from the original play. Are there elements that are emphasized
• develops from screenplays
with actors’ lines and direction
in Shakespeare’s play but downplayed in this film version? Also consider
• includes planned camera shots
how the director uses the medium of film in concert with Shakespeare’s and angles to evoke a mood
words. Note your responses in the chart.

Setting/Sets: How does the modern setting affect the tone and theme of the scene?

Film Shots and Angles: What is the effect of multiple cuts and shots from various angles?

Special Effects: How does the director use special effects to capture the Witches’ supernatural
powers?
© Houghton Mifflin Harcourt Publishing Company • Image Credits: Great Performances: Macbeth ©WNET

A pair of victorious fighters

encounter an otherworldly
trio making unbelievable from Macbeth
predictions.

Video
View “from Macbeth (film
version)” in your eBook. Film by Rupert Goold

from Macbeth (film version) 377

 Respond

Analyze Media
Support your responses with evidence from the film clip.

1 ANALYZE How do the choices made by director Rupert Goold help

develop a particular tone or mood? Cite specific images and staging to
support your answer.

2 COMPARE Which passages of Shakespeare’s original text are omitted

from this production of the scene? Explain how leaving out these lines
affects the pacing and theme of the scene.

3 EVALUATE How does the actors’ use of emphasis and expression add
meaning to this scene and help clarify your understanding? Cite
specific lines.

4 CITE EVIDENCE How does the 20th-century resetting of the play’s

action affect your understanding of the scene? Cite specific details
about costumes, setting, and other modern aspects of the production to
support your answer.

5 ANALYZE What special effects are used in this scene? How might these
effects have been achieved in a stage production of Shakespeare’s time?

6 COMPARE In what ways is the film character of Macbeth similar to and

different from the Macbeth of Shakespeare’s play? Complete the Venn
diagram, and then analyze why the director may have made the choices
that he did about the character.

Film Both Play © Houghton Mifflin Harcourt Publishing Company

378 UNIT 4 ANALYZE & APPLY

 Respond

Choices
Here are some other ways to demonstrate your understanding of the
ideas in this lesson.

Writing
As you write and discuss,
Movie Review be sure to use the
What’s your opinion of the film clip you watched? Does it capture Academic Vocabulary
words.
what you consider most important about the scene? Write a one-
page film review, evaluating the following aspects of the clip: comprise

• acting
incidence
• setting and costumes
predominant
• themes

• special effects priority

ultimate

Media
Social & Emotional Learning Timeline of Trends
Plan a Short Film Directors have chosen a wide range of
approaches toward staging or filming Macbeth.
How would you choose to film the scene of
Conduct research to identify settings and
Macbeth’s first encounter with the Witches?
interpretations of Macbeth over the years, and
Decide on your approach, and then make a
create a digital collage or poster timeline of your
production plan that you could follow to create
findings. Include text that identifies the directors
your own short film. Your plan should include
and years, as well as a statement about trends
these key features:
over time in the ways that directors choose to
• list of actors and costumes present Shakespeare’s play.
• sets or locations for shooting

• equipment and technical requirements

© Houghton Mifflin Harcourt Publishing Company

Reader’s Choice
• shooting schedule Read “The Forgotten Story

• post-production ideas including music and

edits
of Orson Welles’ All-Black
‘Macbeth’ Production” in
your eBook.

from Macbeth (film version) 379

 Collaborate ESSENTIAL QUESTION:
When is ambition

& Compare
dangerous?

Compare Across Genres

The next two selections are different genres, or types of
writing. One text, a book review, has been written in direct
response to the other, a graphic novel. As you read, consider
whether you agree with the opinions about the graphic novel
that are expressed in the review.

MENTOR TEXT

B
A

a Shakespe
from Manegare: and Samuare
Shakesph (and Robo rai
Macbet Ninjas?) t
rt Deas Book Revie
vel by Robe w by Caitlin
Graphic No si pages 398– Perry
Appignane 399
and Richard
397
pages 384–

After you have read both texts, you will develop an argument
© Houghton Mifflin Harcourt Publishing Company

explaining whether you agree or disagree with the book review’s

evaluation of the graphic novel. You will follow these steps:

• Plan key ideas and gather evidence

• Present your argument in a speech

• Provide and get feedback on arguments

380 UNIT 4 COLLABORATE & COMPARE

 A B Get Ready

from Manga Shakespeare: Macbeth

Graphic Novel by Robert Deas and Richard Appignanesi

Shakespeare and Samurai

(and Robot Ninjas?)
Book Review by Caitlin Perry

Engage Your Brain

Choose one or both of these activities to start
connecting with the texts you’re about to read. The Essence of the
Character
What qualities of the character
of Macbeth transcend the
setting of the play? If he weren’t
a long-ago Scottish warrior,
which of his characteristics
would he still have? Discuss
Macbeth’s essential traits with a
partner.
© Houghton Mifflin Harcourt Publishing Company • Image Credits: ©Lorado/E+/Getty Images

Picture This
What incident in Macbeth did
you find most memorable?
How could you turn that
event into a comic strip or
graphic novel page? Use the
space provided to draw a
frame or two of your graphic
version. Include at least one
line of dialogue from the play.

Manga Shakespeare: Macbeth/Shakespeare and Samurai 381

 Get Ready A B

Analyze Visual Elements

A graphic novel tells a story through images and text that are laid
out like a comic book. Pages of a graphic novel contain frames, Focus on Genre
which are boxes containing illustrations of events, actions, and Graphic Novel
reactions. Speech and thought bubbles often contain the characters’ • contains images, often
dialogue, and sometimes additional text on the edges of the frames accompanied by text, in
provides narration. The visual elements of a graphic novel add depth, individual frames or panels
movement, drama, emotion, and meaning to the reader’s experience. • tells a narrative through
As you read the excerpt from Manga Shakespeare: Macbeth, compare images and text
this representation with the original scene in the play and use the chart • makes use of dialogue,
characters’ expressions, and
to record how elements of graphic novels are reflected.
onomatopoeia

Graphic Novel Element How Element Is Reflected in the Text

Visual background details establish

setting

Characters’ appearance, body

language, and expressions reveal
their traits

Dialogue drives the action

Styles of fonts reveal characters’

intonation and expression

Analyze Evidence
In an opinion piece such as a book review, the author tells what he or
she thinks about a work of art. To explain these opinions, the author Focus on Genre
gives reasons. A reason tells why an opinion or claim is valid. Evidence Book Review
provides specific examples that illustrate a reason. For example, in a
• provides a short summary
review of a production of The Tragedy of Macbeth, an author might of the work being reviewed
© Houghton Mifflin Harcourt Publishing Company

express her opinion that a high school audience would enjoy the • includes the opinions of
production. Her reason for the opinion might be “Macbeth addresses the reviewer, based on text
the importance of balancing your ambitions and your morals, a theme evidence
young people can relate to.” • usually either recommends
the work or discourages the
As you read “Shakespeare and Samurai (and Robot Ninjas?),” look for audience from reading or
the reasons and evidence the author provides to support her opinions. watching it

382 UNIT 4 COLLABORATE & COMPARE

 A B Get Ready

Annotation in Action
Look at the frame from the graphic novel Manga Shakespeare: Macbeth and read
the lines from the review. Notice how the reviewer uses evidence to support her
opinion. As you read, watch for evidence to support your own evaluation.

However, I found the artistry to be impressive, with randomly delightful tidbits of hilarious
facial expressions (though not perhaps fitting with everyone’s idea of the characters) and
beautifully created weird sisters and spirit dragons.

Expand Your Vocabulary

Put a check mark next to the vocabulary words that you feel comfortable
using when speaking or writing.
© Houghton Mifflin Harcourt Publishing Company • Image Credits: (bl) ©Tarapynia/Shutterstock; (br) ©Caitlin Perry

sporadic Turn to a partner and talk about the vocabulary words you already
know. Then, share your opinion of a recent movie, using as many
enraptured of the vocabulary words as you can. As you read “Shakespeare and
Samurai (and Robot Ninjas?),” use the definitions in the side column
daunting
to help you learn the vocabulary words you don’t already know.

Background
Manga are a Japanese style of comics with a growing global
audience. The purpose of the Manga Shakespeare series is to
bring Shakespeare’s stories to a new audience by not only
telling them through a different medium but also changing
their context. This version of Macbeth combines a post-
nuclear, futuristic setting with samurai—military leaders who
rose to power in Japan between the 12th and 19th centuries.

Author Caitlin Perry wrote this book review for publication

on a blog. Perry herself writes fantasy and paranormal
romance novels. She has published two books, The Walker in
the Dark and The Cursed Prophecy.

Manga Shakespeare: Macbeth/Shakespeare and Samurai 383

 A from Manga Shakespeare:
Macbeth
Graphic Novel by Robert Deas and Richard Appignanesi

Samurai warriors in a futuristic landscape meet a spooky apparition.

NOTICE & NOTE

As you read, use the

side margins to make
notes about the text.

© Houghton Mifflin Harcourt Publishing Company

384 UNIT 4 COLLABORATE & COMPARE

 Don’t forget to
Notice & Note as you
read the text.

ANALYZE VISUAL
ELEMENTS

Annotate: Take
notes about how the
© Houghton Mifflin Harcourt Publishing Company

first two pages of this

excerpt are similar to
the original Macbeth
and how they are
different.

Analyze: How do
the images place
Shakespeare’s words
in a different context?

Manga Shakespeare: Macbeth/Shakespeare and Samurai 385

386
UNIT 4
COLLABORATE & COMPARE
© Houghton Mifflin Harcourt Publishing Company
 Don’t forget to
Notice & Note as you
read the text.

ANALYZE VISUAL
ELEMENTS

Annotate: Write
down details you
notice about how the
artist has chosen to
portray Banquo.
© Houghton Mifflin Harcourt Publishing Company

Analyze: How do
Banquo’s appearance
and facial expressions
contribute to his
characterization?

Manga Shakespeare: Macbeth/Shakespeare and Samurai 387

 ANALYZE VISUAL
ELEMENTS

Annotate: Write
notes about
Macbeth’s and
Banquo’s expressions
and body language
on this page.
© Houghton Mifflin Harcourt Publishing Company

Infer: Why might the

artist have chosen to
draw the characters
this way?

388 UNIT 4 COLLABORATE & COMPARE

 Don’t forget to
Notice & Note as you
read the text.

ANALYZE VISUAL
ELEMENTS

Annotate: Mark the

speech bubble in
the last frame of the
page.

Evaluate: How
© Houghton Mifflin Harcourt Publishing Company

would a playwright
instruct an actor
to deliver this line
in the way that the
manga artist depicts
it visually?

Manga Shakespeare: Macbeth/Shakespeare and Samurai 389

390
UNIT 4
COLLABORATE & COMPARE
© Houghton Mifflin Harcourt Publishing Company
 Don’t forget to
Notice & Note as you
read the text.

ANALYZE VISUAL
ELEMENTS

Annotate: Write
brief descriptions
of Macbeth’s and
Banquo’s expressions
here.
© Houghton Mifflin Harcourt Publishing Company

Analyze: How do
these characters’
facial expressions
add meaning to their
dialogue?

Manga Shakespeare: Macbeth/Shakespeare and Samurai 391

392
UNIT 4
COLLABORATE & COMPARE
© Houghton Mifflin Harcourt Publishing Company
 Don’t forget to
Notice & Note as you
read the text.

ANALYZE VISUAL
ELEMENTS

Annotate: Mark the

illustration of Angus’s
© Houghton Mifflin Harcourt Publishing Company

news.

Analyze: How does

the illustration add to
what Angus is saying?

Manga Shakespeare: Macbeth/Shakespeare and Samurai 393

394
UNIT 4
COLLABORATE & COMPARE
© Houghton Mifflin Harcourt Publishing Company
 Don’t forget to
Notice & Note as you
read the text.
© Houghton Mifflin Harcourt Publishing Company

Manga Shakespeare: Macbeth/Shakespeare and Samurai 395

396
UNIT 4
COLLABORATE & COMPARE
© Houghton Mifflin Harcourt Publishing Company
 ESSENTIAL QUESTION:
When is ambition
dangerous?

Review your notes

and add your
thoughts to your
Response Log.

ANALYZE VISUAL
ELEMENTS

Annotate: Mark
details in the
illustrations on
this page and the
previous one that
give you a sense of
setting.

Evaluate: How
does the illustrator
© Houghton Mifflin Harcourt Publishing Company

use different
perspectives in the
frames on these
pages? What is the
effect of the different
perspectives?

COLLABORATIVE DISCUSSION
What did the shift in setting add to your understanding or
enjoyment of this scene from Macbeth? Discuss your ideas with a
partner.

Manga Shakespeare: Macbeth/Shakespeare and Samurai 397

 B Shakespeare
and Samurai
(and Robot Ninjas?)
Book Review by Caitlin Perry

A novelist defends her opinion of a genre-bending

graphic novel.

1
I should start by saying that, while I don’t dislike the “Scottish play,”
it is also not in my most beloved of Shakespeare’s works. So when
I give the Manga Shakespeare version of Macbeth a middling rating
it is not a direct response to either the illustrations done by Robert
Deas or the adaptation of the text as done by Richard Appignanesi.
However, that is not to say that I was one hundred percent swayed by
this adaptation either.
ANALYZE EVIDENCE 2 Initially I found the feudal-esque1 Japanese samurai twist to be
Annotate: Mark words that interesting (assuming you could ignore that it was intended to be a
express a strongly positive or Scottish play, which I had no problem with). Jumping in head first,
strongly negative opinion in ready to see what delightful adaptations awaited me, I was met by a
paragraph 2. confusing but still interesting post-apocalyptic2 world that combined
Analyze: Which opinions feudal Japan with modern and futuristic technology alike, all in a
predominate: positive or world that had clearly been blown up quite a bit. My problem lay in
negative? Which piece of evidence the sudden use of the technology, from telescoping binoculars and
supporting one of these opinions very basic motorbikes, to holographic3 messages and (admittedly
do you think is the strongest?
my favorite part of the book) teleporting robot ninjas. However, as
much as I loved some of these changes (mostly the ninjas), I became
frustrated by how infrequently this technology was used, especially
in a world that was both at war and had a murder to deal with.
Obviously they couldn’t have changed much of that without altering
the whole story of Macbeth, but for that reason I feel like the story
sporadic could have done without this sporadic technology. Perhaps sticking
(sp∂-r√d´Δk) adj. happening to a post-apocalyptic feudal Japan feel alone, with a heavier reliance
occasionally and at random. on samurai history, would have been enough. That is, in truth, what I
© Houghton Mifflin Harcourt Publishing Company

had been expecting when I’d picked it up, and I found the technology,
while occasionally intriguing, to be quite jolting.
ANALYZE EVIDENCE 3 However, I found the artistry to be impressive, with randomly
Annotate: Mark evidence that delightful tidbits of hilarious facial expressions (though not perhaps
the author gives in paragraph 3 fitting with everyone’s idea of the characters) and beautifully
to support her opinion about the
book.
1
Analyze: What did Perry dislike feudal-esque (fy◊d-l-≈sk´): resembling the feudal system, a social system involving
about the book? How persuasive nobility who held lands given by a monarch.
2
post-apocalyptic (p∫st-∂-p≤k-∂-lΔp´tΔk): referring to an era after the destruction of the
is the evidence she provides?
world.
3
holographic (h∫-l∂-gra´fik): produced with three-dimensional images formed by light
beams from a laser.

398 UNIT 4 COLLABORATE & COMPARE

 created weird sisters and spirit dragons. I also believe that this enraptured
visual medium for Shakespeare would be a great way to get those (≈n-r√p´ch∂rd) adj. filled with
delight.
less inclined toward literature to become interested in literature,
and luckily the series offers a variety of the Bard’s plays in various daunting
tellings based on Japanese history and culture. And despite not being (dônt´ing) adj. seemingly
overly enraptured with the work itself, I was impressed enough to impossible.

want to read these other works, especially those that I hold higher
in my personal esteem. Definitely worth a try for anyone with an
interest in graphic novels as a genre, especially if they already have
a love of Shakespeare’s plays or would like to have but find the texts ESSENTIAL QUESTION:

themselves daunting. When is ambition

dangerous?

COLLABORATIVE DISCUSSION
Review your notes and
Do you agree with the author? Discuss your ideas with a partner. add your thoughts to your
Response Log.

Assessment Practice
Answer these questions before moving on to the Analyze the Texts
section on the following page.

1. Select two differences between the graphic novel and the play.

A The language has been modernized.

B The cultural setting is Japanese, not Scottish.

C The Witches’ stories and spells are mostly omitted.

D Banquo is openly suspicious of Macbeth’s motivations.

E Instead of three Witches, only one appears.

2. What aspect of the graphic novel bothered Perry?

A The use of Shakespeare’s language was confusing.

B The changes of setting and costumes didn’t make sense.

The use of technology was not consistent.

© Houghton Mifflin Harcourt Publishing Company

D The characters’ expressions were unrealistic.

3. Which disclaimer does Perry give?

A This is the first work of manga she has read.

B She had to rush through her reading.

C She is generally unfamiliar with samurai culture.

D Macbeth is not her favorite play by Shakespeare.

Test-Taking Strategies

Manga Shakespeare: Macbeth/Shakespeare and Samurai 399

 Respond A B

Analyze the Texts

Support your responses with evidence from the texts.
NOTICE & NOTE
1 ANALYZE How does the manga artist use the setting to establish a tone or mood for Review what
the graphic novel? you noticed and
noted as you read
the texts. Your
2 ANALYZE The authors of the manga used much of Shakespeare’s original language, annotations can
but the play has been abridged, or shortened. How have the authors selected portions help you answer
of the text to propel the story? these questions.

3 CITE EVIDENCE The chart sums up the key elements of graphic novels. Complete
the chart to help you evaluate the graphic novel excerpt from Manga Shakespeare:
Macbeth. Which elements did the creators of the graphic novel handle particularly well?

Elements of Graphic Novels Examples from Manga Shakespeare: Macbeth

Setting

Characters

Dialogue and action

Text style
© Houghton Mifflin Harcourt Publishing Company

4 EVALUATE In her review, Perry provides a disclaimer in the first sentence. How do
you think this disclaimer should affect the way readers evaluate her opinion?

5 INTERPRET What is the effect of the parenthetical phrase in the title of the book
review?

6 INFER In contrast to the first two paragraphs, what language does Perry use in the
third paragraph to show that, despite her reservations, she recommends the book?

400 UNIT 4 COLLABORATE & COMPARE

 A B Respond

Choices
Here are some other ways to demonstrate your understanding of the
ideas in this lesson.

Writing
Comparison
As you write and
Think about how the manga artist chose to portray the Witches, discuss, be sure to
and evaluate the effect of this choice on the mood of the scene. use the Academic
Write a comparison, following these steps: Vocabulary words.

• Review Act I, Scene 3 of Shakespeare’s play and make notes

about how the characters of the Witches are portrayed. Note
comprise

the historical and cultural context in which they appear. incidence

• Make additional notes about how the manga version portrays

the Witches and how the historical and cultural setting in which
predominant

they appear differs. (If you watched the film clip in this unit, priority
include that portrayal in your comparison as well.)
ultimate
• Organize your ideas in a comparison-and-contrast structure
to write a paragraph or two analyzing how the Witches are
portrayed. What mood is created by their appearance and
characterization? Does the historical and cultural context add
to this mood?

Speaking & Listening

Deliver a Pitch
Social & Emotional Learning
What kind of media adaptation of Macbeth
would you like to see? Deliver a pitch for your
Expert Review
idea—a persuasive presentation to someone Because the reviewer is a published novelist,
who can fund the project. her critique of the story elements in Manga

• Anticipate questions that your potential Shakespeare: Macbeth is grounded in her own
© Houghton Mifflin Harcourt Publishing Company

funders might ask, and prepare answers for experience. This strong writing background
those questions. makes her review authoritative. What is your
area of expertise? Write a review of something
• Avoid exaggerating or distorting evidence
to support your idea. Sell it on its own
grounded in your own experience—you
might review a basketball game, a musical
merits.
performance, or a chess match, for example.
• Deliver your pitch and ask for listener
feedback on your use of rhetoric. If they
Start by noting the elements of a strong version
of whatever you’re reviewing, and then apply
could, would they fund your idea? Why or
those elements to an instance you’ve seen.
why not?
Make clear in your introduction that you have
expertise in this area.

Manga Shakespeare: Macbeth/Shakespeare and Samurai 401

 Respond A B

Expand Your Vocabulary

PRACTICE AND APPLY
Use your knowledge of the vocabulary words to answer the questions.

sporadic enraptured daunting

1. What might become a problem if you are sporadic about doing it?

2. When were you enraptured by a song, book, or other work of art?

3. What advice would you give someone facing a daunting task?

Vocabulary Strategy:
Word Roots
A word’s etymology is its origin and historical development. Many English Interactive Vocabulary
words are derived from Latin, Greek, and Anglo-Saxon (Old English). For Lesson: Common Roots,
Prefixes, and Suffixes
example, the vocabulary word enraptured contains the Latin root rapt,
which means “carried away.” Something that has enraptured you carries
your mind away. Understanding a word’s etymology helps you grasp its
meaning. Knowing root meanings also helps you define other words with
those roots.

PRACTICE AND APPLY

Follow these steps to complete the activity:
1. Use a dictionary to look up the etymology of each word in the chart,
and write the meaning of its root or roots.
2. Identify two additional words that contain the same root.
3. Write three sentences for each root, one using the word from the
selection and two others using the additional words you identified.

Root or Related
Word Sentence
© Houghton Mifflin Harcourt Publishing Company

Roots Words
teleport tele, port

graphic graph

percent cent

402 UNIT 4 COLLABORATE & COMPARE

 A B Respond

Watch Your Language!

Parentheses Interactive Grammar
Lesson: Dashes and
Parentheses allow a writer to Parentheses
add or clarify information in a
sentence. Usually, parentheses
enclose nonessential information;
if you remove the text within the
parentheses, the sentence keeps its
overall meaning.

Text enclosed by parentheses is

called a parenthetical phrase
or parenthetical expression.
Parenthetical expressions can
also be set apart with commas or
dashes.

Think about the title of the review:

“Shakespeare and Samurai (and Robot Ninjas?).” The parenthetical phrase
isn’t necessary to communicate the topic of the text. It adds a bit of humor,
however, as it draws attention to something the reviewer found surprising.

Look at the following sentence from the book review:

However, I found the artistry to be impressive, with randomly

delightful tidbits of hilarious facial expressions (though not
perhaps fitting with everyone’s idea of the characters) and
beautifully created weird sisters and spirit dragons.
© Houghton Mifflin Harcourt Publishing Company • Image Credits: ©Tim Cordell/CartoonStock

The author’s main point would remain intact even if she removed the
parenthetical phrase. But the parenthetical phrase gives additional
information that she thinks might be useful to the reader.

PRACTICE AND APPLY

Write a brief review stating your opinion of the excerpt you read from
Manga Shakespeare: Macbeth. Include two parenthetical phrases in
your review. Share your review with a partner and discuss what the
parenthetical expressions add to your writing.

Manga Shakespeare: Macbeth/Shakespeare and Samurai 403

 Respond A B

Compare Across Genres

How would you defend or challenge Perry’s overall opinion of the
scene from Manga Shakespeare: Macbeth? Based on the excerpt that
you read from the graphic novel, do you agree or disagree with her
review? To better understand her analysis of the book, revisit the chart
you used to record graphic novel elements while reading. Does Perry
address these elements? What is her assessment of how the authors of
the manga handled them?

Complete the chart to describe Perry’s analysis of the manga. Note that
she may not have addressed all of these characteristics.

A B
Graphic Novel Element Perry’s Assessment of the Element

Visual background details establish

setting

Characters’ appearance, body language,

and expressions reveal their traits

Dialogue drives the action

© Houghton Mifflin Harcourt Publishing Company

Font styles reflect characters’

intonation and expression

404 UNIT 4 COLLABORATE & COMPARE

 A B Respond

Analyze the Texts

Discuss these questions in your group.

1 ANALYZE What evidence does Perry give for her positive ideas about the
graphic novel? How does she present this evidence to portray it in a positive way?

2 EVALUATE How would Perry have changed the graphic novel? Why might this
change make her opinion different? What would you think of this change?

3 INFER What do you think Perry would say about the airplane in the first frame of
the graphic novel?

4 CONNECT What does Perry think about works in which a familiar text is explored
in a different medium and context? What are some benefits of these kinds of works?

Compare and Present

Now, you can deliver an argument agreeing or disagreeing with Perry’s assessment of
the manga version of The Tragedy of Macbeth.

1 PLAN YOUR ARGUMENT Review Perry’s assessment of the book. Use the chart
to help you think about how you would respond to her opinion.

What do I think of the change in setting?

What details in the graphic novel do I find

interesting? Which ones would I change?

What details from the play did the graphic

novel emphasize? What did it omit?

Do I think that a graphic novel is an

effective medium for a Shakespeare play?

Would I recommend this book to others?

Why or why not?

Write your argument about whether you agree with Perry and why. You might
agree with some points but not others. Use evidence from both texts to support
© Houghton Mifflin Harcourt Publishing Company

your argument.

2 PRESENT AND EVALUATE As you present your ideas, keep these tips in mind:

• Speak clearly and make eye contact with your listeners. Consult Giving a

• Provide relevant evidence from both sources. If possible, show or project

specific frames from the graphic novel as you discuss them.
Presentation: Delivering
Your Presentation.

• As your group members present their arguments, briefly note what you think
about their point of view, reasoning, rhetoric, and use of evidence from the texts.
After everyone has presented, share your feedback about strengths and areas
for improvement.

Manga Shakespeare: Macbeth/Shakespeare and Samurai 405

 Reader’s Choice
Continue your exploration of the Essential Question by doing some
independent reading on the unit topic. Read the titles and descriptions ESSENTIAL QUESTION:
shown. Then mark the texts that interest you. When is ambition
dangerous?

Short Reads Available on

These texts are available in your eBook. Choose one or more to read
and rate. Then defend your rating to the class.

Why Read The Macbeth Murder

from Holinshed’s Mystery
Chronicles Shakespeare?
Argument by Michael Mack Short Story by James Thurber
History Writing by Raphael
Holinshed A reader’s expectations radically
Hint: The answer isn’t just because
it’s good for you. Find out how the alter her understanding of
Was the historical Macbeth just as
Macbeth in this comic short story.
power-hungry as the character in Bard applies today.
Shakespeare’s play?

© Houghton Mifflin Harcourt Publishing Company • Image Credits: (tl) ©Lebrecht Music and Arts Photo Library/Alamy;
Rate It
Rate It

(tc) ©Lana Isabella/Flickr Open/Getty Images; (tr) ©CSA Images/Archive/Getty Images; (bl) ©Tom Hanley/Alamy;
Rate It

(bc) ©Geraint Lewis/Alamy; (br) ©cineclassico/Alamy

Ozymandias Julius Caesar, Act III, The Forgotten Story of

Scene 2 Orson Welles’ All-Black
Poem by Percy Bysshe Shelley
Drama by William Shakespeare ‘Macbeth’ Production
A renowned poet considers what Informational Text by Kashann
the lasting legacy of a powerful What was Caesar’s true ambition? Kilson
leader might be. And what kind of friend was Brutus,
A U.S. government program re-set
really? Mark Antony has his say.
ancient Scottish battles as Haitian
Rate It
Rate It
voodoo and jump-started the
career of a Hollywood director.

Rate It

406 UNIT 4 READER’S CHOICE

 Reader’s Choice

Long Reads
Here are three recommended books that connect to this unit’s topic. For
additional options, ask your teacher, school librarian, or peers. Which titles
spark your interest?

Macbeth Never Let Me Go Animal Farm

Graphic Novel by Gareth Hinds Novel by Kazuo Ishiguro Novel by George Orwell

An acclaimed graphic novelist brings The students of Hailsham boarding Animals rebel against humans in
Shakespeare’s timeless words to vivid school know they are special. But they hopes of finally being treated equally.
life. only gradually come to understand Once their independence is gained,
what it is that makes them special and however, other oppressors rise to
what that means for their futures. power.

Extension
© Houghton Mifflin Harcourt Publishing Company • Image Credits: (c) ©filonmar/Getty Images; (r) ©Dunca Daniel

Connect & Create

LESSON LEARNED What would you say is the lesson of the text you
NOTICE & NOTE
read? Think about what it teaches readers that might apply to their
lives and how it teaches that lesson. If a classmate read the same text, • Pick one of the texts and
discuss this idea; if not, create a blog post or podcast in which you annotate the Notice & Note
explore the lesson of the text and how it might apply to your own life. signposts you find.

GOING TOO FAR In the text you read, who or what takes things too
• Then, use the Notice &
Note Writing Frames
far? Write an analysis of the goal in the text—which may be something to help you write about
positive—and discuss how it is carried to a point that makes it the significance of the
negative. At what point should a character or person have quit while signposts.
they were ahead?
• Compare your findings with
those of other students who
read the same text.
Mihai/Alamy

Notice & Note Writing

Frames

Reader’s Choice 407

 Write a Literary
Analysis

Writing Prompt
Using ideas, information, and examples from multiple
texts in this unit, write a literary analysis that develops
a claim about how a lesson that still applies today is
Review the
revealed in The Tragedy of Macbeth. Mentor Text
Manage your time carefully so that you can For an example of a well-written

• review the texts in the unit;

literary criticism you can use as a
mentor text, review
• plan your literary analysis;
••“Shakespeare and Samurai (and
• write your analysis; and
Robot Ninjas?)” (pages 398–399)
• revise and edit your analysis.
Review your notes and annotations
Be sure to
about this text. Think about the
• include a clear claim; techniques the author used to support
• develop the claim with reasons and evidence; her claim.

• use transitions to clarify and connect ideas; and

• end with a strong conclusion.

Consider Your Sources

Review the list of texts in the unit and consider UNIT 4 SOURCES
which you may want to use as sources for your
literary analysis. The Tragedy of Macbeth

As you review your sources, consult the notes from Macbeth (film version) MEDIA
you made on your Response Log and make
additional notes about any ideas that might from Manga Shakespeare: Macbeth
be useful as you write. Include titles and page
Shakespeare and Samurai
numbers to help you provide accurate text
(and Robot Ninjas?)
© Houghton Mifflin Harcourt Publishing Company

evidence and citations when you include

support from these texts.

408 UNIT 4 WRITING TASK

 Writing Task

Analyze the Prompt

Analyze the prompt to make sure you understand the assignment.
Consider Your Audience
1. Mark the phrase in the prompt that identifies the topic of your literary
analysis. Restate the topic in your own words. Ask yourself:

2. Next, look for words that suggest the purpose and audience of your ••Who will read my essay?
literary analysis, and write a sentence describing each. ••What do my readers already
know about Macbeth?

••What details will I need to

include to provide context for
my analysis?

What is my topic? What is my writing task?

What is my purpose?

Who is my audience?

Review the Rubric

Your literary analysis will be scored using a rubric. As you write, focus on the
characteristics of a high-scoring analysis described in the chart. You will learn
more about these characteristics as you work through the lesson.

Purpose, Focus, and Evidence and Conventions of

Organization Elaboration Standard English
© Houghton Mifflin Harcourt Publishing Company

The response includes: The response includes: The response may include:

•• A strongly maintained claim •• Effective use of evidence and •• Some minor errors in usage but

•• Effective responses to opposing sources no patterns of errors

claims •• Effective use of elaboration •• Correct punctuation,

•• Use
ideas
of transitions to connect •• Clear
ideas
and effective expression of capitalization, sentence
formation, and spelling

•• Logical progression of ideas •• Appropriate vocabulary •• Command of basic conventions

•• Appropriate style and tone •• Varied sentence structure

Write a Literary Analysis 409

 Writing Task

1 PLAN YOUR LITERARY ANALYSIS

Develop a Claim
Determine Your Claim
To draft a claim for your literary analysis, use the chart to
A strong claim should
brainstorm themes or lessons in Macbeth that are still relevant
today. Then choose a lesson or theme to focus on in your •• clearly state an opinion
analysis. Note your initial claim about this lesson. about the topic

•• elements
focus on specific literary

Lessons/Themes
•• engage readers and
motivate them to keep
reading

•• preview the direction and

purpose of the analysis

My Claim:

Develop Reasons and Evidence

You will need to support your initial claim with reasons and evidence.
Use the chart to outline your support. Look for specific passages from
the text that highlight themes. Then explain why the evidence is
important to your claim. You may find that your initial claim needs to be
revised or clarified based on the evidence you gather.

Reasons for Your Position Text Evidence This is important because . . .

© Houghton Mifflin Harcourt Publishing Company

410 UNIT 4 WRITING TASK

 Writing Task

Address Opposing Views

Help with Planning
Be prepared to address readers who will not agree with your claims
Consult Interactive Writing
about a theme or lesson in Macbeth or how it is relevant to audiences Lesson: Writing Arguments.
today. Now that you know the claim you plan to develop, consider
how to address someone who disagrees with your ideas. Plan to
refute an opposing viewpoint by pointing out its weakness and
providing contrary evidence that proves your claims about a theme or
lesson are more valid.

Possible Opposing View My Response

Organize Ideas
Now decide how to structure your literary analysis. Use the chart to
help you plan how to organize your ideas clearly, with each idea or
point leading logically to the next one.

INTRODUCTION •• Introduce your topic in a way that grabs the

reader’s attention.
Put It in Order
Here are some techniques to help you
•• Clearly state your revised claim. organize ideas:

BODY PARAGRAPHS •• Present reasons that support your claim. •• that

Devote a paragraph to each reason
supports your claim.
•• Provide evidence from one or more texts to
support your reasons. •• sequence.
Organize paragraphs in a logical

•• Use transitions to connect ideas.

•• evidence
Within each paragraph, order
CONCLUSION •• Restate your claim based on the reasons and
© Houghton Mifflin Harcourt Publishing Company

to follow the plot

evidence you presented. sequence.
•• End with a new insight or final thought.

Write a Literary Analysis 411

 Writing Task

2 DEVELOP A DRAFT
Now it’s time to draft your literary analysis. Examining the work of literary
critics can help you apply similar techniques in your own writing.

Use Transitions
DO NOT EDIT--Changes must be made through “File info” DO NOT EDIT--Changes must be made through “File info”
CorrectionKey=NL-A;FL-A CorrectionKey=NL-A;FL-A

B Shakespeare
EXAMINE THE MENTOR TEXT and Samurai
(and Robot Ninjas?)
Book Review by Caitlin Perry

Notice how the author of “Shakespeare and Samurai (and Robot A novelist defends her opinion of a genre-bending
graphic novel.

Ninjas?)” uses transitions to link ideas in her book review. 1

I should start by saying that, while I don’t dislike the “Scottish play,”
it is also not in my most beloved of Shakespeare’s works. So when
I give the Manga Shakespeare version of Macbeth a middling rating
it is not a direct response to either the illustrations done by Robert
Deas or the adaptation of the text as done by Richard Appignanesi.
However, that is not to say that I was one hundred percent swayed by
this adaptation either.
ANALYZE EVIDENCE 2 Initially I found the feudal-esque1 Japanese samurai twist to be
Annotate: Mark words that interesting (assuming you could ignore that it was intended to be a
express a strongly positive or Scottish play, which I had no problem with). Jumping in head first,
strongly negative opinion in ready to see what delightful adaptations awaited me, I was met by a

Initially I found the feudal-esque Japanese samurai twist

paragraph 2. confusing but still interesting post-apocalyptic2 world that combined
Analyze: Which opinions feudal Japan with modern and futuristic technology alike, all in a
predominate: positive or world that had clearly been blown up quite a bit. My problem lay in

The author uses transitions negative? Which piece of evidence the sudden use of the technology, from telescoping binoculars and

to be interesting (assuming you could ignore that it was

supporting one of these opinions very basic motorbikes, to holographic3 messages and (admittedly
do you think is the strongest?
my favorite part of the book) teleporting robot ninjas. However, as

to describe her experience much as I loved some of these changes (mostly the ninjas), I became
frustrated by how infrequently this technology was used, especially
in a world that was both at war and had a murder to deal with.

at the beginning of her intended to be a Scottish play, which I had no problem sporadic
Obviously they couldn’t have changed much of that without altering
the whole story of Macbeth, but for that reason I feel like the story
could have done without this sporadic technology. Perhaps sticking

reading. (sp∂-r√d´∆k) adj. happening to a post-apocalyptic feudal Japan feel alone, with a heavier reliance

with). Jumping in head first, ready to see what delightful

occasionally and at random. on samurai history, would have been enough. That is, in truth, what I

© Houghton Mifflin Harcourt Publishing Company

had been expecting when I’d picked it up, and I found the technology,
while occasionally intriguing, to be quite jolting.
ANALYZE EVIDENCE 3 However, I found the artistry to be impressive, with randomly

adaptations awaited me, I was met by a confusing but still

Annotate: Mark evidence that delightful tidbits of hilarious facial expressions (though not perhaps
the author gives in paragraph 3 fitting with everyone’s idea of the characters) and beautifully
to support her opinion about the
book.
1
Analyze: What did Perry dislike feudal-esque (fy◊d-l-≈sk´): resembling the feudal system, a social system involving

interesting post-apocalyptic world that combined feudal

about the book? How persuasive nobility who held lands given by a monarch.
2
post-apocalyptic (p∫st-∂-p≤k-∂-l∆p´t∆k): referring to an era after the destruction of the
is the evidence she provides?
world.
3
holographic (h∫-l∂-gra´fik): produced with three-dimensional images formed by light
beams from a laser.

Japan with modern and futuristic technology alike, all

398 UNIT 4 COLLABORATE & COMPARE

Then she contrasts

in a world that had clearly been blown up quite a bit. My
10_LNLESE416432_U4CCS2.indd 398 9/9/2020 6:24:43 AM

her initial positive

problem lay in the sudden use of the technology, from approach with her
telescoping binoculars and very basic motorbikes, to main criticism.

holographic messages and (admittedly my favorite part of

the book) teleporting robot ninjas. However, as much as I
loved some of these changes (mostly the ninjas), I became
frustrated by how infrequently this technology was used,
especially in a world that was both at war and had a
murder to deal with.

APPLY TO YOUR DRAFT

Transitions serve as a “road map” that helps readers understand relationships between
your ideas. Use the chart to draft sentences you can use to make those links clear.
© Houghton Mifflin Harcourt Publishing Company

Purpose Transitions My Sentence

to show comparison likewise, similarly, in the same way

to show contrast but, even so, however, on the other hand

to show sequence after, before, during, later, when, while

to show emphasis certainly, in fact, indeed, ultimately

to show examples for example, to illustrate, that is, such as

412 UNIT 4 WRITING TASK

 Writing Task

Write a Strong Conclusion

EXAMINE THE MENTOR TEXT
Drafting Online
A strong conclusion logically follows from and supports the analysis
Check your assignment list
presented. Here, the author of “Shakespeare and Samurai (and Robot for a writing task from your
Ninjas?)” reinforces her ideas about Manga Shakespeare: Macbeth. teacher.

The author builds on

And despite not being overly enraptured with the
the opinions she already
presented. work itself, I was impressed enough to want to
read these other works, especially those that I hold
higher in my personal esteem. Definitely worth a She ends with a
recommendation for
try for anyone with an interest in graphic novels certain audiences.
as a genre, especially if they already have a love of
Shakespeare’s plays or would like to have but find
the texts themselves daunting.

APPLY TO YOUR DRAFT

Your literary analysis should reinforce your claim and support and then
end in a memorable way. Use the chart to practice different approaches
for your ending. As you write your draft, decide which one you think will
be most effective.

Powerful quotation

Thought-provoking
question
© Houghton Mifflin Harcourt Publishing Company

Insightful statement

Write a Literary Analysis 413

 Writing Task

3 REVISE YOUR LITERARY ANALYSIS

Even experienced writers rework their ideas and language as they write Help with Revision
to make sure they are communicating their ideas effectively. Use the
Find a Peer Review Guide
guide to help you revise your literary analysis. and Student Models online.

REVISION GUIDE

Ask Yourself Prove It Revise It

Introduction Highlight the claim. Add a claim, if missing, or revise

Does my introduction include a the existing one so it is clearer.
clear claim?

Organization Underline the most important Rearrange paragraphs or

Are paragraphs organized idea in each paragraph. Put a sentences. Add transitions
logically? Have I used transitions star ( ) next to transitions. to clarify and strengthen
to connect ideas? connections.

Support Put a check mark ( ) next to Add more details, examples, or

Do I develop my claim with each supporting reason or piece quotations to strengthen ideas.
reasons and evidence? of evidence.

Style Cross out ( X) any informal words Replace informal words and
Have I used a formal style? and phrases. phrases with formal language.

Conclusion Highlight the part of your Revise your conclusion, if

Does my conclusion restate my conclusion that restates your needed, to include a restatement
claim? claim. of your claim.

APPLY TO YOUR DRAFT

Consider the following as you improve your writing.

• Provide any background information your readers might need.

• Make clear connections between your own ideas and the text evidence you
quote or summarize.
•
© Houghton Mifflin Harcourt Publishing Company

Use a clear and authoritative voice to express your views.

414 UNIT 4 WRITING TASK

 Writing Task

Peer Review in Action

Once you have finished revising your literary analysis, you will exchange
papers with a partner in a peer review. During a peer review, you will
give suggestions to improve your partner’s draft.

Read the introduction from a student’s draft and examine the comments
made by the peer reviewer to see how it’s done.

Macbeth and the Dangers of Ambition

Draft
By Sohan Farooqi, Northside High School

The Tragedy of Macbeth, by William Shakespeare, is a play that

Try making
shows human weakness. Macbeth is unlucky, but he is also a victim
your opening
of his own ambition and fear. The story of Macbeth shows the rise
more interesting
to power and the downfall of a flawed ruler. Macbeth learns many
to grab the
reader’s lessons from the events in this play. However, he dies at the hands of You could be
his enemies before he can secure his rule. more specific
attention.
here and maybe
say why this is
important.

Now read the revised introduction. Notice how the writer has improved the
draft by making revisions based on the reviewer’s comments.

Who Am I?
Revision
By Sohan Farooqi, Northside High School

Is Macbeth a murderer, a paranoid lunatic, or an ordinary man

thrust into an extraordinary situation? Macbeth is a victim of his
Much better!
own poisonous ambition and fear of failure. Shakespeare’s play
This question
The Tragedy of Macbeth shows the dangers of greed and paranoia.
really gets my
These traits lead to Macbeth’s downfall and death at the hands of
attention and Nice job making
makes me want Macduff.
your focus more
to keep reading! clear.
© Houghton Mifflin Harcourt Publishing Company

APPLY TO YOUR DRAFT

During your peer review, give each other specific suggestions for how you
could make your literary analysis more effective. Use your revision guide
to help you.

When receiving feedback from your partner, listen attentively and ask
questions to make sure you fully understand the revision suggestions.

Write a Literary Analysis 415

 Writing Task

4 EDIT YOUR LITERARY ANALYSIS

Edit your final draft to check for proper use of standard English
conventions and to correct any misspellings or grammatical errors.

Interactive Grammar
Watch Your Language! Lesson: Spelling

CHECK SPELLING
Misspelled words in your literary analysis could confuse your Spotting Spelling Errors
readers. Take the time to check for spelling errors that your spell-
check tool might miss. ••Check sources for correct
spelling of proper nouns.
Here are a few examples of spelling errors that involve commonly
confused words.
••Look for commonly confused
words.

••Check for words that may have

Error Correction been separated or combined
incorrectly.
Macbeth does not realize how Use the correct spelling for this
much the Witches’ words effect meaning: affect.
him.

Lady Macbeth tries to illicit a Use the correct spelling for this
promise to take action from her meaning: elicit.
husband.

Macbeth fails to heed good Use the correct spelling for this
advise. meaning: advice.

APPLY TO YOUR DRAFT

Now apply what you’ve learned about spelling to your own work.
1. Read your paper aloud and circle any words that you want to
check for spelling.
2. Correct spelling errors using a print or online dictionary or other
resources, paying attention to the meaning of the spelling
you are using.
Ways to Share
© Houghton Mifflin Harcourt Publishing Company

3. Exchange drafts with a peer and edit each other’s work,

looking for errors in spelling, punctuation, and capitalization. ••Record a podcast that discusses
reasons why Macbeth remains
popular today.

5 PUBLISH YOUR LITERARY ANALYSIS ••Share ideas from your essay

in an online class discussion
forum about universal themes.
Share It!
••Adapt your essay as a critical
The prompt asks you to write a literary analysis. You may also review for a newspaper or
adapt your analysis to other formats. literary magazine.

416 UNIT 4 WRITING TASK

 Reflect & Extend
Here are some other ways to show your
understanding of the ideas in Unit 4.

Reflect on the Project-Based Learning

Essential Question Create a Photo Essay
You’ve read about how characters in The Tragedy
When is ambition dangerous?
of Macbeth were affected by ambition and the
Has your answer to the question changed
desire for power. Now, work together with a
after reading the texts in the unit? Discuss
group of classmates to create a photo essay that
your ideas.
illustrates characters or themes of the drama.
You can use these sentence starters to
First, research other photo essays that center on a
help you reflect on your learning.
specific topic, problem, place, or group of people.
• Reading . . . made me realize . . . What approaches do these photo essays have in
• I was surprised by . . . common? How might your group use a similar

• I still wonder about . . .

approach in a photo essay related to Macbeth?

As you plan your photo essay, ask yourself:

• What personality traits and mood should each

portrait convey?

Writing • How will background, lighting, and props help

convey the mood?
Write a Drama
Write a dramatic scene in which ambition
• How will clothing, facial expression, and
posture convey personality and emotion?
leads to a main character’s downfall. Develop
your plot through dialogue and pacing. Use
• How will camera angles and shots add
emphasis or meaning?
the graphic organizer to plan your scene.

Media Project
Characters Who are the main
characters? What are their traits To find more help with this
and motivations? task online, access Create a
Photo Essay.
Setting Where and when will
© Houghton Mifflin Harcourt Publishing Company

the story take place?

Plot What is the central

conflict? How will ambition
drive the choices characters
make?

Stage Directions What

movements, expressions, and
tones of voice will express
characters’ emotions?

Reflect & Extend 417