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Literature Reader 5V

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1
CLIP {: Shakespeare's Youth

1. What did Shakespeare's father do for a living?

2. What's being said about Shakespeare's education?

3. Shakespeare didn't go to university. How did this influence his career?

GLIP 2: Shakespeare in Love:

What was the theatre like in Shakespeare's time? (i.e. building, actors, spectators
etc.)

2
Cl-lF 3: Shakespeare in London

1. was London a source of inspiration for shakespeare? ln what way(s)?

2 what did the Lord chamberlain's men do after a disagreement with their
landlord?

3. What was Shakespeare's life like in London?

4" What's the First Folio?

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3
CLIP 4: The Globe

1. What was the area of southwark like in shakespeare's time?

2. What would have been the purpose of the trapdoor (in the stage and in
the roof), do you think?

3. What do we know about the audiences that came to see

Shakespeare's PlaYs?

4
 The Elizabethun period
15s8-1603
During the Elizabethan period Elizabeth I was Queen of England. She was the
daughter of Henry Vlll by his second wife, Anne Boleyn. Eli2abeth was 25 years old
when she came to the throne. The Elizabethan period was one of the richest in the
history of English literature. lt was during this perÍod that William Shakespeare wrote
his famous plays. Shakespeare made the theatre immensely popular. All social
classes, from tradesmen to aristocrats went to the theatre to enjoy his plays.

William Shakespeare
William Shakespeare's (1564-1616) plays and sonnets (14-line poems) are world
famous. ln spite of the many stories surrounding his person, facls about
shakespeare's life are few. He was born in stratford-upon-Avon, where his
father made and sold gloves.He probably receíved his education at the grammar
school of his birthplace. This meant that he learned Latin and Greek and became
acquainted with the great classícalwriters.

ln 1582, when he was only eighteen years old, shakespeare married Anne
Hathaway, who was eight years older than him. They had three children: a
daughter, Susanna, and twins Hamnet and Judith. Hamnet died young, at the
age of eleven. We do not know what Shakespeare did immediately after his
marriage, and there are a lot of stories about what have been called 'the missing
years'. lt seems that he was an actor before he began to write his plays and thai
he went to London where he became one of the owners of a theatrical company
called the Lord Chamberlain's Men, which also performed at the court of Queen
Elizabeth. The company changed its name to the King's Men in 1603, when
James I became king.

5
 MT,WILLIÁM
SHAKES PEARE S
COMEDIES,
HISTORIES, &
TRÀGËDIES,
Pr)blÍ)tdl cardiog q tlE ïnrc Originll COphr

L0 Í{DA t\{
Pri.:ruiry lí*clo;god,od Ed.Bldur' rór1

Shakespeare'S work was meant to be Seen and heard, not read, and the first
official edition of his plays dates from 1623, seven years after his death, when
two of his former fellow-actors collected them in what has come to be known as
The First Folio, a massive book containing thirty-six plays. They are conveniently
grouped into three categories: comedies, histories and tragedies.

COMEDIES
ln Elizabethan England, a comedy was a fairly light-hearted drama with plenty of
double meanings, mistaken identities and absurd plot-twists, but always a more
or less happy ending. Well-known examples are Twelfth Night and A Midsummer
Night's Dream.

HISTORIES
Ten plays based on the lives and times of English Kings (Richard lll, Henry V,

etc.).

TRAGEDIES
Shakespeare's greatest achievement lies in this section. His tragedies told
play
unhappy tales which often ended in deaths, like Romeo and Juliet (an early
abouiyóung lovers doomed from the moment they set eyes on each other,
simplybecaluse they belong to rival families, the Capulets and Montagues of
Veroáa, ltaly). Jutius Caesar is the best of the so-called Roman plays, which
quartet
deal with scenes from Roman history. Superior to all these, however, is a
of tragedies all written in the first decade of the 17th century: Hamlet, Othello,
King Lear, and Macbeth.

6
 The Elizabethan Theatre
ln the early years of Elizabeth's reign, players toured the country in groups.
They made a stage on carts in the market squares of towns and villages and,
after a flourish of the trumpet, the tÍtle of the play was announced in a loud
voice. As soon as enough people were gathered around the stage, the play
began.

Although plays were popular, the players themselves were not. They were seen
as masterless men, and after the performance the bailiff would chase them out
of town as if they were vagabonds. So the groups of actors sought the protection
of a master, preferably someone with influence. ln 1574 the Ead of Leicester
was the first to give his protection to a group of actors: they were allowed to call
themselves The Earl of LeicesÍer's Men. Others soon followed.

Now that acting was a recognized profession, it also became possible to look for
a purpose-built location for plays. Since London was by far the largest city, it had
the largest possible audience to offer. ïhis Ís why the first permanent theatre
was built there, in 1576. lt was called The Theatre. Since it was the first theatre,
there was no example that could be followed. The builder of The Theatre had to
design it himself, and the other theatres soon to be built followed his example.
He imitated the situation in the courtyards of the inns. The new theatre was also
like a courtyard. lt had entrances, where you could pay your admission fee. The
price was one penny for so-called "groundlings", those spectators who were
prepared to stand in the open air in the arena, where the stage was. Standing in
the arena or "yard" was uncomfortable, and people were usuaily packed in
tightly. This is the reason why groundlings were also referred to as penny-
stínkers. Those who could afford to pay a bit more were able to get a seat in one
of the galleries, where there was a better view and less chance of being rained
on.

Elizabethan theatres were very large: they may have held as many as three
thousand spectators. People clapped and cheered when their favourite actors
came on the stage; bad actors were jeered at and sometimes pelted with
whatever came to hand. The stage was an elevated scafÍold so that people
standing at the back could also see what was going on. This meant that there
was room under the stage. A trap door from this room called "cellar" or "Hell",
gave access to the stage. lt could be used, for instance, for a ghost coming from
the undenrvorld.

There were usually about fifteen actors, so many had to take two or more roles
in the same play. ln Shakespeare's time acting was a profession only open to
boys and men. women were acting elsewhere in Europe, but they were not
allowed to perform in public theatres in England until 1660. ln an Elizabethan
production boys in women's costume would play the female parts, like Juliet in
Romeo & Juliet, whilst occasionally men would play the older women.
There were no sets, as a result of which scenes could change quickly. The plays
were performed in daylight. All this must have made great demands on the

7
actors. ln a scene set at night in a royal palace they had to convince the
audience that they were in a palace and that it was dark, even though in reality
the sun may have been shining.

ln 1592 and 1593 all the theatres in London were closed because of an
outbreak of the plague. Many actors went their own way, and when the theatres
opened again, considerable regrouping took place. Shakespeare joined lhe
Lord Chamberlain's Men, a group that played in Ïhe Theatre.ln 1597 there was
great anxiety in this group. The lease of the ground upon which The Theatre was
built was about to expire and its owner wanted more money than the players
could afford. Shortly before the fatal date the players carefully demolished The
Theatre and carried the timber across the Thames to a site they had found in
Southwark. There they built a new playhouse, now the finest in London, and
called ilThe Globe.

A modern reconstruction of the Globe, named "Shakespeare's Globe", opened in

1gg7 approximately 230 m from the site of the original theatre. Shakespeare
understood the magic of the theatre so well that today, more than four hundred
years after his death, his plays still cast a spell over the thousands of people that
go to see them.

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8
 Macbeth

Shakespeare's shortest and darkest tragedy is Macbeth. lt has a bad reputation

among theatre people, who say it is cursed. Over the past few centuries, many
mysterious accidents and even deaths have happened during rehearsals and
performances of the play. For thís reason, actors refuse to mention its name,
speaking instead of 'the Scottish play'.

witchcraft plays a key role in Macbeth. Many people believed in witches in

Shakespeare's tíme. Some thought that witches were given theír power by the
devil, and that they could be very dangerous. Shakespeare is believed to have
used real witches'spells in the text.
He might have done so in order to attract the attention of the Ki ng, James l, who
took a great interest in witches. Apart from writing a book on the subject of
witchcraft, entÍtled Demonology (1 SgT), the King also secretely attended the
trials of women accused of bei ng witches.

Bu,b.t B*t "

I jwst wt*nLÁ to be' Wni '

The play, set in Scotland, is loosely based on history. There really was an 11th
century king of Scotland known as Macbeth, though his life was quite different to
that of shakespeare's character. Unlike many shakespeare plays, the story is
fairly simple. A noble warrior wants to become king and must kiÍ to achieve that.

I
ACT ll, SCENE 1, final part (Modern translation of Shakespeare's
original text)

MACBETH
ls this a dagger I see in front of me, with its handle pointing toward my hand?
(to the dagóó1 Come, let me hold you. (he grabs at the air in front of him without
touching anything)

I don't have you but I can still see you. Fateful apparition, isn't it possible to
touch yo, us well as see you? Or are you nothing more than a dagger created
by the mind, a hallucination from my fevered brain? I can still see you, and
you
look as real as this other dagger that I'm pulling out now' (he draws a dagger)

You're leading me toward the place I was going already, and I was planning to
use a *eapoÀ just like you. My eyesight must either be the one sense that's not
working, or else it's the only one that's working right. I can still see you, and I see
blood splotches on your blade and handle that weren't there before.

(to himsetf) There's no dagger here. lt's the murder l'm about to do that's making
me think I see one. Now half the world is asleep and being deceived by evil
nightmares. Witches are offering sacrifices to their goddess Hecate.l Old man
mirrder, having been roused by the howls of his wolf, walks silently to his
destination, moving like Tarquin,2 as quiet as a ghost.

(speaking to the ground) Hard ground, don't listen to the direction of my steps. I

don't waÀt you toecho back where I am and break the terrible stillness of this
moment, a silence that is so appropriate for what I'm about to do. While I stay
here talking, Duncan lives. The more I talk, the more my courage cools.

A bell rings

l'm going now. The murder is as good as done. The bell is telling me to do it.
Doit lis[en to the bell, Duncan, because it summons you either to heaven or to
hell.

MACBETH exrïs.

I goddess of witchcraft.
2
Án evil Roman prince who raped a woman called Lucrece who was famous for her beauty.

10
 Answer the following questions about the above-mentioned soliloquv:g

1) What image does Macbeth see before him at the beginning of this scene?
What does this vision reveal about Macbeth,s state of mind?

2) what sort of images fíll Macbeth's thoughts at the end of this scene?

3) Who's rínging the bell and why?

Acr ll, scENE 2 (Modern translation of shakespeare's original

text)
LADY MACBETH enters

LADY MACBETH
The alcohol that got the servants drunk has made me bold. The same liquor that
quenched their thirst has fired me up. Listen! Quiet! That was the owl that
shrieked, with a scary "good night" like the bells they ring before they execute
people. Macbeth must be killing the king right now. The doors to DuÀcan's
chamber are open, and the drunk servants make a mockery of their jobs by
snoring instead of protecting the king. I put so many drugs in their drlnks that you
can't tell if they're alive or dead.

MACBETH
(from offstage) Who's there? What is it?

LADY MACBETH
oh no, l'm afraid the servants woke up, and the murder didn't happen. For us to
attempt murder and not succeed would ruin us. (She hears a noise.) Listen to
that! I put the servants'daggers where Macbeth would find them. He couldn't
have missed them. lf Duncan hadn't reminded me of my father when I saw him
sleeping, lwould have killed him myself.

MACBETH enters carrying bloody daggers.

LADY MACBETH
My husband!

MACBETH
I have done the deed. Did you hear a noise?

3 a dramatic, poetic monologue in which a character speaks to himself so that the

audience knows his thoughts.

11
LADY MACBETH
I heard the owl scream and the crickets cry. Didn't you say something?

MACBETH
When?

LADY MACBETH
Just now.

MACBETH
As I came down?

LADY MACBETH
Yes.

MACBETH
Listen!Who's sleeping in the second chamber?

LADY MACBETH
Donalbain.

MACBETH
(tooking at his bloody hands) This is a sorry sight

LADY MACBETH
That's a stupid thing to saY

MACBETH
One of the servants laughed in his sleep, and one cried, "Murder!" and they
woke each other up. I stood and listened to them, but then they said their
prayers and went back to sleeP.

LADY MACBETH
Malcolm and Donalbain are asleep in the same room

MACBETH
One SerVant Cried, "God bleSs uS!" and the Other replied, "Amen," aS if they had
seen my bloody hands. Listening to their frightened voices, I couldn't reply
"Amen" when they said "God bless us!"

LADY MAGBETH
Don't think about it so much.

MAGBETH
But why couldn't I say "Amen"? I desperately needed God's blessing, but the
word "Amen" stuck in my throat.

LADY MACBETH
We can't think that way about what we did. lf we do, it'll drive us crazy

12
 MACBETH
I thought I heard a voice cry, "Sleep no more! Macbeth is murdering sleep."
lnnocent sleep. Sleep that soothes away all our worries. Sleep thaiputs each
day to rest. Sleep that relieves the weary laborer and heals hurt minds. Sleep,
the maín course in lífe's feast, and the most nourishing.

LADY MACBETH
What are you talking about?

MACBETH
The voice kept crying, "sleep no morel" to everyone in the house. "Macbeth has
murdered sleep, and therefore Macbeth will sleep no more.,'

LADY MACBETH
who said that? why, my worthy lord, you let yourself become weak when you
-bloody
think about things in this cowardly way. Go get some water and wash this
evidence from your hands. Why did you carry these daggers out of the room?
They have to stay there. Go take them back and smear the sleeping guards with
the blood.

MACBETH
I can't go back. I'm afraid even to think about what I've done. I can't stand to look
at it again.

LADY MACBETH
coward! Give me the daggers. Dead and sleeping people can't hurt you any
more than pictures can. Only children are afraid of scary píctures. lf Duncan
bleeds l'll paint the servants'faces with his blood. We must make it seem like
they're guilty.

LADY MACBETH exits

A sound of knockíng from offstage.

MACBETH
where is that knocking coming from? what's happening to me, that l'm
frightened of every noise? (looking at his hands) Whose hands are these? Ha!
They're plucking out my eyes. Will all the water in the ocean wash this blood
from my hands? No, instead my hands will stain the seas scarlet, turning the
green waters red.

LADY MACBETH enters

LADY MACBETH
My hands are as red as yours, but I would be ashamed if my heart were as pale
and weak.

A sound of knockíng from offstage

13
I hear someone knocking at the south entry. Let's go back to our bedroom. A
litle water will wash away the evidence of our guilt. lt's so simple! You've lost
your resolve.

A sound of knocking from offstage.

Listenl There's more knocking. Put on your nightgown, in case Someone comes
and sees that we're awake. Snap out of your daze.

MACBETH
Rather than have to think about my crime, I'd prefer to be completely
unconscious.

A sound of knocking from offstage.

Wake Duncan with your knocking. I wish you could!

They exit.

Answer followinq q about Act ll Scene 2

1) What has Lady Macbeth just done at the beginning of this scene?

2) Why does Shakespeare introduce the sound of the owl and crickets here?

3) What reason does Lady Macbeth give for not killing Duncan herself? What
does this statement tell us about her character?

4) Who went back to put the bloody daggers near the guards? What does this
show us?

5) Why is Macbeth unable to say "Amen" at the end of a prayer he hears?

6) What does the sentence "Macbeth is murdering sleep" mean?

7) Generally, speaking who seems more upset about the murder, Macbeth or
Lady Macbeth?

8) "Wake Duncan with your knocking. I wish you could!" What does this sentence
tell us about the way Macbeth is feeling?

9) Duncan's murder, a major event in the play, takes place off stage. Why do you
think Shakespeare made this decision?

10) Describe the differences in character between Lady Macbeth and Macbeth.

14
 References:

Bógels, Theo & Richard rodd (1993). wonders with words. Literatures in
Engl i sh. Amsterdam : Meulenhoff Educatief.

Brady, Linzy & David James (2015). Macbeth: Cambridge Schoot Shakespeare
Cambridge: CUP.

Butler, James, Maria Lucía de Vanna & Bruce Hodges (200s). Reading
Shakeqpeare: Macbefh. Genoa: Black Cat (Litoprinl).

Matthews, Andrew & Tony Ross (2002). Romeo and Jutiet. A shakespeare
Story. London: Orchard Books.

sale, James & Alison Powell (201s). Macbeth: york Notes for GCS E (g-1).
Harlow: Pearson Education Limited.

https://www. cliffsnotes. com/literatureim/macbeth/character-list

http ://nfs. s pa rknotes. co m/macbeth/

h.ttps://wr,vur. voutube. com/watch?v=OHqbhWHsJVk

("No Juliet", scene from Shakespeare in Love(1ggg))

ShoÉ documentaries about Shakespeare:

https://learnenqlish.britishcouncil.org/en/shakespeare/stratford-1-shakespeare_
qlove-maker

lish .o tece

ish ncil

Useful Macbeth videos:

http:/le?rnenolishteens.britishcouncil.oro/uk-noMliterature-uk/shakespeare-
macbeth

https :l/www. vo utu be. co m/watch ?v=uzAu ivW p K s

15
 MACBETH

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Norway. 1,ànins t+:r*::::L;ï::; rharneor cawdor and theKras or
Bo,nquo a:t;a t1eaibern
rogether..
ÉÀNQU' : wc worr, my friin-u. thE ".r;ï;;;-t"g
rong wflt uc p;.1 ** u*
't"'- very brave roday.
were
tvtAcBErH; rfieïhnne of
s"*io,* a"Irroa.í" "u,,
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nanauo the tlqeewit:rftes. He point p"cài1s4gr.
lees
over thcre. Vt/ho ar€ you? .{rc you
iSyg : ïólc
FtRsï,WTctíi
wonien, or aru you spiilts?
$relcomà, MacLáth, Thane of clarniÉ,
MA€BETH : How do you knowwho
I am?
9:EgO.NPWïfi{: welcome, Macbcth, rharre
of cawdoi..
I,ÍACBETH t ïftane of Gawdor? _ I'm not tha Thane of..Gaurdor.
n*tno i,vrrcrr : Welcorne,
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te rhanè of cawdor, and
ïff ï ;:ï,H:i,ï th en Kins of scotrand. vr;rrat
FIRST ffiTCH : you will bc lcss tÍran Macbetfr,
but more than Macbeth.
gEcoND wl?c.i: i'ou wtil be lcss Iucrry then Macbeth,
butyou wiil be more fortunate,
TH|RD WITCH : iou wiil never
bc king, out *" *ït be the fafJrer of king".
The thqee wihhes e uddenfo diinp peo.

ryíAcBETH : How strangct Thcyóard

i wËurd be Thane of cawdor,
will be ttie father of tdngsi r.a""t and then king _ andyou
m-a^irÀo *oy u*, ruJ-ooJ.tt-Ë;
Itrnakes nogenee- .
what thcy sáid.

Ross nolll€flferu He is [ooki4g

fur MrrchedL
ROSS : thave corne
pÍeased with filg CIuriàari- r have a message foryou, Macbeth. The king ir very
\
vou,and he óants -; il;;;;.
vou wig be.the nuw ih"r" or ,.áwdor.
MNeUO: Thane of ca#doil
MaCBETH: T?re witches told thc \
truth, ,
*T?,u-? ; Bc garufsl' t"y frto1d Remcmrer tÍicy
arse saidyou wourd be king.
That,s not
tri'f'Ï;iËllifiiliffi.,tfl iï,ï;*;rra"eí"ard*.in.l"pito"*makemendo
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uiàëthb castle lady Macbeih is rcridírry
the tetter 1ro,m her hug.band..
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 chance f,or us, that's what it i5. But I know you, Maóeth. You'd like to be thc king' bgt you
dontwanttodoanythingbad-comehqme,mytove-I,llmakpyoufuIlofcouragcl
cq.st le^ La$ Macheth ls tolki4gl to herfusband
ahouf óuncanb visit
Jvícóetà's
You must act very cheerfulty and innèeendy during the king's
visiL Leave
l-ADy MACEËTH :

qverything to 5ne Duncan will nevcr leavc ttre castle alfue'

. -
to me' arld I cant murder him'
MACBETH: We cannot kill the kingl He'a becn agood friend
t iUr UlCgrrH r Why dld you tell nie
abbut the three witch*:.S-tlt Don't you wSnt to be
- 'king?
*re you.lust frightened? Be bfave, end you caq have the tlironel

MAcBi!?H : But if we fail? lvhat hap. pens ts us if we feil?

tÁDy MACBETIT : Dont Ívorry óout that {e wgir't fail.
lïc got a plan- Duncan's rootlr is
- -gua"d;a that they drink a lot-of wine. They wont knour
Uy two soldiers. Í[ -ak" "rgc
whdtshappening.Itwitlbeeasyforyoutogointotheking,sroomandkillhirn.wecan
blamethe soldiers fort}re murder'
MACBETH : You're righfl r'lo gne will think it waó us'

lf is late at night in the castle- udcbeth comes. out af the wo soldiets' room' He is
blaw mví,qnd hÍs àands qe covered ínblood He tooks {rightened
Lq* Macheth
"
iswertingfttht:r.
LADY MACBETH : \TVCII? Did YOU dO if?

MACBETH : Duncqn is deaá. I have done a terrible

thing' Afterwatds' I h:TÍ a voice' tt said'
,There will be no mote sleep. Macbeth has murdered sleep'' It was a frightening vpice'

IADY MACBETH : Did it say anythlng else?

MA.BETH : ycs. It cíed out
,Maebeth has murdered sleep
- Macbeth will ncver sleep again''
ttwas a loud voice' I thought everyone in the castle would hear
it
LADy MACBE1i{ : you're like a childl Thcre was no voice,
it was just y-Our f:T yor1 hedrd' Sut
still carrying the kt ifet Go and put it in tbê soldiers' roomt
the knife - irhy are you

MACBETII : I cant go back in there I'll nwer go baák in theret

-
put it in thc soldieF'room'
tADy MACBETH : Give the knifc to me. t'm not sfraid. I'll
Lady ttacbeth goes into the soldiert'ru om- Mclcheth is clone. He ís loo*ing ct the blaod
on his honds.

MACBETH:lhavedoneaterriblething.Thisbloodwillnevergoaway.Iwishlhadntdoncii!
hands arc cqvered wlih blood
Lady Macbeth comes back fromtie soldÍeF' ro om. Her
LADY MACBÉTH : Look at my hands. They'rc red like
yours - but t'm not afraid like youl A
little water will remove the traces of our cfirne'

ACT T}IREE

MaÊduffondLewwrhaveiustentercdlhemstleltisveryearfuindte.mornhg'Theyhale
tosee lvftot isftappcntÍE'
madeïnoise, andwolcenupthe poner, Mar:helhconesdown
MACDUFF:Didyougotobedlate,myfriendJPerhapsyoudranktoomuchbcforeyouwént
gatg?
io U"a. F thgt why you didn't hear thc knocking bn the
poRTER : lt'i true, sir. I did diirik too much klit night'
 ÈÍAcËurf , qood morning Macbcth, ls tÍre king awake yci?
I'íACBETIJ .. He's stili sleeping. Shall I
wake him for you?
MACDUFF : t'll wake him myself. He askcd me to come earry this moming,
M aeàffi goes to flle /círE,s ro om, Ma&elh rrnd t-enncur wk
LENNox: what a terible nigtltl rhe wind blew fiercely
all night our chirnncys werc bÍown
down. Sonre peèple said that they heard horriAlu
,iie"Jí
IVíACBETH : It rrrms just.bad
lveathgn lt didnt mean anything.
they hear xadtfi àIlrrutiitg firi^ tl:r. kirg's tocini.
LENIIOX : Whst iï ÍtZ Whpt's the mafter? ls it th€ kirig?

l4aeduff nmasÉartr thr, kbrylb toom.

I'íACDUFF I ii's drsadful too ár"adful. Co anà
bok for youilelvos.
f'rAcpeíi; Corïre on!

6 tr ennax run off to the kirtg,s mom-

!,!lntm "t
iaA@ufn; Vgrdert Murder! sound the alarrnt i
.i, I
. I
tuaple àome fum eveyft i
yhen thry lpar the shoufing and the alarm. Enter r-aQ1r !
- raaatn^&u Malcolm ond Donarhaín rqqd'tff goes up to Maro,rm
and. Donalbsín i
6OV f'laCreTH ; Whai is it? rVlry is there suclr a noisez i
lyAcDuFF i fherc is terdble news.
I
I
llalior-rq I Tell us- rs lt rhe ldngf I
I
DONALBAIN : What about our àtheil l,
:
MACDUFF: He's been murdcredt l I
I

uocbeth and l,ennox rcme itowi

liàn dze kí4g,s room,
MACBETH : Ít's Uue puncaÉ has treen r-nuriCered. I
- I
MÀLCoLM : Who did it? W-he,ftillea the klng? i
I FNN'X ; It ivas tÍre twosirr{iers-. w_hgn we went into_ thein room, they were sreeping, They
wgtc covercd in blood. We aslGÊd thcm quèetlons, í
but ttcy couldnítÈ qr'
6rv' ivs'sr' a*rn*, l.t muethavc I
b$n fhe-m wfro kllled Dirncarrr. I
!
MAcDUFF I Butwhf why *uiiÉ*eya;
it? we must ask them why.
MACBgTH : we cant ask them
áything. when I saw them covcred in the
-- -'- -' king,s blood t Hiled
thertr. t'm sorry. t shouldnt haw done it But I lovêd
thu rurf.
M'dcÓuFF : Now rye'll never know why they did
it, or lf someone paid them to do the rindiáer.
LADYT"íACBETH oh; the kin!! The poor king! vr/hat a terribre thing
:
,houile. lrVho could have ,.;;;;r" Ë;;.1.[r--'
done it?
La* Uac*tn fuila to ths flgàr,
I'4AcDqFl i ?he ihoclïis'toó greai tor h"r. HeÍp
hea Éorneonq

.:Macbqth píclÊ tq htt vnle, eyd helps'her av<ry.

EANQU:O : l.*t's m.eer bact< hs*
í" i" f,i,r,[ - weneqd 14 n **nU** ApiaAout$r"
:.'
 @o$ lewes, xept Mo,hotin dnd mirilbaitL
DoNALEAIN : I don't feel safe hert, Som€íjns has murdered our father, and t don't beÍieve
what Macbeth told us.
MÀLCQLM : I dont believe Macbeth, either. Wbywould the'hro soldiers kill the king? lt
, aoàr't matc any,scnéc. We'll nerrer realty knowwhat hep'pened-
DoNhLbhtN : Macbetà kllled them trio quiqkly,
MAtboltt iwhatdg.youmcen? :
DoitAÈBAIN : Màdeth said tre kilel the eoHiars be@fq't'q was aÍtgry. I dont think he rrEÉ eltgry
*i:È-iinktre tifiedfrembecagqc heódntr,vag*cnr ObcabhtoarrcwcrcfiIrquèsiioFd .

MALCOlM.:Yoususpect Maócth? :

.DOl'iALBÀtN,, I don't know.áut I think wc sËorild ÍjÊtàury..fto.m tÍiis castle. lÀrhoever killsd
oíi fatfrer':..1s sttlt hcre -.aid he may try to ltill us neru
prÁLCOUa : I ailree, Íll gti to rnglaiiiL l;ve got ftlend5tircld.
DONALBAi| : Ahd fll go to lreland.
t1alcolm and Donalhaln leat à Banquo, Mac&fi and rte ctàers coÍne ÈcL
UeóUfr : tt must have been Malohn and tlon"fn"n. *ltg.ldll-d Pur.Ean. Thq^re nrn auray'from
' {hei.astle.I think I know whát happqned They priid thetlrb soldfiifsto ldu the king- They
wàntld the throne for thcmdc. lves. rnie must make sure they srSgp for thls tenihle'crimèl
BANQUO : Who shall we have as the ncw king?
MACDUFF AND THE OT}IERS : Maóeth! Let's mafte Macbeth the new kin$ He wa$ Duncan's
friend.

ACTFOUR :

MACBETH : Theie is a fèast tonight at the castle. You will be the guest of honour, myfriend,
BANQUO: I will be there-
MACBETH: Bringyourson Fleancewithyrgru - he's invited aswpl!.
BANeUo we wllt both be there, We are riding out this afternoon, bul wg will be at ttre caltle
:
tonight forthe feast
MACBETH : TqmoÍrow we musttalk t heef that Malcolm and Donalbain havc go.fre. ts England
and lreland, rhey aieryingtó make ttoublefor me-We mustdecidcwhattodo about them.

Banquo goes avvrt, and Lafu Macbethioit's Macbeth,

IADY MACBETH : You never seem happS my love.

MACBETH : t arn worried I have enemÍeso you knolv,
-
LÁDf MACBETH : Tonight you must try to be cheerful at the feast. RÊmember thatl
MACBFTI{ : Tonight I will bc cheerful, I prothisé.
láDY MAGBETH : Forget the past lVhat we did, we did- We cant chan$e anything 4o*.
MACBETFT ; Sometimes I worry algut Bánguo ànd depqry€. t dont feet safe when I think of thenr.
LADV MACFETH : What can we do óout them!
MAcBETH : I havè already done something - l+ d_-o{! tq}ogt *è d€taili!
ids.be6qe^r Sul
Ouaide àe qtlstle thct. evenirg' TÏiee men Wfrl4lnJt u? *q a,ii#iq"
 FTRST MURDERER : Are you sure Banquo end Fleance wlll
come this wa1/?
igcotvp MURDERER: They'll come this way.
ïHIRD MURDERER: Ánd wrren they do, we'fl kiil tfiem
both. Macbetb wants thcm to d!e.
FIRS? MURDERER: Hcre they arel I can
hearthem.
Banquo andFleance enttr The mudcrerc altack Batzquo.
THIRDMURDERER: NowI
SECOND MURÍ)ERER : Áttaekt
BANQUO: Ridc, Fleance, ridei ft's a trap!

Uarcb eth's mstle, at theft ast

lvtAcBETH : wclcome
and wine.
- Í'm happy to see you ail, Tonight nle wiil e4joy ourserves
with food

eltar ÉIrc;{rcr nutdere:n Aacbeth appraaches ftím.

IVíACBETH ;
WelP How did it go?
FIRSTMURB.ERER: Banquo is dead.
MACBETH : And Fleance? Tell me that FÍeance
is dead as wellt
F'IRSI MUflDERER; Fleanse eecaped us.
He is fec.
F{ACBETH : Then l'm not safe, after all. Go
tiere is blood on your face.
- wdll talk tomonpw.
LENNOX r WiÍl your Majesty sit with us?
MACBETH I Where shall I sit? Alí óe chairs arc taken.
LEITNOX I There is an empty chair next to me.

i
Macbeth lool* at rhe chaír indicated. by Lennox. He sees
Banquok ghast in the chair.
MACBETH : f didnt do ifl Don't look at me like
that_ t didnt do ifl
LFNNox ! whet's tác mattcr with the king? vvho is hc
tarking to - rhat chai/r empgr!
tAÉY MACBETH : Ít is an illiress of his. tt yvill
soon pass.
tÁEY MAÓBETH (to her husband) : what'd the
matter with you? Rernember your guests.
Wherds your courage?
uncBETH (te
$s wifc) : My courage! I'm a braw rnap to look at that ghos!.and not run awayr
LADÏ MACBETH (to her hupband) : whdt ghost?.TÍiere,s
iiotÍring there. This ghost you s.ee Ís
like the knife you saw beforeyou kirkJ Duncan.
tt," you"rei imagi'ation.
MACBETH: Butlookat itt It's Banquq cantyousee? ".,lyour
The ghost disappats, Macbel*t speatr tu ffu guesfs.
MACBETH : Forgive me. rt is an iilness of mine-
Iet's drink to us. To us and to Banquor
THE GUESTS : To us and to Banquo!

The ghost comes àacJc rnto lhe rcom.

MAGBEi'H i Why look at me? Away with youl
t eave me alone!
THE Gt'Esr* what does the king mean? what È he rooking
at? what,s wrong with him?
IADYIvÍACB.q"fl.f ; The king is ill. He needs to
rest,
Tlwgtuèsts leave thg tvg;r- 14fu uacbet\ and
uacbeth clrc qlbne.
 MACBETH : Macduff didn't come tonight. Why didnt hc come?
IÀDY MACBETH.: I dontknow.
MACBETH : I dont trust any of them. Thq/re all my encrnies. I'll go back to the
three witches. I
going to happen Even if they tell me the worst' t must knovr!
muSt find out from thccn what is

ACT FIVE

Mccbeth with Èhe thr"e witchea

FÍÁCBErH : I have come here to ask you something. You must tdl mc the truth.
THIRD WITCH : lf you don't trust us, our masttrs will come to answer).our qucetion. Would
you Prefer that?
MACBETII : Calt your masters' I waÍrt to dee them- CaJI tÍcrn now'

?ïre rvrtches qtir ti're conten* of tfte cooftÍng-pot, À h€trd rísês in the cir inftnt ofrvccbeth

MACBETH: Tellme -
THE WITCHES Don't speakl He knours whatyou wanÈ
:

THE HEÀD: rqacbeth, be careful of Macduffl That s my message, it's enough-

7fte head disappears. ïhe lr.t'tch€s stÍr tie contÊnts a! the pot agair' ond a secoad spírlf
appeaË-

sÊcoND SptRlT; Macbeth, be brave and lauph to scorn the power of man. lio rnan of woman
born can hurt Macbeth'
ïhe second spirit dísqppears, Ïhe witches stir lile pot once qgqi4 and o tftt'nd sptnt qppeoru'

THIRD SptRIT : Macbeth will never be defcated until Birnam Wood to Dunsinane Hill fights
against him.

The thtud àPirít dísaPPecrs.

MACBETH : you have done weli. But theie is one thing more that I want to know Wll Banquo
really be the father of kings?
AtI THE WTTCHES : Ask no more! Ask no morc!
MÁCBETH : I must have an answer - tell me the truth!
ÀLL THE WTCHES : Shnw the truth. and brcak his heart. Then we witches will deparl

l,he glwct of tuqw app€f,:n ín funt of Mclchfflt He is sunrcunded bJ, ki4gls' ll1€ tnrye @s
qttsàeod ln his hands. líe is rn despcir.
fur í momergcnd then disqppears Ma&eh Fttts

ACT SIX

Ttw thones cre tallrÍqgl with pracdr4ff abo4t Mocbeth'

FTRST THANE : t don t think Malcolm and Donalbain pald the tiro soldiers to kilÍ theirfàther'
they Íoved him too much.
SECOND THANE: Why did tlhery run away, then?
FIRST'IffANE : I t*rink they were frightened
SËCOND THANE : r/Vlrat about the soÍdiets? Do yo.g think they killed Dgnaran?
MACDUFF : t ll tellyou what t rhinh l think the man u'hq killed Dmcall wqnted
te$ king himself.
 prhsrtrilNe Ahd Bahguo? Who killed Banguo, wondcr?
Do you thtnf( ir was Maóetfr?
Mncbupr dont know But don't feel safc here tn Scotland.
l'm goíng ta England.
Sornething ts wrong ,n Scotland, We live tn bad timcs.
&gllsnil, Maholm is frXrittg to percuadg tutacdrgffto
fuht ryriinst.Uacfuth.
MA|COLT\,í Wïlt you fighr radrh us? tri9e necií a rn4n like
:
you. ,
: I dont knoni lds true
that Macàeth is a bad rnan
metimetothÍnkabggflL
'''ACD'FF - but r áin not s traitor.: GiÍe
-."-
Enlef Egss.
-.I I
I"iÀCDUFF: I4lhat's the neÉs from Scotland?
.

Ro$s : All th!,F*1'1 frorn scotland is bad- TÍrene

ís tajk of biflíon agairut tvtacbeth. we
needyqg,Macd$ff. . :
a re.

MACDuFF
l
Artf *r i.-ig is my Aimily"il riglt?
ROSS :. Tlïs i$ rÍe worst nevt's àf all. t,Íacbett sènt sori,re men to your cqsde. ïtey kilred your

I"ÍA..9DUFF: What about my childÉen?

Are my children s:ifer
*tt
,

,.tvnSuFp: "hilili;. fu
lcilted cverybodv you. *,iru, yór"
: - '--- in the castre.
rhc seri,ants
ftot rnychildrent My littte éhildren deadi
I"ÍAlcQtM : Noiv will you join us against Maóeth? we'll take an army into scotland. we,l!
dtfuatMaóetht
IIÍACDUFF; I'll mmc with you- I went tro be.tÍrc mEn who kiile Macbeth
- I want revenget

ÁcTsËvEH
Mdcbethb castle,Awomanserwnt istai8lítg
to Lady Macbethh d,octor-
SERVANT : Therc is some$Íng very
lvrong witir thc erecri. She- walks
want you to w.ató with me tonight, -
-'- in" - her sleep at night_ Í
tá-gee what il"pp"ns.
DOCTOR: The eueen appearsr
SERVANT: ihor=.h" isl She,s walldng,butshe,s asleep,
Dofror I wtal:l th: agiirgi strc ecqmF to'he ruhbing hcr hands.
SERI/ÁNT : Shé always doegrll;ig. is àhe
washing her hands?
rhe eueenbeginsto speaktp hqself;
I'ADY MAGFETH : rïr crean thcse hands
Macbeth
I rnust crean these hands
Nb ohe wlll ktow itwao u. _ Wí* lot of
-Dont be áfraid -
- blood Duncan hast
DOCT.OR : Oid you hcar that? I wondet "
what it means,
*"Jff:ilYacduffhad a wife -- wt o"i""iu no* .ttrese
hands of mine, thqfll -
POCfrOn: ! cgnt hclp her
- she,e rnad,
I..ADY MACBETH Banquo Ë dead he eant hgrtyou My fiandsl Who will tr"dsh my handsz
SERVÀNT shF will soon
Ea !o bed.
DOCTCIR; She ís mad, but her ihàdncsg
tellq thc tryth. Màcbqtti áFd hiiírfe fiave dsne gome
teÈibf e tÍif r.rgr; t wiÈh. {uqs I frcm rhi6
 AC'T EíG}IT

SgM's army hos om'wd'ct Birnam Wooí

MALcotM ; Every soldier must cirt a branó from one of these trees, We'll carry the
brapchcs in front of us, itwill.confuse Maóeth's army.
' IniideMocbedr.S-qq6fle. Uacbethwtthqswvan|
MACBE'fH : What is tJre nriise?
SERVÀNT: The qirccri is dead, sii., . .

MAetsËTH: She dies today, ivh'ei thirc'is a blttte to fight, I cannottJrinkof hertoday,
A messeqger en terÉ tte rriotn,
MACBETIí: welt, what is it? \ivhatis the news?
MESSENGER i I dont linow how to tgll you, sir. I have seer sometÍring tÍrat I don't undgrstand.
MACBET|I; What did you eee? Tclt me Cuickly.
MESSENGER : As I looked out towards Birnam Wood, the wood seemèd to move.
MIICBÉTH : Yoqr're lying - iCs impossiblel
MESSENGEFi r foryourself, sir. Birnam Wood iq moving towards Dunsinane Hilt.
V.ou can see
MACBETH : Then t am finished' Birnaró Wood has come to Dunsiiiane Hillt But t ryill die likc a
man.An)rway, no man of w.qman born can kill mc - its rrtyonc hope,

The battle. Young Seyratdsries Macbefà

YOUNG SEYWARD:Who af€ yàu?

I4ACBETH : You will be afraid to hear my name. I am Macbeth.
YQUNG SEYWARD: I hate tfiat name!
MACBETH:You fea.r it, too.
YOUNG SEYW,CRD: I am not afraid.

Macbeth andYouttg seyvnrdfight - S-e3rwnrd fs ktlted Macduff appraaehes Macbelh-

MACDUFF : i have been iearching ior you, Today t will kitl youl
MACBETH : Keep away
save yourself.- ' I can kill me, Run,
from me! You can't kitl me. No man born of worháh
"rrd
t'4AcDUÈF ;'Know this, Maebeth, I was.no,t born of wornan. I was taken eady'frotn my
motherk womb. t'll kill you for the deaths of my urife and children; ' : ;'

IÍACBETH : I won't fight you!

MACDUFF: You must surrender, then. You will be our prisone.r- Everyone will comé tó Íhock
you'
wont surrender. I wont be rnockcd by the people. Everything is [ost.
MACBETH : No! I
Birnam Wood has come to Dunsinane Hill, andyou are not of wonlan born. Stil[ I prefer
to ffght.
Mcicbeth ahd Mdcdtfifight t tpcbeth is rhlted