Macbeth Introduction

When the play begins, there are two wars in progress: Civil War - King Duncan vs. Macdonwald’s rebels National War - Scotland, led by King Duncan, against invading Norway, led by King Sweno

Setting King Duncan is the King of Scotland (his two sons are Malcolm and Donalbain). Edward the Confessor is the King of England. The time period is the eleventh century (1000-1099). Shakespeare used poetic license to bend some of the historical information.

Elizabethan Connections Shakespeare demonstrated the Elizabethan belief that the country is stable only if the King is good and virtuous. Elizabethans believed that evil occurs in darkness, which is a recurring theme in Macbeth. Shakespeare included a lot of blood and murder, which the Elizabethans expected to see in a play. The play was considered a thriller – a threat to an anointed King and the perceived evil behind the threat – and alluded to the Gunpowder plot of 1605.

Elizabethan Terms Alas/Alack: Expression of regret, sorrow, dismay, alarm. Anon: Soon Aye: yes Betimes: right now Beseech: beg (ask earnestly) Beshrew: hate Durst: dared E’en: even E’er: ever Fly: flee, run away Hark: listen Hence: away (from here) Hie: hurry Hither: here Issue: child/offspring Marry: indeed

Elizabethan Terms Naught: nothing Thine: yours Nigh: near Perchance: maybe Prithee/ pray thee: please Sooth: truly Thou: you Thee (DO): you Thy: your Thine: yours Thence: there Thither: there Twixt: between Wherefore: why Whence: where Wither: where Withal: in addition Wont: accustomed

Note only what you don’t already know Drama Notes Note only what you don’t already know

Terms you should already know Dialogue – a conversation between two or more characters. Monologue – a long speech by one character Soliloquy – a monologue in which no other character can hear the speech – it is meant to reveal what the speaker is thinking

Stichomythia (Stik uh MYTH ee uh) dramatic dialogue characterized by brief exchanges between two characters, each of whom usually speaks in one line of verse during a scene of intense emotion or strong argumentation. Etymology: from stichomythein: to speak dialogue in alternate lines, from stichos: row, verse + mythos speech, myth; akin to Greek steichein to walk, go.

Stichomythia Especially, dialogue in which the endings and beginnings of each line echo each other, taking on a new meaning with each new line. Hamlet: Now Mother, what’s the matter? Queen: Hamlet, thou hast thy father much offended. Hamlet: Mother, you have my father much offended. Queen: Come, come, you answer with an idle tongue. Hamlet: Go, go, you question with a wicked tongue.

Elizabethan Stage Direction Above/aloft – speech or scene played in the balcony above the stage level or from higher up in the loft Below/beneath – speech or scene played from below the surface of the stage. The actor stands inside an open trap-door. Within – Words spoken off-stage in what the audience would assume is an unseen room, corridor, or the outdoors. Flourish – a musical cue announcing the entrance of a political leader/ royalty.

Elizabethan Stage Direction Alarum - a call to arms… for a battle, scuffle, or brawl Aside – spoken directly to the audience or to a specific character and not heard by anyone else on stage. Exit – he/she leaves the stage (singular) Exeunt – they leave the stage (plural) Falls – the actor is wounded and falls Manet – they remain

Review: Irony Dramatic Irony: the audience knows it’s ironic, but the character(s) does not. Situational Irony: the opposite of the what audience expects to happen, happens. Verbal Irony: the opposite of what is said is meant. Can include word play (puns), overstatement, understatement, sarcasm.

Review: Parallelism The repetition of grammatical structure to express ideas that are related or of equal importance. Example: Second Witch: When the hurly-burly’s done, When the battle’s lost and won (I.i.3-4). Includes: Parallel structure Balanced sentences Anaphora

Review: Rhetorical Questions The use of questions that don’t require an answer to make the speaker’s persuasive point. Third Witch: Do you not hope your children shall be kings / When those that gave the Thane of Cawdor to me / Promised no less to them? (I.iii. 118-120).

Review: Tragic Hero Arête: Striving for excellence (creates drama behind the fall) ↓ Hamartia: Fatal Flaw (in Greek tradition: hubris; in Elizabethan tradition can be many things – identifying it, helps identify the theme) Até: blind and rash behavior (helps reinforce the theme) Nemesis: Retribution/ punishment (the punishment helps reinforce the theme)

Quoting Shakespearean play correctly Captain: For brave Macbeth (well he deserves that name), / Disdaining Fortune, with his brandished steel (I.ii.16-17). OR Captain: For brave Macbeth (well he deserves that name), / Disdaining Fortune, with his brandished steel (1.2.16-17). Duncan: What bloody man is that? (I.ii.1). The Captain praises Macbeth’s bravery and fierceness before the audience even meets the character as Macbeth “brandish[es] steel” that “smoke[s] with bloody execution,” metaphorically giving his sword (and his sword work) the connotation of quick pernicious violence (I.ii.17-18).