Macbeth 1. in the Realm of King Duncan of Scotland Two Royal

Total Page:16

File Type:pdf, Size:1020Kb

Macbeth 1. in the Realm of King Duncan of Scotland Two Royal Macbeth 1. In the realm of King Duncan of Scotland two royal Thanes – Macbeth and Banquo - are returning from war. They meet three Witches who predict that Macbeth will become King and Banquo’s heirs will be Kings. 2. Macbeth writes to his wife telling her of the prediction, which she takes to mean they must kill Duncan, the current King. 3. Duncan and his train arrive at Macbeth’s Castle as Macbeth and Lady Macbeth wrangle over whether to kill him or not. 4. Macbeth kills Duncan as he sleeps. 5. Duncan’s sons are initially blamed for his murder and flee in fear, leaving Macbeth to be crowned King. 6. Macbeth has Banquo killed. He fears he is haunted by Banquo’s ghost and returns to the witches. They reassure him with more predictions of his power. 7. His friend Macduff flees to England to ask Duncan’s son – Malcolm – to return and fight Macbeth as Scotland is collapsing under his rule. Macbeth has Macduff’s wife and children killed for this disloyalty. 8. Lady Macbeth dies. 9. Macbeth comes under attack as the witches predictions come true one by one. 10. Macbeth is slain by Macduff and Malcolm is crowned King. Macbeth Character List DUNCAN The good king of Scotland murdered by Macbeth. Duncan is the model of a virtuous, benevolent and farsighted ruler. MALCOLM Duncan's eldest son, who flees in fear with his brother Donalbain after their father's murder. Malcolm becomes a serious challenge to Macbeth with Macduff’s aid (and the support of England). We can presume he would rule fairly like his father and end Macbeth's tyranny. DONALBAIN Duncan’s son and Malcolm’s younger brother. MACBETH Macbeth is a brave and powerful general, and the thane of Glamis, whose ambition for the crown drives him to commit murder. Macbeth is more at home on the battlefield than in politics because his response to every problem is violence and murder. However, Macbeth is never comfortable in his role as a criminal. He is unable to bear the psychological consequences of his atrocities, especially after the death of his beloved wife. BANQUO a general The brave and noble general who does not let his ambition lead to treason and violence. According to the witches’ prophecy Banquo's children will inherit the Scottish throne but he does not act upon it, unlike Macbeth. Banquo's ghost haunts Macbeth reminding him of his guilt. MACDUFF A Scottish nobleman who opposes Macbeth's kingship and becomes a leader of the crusade to unseat Macbeth. The crusade’s mission is to place the rightful king, Malcolm, on the throne, but Macduff also desires vengeance for Macbeth’s murder of his wife and young son whilst he was in England drumming up an army. He never forgives himself for leaving his family and servants unprotected. All were killed. LENNOX ROSS ANGUS Scottish noblemen who join Macduff's crusade against Macbeth. MENTIETH FLEANCE - Banquo's son Banquo’s son, who survives Macbeth’s attempt to murder him. At the end of the play, Fleance’s whereabouts are unknown. He may return to rule Scotland, fulfilling the witches’ prophecy that Banquo’s sons will sit on the Scottish throne. SIWARD Earl of Northumberland, an Englishman who supports the crusade to replace Macbeth with Malcolm as king of Scotland. A PORTER The drunken doorman of Macbeth’s castle. SETON Macbeth's manservant THREE MURDERERS A group of ruffians conscripted by Macbeth to murder Banquo, Fleance (whom they fail to kill), and Macduff’s wife and children. LADY MACBETH Macbeth’s wife, a deeply ambitious woman who lusts for power and position. Early in the play she seems to be the stronger and more ruthless of the two, as she urges her husband to kill Duncan and seize the crown. However, after the bloodshed begins Lady Macbeth's guilt leads to madness. Her conscience affects her to such an extent that she eventually commits suicide. She and Macbeth are deeply in love and their partnership in crime seems to strengthen the attachment that they feel to each other. THREE WITCHES Three mystical beings who plot mischief against Macbeth using charms, spells, and prophecies. Their predictions prompt him to murder Duncan, to order the deaths of Banquo and his son, and to blindly believe in his own immortality. They clearly take a perverse delight in using their knowledge of the future to toy with and destroy human beings. They acknowledge that they themselves have masters who sanction the apparitions. APPARITIONS Three visions conjured by the witches for Macbeth. The first Apparition is an armed head and tells Macbeth that he should fear Macduff. The Second Apparition appears as a bloody child and reassures Macbeth that "none of woman born” can harm him. The Third Apparition is a child wearing a crown with a tree in his hand and tells Macbeth he has nothing to fear NOBLEMEN, OFFICERS, SOLDIERS, SERVANTS AND MESSENGERS Macbeth by William Shakespeare Abridged for the Shakespeare Schools Festival by Martin Lamb & Penelope Middelboe 30 MINUTE VERSION © Shakespeare Schools Festival (SSF) “We are such stuff as dreams are made on.” Since 2000 SSF has used the genius of Shakespeare to empower 75,000 young people. As a charity we raise £500 towards each school’s participation. Donations from individuals and local businesses are invaluable. To help more young people achieve their dreams visit www.ssf.uk.com/support LIST OF ROLES Duncan KING OF SCOTLAND Malcolm /HIS SONS Donalbain Macbeth A GENERAL IN THE KING’S ARMY, LATER KING Banquo A GENERAL Macduff Lennox Ross /NOBLEMEN OF SCOTLAND Angus Mentieth Fleance BANQUO’S SON Siward EARL OF NORTHUMBERLAND, AN ENGLISHMAN A Porter Seton MACBETH’S MANSERVANT Three Murderers Lady Macbeth Three Witches Apparitions Lords, Gentlemen, Officers, Soldiers, Attendants and Messengers Scene 1 2 A deserted place1. Thunder and lightning. Three WITCHES 1ST WITCH When shall we three meet again In thunder, lightning, or in rain? 2ND WITCH When the hurlyburly’s done, When the battle’s lost and won. 3RD WITCH That will be ere the set of sun. 1ST WITCH Where the place? 2ND WITCH Upon the heath. 3RD WITCH There to meet with Macbeth ALL Fair is foul, and foul is fair: Hover through the fog and filthy air. They vanish Scene 3 A heath. Thunder. Three WITCHES Drum within 3RD WITCH A drum, a drum! Macbeth doth come. Enter MACBETH and BANQUO MACBETH So foul and fair a day I have not seen. BANQUO What are these, So withered, and so wild in their attire, That look not like th’inhabitants o’the earth, And yet are on’t? Live you? Or are you aught 1 In Scotland 3 That man may question? MACBETH Speak, if you can: what are you? 1ST WITCH All hail, Macbeth! Hail to thee, thane of Glamis!2 2ND WITCH All hail, Macbeth! Hail to thee, thane of Cawdor! 3RD WITCH All hail, Macbeth! That shalt be king hereafter. MACBETH stands apart to consider his good fortune. BANQUO (aside to the WITCHES) If you can look into the seeds of time, And say which grain will grow and which will not, Speak then to me, who neither beg nor fear Your favours nor your hate. As the WITCHES speak, MACBETH returns to listen. 1ST WITCH Hail! 2ND WITCH Hail! 3RD WITCH Hail! 1ST WITCH Lesser than Macbeth, and greater. 2ND WITCH Not so happy yet much happier. 3RD WITCH Thou shalt get kings, though thou be none: So all hail Macbeth and Banquo! MACBETH I know I am thane of Glamis; But how of Cawdor? The thane of Cawdor lives; And to be king Stands not within the prospect belief, No more than Cawdor. Speak I charge you The WITCHES vanish. BANQUO Whither are they vanished? MACBETH Your children shall be kings. 2 This is Macbeth’s current title. 4 BANQUO You shall be king. MACBETH And thane of Cawdor too: went it not so? Enter ROSS and ANGUS ROSS The king hath happily received, Macbeth, The news of thy success3. He bade me, from him, call thee thane of Cawdor. BANQUO (Aside) What, can the devil speak true? MACBETH The thane of Cawdor lives: why do you dress me In borrowed robes? ANGUS Treasons capital, confessed, and proved; Have overthrown him. MACBETH (Aside) Glamis, and thane of Cawdor: The greatest is behind. BANQUO (To MACBETH) Oftentimes, to win us to our harm, The instruments of darkness tell us truths, Win us with honest trifles, to betray’s In deepest consequence.4 Exeunt Scene 7 Same. Enter MACBETH MACBETH If it were done when ’tis done, then ’twere well It were done quickly.5 (Pausing to doubt) He’s here in double trust: First, as I am his kinsman and his subject, Strong both against the deed: then, as his host, Who should against his murderer shut the door, 3 King Duncan has heard of Macbeth’s victory against the King of Norway amongst other fighting successes. 4 Banquo warns Macbeth that the devil lulls people into a false sense of security. This is what happens to Macbeth who ultimately believes he is invincible but discovers he’s been tricked (in Act 5) 5 It’ll be better to get Duncan’s murder over and done with. 5 Not bear the knife myself. Enter LADY MACBETH How now! what news? LADY MACBETH He has almost supped: why have you left the chamber? MACBETH We will proceed no further in this business. LADY MACBETH Art thou afeard To be the same in thine own act and valour As thou art in desire? MACBETH I dare do all that may become a man; Who dares do more is none.
Recommended publications
  • Macbeth in World Cinema: Selected Film and Tv Adaptations
    International Journal of English and Literature (IJEL) ISSN 2249-6912 Vol. 3, Issue 1, Mar 2013, 179-188 © TJPRC Pvt. Ltd. MACBETH IN WORLD CINEMA: SELECTED FILM AND TV ADAPTATIONS RITU MOHAN 1 & MAHESH KUMAR ARORA 2 1Ph.D. Scholar, Department of Management and Humanities, Sant Longowal Institute of Engineering and Technology, Longowal, Punjab, India 2Associate Professor, Department of Management and Humanities, Sant Longowal Institute of Engineering and Technology, Longowal, Punjab, India ABSTRACT In the rich history of Shakespearean translation/transcreation/appropriation in world, Macbeth occupies an important place. Macbeth has found a long and productive life on Celluloid. The themes of this Bard’s play work in almost any genre, in any decade of any generation, and will continue to find their home on stage, in film, literature, and beyond. Macbeth can well be said to be one of Shakespeare’s most performed play and has enchanted theatre personalities and film makers. Much like other Shakespearean works, it holds within itself the most valuable quality of timelessness and volatility because of which the play can be reproduced in any regional background and also in any period of time. More than the localization of plot and character, it is in the cinematic visualization of Shakespeare’s imagery that a creative coalescence of the Shakespearean, along with the ‘local’ occurs. The present paper seeks to offer some notable (it is too difficult to document and discuss all) adaptations of Macbeth . The focus would be to provide introductory information- name of the film, country, language, year of release, the director, star-cast and the critical reception of the adaptation among audiences.
    [Show full text]
  • Act I 1.) in Scene Ii, Why Does King Duncan Give Macbeth a New Title?
    Brit Lit Macbeth Review Act I 1.) In Scene ii, why does King Duncan give Macbeth a new title? Macbeth had proven himself an honorable and loyal solider who had a large role in leading Duncan’s troops to victory. 2.) In Scene iii, after greeting Macbeth as the Thane of Glamis, what two prophecies do the witches make? Thane of Cawdor and King hereafter. 3.) What is the prophecy the witches give Banquo in Scene iii? His sons (descendents) will be king. 4.) Who does Duncan name as his heir (Prince of Cumberland)? His son, Malcolm. 5.) In Scene v, what fears does Lady Macbeth express about Macbeth’s character? He is too honorable and loyal to kill his King. Why does she ask the spirits to “unsex her”? She needs to harden her emotions in order to convince Macbeth to murder. 6.) Explain Lady Macbeth’s proposed plan in Scene v? Get Duncan’s guards drunk and kill Duncan with their daggers. Replace the daggers and smear the guards with his blood. 7.) What reasons does Macbeth give for not killing Duncan? He has lately honored him (Cawdor) and now has the King’s, as well as other Lord’s, favor. He should enjoy these new respects while he can. Also, Duncan obviously trust him to come to his home. Coppola Brit Lit Macbeth Review Act II 1.) Describe the object Macbeth imagines that he sees (scene i). He sees a dagger before him that eventually becomes covered with blood and “leads” him to Duncan. 2.) What deed is Macbeth about to commit? Murdering his king (Duncan).
    [Show full text]
  • Macbeth Macbeth (2015) Is an Adaptation of William Shakespeare’S Story of a Good and Potentially Great Man Brought Low by Ambition
    © ATOM 2015 A STUDY GUIDE BY KATY MARRINER http://www.metromagazine.com.au ISBN: 978-1-74295-615-2 http://www.theeducationshop.com.au Macbeth Macbeth (2015) is an adaptation of William Shakespeare’s story of a good and potentially great man brought low by ambition. Directed by Justin Kurzel, from a screenplay by Jacob Koskoff, Todd Louiso and Michael Lesslie, Macbeth stars Michael Fassbender as Macbeth and Marion Cotillard as Lady Macbeth. The film premiered in official competition at Cannes 2015. Justin Kurzel Curriculum links DIRECTOR Macbeth is suitable viewing • analyse the representa- Justin Kurzel’s background as one of Australia’s best for students in Years 10 – 12. tion of ideas and atti- theatrical designers informs his strong visual storytell- It can be used as a resource tudes in Shakespeare’s ing as a director. in English, Literature and and Kurzel’s Macbeth to Media. consider how the texts Kurzel’s VCA graduating short, Blue Tongue, was represent the world and screened in over 13 international films festivals In English, Literature and human experience; including International Critic’s Week at the Cannes Media students are expected • develop the ability to Film Festival, New York Film Festival and won Best to discuss the meaning write analytic responses Short at Melbourne International Film Festival. His derived from texts, the to Kurzel’s Macbeth; first feature film Snowtown, produced by Warp Films relationship between texts, • hone their oral commu- Australia premiered at Adelaide Film Festival in 2011, the contexts in which texts nication skills through winning the Audience Award. Kurzel was awarded are produced and read, discussion of and debate Best Director at the AACTA Awards.
    [Show full text]
  • Macbeth Production Notes
    MACBETH PRODUCTION NOTES For UK Publicity Enquiries: [email protected] [email protected] [email protected] For International Publicity Enquiries: [email protected] [email protected] [email protected] Stills can be downloaded from: studiocanal.co.uk/press SHORT SYNOPSIS MACBETH is the story of a fearless warrior and inspiring leader brought low by ambition and desire. A thrilling interpretation of the dramatic realities of the times and a reimagining of what wartime must have been like for one of Shakespeare’s most famous and compelling characters, a story of all-consuming passion and ambition, set in war torn Scottish landscape. SYNOPSIS Ellon. Scotland. Following a fierce battle in which Macbeth, Thane of Glamis and loyal general of King Duncan’s forces, has finally killed Macdonwald, a traitor and leader of rebel forces, he and fellow soldier Banquo encounter three women scavenging among the fallen soldiers, who foretell that Macbeth will become Thane of Cawdor and King of Scotland, while Banquo will be the father of future kings. Both men are unnerved by the prophecies but for the moment appear not to believe them. At the battlefield campsite, Angus and Rosse arrive from the King’s court to pass on thanks from their royal master for the success in battle and to bestow Macbeth the title Thane of Cawdor. The previous holder of the title has been killed for treachery against the crown. When Macbeth goes to pay homage to the King, Duncan tells him that he has made arrangements to visit his home at Inverness to celebrate the victory.
    [Show full text]
  • Traditions of King Duncan I Benjamin T
    Studies in Scottish Literature Volume 25 | Issue 1 Article 8 1990 From Senchus to histore: Traditions of King Duncan I Benjamin T. Hudson Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the English Language and Literature Commons Recommended Citation Hudson, Benjamin T. (1990) "From Senchus to histore: Traditions of King Duncan I," Studies in Scottish Literature: Vol. 25: Iss. 1. Available at: https://scholarcommons.sc.edu/ssl/vol25/iss1/8 This Article is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. Benjamin T. Hudson From Senchus to histore: Traditions of King Duncan I The kings of Scotland prior to the reign of Malcolm III, popularly known as Malcolm Carunore (Malcolm "Bighead") have rarely been con­ sidered in connection with Scottish historical literature. Macbeth, largely due to Shakespeare's drama, has been the exception. For the medieval period alone, Nora Chadwick's examination of the Macbeth legend showed that a number of literary traditions, both native and foreign, can be detected in later medieval literature. 1 Macbeth was not alone in hav­ ing a variety of legends cluster about his memory; his historical and liter­ ary contemporary Duncan earned his share of legends too. This can be seen in a comparison of the accounts about Duncan preserved in historical literature, such as the Chroniea Gentis Seotorum of John of Fordun and the Original Chronicle of Scotland by Andrew of Wyntoun.2 Such a com- INora Chadwick, "The Story of Macbeth," Scottish Gaelic Studies (1949), 187-221; 7 (1951), 1-25.
    [Show full text]
  • Macbeth Study Guide
    Macbeth Study Guide Characters Macbeth – Is a Scottish general and the Thane of Glamis. He is a brave soldier and a powerful man. He becomes the Thane of Cawdor. He murders Duncan to become king. Lady Macbeth – A deeply ambitious woman who lusts for power and position. She is more ruthless than her husband. Her behavior is quite ruthless. Duncan – He is the King of Scotland. He is a virtuous king but a little too trusting. He is killed by Macbeth. Malcolm – He is the eldest son of Duncan and heir to the throne. When his father is murdered, he flees to England. Donalbain – He is Duncan’s youngest son and Malcolm’s younger brother. When his father is murdered he flees to Ireland. Macduff – He is the Thane of Fife and is one of the first people to suspect Macbeth of betrayal. Banquo – He is a brave general who is with Macbeth and also has ambition, but does not take any action on it. He is told that future generations of his children will become kings. Fleance is his son. Fleance – He is Banquo’s son. The Witches – They are three ugly hags who plot mischief against Macbeth by giving him prophecies. Summary Act I, Scene 1 – Prior to the battle, the three witches were meeting and talking about how they were going to see Macbeth. Act I, Scene 2 – A wounded captain emerges from the battle and gives the king a detailed report of how Macbeth and Banquo won the battle. King Duncan is going to reward Macbeth for his performance during the battle and will name him the new Thane of Cawdor.
    [Show full text]
  • Introduction
    10.15517/isucr.v20i40.35658 Artículo Traditional and Non-traditional Masculine Representations in Macbeth (Shakespeare’s and Kurzel’s) Representaciones masculinas tradicionales y no tradicionales en Macbeth (el de Shakespeare y el de Kurzel) Joe Montenegro – Bonilla1 1 Costarricense, profesor de literatura inglesa, Universidad Nacional, Sede Regional Brunca, y Universidad de Costa Rica, Recito de Golfito. Email: [email protected] Recibido: 04.05.18 Aprobado: 23.10.18 Resumen: En tanto que busca en Macbeth una visión trascendental del ser hombre, este artículo ofrece una breve descripción de algunas de las maneras en las que Shakespeare persigue la fragmentación de las barreras de género y problematiza las representaciones masculinas tradicionales. A través del análisis comparativo de la tragedia y de la adaptación cinematográfica dirigida en 2015 por Justin Kurzel, se abordan aspectos como la violencia heroica, la sexualidad, la niñez masculina, la paternidad y la pérdida del ser humano. Al final, la incertidumbre que transmite Shakespeare y la interpretación que de ella hace Kurzel, se combinan para ilustrar un poco más el problema de la masculinidad. Palabras clave: masculinidad, literatura y cine, estereotipos masculinos, Shakespeare, ser humano Abstract: In an attempt to find in Macbeth a transcendental view of manhood, this article offers a brief description of some of the ways in which Shakespeare pursues the fragmentation of gender barriers and problematizes traditional representations of masculinity. Through a comparative analysis of the play and the 2015 film adaptation of it by Justin Kurzel, aspects such as heroic violence, sexuality, boyhood, fatherhood, and the loss of humanhood are addressed. In the end, Shakespeare’s uncertainty and Kurzel’s interpretation thereof combine in order to further illustrate the issue of masculinity.
    [Show full text]
  • Notes on Shakespeare's Masterful Characterization in Macbeth
    International Letters of Social and Humanistic Sciences Online: 2015-05-15 ISSN: 2300-2697, Vol. 52, pp 132-138 doi:10.18052/www.scipress.com/ILSHS.52.132 CC BY 4.0. Published by SciPress Ltd, Switzerland, 2015 The Unnoble Nobles: Notes on Shakespeare’s Masterful Characterization in Macbeth Zohreh Ramin1, Alireza Shafinasab2 1Assistant Professor of English Language and Literature, Department of English, Faculty of Foreign Languages and Literatures, University of Tehran, Tehran, Iran 2MA Student of English Language and Literature, Department of English, Faculty of Foreign Languages and Literatures, University of Tehran, Tehran, Iran E-mail address: [email protected] Keywords: Macbeth; Holinshed's Chronicles; Banquo; murderer; noble ABSTRACT. When writing Macbeth, Shakespeare faced a moral and aesthetic challenge. On the one hand, he had drawn the story of Macbeth from Holinshed's Chronicles, in which Banquo is depicted as an accomplice in the murder of King Duncan. On the other hand Banquo was believed to be the ancestor of King James, Shakespeare’s patron. Shakespeare had to write a play that at once pleased King James, remained true to the spirit of history, and could be a popular hit in the commercial world of Jacobean theatre, all seemingly contradictory ends because of the problem with the character of Banquo. So Shakespeare characterizes him in a different manner from his sources. The new characterization served a number of purposes. The most important reason for the alternation was to please King James, the alleged descendant of Banquo. Other than that, there is the dramatic purpose of creating a foil character for Macbeth, who can highlight Macbeth's characteristics.
    [Show full text]
  • The Scene Design for Macbeth
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research and Creative Activity in Theatre and Film Theatre and Film, Johnny Carson School of Summer 7-21-2010 The Scene Design for Macbeth Michael Leonard [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/theaterstudent Part of the Other Theatre and Performance Studies Commons Leonard, Michael, "The Scene Design for Macbeth" (2010). Student Research and Creative Activity in Theatre and Film. 14. https://digitalcommons.unl.edu/theaterstudent/14 This Article is brought to you for free and open access by the Theatre and Film, Johnny Carson School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research and Creative Activity in Theatre and Film by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. THE SCENE DESIGN FOR MACBETH By Michael T. Leonard A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Masters of Fine Arts Major: Theatre Arts Under the Supervision of Professor Ed Stauffer Lincoln, Nebraska July, 2010 THE SCENE DESIGN FOR MACBETH Michael T. Leonard, M.F.A. University of Nebraska, 2010 Advisor: Ed Stauffer This thesis presents the scenic design for Macbeth written by William Shakespeare. The play was produced by the Department of Theatre Arts at the University of Nebraska – Lincoln and performed in the Howell Theatre on April 17, 2003 through April 26, 2003. The written portion of the thesis is divided into sections: The Play and Synopsis, Scene Design Analysis including Time, Place, and Physical Needs, Design Concept, The Design Process, The Process of Realization, Reviews and Comments on the Scenic Design, and Self Evaluation.
    [Show full text]
  • Macbeth” the Man Macbeth
    THE PLAY “MACBETH” THE MAN MACBETH * THE FACTS OF THE PLAY WRITTEN: Shakespeare wrote the story of MACBETH in 1606. However, “it is probable that the surviving play is an abridged text for a Court performance in the summer of 1606 before King James I”, three years after the death of Queen Elizabeth I and the rise of James to the throne. It is important to note that James I of Great Britain and Ireland had been serving as James VI, King of Scotland when Elizabeth I died; he was her nearest surviving relative and thus rose to the throne. So fond of theater was James I that as soon as he was crowned in 1603 he became the patron of Shakespeare’s “Lord Chamberlain’s Men” appropriately changing the company’s name to “The King’s Men”. A play dealing with early Scottish history -- indeed the only one of Shakespeare’s plays to be devoted to that theme -- would have clearly been done in honor of James’s Scottish origins. Furthermore, James traced his ancestry to Macbeth’s fellow-thane Banquo and took an avid interest in witchcraft, having published a book on the topic in 1599. Page 2 PUBLISHED: The play was first published as the sixth of the tragedies in the First Folio of 1623. Because the text is unusually short compared with the other tragedies, it is thought to have been cut for performance at some point between 1606 and 1623. The play also contains some passages which have long been held to be interpolations from another hand: the passages involving Hecate, Queen of the Witches, which are written mainly in octosyllabic couplets rather than in iambic pentameter.
    [Show full text]
  • The Real Macbeth
    ‘My father what? Had a duel? He’s in his seventies! Silly man!’ so might antiquarian, James Byres of Tonley have exclaimed when he was brought word about the unseemly quarrel occasioned by Byres Snr. Patrick Byres was an Irish Jacobite, born in Dublin, 1713. In 1741 he married Janet Moir of Stoneywood and became a Burgess of Guild in Aberdeen, yet his political leanings and hot Celtic temper seem to have constantly landed Patrick in trouble. His first problem was his involvement in the Forty-Five Rebellion, fighting on Bonnie Prince Charlie’s side as Major Byres in Stoneywood’s regiment. Escaping Culloden, Patrick’s ally, Gordon of Cluny hid him in his castle until he and his family escaped to France. He managed to hang on to Tonley by the clever suggestion that his English name was Peter, thus he was not Patrick Byres the rebel. While his youngest sons, William and John developed military careers in the Navy and Royal Engineers respectively and second son, Robert took up merchant interests in Prussia, the eldest, James, became something of a tour guide. He embraced antiquarian studies in Rome and became the go-to ex-pat for visiting Scots gentlefolk on their ‘grand tours’ of Europe. Meanwhile, his father returned to Tonley, Mrs Byres hoping her husband’s adventures were over. But, due to Janet’s nephew, James Abernethy of Mayen, Patrick was to be the centre of unwanted attention once more in 1763. A traditional ballad is dedicated to the incident in which John Leith of Leith Hall, Rhynie was murdered by Abernethy after an argument in the New Inn, Aberdeen.
    [Show full text]
  • 2019 Study Guide
    2019 Study Guide Macbeth James IV of Scotland, I by William Shakespeare of England and Ireland. King James I and Witches It is believed that Shakespeare wrote Macbeth for his new king and patron, King James I. King James was fascinated with witches — perhaps because of the bloody death of his mother, Mary, Queen of Scots, by the ax at the command of Elizabeth I. • King James I told others that his moth- The Weird Sisters by Johann Heinrich Füssli. er’s death was visible to those who see the future, in Scotland before it happened. HISTORICAL FIGURES • When he sailed to Denmark to bring There are several historical figures and events that may have back his betrothed, Anne, the return The Cobbe portrait of William Shakespeare. voyage was so plagued by storms that influenced Shakespeare in writing one ship in the royal fleet was lost. James Macbeth. They are: blamed witches. SHAKESPEARE’S PLAY • King Duncan in Macbeth is a wise, older man but historically • Upon landing in England, he had up to 70 • Written around 1606 and was a terrible king who ruled from “witches” rounded up, and under torture, 1034 to 40 and was probably about most likely first performed for they confessed and were put to death. 39 when he died. Macbeth, Chief King James I. of the Northern Scots, had a strong • James went on to write Deamonologe, claim to the throne through his • King James did not like long a treatise on killing witches. mother’s line. He defeated and plays; this perhaps accounts killed Duncan in 1040.
    [Show full text]