Witchcraft in "The Ballad of Three Witches" and Shakespeare's Macbeth
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THE WEIRD SISTERS an EDITED SCRIPT COMPRISING EXTRACTS from MACBETH Notes
THE WEIRD SISTERS AN EDITED SCRIPT COMPRISING EXTRACTS FROM MACBETH Notes 1 RSC Associate Schools Playmaking Festival 2018. THE WEIRD SISTERS AN EDITED SCRIPT COMPRISING EXTRACTS FROM MACBETH 1 Thunder. Enter the three Witches. FIRST WITCH Round about the cauldron go; In the poisoned entrails throw. Toad, that under cold stone Days and nights has thirty-one Sweltered venom sleeping got, Boil thou first i’the charmèd pot. ALL Double, double toil and trouble: Fire burn, and cauldron bubble. Drum within THIRD WITCH A drum, a drum! Macbeth doth come. ALL The weird sisters, hand in hand, Posters of the sea and land, Thus do go about, about: Thrice to thine and thrice to mine And thrice again, to make up nine. Peace! The charm’s wound up. 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 the inhabitants o’ the earth, And yet are on’t? Live you? You seem to understand me, By each at once her choppy finger laying Upon her skinny lips. MACBETH Speak, if you can: what are you? FIRST WITCH All hail, Macbeth! Hail to thee, thane of Glamis! SECOND WITCH All hail, Macbeth, hail to thee, thane of Cawdor! THIRD WITCH 1 All hail, Macbeth, thou shalt be king hereafter! 2 BANQUO Good sir, why do you start; and seem to fear Things that do sound so fair? MACBETH Stay, you imperfect speakers, tell me more: The thane of Cawdor lives, and to be king Stands not within the prospect of belief, Say from whence You owe this strange intelligence? Speak! Witches vanish BANQUO The earth hath bubbles, as the water has, And these are of them. -
Pre-Islamic Arabia
Pre-Islamic Arabia The Nomadic Tribes of Arabia The nomadic pastoralist Bedouin tribes inhabited the Arabian Peninsula before the rise of Islam around 700 CE. LEARNING OBJECTIVES Describe the societal structure of tribes in Arabia KEY TAKEAWAYS Key Points Nomadic Bedouin tribes dominated the Arabian Peninsula before the rise of Islam. Family groups called clans formed larger tribal units, which reinforced family cooperation in the difficult living conditions on the Arabian peninsula and protected its members against other tribes. The Bedouin tribes were nomadic pastoralists who relied on their herds of goats, sheep, and camels for meat, milk, cheese, blood, fur/wool, and other sustenance. The pre-Islamic Bedouins also hunted, served as bodyguards, escorted caravans, worked as mercenaries, and traded or raided to gain animals, women, gold, fabric, and other luxury items. Arab tribes begin to appear in the south Syrian deserts and southern Jordan around 200 CE, but spread from the central Arabian Peninsula after the rise of Islam in the 630s CE. Key Terms Nabatean: an ancient Semitic people who inhabited northern Arabia and Southern Levant, ca. 37–100 CE. Bedouin: a predominantly desert-dwelling Arabian ethnic group traditionally divided into tribes or clans. Pre-Islamic Arabia Pre-Islamic Arabia refers to the Arabian Peninsula prior to the rise of Islam in the 630s. Some of the settled communities in the Arabian Peninsula developed into distinctive civilizations. Sources for these civilizations are not extensive, and are limited to archaeological evidence, accounts written outside of Arabia, and Arab oral traditions later recorded by Islamic scholars. Among the most prominent civilizations were Thamud, which arose around 3000 BCE and lasted to about 300 CE, and Dilmun, which arose around the end of the fourth millennium and lasted to about 600 CE. -
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. -
Macbeth in Film: Directorial Choices and Their Impact on the Audience Kellie Suzanne Mcclelland University of Mississippi
University of Mississippi eGrove Honors College (Sally McDonnell Barksdale Honors Theses Honors College) 2017 Macbeth in Film: Directorial Choices and Their Impact on the Audience Kellie Suzanne McClelland University of Mississippi. Sally McDonnell Barksdale Honors College Follow this and additional works at: https://egrove.olemiss.edu/hon_thesis Part of the English Language and Literature Commons Recommended Citation McClelland, Kellie Suzanne, "Macbeth in Film: Directorial Choices and Their mpI act on the Audience" (2017). Honors Theses. 534. https://egrove.olemiss.edu/hon_thesis/534 This Undergraduate Thesis is brought to you for free and open access by the Honors College (Sally McDonnell Barksdale Honors College) at eGrove. It has been accepted for inclusion in Honors Theses by an authorized administrator of eGrove. For more information, please contact [email protected]. MACBETH IN FILM: DIRECTORIAL CHOICES AND THEIR IMPACT ON THE AUDIENCE by Kellie Suzanne McClelland A thesis submitted to the faculty of The University of Mississippi in partial fulfillment of the requirements of the Sally McDonnell Barksdale Honors College. Oxford May 2017 Approved by ____________________________________ Adviser: Professor Ivo Kamps ____________________________________ Reader: Senior Lecturer Peter Wirth ____________________________________ Reader: Professor Karen Raber © 2017 Kellie Suzanne McClelland ALL RIGHTS RESERVED ii To Dr. Ben McClelland for believing in me and encouraging me and supporting me on this, his Retirement Year, as well as every other time of my life. Thanks for it all. I love you, Daddy. iii ACKNOWLEDGEMENTS First and foremost, I owe my family, friends, and Him from whom all blessings flow my deepest gratitude for providing comfort and encouragement throughout this arduous journey that has become my thesis. -
William Shakespeare As a Psychologist: a Study of the Supernatural Agency in Macbeth
© 2019 JETIR June 2019, Volume 6, Issue 6 www.jetir.org (ISSN-2349-5162) William Shakespeare As A Psychologist: A Study of The Supernatural Agency in Macbeth Written By: - Prithvi Raj, Lecturer in English, Govt. Sr. Sec. School, Gurera Distt Bhiwani (Haryana) Macbeth: The Tragedy of Macbeth is a play by William Shakespeare. It is the tragedy about a regicide and its aftermath. It is Shakespeare's shortest tragedy. The first act opens in thunder and lightning with the three witches. They decide that their next meeting shall be with Macbeth. The three Witches appear to greet them with prophecies. Both Macbeth and Banquo are surprised and horrified to see them. The first witch hails Macbeth as "Thane of Glamis,” the second as "Thane of Cawdor,” and the third proclaims that he shall "be King hereafter.” Instantly, Ross, a messenger of the King, arrives and informs Macbeth about his new title: Thane of Cawdor. The first prophecy has thus fulfilled. It gives thought to Macbeth for getting position of king. Macbeth writes to his wife and informs about three witches with prophecies. Coincidently Duncan decides to spend one night in the Macbeth's castle. Lady Macbeth makes a plan to murder the king. Since, she wants to secure the throne of the king for her husband, Macbeth. Although, Macbeth does not like to murder the king, however Lady Macbeth agrees him for this cruelty. On the night of the king's visit, Macbeth kills Duncan. The audiences do not see the misdeed of murder. In accordance with her plan, “Lady Macbeth frames ………..Thane of Fife, arrives.”[1] In a feigned fit of anger, Macbeth also murders the guards before they can protest their innocence. -
Exhibition Catalog
William Shakespeare (1564-1616) Mr VVilliam Shakespeares Comedies, Histories, & Tragedies: Published According to the True Originall Copies. London: Printed by Isaac Jaggard, and Ed. Blount, 1623 Call Number: STC 22273 Folio 1, no.72 After William Shakespeare died in 1616, two friends from his acting company put together the history-making book that's best known as the "First Folio" of Shakespeare. Published in 1623, seven years after his death, it contains 36 of Shakespeare’s plays---almost all of them. Eighteen of the plays, including Macbeth and Twelfth Night, had never been published before and may have been lost without the creation of the First Folio. Largely because of this book we know them all. A “folio” was a large, expensive book, usually reserved for Bibles or important works of history, law, and science--- not plays. Shakespeare was one of the first English playwrights to have his plays collected in a folio. The Folger owns 82 copies of this first printed edition of Shakespeare’s works. This copy once belonged to Rachell Paule, a woman living in 17th-century London. Robert Anning Bell (1863-1933) Trio of illustrations from Bell’s edition of The Tempest [1900] Call Numbers: ART Box B433 no.7, no.10, and no.20 (size S) Although many of Shakespeare’s plays feature magic and the supernatural, The Tempest is the only one to deal so directly with characters who are human practitioners of magic. These original pen and ink illustrations were made by Bell for his edition of the play, published in 1901. We never meet the witch Sycorax in the real time of the play, but she casts a long shadow—the dead mother of the monstrous Caliban, her wickedness and depravity in her use of magic make her the perfect foil for the supposedly beneficent sorcerer Prospero. -
Al-Hadl Yahya B. Ai-Husayn: an Introduction, Newly Edited Text and Translation with Detailed Annotation
Durham E-Theses Ghayat al-amani and the life and times of al-Hadi Yahya b. al-Husayn: an introduction, newly edited text and translation with detailed annotation Eagle, A.B.D.R. How to cite: Eagle, A.B.D.R. (1990) Ghayat al-amani and the life and times of al-Hadi Yahya b. al-Husayn: an introduction, newly edited text and translation with detailed annotation, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/6185/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 ABSTRACT Eagle, A.B.D.R. M.Litt., University of Durham. 1990. " Ghayat al-amahr and the life and times of al-Hadf Yahya b. al-Husayn: an introduction, newly edited text and translation with detailed annotation. " The thesis is anchored upon a text extracted from an important 11th / 17th century Yemeni historical work. -
What the Religions Named in the Qur'ān Can Tell Us
WHAT THE RELIGIONS NAMED IN THE QUR’ĀN CAN TELL US ABOUT THE EARLIEST UNDERSTANDING OF “ISLAM” A thesis submitted in partial fulfillment of the requirements for the degree of Master of Humanities By Micah David Collins B.A., Wright State University, 2009 2012 Wright State University WRIGHT STATE UNIVERSITY SCHOOL OF GRADUATE STUDIES June 20, 2012 I HEREBY RECOMMEND THAT THE THESIS PREPARED UNDER MY SUPERVISION BY Micah David Collins ENTITLED What the Religions Named In The Qur’an Can Tell Us About The Earliest Understanding of “Islam” BE ACCEPTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Masters of Humanities. _______________________ Awad Halabi, Ph.D. Project Director _______________________ Ava Chamberlain, Ph.D. Director, Masters of Humanities Program College of Liberal Arts Committee on Final Examination: _______________________ Awad Halabi, Ph.D. _______________________ David Barr, Ph.D. _______________________ Mark Verman, Ph.D. _______________________ Andrew T. Hsu, Ph.D. Dean, School of Graduate Studies ABSTRACT Collins, Micah. M.A. Humanities Department, Masters of Humanities Program, Wright State University, 2012. What The Religions Named In The Qur’ān Can Tell Us About The Earliest Understanding of “Islam”. Both Western studies of Islam as well as Muslim beliefs assert that the Islamic holy text, the Qur’ān, endeavored to inaugurate a new religion, separate and distinct from the Jewish and Christian religions. This study, however, demonstrates that the Qur’ān affirms a continuity of beliefs with the earlier revealed texts that suggest that the revelations collected in the Qur’ān did not intend to define a distinct and separate religion. By studying the various historical groups named in the Qur’ān – such as the Yahūd, Ṣabī’ūn, and Naṣārā – we argue that the use of the term “islam” in the Qur’ān relates more to the general action of “submission” to the monotheistic beliefs engaged in by existing Jewish and Nazarene communities within Arabia. -
Shakespeare's Macbeth
Shakespeare’s Macbeth May 2013 These study materials are produced for use s m a r t SHARING MASTERWORKS OF ART with the Classic Players production of Macbeth AN EDUCATIONAL OUTREACH OF BOB JONES UNIVERSITY Shakespeare’s Artistic Accomplishment in Macbeth Macbeth is the story of a hero turned villain. It explores the cause and consequence of sin, tracing the downfall of an ambitious man whose deliberate commitment to evil destroys him and his kingdom. Since Shakespeare’s own age Macbeth has remained a popular piece for both the study and the stage although it was written as a script to be performed, not a text to be read and scrutinized. Many elements of the play contribute to its success as pure entertainment, among them its dramatic plot and characters, its irony, spectacle and suspense: Macbeth wavers concerning the murder of Duncan, even right outside the door to his chamber; the prophecies of the Witches and Apparitions prove one by one to be ironic; and Lady Macbeth experiences self-loathing and horror that culminate in her sleepwalking episodes. Shakespeare’s early audiences would have found the play’s supernatural elements, especially the Witches, very captivating. Their association with Satan’s domain creates an atmosphere of darkness appropriate to the action of the plot, and they also Shawn MacDonald & Philip Eoute as Lady Macbeth & Macbeth, Classic Players 2013 effectively introduce the major theme of equivocation. Rather than intending to promote communication with such insidious audience’s ears were more attuned to appreciate upon casual creatures, Shakespeare implies that they are to be shunned. -
Macbeth by William Shakespeare
CC 4 Semester II British Poetry and Drama:14th to 17th Centuries Macbeth by William Shakespeare A Short Analysis Macbeth is, along with the character of Iago in Othello and his earlier portrayal of Richard III, William Shakespeare’s most powerful exploration and analysis of evil. Although we can find precursors to Macbeth in the murderer-turned-conscience-stricken-men of Shakespeare’s earlier plays – notably the conspirator Brutus in Julius Caesar and Claudius in Hamlet – Macbeth provides us with a closer and more complex examination of how a brave man with everything going for him might be corrupted by ambition and goading into committing an act of murder. It’s worth examining how Shakespeare creates such a powerful depiction of one man persuaded to do evil and then wracked by his conscience for doing so. The sources for Shakespeare’s Macbeth Macbeth was a real Scottish king, although he was somewhat different from the ambitious, murderous creation of William Shakespeare. His wife was real too, but Lady Macbeth’s real name was Gruoch and Macbeth’s real name was Mac Bethad mac Findlaích. The real Macbeth killed Duncan in battle in 1040 and Macbeth (or Mac Bethad) actually went on to rule for 17 years, until he was killed and Macbeth’s stepson, known as Lulach the Idiot, became king (though he only ruled for less than a year – then Malcolm, as Malcolm III, took the crown). Where did Shakespeare get the story from, then, and what did he change? The plot of Shakespeare’s Macbeth is a combination of two stories: the story of Macbeth and the story of the murder of King Duffe by Donwald and his wife, which Shakespeare read about in Raphael Holinshed’s Chronicles. -
Shakespeare Retold: Macbeth
Shakespeare Retold: Macbeth In the Shakespeare Retold series put on the BBC, Shakespeare’s plays are modernized and retold in an imaginative manner. 1. The play starts with three garbage collectors (called “binmen” for garbage bins). They are mystical in some ways. They are the three witches of the story. They are able to tell the future. Joe Macbeth 2. James Mcavoy plays Macbeth. But, in this version, he is Joe Macbeth and is often referred to as Joe. Duncan 3. The man on the TV hosting a cooking show is Duncan, the “king” of the restaurant. He owns the restaurant that Joe works at. Ella Macbeth 4. Joe Macbeth’s wife is named Ella. In Shakespeare’s version, she is Lady Macbeth (of course). 1 5. In really high class restaurant’s, they take enormous pride in the food they prepare and serve. This is just a little background information on why Macbeth is so obsessed with his job. Malcolm 6. Bandana boy is Malcolm. He is the son of Duncan. He should inherit the restaurant. 7. “Like Gordon Ramsay?” “We like to call him the Scottish chef.” This is a sly reference to the superstition that surrounds the play Macbeth. Many actors believe that if you say the name “Macbeth” something seriously bad will happen. So, even famous actors like Ian McKellen (who played Macbeth, Gandalf in Lord of the Rings, and Magneto in X-Men) refuses to say the name. They instead refer to the play as the “Scottish play.” 8. Duncan arrives just in time to meet some high profile guests. -
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.