DOCSLIB.ORG

Paradox in Macbeth: Examples & Analysis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Paradox in Macbeth: Examples & Analysis Paradox in Macbeth: Examples & Analysis Lesson Transcript William Shakespeare's play 'Macbeth' contains many examples of paradoxes. In this lesson, we will look at the paradoxes made in Act I and explain how they relate to the major themes of the play. What Is a Paradox? You probably have heard the expressions: The beginning of the end 'Deep down, you're really shallow Be cruel to be kind All of these statements initially look (1) _____. How can the end begin? How can someone be shallow deep down? All of these are examples of a paradox. A paradox is a statement that sounds self-contradicting but is actually (2) _____. Studied closer, the opening examples are actually true. We do start an ending. We can closely look at someone and realize how shallow he or she truly is. And there are times that we have to be direct, and even cruel, to make a change in someone (3) _____. As a literary element, a paradox can create a hidden meaning for us. They make us stop and think about a statement and question how it is relevant to the theme of the writing. In William Shakespeare's play Macbeth, (4) _____ are used to introduce some of the main themes of Macbeth's story. Paradoxes and the Three Witches In Act I, Scene I, the play opens with a storm and three witches. They make plans to find Macbeth after a battle and give him their predictions. During their opening chant, they use several paradoxes. First, they say, 'When the battle's lost and won.' In other words, all battles have one winning side and one (5) _____ side. Reading into it deeper, we see that Macbeth will win many battles in the play, but for each victory, he will also have a loss. We later see Macbeth win his battles to become king when he kills King Duncan, Banquo, and Macdu's family. However, these murders eventually lead to him losing his wife and then his own life. 1/3 The witches later say, 'Fair is foul, and foul is fair.' The witches are saying that what is fair to man is foul to the witches, but what men may see as foul, the witches see as fair. Put simply, the witches are seen as evil, but they see themselves as (6) _____. This paradox also tells the audience that appearances can be deceiving, a main theme in the play. Macbeth appears to be a man of honor, unlikely to commit foul acts; however, he orders killing and himself murders. Macbeth believes that what may seen as wrong, or foul, to others are steps he must take to become king and stay in power. Macbeth believes it is his fate to be king, thus fair for him to take any steps (7) _____. Banquo's Paradoxes In Act I, Scene 3, Macbeth and Banquo encounter the three witches. After making Macbeth's prophecy, Banquo asks the witches to also see his future. In their prediction, they make three paradoxes: Lesser than Macbeth, but greater Not so happy, yet much (8) _____ Thou shalt get kings, though thou be none While these lines may initially seem like they contradict each other, the witches are actually promising Banquo that he will be the beginning of a line of kings. While he himself will not be king and will remain (9) _____ than and not as happy as Macbeth, his ancestors will be king. The witches tell Banquo that his line will then be greater, happier, and more successful than Macbeth. This prediction creates a paranoia in Macbeth that eventually leads to Banquo's murder. However, his son does escape, fulfilling the prophesy. Paradox and Macbeth Macbeth's first line of the play echoes the earlier words of the three witches: 'So foul and fair a day I have not seen.' When we first meet Macbeth, he has been victorious in battle. However, with this victory, many people have lost their lives. He describes the day as 'foul' because of the death, but then as 'fair' because he was brave and a strong leader. The day is also foul because of the storm created by the three witches and the overall eerie feeling. Although Macbeth does not yet know the connection this statement has to the three witches, we do. We know that Macbeth is already connected to the (10) _____ elements of the play and that his fate will also be 'foul and fair.' After meeting the witches in Act I, Scene 3, Macbeth is greeted by Ross as the Thane of Crawdor, a title predicted by the witches. As he realizes the witches' first prediction has come true, he says to himself, 'This supernatural soliciting cannot be good, cannot be ill.' Macbeth is torn and (11) _____ himself. 2/3 On one hand, he worries. He knows that prophecy could be bad, but, on the other hand, one of the predictions has just come true, so it cannot all be (12) _____, right? Macbeth wants to believe that he will be king one day, but he feels some guilt about wanting to take this from King Duncan, which is why it must be ill. Although Macbeth initially is a man torn by his fate and desires, he does give in to his ambition and begins his decline to evil. Lesson Summary A paradox is a statement that seems (13) _____ but is actually true. In literature, paradoxes are used to create a deeper meaning. As readers, we look closer at paradoxes to find their relevance to the theme. In William Shakespeare's play Macbeth, there are several paradoxes. Some are made by the three witches: 'When the battle's won and lost,' meaning Macbeth will be victorious but each victory will lead to more losses. They also say, 'Fair is foul, and foul is fair.' While many see the witches as evil, they do not. This statement also supports one of the themes of the play, appearance versus reality. The witches give (14) _____ three predictions, all paradoxes, that tell Banquo he will not be king, but he will be the beginning of a long line of kings. Later in the play, Macbeth also uses paradoxes to show his struggle between doing good or doing evil. His first line of the play, 'So foul and fair a day I have not seen' supports his struggle with being victorious in battle, yet unsettled with the stormy day and the deaths he was a part of. Later he struggles with (15) _____ the predictions made by the three witches or staying away from them. Macbeth's Paradoxes: true -- happier -- contradicting -- lesser -- losing -- paradoxes -- for the better -- good -- necessary -- supernatural -- Banquo -- contradicting -- bad -- contradictory -- accepting 3/3.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [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]
  • Shakespeare's Macbeth Act 1, Scene 3 on the Heath (Plain) the Witches Appear and Brag of Their Dread and Magical Deedes Such As Killing Swine
    Shakespeare's Macbeth Act 1, scene 3 On the heath (plain) the witches appear and brag of their dread and magical deedes such as killing swine. Macbeth and Banquo enter. The witches hail Macbeth as the Thane of Glamis, Thane of Cawdor, and "king hereafter" (line 47). Banquo asks Macbeth why he seems to fear this good news, then questions the witches about his own future. They say that Banquo is "lesser than Macbeth and greater" (line 63) because though he will never be King his descendents will be. Macbeth asks how the witches know this information. However, the witches vanish, making the two men wonder if they imagined the whole thing. Ross and Angus (Scottish noblemen) enter. They tell Macbeth that the old Thane of Cawdor was a traitor and that Duncan has made Macbeth the new Thane of Cawdor. Macbeth and Banquo are shocked. Macbeth asks Banquo if he now thinks that his children will be King. Banquo seems unsure, and comments that "instruments of darkness" sometimes tell half truths to bring men to ruin. As Banquo talks with Ross and Angus, Macbeth ponders the prophecy. If it is evil, why would it truly predict his being made Thane of Cawdor? If it is good, why would he already be contemplating a murder? Macbeth feels that he is losing himself, and hopes that if fate says he will become King, he won't have to act to make it happen. Ross and Angus think Macbeth's reverie is caused by becoming Thane of Cawdor. Macbeth and Banquo agree to speak of the witches' prophecy later.
    [Show full text]
  • Macbeth and Criminology
    MACBETH AND CRIMINOLOGY JEFFREY R. WILSON This article—really a series of three essays—adDresses the Dynamic and mutually benefcial relationship between Shakespeare studies and criminology. In the scant scholarship considering this connec- tion, the play Macbeth has emergeD—with its murders and madnesses and crises of masculinity—as a source of fascination for criminolo- gists (as well as criminals themselves).1 BuilDing out from this his- torical curiosity, my take is both more textual and more theoretical. I use the example of Macbeth to illustrate, frst, how criminological theories can help us improve our understanDing of Shakespeare’s plays anD, seconD, how Shakespeare’s plays can help us improve our criminological theories. I contend that Shakespeare was doing an early version of what we now call “criminology”—understood as the formal stuDy of crime, criminals, criminal law, criminal justice, and social ills that could or should be criminalizeD—when he wrote trageDies such as Macbeth.2 UnderstanDing criminology as such, I have avoided saying that it is a “modern” and “scientifc” discipline, which might rufe some criminologists’ feathers, but I have done so because criminologists have at times acknowleDged conceptual precedents for their theories in Shakespeare’s plays and used his plays as evidence for their ideas, calling into question the notion that criminology is a purely scientifc enterprise associated with the modern age.3 COLLEGE LITERATURE: A JOURNAL OF CRITICAL LITERARY STUDIES 46.2 Spring 2019 Print ISSN 0093-3139 E-ISSN 1542-4286 © Johns Hopkins University Press and West Chester University 2019 454 COLLEGE LITERATURE | 46.2 Spring 2019 Shakespeare’s humanistic anD early-moDern criminology in Mac- beth, conducted through the resources of dramatic expression pro- vided by the genre of trageDy, taps into the question that really Drives all criminology: Who is to blame, the individual or the society? Like modern criminology, Macbeth’s multiple responses to this question are circumstantial, complex, and qualifed.
    [Show full text]
  • Three Witches ______
    THREE WITCHES ____________________________ a play by Michael Perlmutter Michael Perlmutter 805-469-2897 [email protected] www.DirectingHamlet.com - - CHARACTERS / TROUPE diversity casting encouraged in all roles 3 WEIRD SISTERS: JUNE The eldest (mid/late twenties) MAY Second born (a year to three younger than June) NOVEMBER (at least six years younger than May) LADY MacBETH a noble woman in the autumn of her years (forties / fifties) VANESSA Gentle Woman to Lady MacBeth (late twenties / early thirties) HECATE Twenties / thirties something: self-anointed Goddess of Magick MacBETH Lord and Thane of Glamis BANQUO* Lord, Soldier and Best friend to MacBETH LADY MacDUFF a noble woman in her thirties / forties FLEANCE* Banquo’s son MESSENGER / HERALDS / SOLDIERS … to be played by the same above members of the troupe as needed. *to be played by the same actor THE SETTING A stage, representing MacBeth castle and surrounding countryside in Scotland. THE TIME Spring 1057 “How responsible am I for the well-being of my fellows? To ignore evil is to become an accomplice to it.” - Martin Luther King, Jr. Senate Hearings on Economic Justice, 1966 “Fair is foul and foul is fair.” - Witches (MacBeth – ACT I, sc 1) THREE WITCHES - Michael Perlmutter -i- A NOTE ON THE NOTATIONS: 1. A slash ( / ) indicates the character with the next line of dialogue begins his or her speech (overlapping dialogue). 2. Dialogue in parenthesis “( )” is expressed aloud, as an aside or unintentionally. 3. Dialogue in brackets ( [ ] ) is not verbalized / MAY be expressed nonverbally. A CLARIFICATION REGARDING TYPOS: Nope. They aren’t. Did I miss one (or two)?:—probably.
    [Show full text]