Downloadable special edition of Shakespeare's full text, based on the First Folio of Introduction on Macbeth and the Gothic, by Jake. No Fear Shakespeare – Macbeth (by SparkNotes). Original Text. Modern Text. Act 1, Scene 1. Thunder and lightning. Enter three WITCHES. Thunder and . Free PDF, epub, Kindle ebook. Macbeth is Shakespeare's shortest tragedy, and tells the story of a brave Scottish general named Macbeth who receives a.
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The Tragedy of Macbeth. Shakespeare homepage | Macbeth | Entire play . Enter MACBETH and BANQUO. MACBETH. So foul and fair a day I have not seen. with great insight that Shakespeare “was not of an age, but for all time.” The Tragedy of Macbeth. Drama by William Shakespeare. KEYWORD: HMLA. The cover painting Macbeth, Banquo and the Witches, , is by Shakespeare explores the tragic consequences of ambition and.
Macbeth and Banquo encounter the witches for the first time Act I The play opens amid thunder and lightning, and the Three Witches decide that their next meeting will be with Macbeth. In the following scene, a wounded sergeant reports to King Duncan of Scotland that his generals Macbeth, who is the Thane of Glamis, and Banquo have just defeated the allied forces of Norway and Ireland, who were led by the traitorous Macdonwald, and the Thane of Cawdor. Macbeth, the King's kinsman, is praised for his bravery and fighting prowess. In the following scene, Macbeth and Banquo discuss the weather and their victory. As they wander onto a heath, the Three Witches enter and greet them with prophecies. Though Banquo challenges them first, they address Macbeth, hailing him as "Thane of Glamis," "Thane of Cawdor," and that he will "be King hereafter. When Banquo asks of his own fortunes, the witches respond paradoxically, saying that he will be less than Macbeth, yet happier, less successful, yet more.
Look what I have. Second Witch Show me, show me. First Witch Here I have a pilot's thumb, Wreck'd as homeward he did come. Drum within. Are not Those in commission yet return'd? But I have spoke With one that saw him die: He was a gentleman on whom I built An absolute trust.
When I burned in desire to question them further, they made themselves air, into which they vanished. Whiles I stood rapt in the wonder of it, came missives from the king, who all-hailed me 'Thane of Cawdor;' by which title, before, these weird sisters saluted me, and referred me to the coming on of time, with 'Hail, king that shalt be!
Lay it to thy heart, and farewell. Enter a Messenger. Hautboys and torches.
Where they most breed and haunt, I have observed, The air is delicate. Enter a Sewer, and divers Servants with dishes and service, and pass over the stage. But in these cases We still have judgment here; that we but teach Bloody instructions, which, being taught, return To plague the inventor: 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, Not bear the knife myself.
Besides, this Duncan Hath borne his faculties so meek, hath been So clear in his great office, that his virtues Will plead like angels, trumpet-tongued, against The deep damnation of his taking-off; And pity, like a naked new-born babe, Striding the blast, or heaven's cherubim, horsed Upon the sightless couriers of the air, Shall blow the horrid deed in every eye, That tears shall drown the wind.
I have no spur To prick the sides of my intent, but only Vaulting ambition, which o'erleaps itself And falls on the other. Court of Macbeth's castle. There's husbandry in heaven; Their candles are all out. Take thee that too. A heavy summons lies like lead upon me, And yet I would not sleep: It was the owl that shriek'd, the fatal bellman, Which gives the stern'st good-night.
He is about it: The doors are open; and the surfeited grooms Do mock their charge with snores: I have drugg'd their possets, That death and nature do contend about them, Whether they live or die.
The attempt and not the deed Confounds us. I laid their daggers ready; He could not miss 'em. Had he not resembled My father as he slept, I had done't. Knocking within. Enter a Porter Porter Here's a knocking indeed! If a man were porter of hell-gate, he should have old turning the key.
Within the volume of which time I have seen Hours dreadful and things strange; but this sore night Hath trifled former knowings.
Is't night's predominance, or the day's shame, That darkness does the face of earth entomb, When living light should kiss it? Old Man 'Tis unnatural, Even like the deed that's done. On Tuesday last, A falcon, towering in her pride of place, Was by a mousing owl hawk'd at and kill'd. ROSS And Duncan's horses--a thing most strange and certain-- Beauteous and swift, the minions of their race, Turn'd wild in nature, broke their stalls, flung out, Contending 'gainst obedience, as they would make War with mankind.
Old Man 'Tis said they eat each other. Here comes the good Macduff. The palace. If there come truth from them-- As upon thee, Macbeth, their speeches shine-- Why, by the verities on thee made good, May they not be my oracles as well, And set me up in hope?
But hush! Sennet sounded. Servant Ay, madam, but returns again to-night. Servant Madam, I will. Enter three Murderers First Murderer But who did bid thee join with us?
Third Murderer Macbeth.
Second Murderer He needs not our mistrust, since he delivers Our offices and what we have to do To the direction just. First Murderer Then stand with us. The west yet glimmers with some streaks of day: Now spurs the lated traveller apace To gain the timely inn; and near approaches The subject of our watch. Third Murderer Hark! I hear horses. Second Murderer Then 'tis he: First Murderer His horses go about.
Third Murderer Almost a mile: Second Murderer A light, a light! A banquet prepared. Lords Thanks to your majesty. Our hostess keeps her state, but in best time We will require her welcome. First Murderer appears at the door. How did you dare To trade and traffic with Macbeth In riddles and affairs of death; And I, the mistress of your charms, The close contriver of all harms, Was never call'd to bear my part, Or show the glory of our art? And, which is worse, all you have done Hath been but for a wayward son, Spiteful and wrathful, who, as others do, Loves for his own ends, not for you.
But make amends now: Your vessels and your spells provide, Your charms and every thing beside. I am for the air; this night I'll spend Unto a dismal and a fatal end: Great business must be wrought ere noon: Upon the corner of the moon There hangs a vaporous drop profound; I'll catch it ere it come to ground: And that distill'd by magic sleights Shall raise such artificial sprites As by the strength of their illusion Shall draw him on to his confusion: He shall spurn fate, scorn death, and bear He hopes 'bove wisdom, grace and fear: And you all know, security Is mortals' chiefest enemy.
Music and a song within: The gracious Duncan Was pitied of Macbeth: And the right-valiant Banquo walk'd too late; Whom, you may say, if't please you, Fleance kill'd, For Fleance fled: Who cannot want the thought how monstrous It was for Malcolm and for Donalbain To kill their gracious father? How it did grieve Macbeth! Was not that nobly done? Ay, and wisely too; For 'twould have anger'd any heart alive To hear the men deny't.
So that, I say, He has borne all things well: But, peace! Lord The son of Duncan, From whom this tyrant holds the due of birth Lives in the English court, and is received Of the most pious Edward with such grace That the malevolence of fortune nothing Takes from his high respect: That, by the help of these--with Him above To ratify the work--we may again Give to our tables meat, sleep to our nights, Free from our feasts and banquets bloody knives, Do faithful homage and receive free honours: All which we pine for now: Lord He did: Some holy angel Fly to the court of England and unfold His message ere he come, that a swift blessing May soon return to this our suffering country Under a hand accursed!
Lord I'll send my prayers with him. A cavern. In the middle, a boiling cauldron. Enter the three Witches First Witch Thrice the brinded cat hath mew'd. Second Witch Thrice and once the hedge-pig whined. Third Witch Harpier cries 'Tis time, 'tis time. First Witch Round about the cauldron go; In the poison'd entrails throw. Toad, that under cold stone Days and nights has thirty-one Swelter'd venom sleeping got, Boil thou first i' the charmed pot. ALL Double, double toil and trouble; Fire burn, and cauldron bubble.
Second Witch Fillet of a fenny snake, In the cauldron boil and bake; Eye of newt and toe of frog, Wool of bat and tongue of dog, Adder's fork and blind-worm's sting, Lizard's leg and owlet's wing, For a charm of powerful trouble, Like a hell-broth boil and bubble. ALL Double, double toil and trouble; Fire burn and cauldron bubble. Third Witch Scale of dragon, tooth of wolf, Witches' mummy, maw and gulf Of the ravin'd salt-sea shark, Root of hemlock digg'd i' the dark, Liver of blaspheming Jew, Gall of goat, and slips of yew Silver'd in the moon's eclipse, Nose of Turk and Tartar's lips, Finger of birth-strangled babe Ditch-deliver'd by a drab, Make the gruel thick and slab: Add thereto a tiger's chaudron, For the ingredients of our cauldron.
Second Witch Cool it with a baboon's blood, Then the charm is firm and good. ROSS You must have patience, madam.
His flight was madness: He loves us not; He wants the natural touch: All is the fear and nothing is the love; As little is the wisdom, where the flight So runs against all reason.
I dare not speak much further; But cruel are the times, when we are traitors And do not know ourselves, when we hold rumour From what we fear, yet know not what we fear, But float upon a wild and violent sea Each way and move. I take my leave of you: Shall not be long but I'll be here again: Things at the worst will cease, or else climb upward To what they were before.
My pretty cousin, Blessing upon you! Chambers, The Elizabethan Stage, 4 vols. Quoted from Chambers, The Elizabethan Stage, iv, and , respectively. Matters of religion and state were the most frequently censored dramatic subjects throughout the Tudor and Stuart period.
Scottish public opinion immediately doubted official claims about the events Arbuckle, pp. Valentine Simmes's London edition of this text, The earle of Gowries conspiracie, was entered in the Stationers' Register on 11 September and published, possibly soon after, with the date ''. Scotorum Banquo is at the base of the tree, James at the crown Macbeth M 1 Gowrie was quickly suppressed, and its fate suggests how politically and practically difficult it was to write and perform plays concerning the Stuart monarchy and its well-known vicissitudes in Scotland and in England.
Many years later, the British monarchy, now Hanoverian, faced an effort to restore the Stuarts, and after the Battle of Falkirk , when Scottish troops, supported by the French, won a temporary advantage, 'The king was advised to go to the theatre and to command the tragedy of Macbeth', and the play was performed.
Given even this brief context, it is a nice understatement to say that 'Shakespeare's task in writing Macbeth was. Those difficulties entailed not only who might have rightfully ruled Scotland in the eleventh century, but who might justly rule Scotland and, more controversially, England, in the seventeenth. Reversing the telescope of time, we must suppose that those debates shaped the play's creation. The problems of situating the composition and earliest performances of Macbeth, and of determining its sources in written documents, contemporary events, and early Jacobean culture, are interdependent matters, often with no certain answers.
One place to start is with the often-remarked 'connection' between the play and the accession of the Scottish King James VI as England's King James I, whose family provided England's and Scotland's native monarchs until the death of Queen Anne in Arguments linking Macbeth with King James or with specific events in the early seventeenth century divide into the 'topical' Macbeth and the 'occasional' Macbeth.
First, the play may be studied as a 'topical' or general repository of references to events, ideas, or persons in the years immediately after James's accession,5 second, as a more specific response to the unprecedented 'occasion' of a Scottish king becoming England's king, third, as a response to an even more precise 'occasion', when James's brother-in-law, the Danish King Christian IV, first visited England.
Zwicker eds. John Turner, 'Macbeth', in Graham Holderness et al.
Just before this remark, Turner says: 'two rival Scottish traditions of interpreting relations with England, the unionist and the nationalist. There are some striking pieces of what may be 'evidence'. Consider the Porter in Macbeth: Here's a farmer that hanged himself on th'expectation of plenty. Come in time - have napkins enough about you, here you'll sweat for't.
Knock Knock, knock. Who's there in th'other devil's name? Faith, here's an equivocator that could swear in both the scales against either scale, who committed treason enough for God's sake, yet could not equivocate to heaven. O, come in, equivocator. Among those executed was the Superior of the English Jesuits, Father Henry Garnet, who espoused the doctrine of'equivocation' 'here's an equivocator that could swear in both the scales. See also 5.
Prosecutors repeatedly emphasised the various names 'false appellations' in Sir Edward Coke's words used by the Gunpowder Plot conspirators and the doctrine of equivocation at Garnet's trial, 28 March ; see T. Howell comp. On equivocation in the play, see Frank L. Another possible topical reference would place at least some of the play's composition after mid see i. Air, following p. Bir 'three little Boyes comming foorth of a Castle, made all of Ivie, drest like three Nimphes'; Nixon thus 'echoes' Macbeth's history in Raphael Holinshed's Chronicles and anticipates Simon Forman's eyewitness account of a Jacobean performance of Macbeth.
See pp. Macbeth  between Macbeth, the Gunpowder Plot, and Gwinne's pageant prove to be vague, circumstantial, or undatable. If the First Witch's mention of a sailor who is 'master o'th'Tiger' 1. Verbal similarities between Macbeth and Antony and Cleopatra suggest that the two plays may have been written at about the same time. Macbeth, awaiting the murderers, compares himself and Banquo with Mark Antony and Octavian Shakespeare's Octavius , the man who became Augustus Caesar, the first Roman emperor: There is none but he [Banquo], Whose being I do fear; and under him My genius is rebuked, as it is said Mark Antony's was by Caesar.
See i It is impossible to know how widespread the knowledge of the Tiger's voyage might have been. Antony and Cleopatra and Macbeth are also dramaturgically similar; see p. The plays also have similar 'arming scenes' Macbeth 5.
More generally, the Shakespearean tragedies that probably preceded and succeeded Macbeth - King Lear and Antony and Cleopatra, respectively - follow what may be a psychologically or authorially explicable treatment of time. In King Lear, time is memorably expressed as ageing, or the coming-into-being of a past; in Antony and Cleopatra, time is treated as a present past, as nostalgia see e. See e. Knight, The Imperial Theme, , 3rd edn, corr.
They also rewrite in Shakespearean 'Roman' terms Lady Macbeth's willingness to dash out the brains of the child she suckled 1. Blood for milk, in Shakespeare's Rome and Shakespeare's Scotland. Macduff cannily manoeuvres Macbeth, who supposes himself invincible 'I bear a charmed life which must not yield' 5.
We'll have thee, as our rarer monsters are, Painted upon a pole and underwrit, 'Here may you see the tyrant. Although traditional chronologies place Macbeth after King Lear and before Antony and Cleopatra and Coriolanus, those chronologies are uncertain.
Critical suspicion of Banquo begins with Bradley, pp.