Macbeth (17 page)

F = First Folio text of 1623, the only authority for the play

F2 = a correction introduced in the Second Folio text of 1632

F3 = a correction introduced in the Third Folio text of 1663–64

Ed = a correction introduced by a later editor

SD = stage direction

SH = speech heading (i.e. speaker’s name)

List of parts
= Ed

1.1.1 SH FIRST WITCH
= Ed. F = 1.
(throughout) 3 SH SECOND WITCH
= Ed. F = 2.
(throughout) 5 SH THIRD WITCH
= Ed. F = 3.
(throughout) 10 SH SECOND WITCH
= Ed.
Line assigned to All in
F
11 SH THIRD WITCH
= Ed.
Line assigned to All in
F
12 SH ALL
= Ed.
At line 10 in
F

1.2.1 SH DUNCAN
= Ed. F =
King. (throughout) 11 Macdonald
= Ed. F =
Macdonwald 15 gallowglasses
= Ed. F = Gallowgrosses
16 quarrel
= Ed. F = Quarry
23 ne’er
= Ed. F = neu’r

1.3.33 weyard
always spelled
weyard
or
weyward
in
F,
never
weird
40 Forres
= Ed. F = Soris
59 rapt
= Ed. F = wrapt
117 lose
= Ed. F = loose
145 hair
= Ed. F = Heire

1.4.49 harbinger
spelled
Herbenger
in
F

1.5.1 SH LADY MACBETH
= Ed. F = Lady.
(throughout) 11 lose
= Ed. F =
loose 15 human
spelled
humane
in
F
48 it
= Ed. F = hit

1.6.0 SD
Hautboys
spelled Hoboyes in
F
(throughout) 5 martlet
= Ed. F = Barlet
6
mansionry
= Ed. F = Mansonry
10 most
= Ed. F = must
23 hermits
spelled
Ermites
in
F

1.7.6 shoal
= Ed. F = Schoole
11 th’ingredients
spelled
th’Ingredience
in
F
49 do
= Ed. F = no

2.1.62 strides
= Ed. F = sides
63 sure
= Ed. F = sowre
64 way they
= Ed. F = they may

2.3.157 nea’er
= Ed. F = neere

2.4.8 travelling
spelled
trauailing
in
F
21 ate
spelled
eate
in
F
36 life’s
= Ed. F = liues 51 SD
Exeunt
= Ed. F =
Exeunt omnes

3.1.78 SH MURDERERS
= Ed. F =
Murth
.
(throughout the scene) 97 clept
spelled
clipt
in
F

3.3.1 SH FIRST MURDERER
= Ed. F = 1.
(throughout the scene) 2 SH THIRD MURDERER
= Ed. F = 3.
(throughout the scene) 3 SH SECOND MURDERER
= Ed. F = 2.
(throughout the scene) 9 and
= F2. F = end

3.4.14 SH FIRST MURDERER
= Ed. F =
Mur
.
88 human
spelled
humane
in
F
90 time
= F2. F = times
165 in deed
= Ed. F = indeed

3.5.26 sleights
= Ed. F = slights

3.6.25 son
= Ed. F = Sonnes

4.1.59 germens
= Ed. F = Germaine
73 SD
First Apparition
= Ed. F =
1. Apparation
82 SD
Second Apparition
= Ed. F =
2. Apparition 92 SD
Third Apparition
= Ed. F =
3. Apparation 100 Birnam
spelled
Byrnam, Byrnan, Birnan, Byrnane,
and
Birnane
in
F
Dunsinane
= Ed. F = Dunsmane
128 eighth
= F3. F = eight

4.2.1 SH LADY MACDUFF
= Ed. F =
Wife
.
25 none
= Ed. F = moue
86 SH FIRST MURDERER
= Ed. F =
Mur
.

4.3.39 Fare
= Ed. F = Far
121 accused
spelled
accust
in
F
148 thy
= F2. F = they
188 rend
= Ed. F = rent
270 tune
= Ed. F = time

5.1.35 fear who
= Ed. F = feare?who

5.3.23 disseat
spelled
dis-eate
in
F
38 more
spelled
moe
in
F
44 Cure her
= Ed. F = Cure
58 pristine
= Ed. F = pristiue

5.4.4 SH SIWARD
= Ed. F =
Syew. (throughout the scene; also Syw
.,
at line 11 and Sey
.
at line 22)

5.5.41 false
= Ed. F = fhlse
45 pull
= F.
Sometimes emended to
pall

5.7.120 SD
Exeunt
= Ed. F =
Exeunt Omnes

The three weyard sisters arrange to appear to Macbeth later, introducing the supernatural element to the play and establishing a dark, malevolent tone. Their chant of “Fair is foul, and foul is fair” introduces inverted values and the storm invokes nature in disorder.

An injured captain reports on the battle with the rebel Macdonald. He describes “valiant” Macbeth’s brave but violent slaying of Macdonald as he “unseamed him from the nave to th’chops.” Ross brings news of Macdonald’s Norwegian allies, reporting that they had “terrible numbers” and were assisted by the Thane of Cawdor, traitor against King Duncan, but were defeated by “Bellona’s bridegroom”—Macbeth. Duncan pronounces that Cawdor is to be executed and Macbeth is to have his title, ironically asserting that “No more that Thane of Cawdor shall deceive / Our bosom interest.”

Lines 1–38:
The three weyard sisters reveal their cruel natures as they wait. They hear Macbeth coming and work a spell until “the charm’s wound up,” setting in motion events that will gather momentum, a recurrent image throughout the play.

Lines 39–91:
Macbeth’s comment that the day has been “So foul and fair” echoes the words of the three weyard sisters in Act 1 Scene 1. Banquo’s response to the sight of the sisters reinforces their nonhuman qualities: they “look not like th’inhabitants o’th’earth.” He says that they “should be women” but their beards suggest otherwise: gender is called into question. Macbeth wants them to speak,
which they do, hailing him as “Thane of Glamis,” the title he already holds, but then as “Thane of Cawdor” and “king hereafter.” Banquo questions Macbeth’s response: why does he “start and seem to fear / Things that do sound so fair”? Banquo then asks what the future holds for him. The three weyard sisters tell him that his children shall be kings, and though he will be “lesser” than Macbeth, he will be “greater.” Macbeth asks how he is to become the Thane of Cawdor, or king, as this “Stands not within the prospect of belief,” but the sisters vanish without further speech. Their ethereal quality is emphasized by Macbeth and Banquo’s description of them in terms of “bubbles,” “air,” and “breath.” Banquo questions their existence, but Macbeth focuses on the prophecies.

Lines 92–171:
Ross announces that Macbeth is now Thane of Cawdor. Macbeth asks, “Why do you dress me in borrowed robes?” highlighting recurrent images of apparel and of concealment and disguise. Angus explains that Cawdor has been executed for treason. From this point in the scene, Macbeth is divided from the other characters by his increasing number of asides, indicating the separation and tension between the private and public aspects of himself. He asks Banquo if he hopes that his children will become kings, now that part of the prophecy has come true, but Banquo is uncertain, warning that “instruments of darkness tell us truths” only to “betray” us. Macbeth then talks aside about the prophecies, moving toward “the swelling act” of his becoming king. We see that he is already thinking of taking destiny into his own hands as his mind presents him with a “horrid image,” and he concludes, “Come what come may,” one of his many references to time, destiny, and inevitability.

Malcolm, King Duncan’s elder son, reports Cawdor’s execution. Duncan praises Macbeth before announcing that he is settling the succession to the throne onto Malcolm, giving him the title Prince of Cumberland. Macbeth takes his leave to tell Lady Macbeth of Duncan’s intended visit and talks in an aside of his “black and deep
desires.” The contrasts between his asides and his speeches to Duncan emphasize the growing tensions between his ambition and his loyalty.

Lady Macbeth reads Macbeth’s letter reporting the three weyard sisters’ prophesies, but fears that he is “too full o’th’milk of human kindness” to “catch the nearest way” of becoming king (i.e. murdering Duncan) and says that without “the valour of [her] tongue,” he will not act. Lady Macbeth’s spell-like soliloquy invokes spirits to “unsex” her and fill her with “direst cruelty.” She rejects her femininity, and with it the associated stereotypes of weakness and compassion. When Macbeth arrives she shows her apparent dominance over him as she urges him to be less open in his emotions and to disguise his true self: “look like th’innocent flower, / But be the serpent under’t.” She will take care of everything else.

Lady Macbeth greets Duncan and his court.

Macbeth’s soliloquy reveals his indecision, focusing on the moral consequences of killing Duncan, who is there “in double trust” as his kinsman and his king, but also as his guest. Describing Duncan’s goodness, Macbeth acknowledges that there is no impetus to commit murder except his own “Vaulting ambition.” When Lady Macbeth interrupts, Macbeth tells her that they cannot go through with the plan. She again shows her dominance and ability to manipulate him by questioning his masculinity: “When you durst do it, then you were a man.” Despite this requirement that Macbeth live up to traditional gender roles, she once again rejects them on her own behalf, arguing that having sworn to do something, even pluck a suckling child from her breast and dash its brains out, then she would do it. Her plan is that she will make Duncan’s guards drunk, and then,
when Duncan is asleep, they will kill him. Macbeth, fired by her daring, says that she should only “Bring forth men-children.” He declares himself “settled” on the course of action, concluding that he must hide his “false heart” with a “false face.”

Lines 1–37:
As Banquo and his son Fleance discuss the absolute blackness of the night, an image that evokes both evil and secrecy, Macbeth enters. Banquo is surprised that he is “not yet at rest” and tells him that he has dreamed of the three weyard sisters. Macbeth lies, saying “I think not of them,” but suggests that he would like to talk to Banquo at some point, ambiguously suggesting that if Banquo remains loyal to Macbeth then it will be beneficial for him. Banquo and Fleance retire.

Lines 38–71:
Macbeth sends a servant to tell Lady Macbeth to ring the bell when his drink is ready, a signal that is perhaps also awaited by the audience, thus heightening the tension of his following soliloquy. Once alone, Macbeth sees a dagger floating before him but questions whether it is real or “a false creation” of his “heat-oppressèd brain,” as it seems to draw him toward Duncan’s room. His speech evokes both the nighttime and an atmosphere of witchcraft and evil, until the bell tolls and he declares, “I go, and it is done,” emphasizing irreversible decision in contrast with his questioning tone at the beginning of the speech.

Lady Macbeth has “drugged” the “possets” (bedtime drinks) of Duncan’s grooms so strongly that they are on the brink of death. She is herself feeling “bold” and filled with “fire.” When she hears Macbeth, however, her confidence and speech falter as she wonders if the grooms have woken again. She reveals that she could not kill Duncan herself as he “resembled / [Her] father as he slept.” Macbeth enters and announces that he has “done the deed.” He is distressed
and fixates on his inability to repeat “Amen” after Malcolm and Donalbain (or possibly the grooms?) when he overheard them saying their prayers. He also heard a voice cry that “Macbeth does murder sleep.” His apparent weakness appears to renew Lady Macbeth’s strength, creating another shift in the power dynamic of their relationship. She notices that he has mistakenly brought the grooms’ daggers away with him and orders him to take them back. He refuses, and accusing him of being “infirm of purpose,” she takes them, intending to smear the grooms in Duncan’s blood, so that they will appear guilty. In her absence, Macbeth is disturbed by knocking, and worries that he will never remove the blood from his hands. His wife returns, saying that her hands are the same bloody color as his (a visual symbol of their shared guilt) but that “a little water” will remove the blood and “clear us of this deed.” She leads him away to wash and put on his nightgown.

Lines 1–38:
In the play’s only episode with a “comic” element, the Porter goes to the door, imagining himself as the gatekeeper of hell, providing ironically grim humor after the events of the previous scene. The repeated knocking emphasizes Macbeth’s notion that peace and sleep have been permanently destroyed.

Lines 39–85:
Macduff and Lennox ask for Macbeth, who greets them and says that Duncan is not yet awake. He takes them to the king’s door and waits with Lennox as Macduff goes in. Lennox describes the “unruly” night that has passed, suggesting that the storm was an omen. Macduff returns in horror, having discovered Duncan’s body. He sends the other two in as he shouts to wake the household and calls for the alarm bell to be rung.

Lines 86–164:
The confusion that characterizes the rest of this scene, as individuals move on and off stage, shouting or conducting brief, fragmentary dialogue, emphasizes the disorder created by Duncan’s murder. Lady Macbeth demands to know why they have been woken, but, ironically, Macduff says that it is not for the ears of
a “gentle lady” and announces the murder to Banquo as Macbeth and Lennox re-enter. Macbeth, in his “public” role, gives a formal speech about how “The wine of life is drawn,” as Malcolm and Donalbain arrive and hear of their father’s death. Lennox explains that it seems Duncan’s grooms killed him, as he found them and their daggers covered in blood. Macbeth claims that he killed the grooms in his fury, but as Macduff questions him, Lady Macbeth seems to faint, drawing attention away from her husband. As Macduff and Banquo call for help and Macbeth suggests that they all arm themselves, Malcolm and Donalbain discuss matters. Fearing they may be the next victims, they leave for England and Ireland.

Ross discusses the strange omens that have surrounded events, such as the darkness that “entombs” the earth even though it is daytime, reflecting Macbeth’s reversal of natural order. Macduff arrives to report that Duncan’s grooms were responsible for the murder and it is believed that they were hired by Malcolm and Donalbain, who have fled. Ross comments that “sovereignty will fall upon Macbeth,” and Macduff says that he has already gone to Scone to be crowned. Ross intends to go to the coronation, but Macduff goes home to Fife.

Lines 1–46:
Banquo contemplates how the three weyard sisters’ prophesies have come true for Macbeth, who is now king, but fears that Macbeth has “played” “most foully” in order that they should. He also considers the sisters’ predictions for himself, that he will be “the root and father / Of many kings,” and wonders if this is true. He stops as he hears the approach of Macbeth and Lady Macbeth, who flatter him as their “chief guest” at a feast that evening. Macbeth asks if Banquo intends to ride with Fleance that afternoon, asking how far he intends to go and urging him not to be back late. He then declares that “every man” will be “master of his time / Till seven,”
raising the matter of time once again and drawing attention to Macbeth’s own attempts to “master” the world around him.

Lines 47–151:
When the others have left, Macbeth sends for some men who await him outside the palace. He reflects on Banquo’s “royalty of nature,” which makes him the one person to fear. He remembers the weyard sisters’ prophecy that Banquo will be the father of kings but that he himself wears a “fruitless crown,” and therefore he has murdered Duncan and given up his immortal soul on behalf of “Banquo’s issue.” He is interrupted by the servant bringing in the men: they are hired Murderers. Macbeth reminds them of a previous conversation in which he persuaded them that Banquo had wronged them. He asks if they are ready to kill him. They are, and Macbeth instructs them to kill Fleance as well, that night and away from the palace. The distancing of the deed from the palace, and the placing of the Murderers outside the palace gates at the beginning of this scene suggests Macbeth’s continuing attempts to separate his darker personal element from his public face.

Sending a servant to fetch her husband, Lady Macbeth echoes his words in the previous scene as she contemplates the uncertainty of their achievements when “desire is got without content.” When Macbeth arrives, she asks him why he keeps dwelling on the past: “what’s done is done.” He tells her that they are not yet safe and that he would be better dead and in peace, like Duncan, than living with a tortured mind that is “full of scorpions.” She encourages him to be “bright and jovial” with their guests. He replies that she must do the same, particularly with Banquo. He tells her that he has planned “A deed of dreadful note,” but refuses to say what it is. His comment “Be innocent of the knowledge, dearest chuck” is strangely tender in contrast to his following invocation to the “seeling night,” but also suggests a new division between the two characters as Macbeth begins to work independently of his wife’s influence.

The two Murderers meet up with a third and wait for Banquo and Fleance. The First Murderer strikes out the torch and Banquo is attacked and killed in darkness, but Fleance escapes.

Lines 1–34:
Macbeth addresses his guests with appropriately formal language, emphasizing the ceremonial nature of the banquet. The arrival of the Murderers, however, reinforces the breakdown of order, as this private element of Macbeth’s life intrudes upon his public space. There is a marked change in his language as he speaks to them, showing cruel indifference to Banquo’s death. When he learns of Fleance’s escape, he realizes that he is still not safe.

Lines 35–141:
Lady Macbeth reminds her husband of his duties as a host and he returns to take his place at the banquet, observing that Banquo should be there. As he does so, Banquo’s ghost sits in Macbeth’s place. Macbeth’s irrational response causes Ross to suggest that Macbeth is not well, but Lady Macbeth assures everyone that her husband has always had these momentary “fits” and that if they pay too much attention, they “shall offend him.” She then turns to Macbeth and, once again questioning his masculinity, asks him, “Are you a man?” She says that he looks “but on a stool.” Macbeth is insistent, telling her to look upon the ghost—which no one else can see. The ghost disappears, and again, Lady Macbeth reminds her husband of his guests. He apologizes for his outburst, blaming “a strange infirmity” and calling them all to drink to Banquo, “whom we miss.” On cue, the ghost re-enters and Macbeth breaks down again, crying “Hence, horrible shadow!” Lady Macbeth stops Ross from questioning her husband, claiming that to do so will “enrage” him. She tells the guests to leave and “Stand not upon the order of your going,” emphasizing the breakdown of social order now that Macbeth is king.