Westfield Academy | - Cover · 2020-03-24 · Specification: English Literature (exam in 2017)...

Macbeth

© www.teachit.co.uk 2016 26802 of 195

Cover

Contents


Contents

Contents

Introduction ......................................................................................... 3

Specification summaries ....................................................................... 4

Act 1 .............................................................................................. 8

Lesson 1 ................................................................................................ 8

Lesson 2 ................................................................................................ 12

Lesson 3 ................................................................................................ 17

Lesson 4 ................................................................................................ 27

Lesson 5 ................................................................................................ 31

Exam style questions ................................................................................. 42

Act 2 .............................................................................................. 48

Lesson 6 ................................................................................................ 48

Lesson 7 ................................................................................................ 57

Lesson 8 ................................................................................................ 64

Lesson 9 ................................................................................................ 66

Lesson 10 ............................................................................................... 68

Exam style questions ................................................................................. 78

Act 3 .............................................................................................. 85

Lesson 11 ............................................................................................... 85

Lesson 12 ............................................................................................... 90

Lesson 13 ............................................................................................... 92

Lesson 14 ................................................................................................ 109

Lesson 15 ................................................................................................ 111

Exam style questions .................................................................................. 120

Act 4 .............................................................................................. 128

Lesson 16 ................................................................................................ 128

Lesson 17 ................................................................................................ 135

Lesson 18 ................................................................................................ 137

Lesson 19 ................................................................................................ 147

Lesson 20 ................................................................................................ 152


Act 5 .............................................................................................. 162

Lesson 21 ................................................................................................ 162

Lesson 22 ................................................................................................ 167

Lesson 23 ................................................................................................ 174

Lesson 24 ................................................................................................ 179

Lesson 25 ................................................................................................ 183


Introduction


Introduction

Introduction

This GCSE pack is designed as a ‘route through’ Macbeth, with teaching ideas,

accompanying resources and suggestions for differentiation. The pack is based on core

assessment objectives for GCSE English Literature (2015) and is designed to be flexible,

creative and engaging. It contains all of the resources you need for teaching this unit of

work, most of which were written specifically for this pack.

The pack has been devised for use with the AQA, Edexcel, OCR and WJEC Eduqas

specifications for GCSE English Literature. The activities and ideas will help students to

develop a close understanding of the text, explore its social, cultural and historical

contexts, consider Shakespeare’s intentions and staging options, and analyse his use of

language and structure.

The pack has five lessons per act, with a selection of starter, main and plenary activities

(that you can mix and match), as well as exam practice questions specific for each exam

board.

Throughout the pack you’ll find activities which directly address the various assessment

objectives for the GCSE English Literature exam. To help you select activities relevant to

the outcomes for which you’re teaching, we’ve included specification grids and matched

the activities outlined in the route through to the appropriate assessment objectives.

Accessing the resources in this pack

We’ve included links to resources and interactive resources on the Teachit English site

where applicable.

Our thanks go to contributor Angela Topping who has written this pack and the

accompanying resources.

If you have any questions about the pack, please get in touch: email

[email protected] or call us on 01225 788850. Alternatively, you might like to give

some feedback for other Teachit members – you can do this by adding a comment on the Macbeth teaching pack page on Teachit English.

mailto:[email protected]

https://www.teachit.co.uk/macbeth

Specification summaries



AQA GCSE English Literature

Specification: English Literature (exam in 2017) (8702)

Example papers and mark scheme: English Literature (exam in 2017) (8702)

Paper 1: Shakespeare and the 19th-century novel

Section A: Shakespeare (20% of GCSE mark)

External examination

Whole examination: 1 hour 45 minutes

50% of time should be devoted to responding to each question, therefore there are

approximately 50 minutes for Macbeth.

Students will answer one question. They will be required to write in detail about an

extract from the play and about the novel as a whole.

Students are not permitted to take copies of the text into the exam.

AO1 and AO2 are the dominant assessment objectives (12 marks each), AO3 is 6

marks, AO4 is 4 marks.

AO1

Read, understand and respond to texts.

Students should be able to:

maintain a critical style and develop an informed personal response

use textual references, including quotations, to support and illustrate

interpretations.

AO2 Analyse the language, form and structure used by a writer to create meanings

and effects, using relevant subject terminology where appropriate.

AO3 Show understanding of the relationships between texts and the contexts in which

they were written.

AO4 Use a range of vocabulary and sentence structures for clarity, purpose and

effect, with accurate spelling and punctuation.

http://filestore.aqa.org.uk/resources/english/specifications/AQA-8702-SP-2015-V1-1.PDF

http://www.aqa.org.uk/subjects/english/gcse/english-literature-8702/supporting-resources/specimen-papers-and-mark-schemes



Edexcel GCSE English Literature

Specification: English Literature (exam in 2017) (1ET0)

Example papers and mark scheme: English Literature (exam in 2017) (1ET0)

Paper 1: Shakespeare and Post-1914 Literature



Whole examination: 1 hours 45 minutes

55 minutes advised for Macbeth question, divided equally between parts

(a) and (b).

Part a) is focused on the close language analysis of an extract (AO2: 20 marks). The

extract will be approximately 30 lines in length.

Part b) is focused on how a theme from the extract is explored elsewhere in the play

(AO1: 15 marks and AO3: 5 marks). The focus will be on maintaining a critical style

and demonstrating an understanding of the relationship between the text and the

context in which it was written.


AO1





interpretations.




they were written.

http://qualifications.pearson.com/content/dam/pdf/GCSE/English%20Literature/2015/specification-and-sample-assesment/9781446914359_GCSE_2015_L12_Englit.pdf

http://qualifications.pearson.com/content/dam/pdf/GCSE/English%20Literature/2015/specification-and-sample-assesment/English-A-SAM-Literature-Collation-WEB-ISBN9781446914380.pdf



OCR GCSE English Literature

Specification: English Literature (exam in 2017) (J352)

Example papers and mark scheme: English Literature (exam in 2017) (J352/02)

Paper 2: Exploring poetry and Shakespeare

Section B: Shakespeare (25% of GCSE mark)


Whole examination: 2 hours

Students are advised to spend about 45 minutes on Macbeth: one question from a

choice of two.

A choice of questions: one extract-based question, making links to the whole text or

one discursive question.


AO1 and AO2 are the dominant assessment objectives (8.75% of GCSE), AO3 is 5% of

GCSE and AO4 is 2.5% of GCSE in this paper.

AO1





interpretations.




they were written.



http://www.ocr.org.uk/Images/168995-specification-accredited-gcse-english-literature-j352.pdf

http://www.ocr.org.uk/Images/169189-unit-j352-02-exploring-poetry-and-shakespeare-sample-assessment-materials.pdf



WJEC Eduqas GCSE English Literature

Specification: English Literature (exam in 2017)

Example papers and mark scheme: English Literature (exam in 2017)

Paper 1: Shakespeare and Poetry



Whole examination: 2 hours

One hour advised for Macbeth question.

Students answer two questions: one extract based question (15 marks) and one

discursive essay question (25 marks).

Part a) is an extract-based question (AO1 and AO2: equally weighted, 15 marks).

Part b) is an essay question (AO1 and AO2: equally weighted, 20 marks, AO4: 5

marks).


AO1





interpretations.





http://www.eduqas.co.uk/qualifications/english-literature/gcse/eduqas-gcse-english-literature-spec-from-2015.pdf

http://www.eduqas.co.uk/qualifications/english-literature/gcse/wjec-eduqas-gcse-english-literature-sams-from-2015.pdf?language_id=1

Act 1

Lesson 1


Act 1

Act 1

Lesson 1 – The battle in the background (Act 1 Scenes 1–2)

Starter activities

Prior knowledge: In pairs, students share what comes to mind when they hear the

word ‘Macbeth’, then feed back to the whole class. Alternatively, or to follow this,

you could show them Michael Rosen’s potted synopsis and explanation of the play:

www.bbc.co.uk/newsround/36099745. (AO1)

Poetic inspiration: This poem gives an overview of the plot.

Macbeth was a soldier, brave and bold

until he had his fortune told.

Those three strange women messed up his head

and pretty soon the king was dead.

His wife was keen to be a queen;

horrors followed, Banquo’s ghost was seen.

Macduff’s family were cruelly killed

until the tyrant’s blood was spilled.

As for Macbeth, his head was chopped

the only way he could be stopped.

As your class arrive, give each student a line of the poem, and ask them to find

others with the same line. Get each of the groups to create a still image based on

their line. Call each group out to the front in order and give each group a minute

to read their line and form a still image.

If you’d like to follow up on this, you could set a homework task to create a ten

frame cartoon strip using these ten lines. (AO1)

http://www.bbc.co.uk/newsround/36099745

Act 1

Lesson 1


Main activities

Captain’s speech: Using the resource Captain’s speech (Resource 1), look at the

Captain’s speech in Act 1 Scene 2 with your students. Pairs look at the initial themes

and language of the play. When investigating the sounds of the language in the

second task, students might notice ‘p’, ‘b’, ‘f’ and lots of ‘s’ sounds – indicative of

the violent nature of the language. (AO2)

Report from the battlefield: Write a short report of the events in Act 1 Scene 2,

using modern language, for a newspaper or TV report. As an extension activity, you

could ask students to write it as though from the rebels’ side. They would feel very

differently about Macbeth and what he has done to their leader. (AO1)

Plenary activities

Reporting back: Pair up some contrasting news reports and invite students to share

them. (AO1)

Acrostics: Students could create their own acrostic poems of the play, based on their

prior knowledge and informed by their understanding of Macbeth in the second

scene. (AO1)

Lesson 1

Resource 1


Captain’s speech

At the start of the play, a battle is going

on. Macbeth is fighting on King Duncan’s

side against an army of rebels.

An injured captain is brought back behind

the lines to have his wounds treated. He

gives the following report of Macbeth and

his bravery in killing the rebel leader,

MacDonald:

By M. and B. Skelt (publishers) [CC BY-SA 4.0

(http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons

Captain: Doubtful it stood;

As two spent swimmers, that do cling together

And choke their art. The merciless Macdonald –

Worthy to be a rebel, for to that

The multiplying villanies of nature

Do swarm upon him – from the Western Isles

Of kerns and gallowglasses is supplied,

And Fortune on his damnèd quarrel smiling,

Showed like a rebel’s whore. But all’s too weak,

For brave Macbeth — well he deserves that name —

Disdaining Fortune, with his brandished steel

Which smoked with bloody execution,

Like Valour’s minion carved out his passage

Till he faced the slave,

Which ne’er shook hands, nor bade farewell to him,

Till he unseamed him from the nave to th’chaps

And fixed his head upon our battlements.

Lesson 1

Resource 1


At first you might find Shakespeare’s language takes some getting used to, so here is a

small glossary to help you:

kern foot soldier armed with sword and shield

gallowglass a soldier fighting just for the money

Fortune fate (Shakespeare’s imagery sees fate as a woman who is only flirting with the rebels)

brandished steel Macbeth is waving his sword threateningly

‘smoked with bloody execution’

it is so cold that the blood on the sword is creating steam just as breath does in cold weather

Valour bravery (again Shakespeare has used personification)

minion servant

unseamed split open

nave navel

chaps jaw

Task one In pairs or small groups, read this speech a few times, experimenting with how it might be said.

Consider how he might be talking before you read it:

Is the captain in pain and struggling to speak?

Is he faint and breathless?

Is he excited and saying the speech quickly?

Is he laughing about the death of the rebel, which means the rebels will be crushed and the battle over?

Task two Underline every word in this speech which is violent.

Next pick out the consonant sounds with a highlighter. What are the dominant ones?

As an experiment, ask one person in the group to read the speech and watch their facial expressions when they make these sounds. Why do you think Shakespeare includes these sounds?

Act 1

Lesson 2


Lesson 2 – The weird sisters (Act 1 Scenes 1-3)

Starter activities

Witch we know: What do we know about witches? Pairs discuss and feed back

elements to the whole group. (AO3)

Mind maps: Working independently, students create a mind map of all the things

that occur to them when they hear the word ‘witch’. (AO2)

Witches in art: Look at some representations of the weird sisters in art using the

PowerPoint resource Witches in art (Resource 2). Why do your students think these

artists have portrayed them this way? Which are their favourites? (AO3)

Main activities

Evidence of witchcraft: Using the resource The weird sisters (Resource 3) ask

students to work through Act 1 Scene 1 and part of Act 1 Scene 3, to examine the

extent to which the three women could be charged with practising witchcraft. (AO3)

Discussion: How does Shakespeare make the audience fear the weird sisters? As well

as the evidence students collected above, ask them to find features of their language

which differ from other characters. They could identify:

1. They speak in rhyme.

2. Their lines are shorter than the other characters’ lines.

3. They never speak in prose, only verse.

4. They use words like ‘charm’ and old-fashioned language even for

Shakespeare’s time, like ‘aroint’.

5. The number three is important in magic and they use it several times.

(AO2)

Act 1

Lesson 2


Plenary activities

Modern witches: Shakespeare’s audience would have been terrified of the weird

sisters but for modern audiences they can seem silly. Challenge students: How could

you show them on stage to be frightening in a modern theatre? Share ideas. You

could show your students the short clip of the opening scene from the 2015 version of

the film and discuss how frightening they are:

www.youtube.com/watch?v=K5TpecxZL88. (AO3)

Guilty verdict? On the evidence gathered, would your students convict these women

of witchcraft and send them to be hanged, or do they think they are innocent of

doing harm? Get your class to vote with their feet on one side of the classroom or the

other. (AO1)

http://www.youtube.com/watch?v=K5TpecxZL88

Lesson 2

Resource 2


Witches in art

We’ve included a screenshot of this PowerPoint here so you can see

the resource. To access this resource please log in to the Teachit

English website and type ‘26810’ into the search bar.

http://www.teachit.co.uk/


Lesson 2

Resource 3


The weird sisters

In Shakespeare’s time, people believed that witches

could cause them harm. James I, who was on the throne

at the time Macbeth was written was convinced a witch

was plotting to kill him. Characters refer to the three

women who tell Macbeth he is going to be king one day

as ‘the weird sisters’. So what is the evidence which

would convict them in court for practising witchcraft?

In groups of three, read Act 1 Scene 1 and Act 1 Scene 3

up to the entrance of Banquo and Macbeth, then

complete the following activity.

Task one

Imagine you’re the local constable and looking for evidence to arrest these weird women

for witchcraft. Find evidence in the text to support these charges. The first one has

been done for you.

Charges Evidence

Keeping familiars. These were pets which people thought could speak to the devil, such as cats and toads.

I come, Greymalkin. (sinister name for a cat – malkin means evil doer) Paddock calls. (a name for a toad)

Speaking in riddles

Meeting in strange places away from other people

Damaging or killing livestock

Making bad things happen to people

Lesson 2

Resource 3


Charges Evidence

Uttering spells

Doing strange rituals/dancing

Task two

Join with another group and continue reading the scene, from the conversation between

Macbeth and Banquo, up to the entrance of Ross and Angus. What else do we learn

about the weird sisters?

Charge Evidence

Oddly dressed

Old women

Telling the future

Speaking in threes

Able to vanish

Extension task

The women would have been charged as guilty if they were found to cause harm or

death by witchcraft. Would you find them guilty or innocent?

Act 1

Lesson 3


Lesson 3 – The world of men (Act 1 Scenes 2-4)

Starter activities

Medieval warfare: Ask students to consider why Shakespeare avoids showing the

battle scenes on stage. Instead we only hear people talking about it. What sounds

would they use to suggest a battle happening close by? (AO1)

How fair? Give students the following scenario:

Imagine that you and your friend had both played in a football match, both

played brilliantly, but your friend scored the winning goal. How would you

feel if your friend was given a try out for a professional team, but you just

had a pat on the back from the coach? And another friend, who was playing

a different match, was given a place on a professional team, because his

father was the manager of it. What would you feel and do?

Ask students to make the connection between this scenario and the situation in Act

1 Scene 4. Elicit the three rewards given by Duncan: Malcolm is made Duncan’s heir

and will inherit the throne, Macbeth has already been made Thane of Cawdor and

Duncan is thinking of promoting him further and Banquo is given a hug.

Banquo offers his loyalty to Duncan. What does this suggest about him? (AO1)

Main activities

Comprehension Act 1 Scene 2: Organise your students into groups of five, and ask

them to read the scene. They should then consider the questions below.

1. Why is the Thane of Cawdor being executed?

2. How does he reward Macbeth for killing the rebel Macdonald? What about

Banquo?

3. Make a list of quotations which show how Macbeth is seen by others.

4. What impression do we get of King Duncan? Is he a good king or not?

Consider how fair he has been in giving Macbeth his new title. (AO1)

Act 1

Lesson 3


Prophecies for Macbeth and Banquo: Act 1 Scene 3 (Resource 4) Ask your students to

read the scene, then sort the prophecies for Macbeth and Banquo and their responses

using the sorting task in the resource. (AO1)

‘Stars, hide your fires’ freeze frame: Act 1 Scene 4 (Resource 5) Explore Macbeth’s

aside in Act 1 Scene 4 by asking your students to work in groups of between three

and five, to prepare a still image of the scene. When prompted, each character

speaks his thoughts of Duncan’s awards. (AO1)

‘Stars, hide your fires’ reward certificates: Act 1 Scene 4 (Resource 6) As an

alternative task, get students to create certificates explaining what Malcolm,

Macbeth and Banquo have done to receive these rewards. You could use the template

in the resource. (AO1)

Plenary activities

Tweet the news: Students write a tweet to announce Cawdor’s execution. Tweets

cannot be more than 140 characters.

Ask students to show their knowledge of the text by referring to the information

about him at the start of Act 1 Scene 4. (AO1)

Award ceremony: Following up on the activities based on Act 1 Scene 4, you could

hold a mini award ceremony for small groups or volunteers acting as Macbeth,

Banquo and Malcolm, who receive their awards from King Duncan. (AO1)

Lesson 3

Resource 4


Prophecies for Macbeth and Banquo: Act 1 Scene 3

Task one

Which of these prophecies are for Macbeth and which for Banquo? Complete the table.

Prophecy Macbeth or Banquo?

You will be king.

Your title is Thane of Glamis.

Your children will be kings, but you won’t.

You are not going to be as happy as your friend in one way, but in another way you will be much happier.

You are getting a new title, Thane of Cawdor.

You’re not as important as your friend but in another way you are more important.

Whose fortune do you think is the best? Why?

..........................................................................................................

..........................................................................................................

How do Macbeth and Banquo react to the prophecies?

..........................................................................................................

..........................................................................................................

Lesson 3

Resource 4


Task two

Cut up the quotations and their modern meanings, then match pairs together.

Banquo

Good sir, why do you start and seem to fear

Things that do sound so fair?

You have given my friend such

a brilliant prediction that he is

now taking his time to think it

over.

My noble partner

You greet with present grace and great prediction

Of noble having and of royal hope,

That he seems rapt withal.

Can we believe what wicked

people tell us?

To me you speak not.

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.

Sometimes the devil tempts us

to do wicked things by telling

us something true.

Were such things here as we do speak about?

Or have we eaten on the insane root,

That takes the reason prisoner?

Macbeth is lost in thought.

What, can the devil speak true? He needs time to get used to

what just happened.

But ’tis strange,

And 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.

If you really can tell the

future, tell me mine? I am not

afraid of you and won’t worry

too much what you say.

Look how our partner’s rapt. It’s good news, so why do you

seem so afraid?

New honours come upon him,

Like our strange garments, cleave not to their

mould,

But with the aid of use.

Did that really happen or have

we gone crazy?

Lesson 3

Resource 4


Macbeth

Stay, you imperfect speakers. Tell me more.

If the first two prophecies are

true, then the best one is still

to come, so yes! I am going to

be king!

By Sinel’s death I know I am Thane of Glamis,

But how of Cawdor? The Thane of Cawdor lives

A prosperous gentleman,

Perhaps we can believe them

now, because they were right

about me being Thane of

Cawdor. Aren’t you excited

that your children could be

kings?

to be king

Stands not within the prospect of belief,

Hang on a minute, where did

you get that idea from? And

why have you come to tell us

these things?

Say from whence

You owe this strange intelligence, or why

Upon this blasted heath you stop our way

With such prophetic greeting? Speak, I charge you.

Well yes, I am already Thane

of Glamis, that part is true,

but someone else is Thane of

Cawdor and I can’t inherit

from someone who isn’t dead.

The Thane of Cawdor lives. Why do you dress me

In borrowed robes?

Wait, don’t go. I want to hear

more.

Glamis, and Thane of Cawdor:

The greatest is behind.

I can’t believe you say I am

going to be king!

Do you not hope your children shall be kings,

When those that gave the Thane of Cawdor to me

Promised no less to them?

The Thane of Cawdor is alive

and well. What are you talking

about? That’s not my title.

This supernatural soliciting

Cannot be ill, cannot be good. If ill,

Why hath it given me earnest of success,

Commencing in a truth? I am Thane of Cawdor.

If good, why do I yield to that suggestion,

Whose horrid image doth unfix my hair

And make my seated heart knock at my ribs

Against the use of nature?

Maybe I don’t need to do

anything? Just let being king

happen to me like being Thane

of Cawdor did.

Lesson 3

Resource 4


Present fears

Are less than horrible imaginings.

My thought, whose murder yet is but fantastical,

Shakes so my single state of man that function

Is smothered in surmise, and nothing is,

But what is not.

I am confused. If all this is

good news, which it is, why do

I feel so scared?

If chance will have me king, why chance may crown

me

Without my stir.

Oh well, let’s see how I feel

tomorrow; what will happen

will happen.

Come what come may,

Time and the hour runs through the roughest day.

What if I have to do something

terrible to become king, like a

murder?

Lesson 3

Resource 4


Teacher’s answer sheet

Banquo

Good sir, why do you start and seem to fear Things that do sound so fair?

It’s good news, so why do you seem so afraid?

My noble partner


Of noble having and of royal hope,

That he seems rapt withal.

He needs time to get used to what just happened.

To me you speak not. 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.

If you really can tell the future, tell me mine. I am not afraid of you and won’t worry too much what you say.




Did that really happen or have we gone crazy?

What, can the devil speak true? Can we believe what wicked people tell us?

But ’tis strange, And 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.

Sometimes the devil tempts us to do wicked things by telling us something true.

Look how our partner’s rapt. Macbeth is lost in thought.

New honours come upon him,

Like our strange garments, cleave not to their mould,

But with the aid of use.

You have given my friend such a brilliant prediction that he is now taking his time to think it over.

Lesson 3

Resource 4



Macbeth

Stay, you imperfect speakers. Tell me more. Wait, don’t go. I want to hear more.

By Sinel’s death I know I am Thane of Glamis,

But how of Cawdor? The Thane of Cawdor lives A prosperous gentleman,

Well yes, I am already Thane of Glamis, that part is true, but someone else is Thane of Cawdor and I can’t inherit from someone who isn’t dead.

to be king Stands not within the prospect of belief,

I can’t believe you say I am going to be king!

Say from whence




Hang on a minute, where did you get that idea from? And why have you come to tell us these things?


In borrowed robes?

The Thane of Cawdor is alive and well. What are you talking about? That’s not my title.

Glamis, and Thane of Cawdor:


If the first two prophecies are true, then the best one is still to come, so yes! I am going to be king!

Do you not hope your children shall be kings,



Perhaps we can believe them now,

because they were right about me

being Thane of Cawdor. Aren’t you

excited that your children could be

kings?








Against the use of nature?

What if I have to do something

terrible to become king, like a

murder?

Present fears




Is smothered in surmise, and nothing is,

But what is not.

I am confused. If all this is good

news, which it is, why do I feel so

scared?

If chance will have me king, why chance may crown me

Without my stir.

Maybe I don’t need to do anything. Just let being king happen to me like being Thane of Cawdor did.

Come what come may,

Time and the hour runs through the roughest day.

Oh well, let’s see how I feel tomorrow; what will happen will happen.

Lesson 3

Resource 5


‘Stars, hide your fires’ freeze frame

Macbeth tells the audience in an aside (where he speaks to us but the other characters

cannot hear him):

Macbeth: The Prince of Cumberland: that is a step

On which I must fall down, or else o’erleap,

For in my way it lies. Stars, hide your fires,

Let not light see my black and deep desires,

The eye wink at the hand. Yet let that be,

Which the eye fears when it is done to see.

Now that Duncan has given

Malcolm the title of the Duke of

Cumberland, Macbeth has realised

that he is not going to be King

without taking action. Malcolm is

in his way. He tells the stars not to

shine so no one can see what he is

thinking – his thoughts are evil.

However, we are not told what Malcolm or Banquo are thinking. The other lords too may

have some private thoughts.

In a small group, prepare a freeze frame (still picture) of the scene where Duncan is

giving out his rewards. One of you should play Duncan, one should play Macbeth, one

should play Banquo and any other group members should play the other lords who

attend. On an agreed signal, each character unfreezes to speak his thoughts. Perform

your scene for the rest of the class.

Extension task

Macbeth has been given a new title, land and a second castle. But he is still not happy.

He wants more. What advice would you give Duncan at this point? Each character can

answer this in role.

Lesson 3

Resource 6


‘Stars, hide your fires’ reward certificates

King Duncan’s Awards

The noble King of Scotland, Duncan,

is pleased to award

.................................................................

To his loyal subject

.................................................................

To show his gratitude for

.................................................................

.................................................................

.................................................................

.................................................................

In the field of battle

Signed .........................

King of Scotland

Act 1

Lesson 4


Lesson 4 – Lady Macbeth (Act 1 Scene 5)

Starter activities

Who would marry Macbeth? Students consider: from what we know of Macbeth,

what might his wife be like as a character? (AO1)

Send the message: Macbeth writes his wife a letter about what has happened to

him. Before your students read Act 1 Scene 5, ask them to write a text message from

Macbeth to his wife with the news he needs to tell her. (AO1)

Main activities

First impressions: Support your students in reading the first part of Act 1 Scene 5

using the resource Impressions of Lady Macbeth (Resource 7) which compares our

earlier understanding of Macbeth with her opinions of him. (AO1)

The evil within: Explore Lady Macbeth’s second soliloquy (which begins ‘The raven

himself is hoarse’) in Act 1 Scene 5 with the resource Lady Macbeth: the evil within

(Resource 8). The first task is to display her speech and type in evil words; you could

instead give students a paper copy of the speech to annotate and use the PowerPoint

slide to consolidate your class’s ideas. (AO2)

Exploring the imagery: Pair up your students and ask them to read from Macbeth’s

entrance in Act 1 Scene 5 to the end of the scene. Use the resource O, never shall

sun that morrow see! (Resource 9) to examine the language used by Lady Macbeth

and the relationship between the pair. (AO1, AO2)

Plenary activities

Illustrate the imagery: In Lady Macbeth’s speech beginning ‘Oh never / shall sun

that morrow see’ (explored in the activity above), students choose one of the

following images to illustrate, discussing the relevance and impact of the imagery:

1. Your face, my thane, is as a book where men

May read strange matters

2. Look like th’innocent flower

But be the serpent under’t. (AO2)

Who is the most dangerous? Students consider who is the most dangerous: Macbeth

or Lady Macbeth? (AO1)

Lesson 4

Resource 7


Impressions of Lady Macbeth

1. Read from the start of Act 1 Scene 5 to ‘To have thee crown’d withal.’

Lady Macbeth reads aloud Macbeth’s letter, then she comments on it. How does

Shakespeare make the letter and the comments different?

2. What impression do we gain from Lady Macbeth about her husband, compared to the

idea we have of him so far? Add your ideas around the images below.

Macbeth before

Macbeth now

3. Work with a partner and jot down your responses to these questions:

Would she know him best?

Why does she intend to ‘chastise’ him?

Does she want him to be king? Can you find any evidence for her wanting Macbeth to kill the king?

4. Read the conversation with the attendant. Why does she think the servant is ‘mad’ to say the king is coming to the Macbeths’ castle that very night?

Lesson 4

Resource 8


The evil within






Lesson 4

Resource 9


‘O, never shall sun that morrow see!’

Task one

Read the duologue from the entrance of Macbeth to the end of the scene, then answer

the questions below.

1. What advice is she giving Macbeth in her speech

beginning ‘O, never shall sun that morrow see!’

and why? Does the way she expresse it help the

audience remember what she said? Why has she

used this imagery?

2. How does Lady Macbeth indicate she wants

Duncan to be killed?

3. How does Macbeth reveal his reluctance to

comply with her wishes?

4. Who do you think has the upper hand in this

relationship? Back up your idea with evidence

from the play.

Task two

Consider the different moods Lady Macbeth shows in the whole of Act 1 Scene 5 and

answer the following question:

How does Lady Macbeth’s mood change as the scene progresses?

You could use some of the words below to help you answer.

excited evil vindictive manipulative

calm controlled business-like determined

persuasive calculating optimistic spiritual

valiant cowardly scheming selfish

Act 1

Lesson 5


Lesson 5 – To kill a king (Act 1 Scenes 6-7)

Starter activities

Advertise the castle: Ask students to look at the conversation between Duncan and

Banquo at the start of Act 1 Scene 6 (ten lines). Translate their words into an estate

agent’s or cottage holiday advert for a castle. You could start by looking at the

language used by Airbnb hosts for castles: www.airbnb.co.uk/wishlists/stay-in-a-

castle or one of the promotional videos (e.g. ‘Belong anywhere’ on their website

homepage) as inspiration. NB These links are correct at the time of publication.

(AO2)

Dramatic irony: Display the opening ten lines of the scene on the whiteboard and ask

students to consider the following questions:

1. How does this quotation link with Lady Macbeth’s previous advice: ‘look

like th’innocent flower, / But be the serpent under’t’?

2. Why is this conversation full of dramatic irony (when the audience knows

something the characters do not)? Find examples. (AO2)

Equivocation quiz: To prepare students for analysing Lady Macbeth’s language in Act

1 Scene 6, give students the resource Equivocation quiz (Resource 10) to determine

to what extent they are an equivocator. (AO2)

Main activities

Conspiracy to kill a king: Explain to students the context for the Macbeths’ plot:

Killing a king was the worst crime possible, because the king was believed to

rule by divine right. To plot to kill a king was therefore a plot against God.

People of this time thought that they would go to hell for this crime, even if

they got away with it in real life. Lady Macbeth and Macbeth risk their souls

for earthly ambition. People in Shakespeare’s time had seen traitors executed

for plotting against royalty. They would be fascinated and terrified by what

the Macbeths are plotting to do.

http://www.airbnb.co.uk/wishlists/stay-in-a-castle

http://www.airbnb.co.uk/wishlists/stay-in-a-castle

Act 1

Lesson 5


With this in mind, ask students to read Act 1 Scene 6 from Lady Macbeth’s entrance,

and then find quotations to show how Duncan flatters Lady Macbeth:

1. You are my honoured hostess.

2. Thank you for going to the trouble of providing beds and food for me and

my men – I know it must be a lot of work.

3. Your husband rode very fast to get home before us because he loves you so

much.

4. I am going to continue to favour you and Macbeth. (AO1, AO3)

Lady Macbeth’s equivocation: Following on from the ‘Equivocation quiz’ starter,

students could use the resource Lady Macbeth’s equivocation (Resource 11) to

explore her language and behaviour in Act 1 Scene 6. (AO1, AO2)

Euphemism and persuasion: Explore Macbeth’s soliloquy in Act 1 Scene 7 with your

students, using the resource Macbeth’s soliloquy (Resource 12) to consider his use of

euphemistic language. Continue reading to the end of the scene with your class,

asking students to identify Lady Macbeth’s persuasive language. You could also use

the resource Act 1 Scene 7 Persuasion (Resource 13) to explore this further. (AO2)

Plenary activities

Summary of the scenes: Looking back on Act 1, ask students to produce a one line

summary of each scene. For example for Scene 1: Away from the battlefield, three

witches arrange a meeting. (AO1)

Characters: Students sum up the main characters by using three adjectives for each

one: Banquo, Macbeth, Lady Macbeth, King Duncan. For example: Banquo – loyal,

wary, happy-go-lucky. (AO1)

Persuasion: Recap Lady Macbeth’s persuasive techniques using the resource

Persuasive techniques in Act 1 Scene 7 (Resource 14), where students rate the

effectiveness of the techniques and explain the technique they feel is most

effective. (AO2)

Lesson 5

Resource 10


Equivocation quiz

Answer these questions to find out whether you are an equivocator.

Select the best fit answer from the options, ticking your preference.

1. An elderly relative has given you a really horrible hand-knitted jumper. Your response is:

a. ‘That’s a really vile jumper. If I wore that my friends would laugh at me.’

b. ‘What an interesting colour and pattern! No one I know has anything like that.’

c. ‘Oh I love it. I will treasure it and wear it every day.’

d. ‘Thank you, it might come in handy.’

2. A small child gives you a very poor scribbly drawing they have done. Do you …?

a. Laugh and ask the child what it is meant to be.

b. Pin it up on the fridge saying it’s marvellous and you are going to keep it forever but intend to throw it away when the child isn’t looking.

c. Tell the child it is a wonderful drawing and they are going to be a famous artist when they grow up.

d. Give the child some pointers on how to improve their work.

Lesson 5

Resource 10


3. Your best friend is telling you about someone he or she really fancies. You know there is no chance they will get a date. Do you say:

a. ‘What? Don’t make me laugh. You have no chance with him/her.’

b. ‘Maybe they are not as nice as you think. I’ve heard some nasty gossip.’

c. ‘You are far too good for him/her.’

d. ‘Never mind him/her. I can get us a double date with someone nicer. Let’s meet up at the weekend and try the new coffee shop in town.’

4. You’ve been invited to a party but you really don’t want to go, because the person who invited you is a bully. Do you …?

a. Tell them you wouldn’t go if they paid you to.

b. Accept the invitation with apparent pleasure but then make up an excuse on the night and pretend you are really upset you can’t go.

c. Go, and buy them a really good present. Boast to everyone you have been invited and hope it gets back to the bully, because you need to stay in their good books.

d. Say you are really sorry but you won’t be able to come because you already have plans.

If you answered …

mostly a: you are far too straightforward and could do with developing some tact but at least people know where they stand with you.

mostly b: you are an equivocator. This power can be used to good or ill; be careful when you use it!

mostly c: you could come across as insincere, so curb a tendency to flatter people.

mostly d: you are a kind person who knows how to be tactful, but be careful you don’t become an equivocator.

Lesson 5

Resource 11


Lady Macbeth’s equivocation

Lady Macbeth uses equivocation (where you use language to hide the truth).

Equivocation is one of the sins the Porter mentions later in the play. Here’s how Lady

Macbeth’s equivocation works:

What Lady Macbeth says

What Duncan thinks she means

What the audience suspect she means

‘All our service in every point twice and done and then done double’

We have gone to a lot of care and double checked things to make sure your stay is comfortable.

I have checked my plans to murder you over several times to make sure it happens.

‘Those honours deep and broad with which your majesty loads our house’

Thank you for all you have done for us.

You have not done enough for us; you could have named Macbeth your heir.

‘Your servants ever have theirs [spurs]’

Your servants are keen to give you all they have because they love you – us included.

You spur us on to kill you.

Discuss these questions below and agree your answers before jotting them down.

1. Remember Lady Macbeth’s advice to her husband:

Your face, my thane, is as a book where men

May read strange matters

Look like th’innocent flower

But be the serpent under’t.

How well does she show the audience that she is following this advice here?

2. Dramatic irony happens in plays when the audience knows something not all the

characters do. If this play was a pantomime, you would want to shout out a warning to

Duncan here that Lady Macbeth plans to kill him, but because it is a tragedy, you are

not supposed to shout out. So how does this dramatic irony make you feel, as an

audience member?

3. At this point in the play, which character do you like the most and why? Is that the

same thing as enjoying watching the character on stage? Which character do you prefer

watching? Share why with a partner.

Lesson 5

Resource 12


Macbeth’s soliloquy

A soliloquy is where one character has a solo speech on

stage. Shakespeare uses them to show the audience what

the character is thinking.

Macbeth’s soliloquy at the start of this scene shows he is

unsure about their planned murder. Macbeth is talking to

himself on stage. He does not really want to kill King

Duncan but he knows he has to if he wants to become

King. He will not use the word ‘kill’ as he cannot face it.

Task one

1. Read through this modern version of the speech and highlight or underline the words

or phrases used instead of ‘kill’ or ‘murder’.

2. Now read it out loud substituting the words you’ve highlighted or underlined with the

words ‘kill’ or ‘murder’.

If I am going to do it, I’d better do it quickly. I wouldn’t worry about it if I thought I

could get away with it and become king without anyone suspecting me. I know it is wrong

to do this thing, and if I do wrong to the king, someone might do the same to me. I might

even be done away with myself by someone else who wants to be king instead. Evil deeds

have a way of coming back to the person who did them. Perhaps I shouldn’t do this deed.

I mean, he is a member of my family and he is my king. I’m supposed to be his most loyal

knight. And even worse, he’s staying at my house. To do this thing is no way to treat a

guest! In fact, I ought to be protecting him from anyone who might want to hurt him.

He is such a good person too. Everyone loves him. People will hate anyone who treats

him cruelly. The whole country would cry and mourn at his passing. And I would only be

doing it so I could be king. That seems very selfish. Besides, he’s just been really good to

me, making me Thane of Cawdor. To take away his life seems such a mean thing to do!

I’d like to feel good for a while before I do something so dreadful.

Lady Macbeth, my wife, tells me I must do as I promised. She always keeps her promises,

even when they are cruel. She’s just told me she would kill her own baby if she’d

promised. Sometimes she frightens me. I don’t want her to think I am a coward. I

promised her I would do this, so I will.

Lesson 5

Resource 12


Task two

Now read Shakespeare’s version:

Macbeth

If it were done when ’tis done, then ’twere well

It were done quickly. If th’assassination

Could trammel up the consequence and catch

With his surcease, success, that but this blow

Might be the be-all and the end-all — here,

But here, upon this bank and shoal of time,

We’d jump the life to come. But in these cases,

We still have judgment here that we but teach

Bloody instructions, which, being taught, return

To plague th’inventor. This even-handed justice

Commends th’ingredience of our poisoned chalice

To our own lips. 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 newborn 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 th’other —

1. Repeat task one with the original version above.

2. Why does Macbeth avoid the words kill and murder? Instead he uses euphemism, a

technique people use when they want to avoid speaking openly, for example, we use

‘pass away’ instead of die.

3. List the reasons he gives for not wanting to go ahead. Use the modern version to help

you if you need to. Do you think these are valid reasons?

Lesson 5

Resource 13


Act 1 Scene 7: persuasion

1. In pairs or groups of three, role play a scene in which one or two

people are persuading another person to do something wrong. You

could choose one of the following examples:

shop lifting

going to a party your parents don’t want you to go to

taking drugs.

The person or people doing the persuading should develop at least five arguments why the

other person should go ahead with the act and the person being persuaded should use at

least five reasons why he or she shouldn’t.

2. When you have finished the role play think about the kinds of strategies which you used both

to persuade someone to do something and to argue against doing it.

For example:

Did the person doing the persuading use bribery or did he or she accuse the other person of

being a wimp?

Why do you think this is such a powerful tool of persuasion?

How difficult did the person being persuaded find it to argue back?

3. Discuss the strategies your group used with a group who chose another issue. Were the

strategies the same? Which strategies would only work with a specific issue?

Persuading Macbeth to kill Duncan

4. When you have read to the end of Act 1 Scene 7 discuss the tactics Lady Macbeth uses to

persuade Macbeth to carry out the murder of Duncan.

Does she use any of the strategies you used in your role play?

Lady Macbeth’s persuasiveness

5. Lady Macbeth is skilful in persuading Macbeth to murder the king and so make the weird

sisters’ prophecy come true.

What do you think her success at persuading Macbeth suggests about her character and her

relationship with her husband?

6. Find quotations to show how Lady Macbeth uses the tactics listed in the following chart to

persuade Macbeth to go through with the murder.

Comment on how effective each quotation is as a means of persuasion.

Does Lady Macbeth use any ways of persuading Macbeth to kill Duncan which haven’t been

listed below?

Lesson 5

Resource 13


Table Quotation Effectiveness

Flattery

Accusing Macbeth of cowardice

And live a coward in thine own esteem, Letting I dare not wait upon I would, Like the poor cat i’th’adage? (lines 43-5)

Here Lady Macbeth is referring to a proverb in which a cat wanted to catch fish but didn’t want to get its feet wet. It is effective because Lady Macbeth is suggesting Macbeth won’t be able to have self-respect if he doesn’t commit the murder.

Questioning Macbeth’s manhood

Reassurance

Emphasising her own determination

Lesson 5

Resource 14


Persuasive techniques in Act 1 Scene 7

1. Read from Lady Macbeth’s entrance to the end of Act 1 Scene 7.

2. Lady Macbeth uses a number of persuasive techniques in Act 1 Scene 7. Rate each

part of her argument, giving up to five stars.

3. Choose the one you rated most highly and write a full paragraph to explain why it is

an effective persuasive technique.

Quotation What she is doing Your star

rating

Was the hope drunk

Wherein you dress’d yourself? Hath it slept

since?

And wakes it now to look so green and pale

At what it did so freely?

Using rhetorical questions to

mock him and make him

feel small. Reminding him

he already said he would do

it.

From this time

Such I account thy love.

Moral blackmail, saying she

won’t love him anymore if

he doesn’t kill Duncan.

Art thou afeard

To be the same in thine own act and

valour,

As thou art in desire?

Rhetorical question implying

he is a coward.

Wouldst thou have that

Which thou esteem’st the ornament of life,

And live a coward in thine own esteem,

Letting I dare not wait upon I would,

Like the poor cat i’th’adage?

Rhetorical question implying

he wants to be king but

won’t take any risks to get

what he wants.

What beast was’t then

That made you break this enterprise to me?

When you durst do it, then you were a

man.

And to be more than what you were, you

would

Be so much more the man.

In Jacobean times, there

were accepted qualities

which made a man

respected. Here, she uses a

rhetorical question to make

him feel he would be a man

if he kills Duncan, in her

eyes, but as low as an

animal if he does not.

Lesson 5

Resource 14


Quotation What she is doing Your star

rating

Nor time, nor place

Did then adhere, and yet you would make

both.

They have made themselves and that their

fitness now

Does unmake you.

She builds his confidence

here by saying that they will

never have a better chance

to get what they want. But

maybe he thinks it’s too

perfect?

I have given suck and know

How tender ’tis to love the babe that milks

me:

I would, while it was smiling in my face,

Have plucked my nipple from his boneless

gums

And dashed the brains out, had I so sworn

As you have done to this.

She does two things here.

1. Gives an extreme

example of a murder which

makes this one seem less

bad.

2. Says she would keep her

promise, and women were

believed to be naturally soft

and kind by Shakespeare’s

audience, so she would be

going against nature to kill

her own baby.

But screw your courage to the sticking-

place,

And we’ll not fail.

She uses flattery: it can’t go

wrong if you are brave.

When Duncan is asleep,

Whereto the rather shall his day’s hard

journey

Soundly invite him, his two chamberlains

Will I with wine and wassail so convince

That memory, the warder of the brain,

Shall be a fume, and the receipt of reason

A limbeck only. When in swinish sleep

Their drenchèd natures lies as in a death,

What cannot you and I perform upon

Th’unguarded Duncan? What not put upon

His spongy officers, who shall bear the guilt

Of our great quell?

She lays out what seems a

foolproof plan: she will drug

Duncan’s guards at the

feast, so they will sleep

through the murder. They

can then put the blame on

them – the guards won’t

remember whether they did

it or not.

Who dares receive it other,

As we shall make our griefs and clamour

roar

Upon his death?

She reassures him by telling

him to make a great show of

his sorrow when the murder

is discovered.

Act 1

Exam style questions


Act 1: Exam style questions

AQA

Section A: Shakespeare

Answer one question from this section on your chosen text.

Macbeth

Read the following extract from Act 1 Scene 3 of Macbeth, and then answer the question that

follows it.

At this point in the play, Macbeth has just been told that he has been made Thane of Cawdor,

shortly after hearing the witches make their prophecies.

MACBETH

[Aside] Two truths are told,

As happy prologues to the swelling act

Of the imperial theme.— I thank you, gentlemen. —








Against the use of nature? Present fears




Is smother’d in surmise, and nothing is,

But what is not.

BANQUO

Look how our partner’s rapt.

MACBETH

If chance will have me king, why chance may crown me

Without my stir.

5

10

15

01 Starting with this moment in the play, explore how Shakespeare presents Macbeth’s ambition.

Write about:

how Shakespeare presents Macbeth at this point in the play

how Shakespeare presents Macbeth in the play as a whole.

[30 marks]

A04 [4 marks]

Act 1



Edexcel

SECTION A – Shakespeare

Answer the question on ONE text from this section.

You should spend about 55 minutes on this section.

You should divide your time equally between question parts (a) and (b)

Macbeth – from Act 1 Scene 3, lines 36 to 76

In this extract, Macbeth and Banquo encounter the witches.

MACBETH

So foul and fair a day I have not seen.

BANQUO

How far is’t call’d to Forres? What are these,

So withered and so wild in their attire,

That look not like th’inhabitants o’th’earth,

And yet are on’t? — Live you, or are you aught

That man may question? You seem to understand me,

By each at once her choppy finger laying

Upon her skinny lips; you should be women

And yet your beards forbid me to interpret

That you are so.

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

All hail Macbeth, that shalt be king hereafter.

BANQUO

Good sir, why do you start and seem to fear

Things that do sound so fair? — I’th’name of truth

Are ye fantastical, or that indeed

Which outwardly ye show? My noble partner


Of noble having and of royal hope

That he seems rapt withal. To me you speak not.

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.

FIRST WITCH

Hail.

5

10

15

20

25

Act 1



SECOND WITCH

Hail.

THIRD WITCH

Hail.

FIRST WITCH

Lesser than Macbeth, and greater.

SECOND WITCH

Not so happy, yet much happier.

THIRD WITCH

Thou shalt get kings, though thou be none.

So all hail Macbeth and Banquo.

FIRST WITCH

Banquo and Macbeth, all hail.

MACBETH

Stay, you imperfect speakers. Tell me more.

By Sinel’s death, I know I am Thane of Glamis,

But how of Cawdor? The Thane of Cawdor lives

A prosperous gentleman, and to be king

Stands not within the prospect of belief,

No more than to be Cawdor. Say from whence




Witches vanish

30

35

40

1. (a) Explore how Shakespeare presents the characters of Macbeth and Banquo being

manipulated by the witches in this extract.

Refer closely to the extract in your answer.

(20)

1. (b) In this extract, the supernatural element is shaping the plot. Explain the importance of

the supernatural elsewhere in the play.

In your answer you must consider:

• how the supernatural is presented

• why the supernatural is important.

You must refer to the context of the play in your answer.

(20)

(Total for Question 1 = 40 marks)

Act 1



OCR

Section B

Shakespeare

Macbeth

Choose ONE question.

You are advised to spend about 45 minutes on this section.

EITHER

8 Explore the idea that Shakespeare contrasts the characters of Macbeth and Banquo. Refer to

this extract from Act 1 Scene 3 and elsewhere in the play.

[40]*

In this extract Macbeth and Banquo have just heard the witches’ prophecies. Macbeth has just

found out he has been made Thane of Cawdor.

BANQUO

What, can the devil speak true?

MACBETH


In borrowed robes?

ANGUS

Who was the thane, lives yet,

But under heavy judgement bears that life

Which he deserves to lose.

Whether he was combined with those of Norway,

Or did line the rebel with hidden help

And vantage, or that with both he laboured

In his country’s wrack, I know not,

But treasons capital, confessed and proved,

Have overthrown him.

MACBETH

[Aside] Glamis, and Thane of Cawdor:

The greatest is behind. — Thanks for your pains. —

[To BANQUO] Do you not hope your children shall be kings,



BANQUO

That trusted home,

Might yet enkindle you unto the crown,

Besides the Thane of Cawdor. But ’tis strange,





Act 1



OR

9 In what ways is Macbeth an important character in the play? Explore at least two moments

from the play to support your ideas.

[40]*

Quality of extended responses will be assessed in questions marked with an asterisk (*).

Act 1



WJEC Eduqas

2. Macbeth

Answer both part (a) and part (b).

You are advised to spend about 20 minutes on part (a), and about 40 minutes on part (b).

(a) Read the extract below.

What does this extract show an audience about Macbeth’s state of mind at this point in the play?

Refer closely to details from the extract to support your answer.

[15]

MACBETH

If it were done when ’tis done, then ’twere well




Might be the be-all and the end-all — here,


We’d jump the life to come. But in these cases,

We still have judgement here that we but teach

Bloody instructions, which being taught, return




















*(b) Write about Lady Macbeth and the way she is presented in Macbeth.

[25]

*5 of this question’s marks are allocated for accuracy in spelling, punctuation and the use of

vocabulary and sentence structures.

Act 2

Lesson 6


Act 2

Act 2

Lesson 6 – Preparing to murder a king (Act 2 Scene 1)

Starter activities

Whatever the weather: Discuss the effects of the weather on our mood. Ask your

class to rate how much they are affected by: sunshine, rain, storms, darkness, the

cold. You could ask them to stand in a continuum line across the room. (AO1)

Why murder Duncan? At the end of Act 1, the Macbeths had resolved to kill Duncan.

What factors went into the making of this decision? Brainstorm ideas as a class.

Possible responses are: their ambition, their impatience, the prophecies of the

witches, Malcolm being made Duncan’s heir instead of Macbeth, the circumstances of

Duncan coming to stay with them so the murder is easier, Macbeth wanting to prove

to his wife that he is no coward. (AO1)

Main activities

Macbeth and Banquo: The two men are presented in contrasting ways in this scene.

Read through the first part of the scene up to Macbeth’s soliloquy (‘Who’s there?’)

and ask pairs to consider their responses to the following questions:

1. What do you think the relationship between Banquo and his son is like?

2. ‘There’s husbandry in heaven / Their candles are all out’: What is the

effect of the darkness on the mood in this scene?

3. How does Banquo feel about his encounter with the witches and why is he

having to resist temptation? How does Macbeth feel about their encounter?

4. How does Banquo’s behaviour change when Macbeth arrives?

5. What lies does Macbeth tell his friend? (AO1)

Act 2

Lesson 6


Is this a dagger? Using the resource Is this a dagger? (Resource 15) explore Macbeth’s

soliloquy. You could show your class a YouTube clip of the soliloquy as preparation

for the activities:

www.youtube.com/watch?v=pusU90ov8pQ (Patrick Stewart)

www.youtube.com/watch?v=cA0NyeFpCY8 (Ian McKellen) (AO2)

Plenary activities

Conscience alley: Choose one student to take the role of Macbeth. Divide the rest of

the class roughly into two. The students form two lines, facing inwards. Macbeth

walks down the middle slowly. Each student acts as his conscience, with the students

on his right each giving a reason not to kill Duncan and the students on the left

spurring him on with their comments. Macbeth listens in silence and makes a decision

at the end of the alley. If a wooden dagger can be used, they can surrender it or

point it as they reveal their decision. The same effect could be achieved by dividing

the class and having them write a Post-it note of what they would say to Macbeth,

and adding these to the whiteboard. (AO1)

Pictionary: Choose some of the imagery from the scene (the moon, stars, dagger,

eyes, blood, dreams, sleep, a ghost) and play Pictionary in whichever form you like:

eyes open, eyes closed, as a whole class or in pairs. Ask students to explain how

these images fit with the emerging themes of appearance and reality, and truth and

deception. (AO2)

http://www.youtube.com/watch?v=pusU90ov8pQ

http://www.youtube.com/watch?v=cA0NyeFpCY8

Lesson 6

Resource 15


Is this a dagger?

Task one

Read Macbeth’s soliloquy from Act 2 Scene 1, below.

Choose one colour to highlight or underline words or

phrases that show Macbeth’s madness, and another

colour to show his sanity.

Is this a dagger which I see before me,

The handle toward my hand? Come, let me clutch thee:

I have thee not, and yet I see thee still.

Art thou not, fatal vision, sensible

To feeling as to sight? Or art thou but

A dagger of the mind, a false creation,

Proceeding from the heat-oppressèd brain?

I see thee yet, in form as palpable

As this which now I draw.

Thou marshall’st me the way that I was going;

And such an instrument I was to use.

Mine eyes are made the fools o’th’other senses,

Or else worth all the rest. I see thee still

And on thy blade and dudgeon gouts of blood,

Which was not so before. There’s no such thing:

It is the bloody business which informs

Thus to mine eyes. Now o’er the one half-world

Nature seems dead, and wicked dreams abuse

The curtained sleep. Witchcraft celebrates

Lesson 6

Resource 15


Pale Hecate’s off’rings, and withered murder,

Alarumed by his sentinel, the wolf,

Whose howl’s his watch, thus with his stealthy pace.

With Tarquin’s ravishing strides, towards his design

Moves like a ghost. Thou sure and firm-set earth,

Hear not my steps, which way they walk, for fear

Thy very stones prate of my whereabout,

And take the present horror from the time,

Which now suits with it. Whiles I threat, he lives:

Words to the heat of deeds too cold breath gives.

A bell rings

I go, and it is done. The bell invites me.

Hear it not, Duncan, for it is a knell

That summons thee to heaven or to hell.

Key

Madness

Sanity

Task two

Working in a pair, take it in turns to perform the soliloquy.

One partner reads it as though Macbeth’s mind is disturbed and the other as though he is

of sound mind.

Why does Shakespeare make Macbeth’s feelings ambiguous here?

Lesson 6

Resource 15


Task three

Earlier Macbeth was against killing the king, until his wife persuaded him. Reread his

soliloquy from Act 1 and compare it with the soliloquy you have read in Act 2, using the

table below. One comparison has been done for you as an example.

Act 1 Scene 7

Macbeth: If it were done when ’tis done, then ’twere well




Might be the be-all and the end-all – here,


We’d jump the life to come. But in these cases

We still have judgment here that we but teach

Bloody instructions, which, being taught, return




















Lesson 6

Resource 15


Act 2 Scene 1






























A bell rings




Lesson 6

Resource 15


What has changed? Macbeth:

‘If it were done when ’tis done’

Macbeth:

‘Is this a dagger which I see

before me’

Attitude towards

killing the king

Attitude towards

Duncan

His mental state

The words he uses

He avoids the word ‘murder’

and talks about angels and

newborn babies.

He talks about hell,

wickedness, blood, ghosts,

witches, nightmares. He can

now say ‘murder’.

How evil he is

How afraid he is

Extension task

When you have finished the table, use it to write a paragraph on how Macbeth’s

character has developed from Act 1 to Act 2, including brief quotations.

Lesson 6

Resource 15



In this example, words which show a disturbed mind are highlighted in red, and sane

ones in purple. Of course your students will give different interpretations which can also

be rewarded.



I have thee not, and yet I see thee still. 1


To feeling as to sight? 2 Or art thou but


Proceeding from the heat-oppressèd brain? 3


As this which now I draw. 4




Or else worth all the rest. 5 I see thee still


Which was not so before. 6 There’s no such thing:


Thus to mine eyes. 7 Now o’er the one half-world






With Tarquin’s ravishing strides, towards his design 8



Thy very stones prate of my whereabout, 9



Words to the heat of deeds too cold breath gives. 10

A bell rings




1. Seeing visions is the product of a disturbed mind.

2. He tests to see if it is real or not.

3. He questions his sanity.

4. But he still sees the vision.

5. He suspects he is seeing things.

6. The vision changes, gets worse.

7. Realises there is nothing there.

8. Obsesses about ghosts and nightmares.

9. Personifies the stones (shows his paranoia).

10. Sane, knows what he is doing but determined to kill the king.

Lesson 6

Resource 15


What has changed? Macbeth: ‘If it were done when ’tis done’

Macbeth:

‘Is this a dagger which I see before me’

Attitude towards killing the king

Thinking of lots of reasons against killing Duncan.

Now determined to kill Duncan.

Attitude towards Duncan

As Duncan is both family and his king, he should be protecting him. Also Duncan is a good person and king.

Wants to kill him and does not care whether he goes to heaven or hell.

His mental state Sane and logical, but afraid to admit to himself what he is planning to do.

Unstable, seeing visions.

The words he uses He avoids the word ‘murder’ and talks about angels and newborn babies.

He talks about hell, wickedness, blood, ghosts, witches, nightmares. He can now say ‘murder’.

How evil he is Wants people to think well of him, is still at heart a good person.

Seems to have become completely evil.

How afraid he is

Afraid of being caught, or of being assassinated in his turn; he is worried about his soul, if he commits this dreadful sin.

Still afraid but not as scared as he was before. He fears being heard before he can commit the murder.

Act 2

Lesson 7


Lesson 7 – The aftermath of the murder (Act 2 Scene 2)

Starter activities

Lady Macbeth: Students independently read Lady Macbeth’s speech at the start of

Scene 2, up to ‘live or die’. What is her mood here? Ask for evidence to support

ideas. (AO1)

Murder offstage: Ask students to consider why Shakespeare didn’t show the murder

on stage. They could work in pairs to come up with up to five reasons, and rank these

from the most to least likely. (AO1)

Main activities

Who’s to blame? Read through Act 2 Scene 2. The class decides whether the

following responsibilities for the murder plan belong to Lady Macbeth or Macbeth.

The list could be displayed on the board for class discussion. From this activity, they

should realise that all Macbeth has to do is the actual murder. There is an interactive

activity (Resource 16) for this task.

1. Drugs the guards who sleep in Duncan’s room and places their daggers

ready to implicate them.

2. Rings the bell to signal it’s time to kill Duncan.

3. Encourages the other one not to worry.

4. Kills the king.

5. Makes a personal reminder to wash the blood off their hands.

6. Takes the guards’ daggers back into the room when they have been brought

out by mistake.

7. Reminds them to change into their night clothes to look like they have

been to bed. (AO1)

Act 2

Lesson 7


The trial for murder: Based on the evidence in the Who’s to blame? task, students

decide who is the most guilty. In groups, students imagine that Macbeth and Lady

Macbeth are being tried for their crimes. Allocate roles to groups of five using the

resource 'The trial for murder' role cards (Resource 17). (AO1)

Speech: Using the evidence in the Who’s to blame? task, you could instead ask your

students to write a case for the prosecution or defence for either Macbeth, Lady

Macbeth or the supernatural. You could use the resource Who is responsible for the

death of King Duncan? (Resource 18) to prompt students’ thinking. You could ask

more able students to write two cases: one for prosecution and one for the defence

of either character. This would be good for critical thinking skills and argument

writing skills. (AO1, AO4)

Plenary activities

Staging the trial: You could get some or all of the groups to perform their trials and

cast the rest of the class as jury. After the speeches, the jury can take a vote on

innocent or guilty for each one, and the judge can invent a suitable sentence. (AO1)

Emotion tennis: Students work in pairs. One person says an emotion felt by Lady

Macbeth or Macbeth in this scene (e.g. afraid). They take it in turns to ‘bat’ back and

forth emotions from the scene. You could ask them to use tennis scoring, and to

complete a single ‘match’. Share responses as a class and discuss which character is

most afraid, confident, proud etc. Alternatively, list the emotions on the board and

ask students to find supporting evidence for each. (AO1)

Lesson 7

Resource 16


Who's to blame?

We’ve included a screenshot of the interactive version here so you

can see the resource. To access this resource please log in to the

Teachit English website and type ‘26803’ into the search bar.


Lesson 7

Resource 17


‘The trial for murder’ role cards

Macbeth’s prosecution lawyer

You need to prove that Macbeth is guiltier of murdering King Duncan than his wife. What

has he done? What evidence is there? Who are the witnesses? What did Macbeth say or do

to suggest he was most guilty? How would you counter arguments that he was mentally

unstable?

Macbeth’s defence lawyer

You need to prove that Macbeth is less guilty of murdering King Duncan than his wife.

What has he done? What evidence is there? Who are the witnesses? What did Macbeth say

or do to suggest he was less guilty? Could you argue that Lady Macbeth forced him into

doing it? How does he feel about it? Could you argue that he was mentally unstable?

Lady Macbeth’s prosecution lawyer

You need to prove that Lady Macbeth is guiltier of murdering King Duncan than her

husband. What has she done? What evidence is there? Who are the witnesses? What did

Lady Macbeth say or do to suggest she was most guilty? Did she use emotional blackmail?

How does she feel about it?

Lady Macbeth’s defence lawyer

You need to prove that Lady Macbeth is less guilty of murdering King Duncan than her

husband. What has she done? What evidence is there? Who are the witnesses? What did

Lady Macbeth say or do to suggest she was less guilty? Could you argue that without action,

emotional pressure counts for nothing?

Judge

You need to sum up the points raised and make the final

decision on who is guiltier: Macbeth or Lady Macbeth?

Extension

Unfortunately, such a trial would not have happened at the time the play is set. In the

beliefs of the day, the Macbeths would face trial in heaven when they died. To kill a

king was a crime against God, since kings were felt to rule by divine right. If God were

the judge of the Macbeths’ behaviour, who would be guiltier: Macbeth or Lady Macbeth?

Lesson 7

Resource 18


Who is responsible for the death of King Duncan?

Group 1 – Lady Macbeth is guilty!

You must build a case to show the murder of Duncan is the fault of Lady Macbeth. Answer the

following questions, finding evidence from the text to develop and support your answer.

1. Is Lady Macbeth more power hungry than Macbeth?

Clue: Read through her reaction to Macbeth’s account in the letter he has sent her. What

is her reaction?

Development: What does this tell us about her character?

2. Is Lady Macbeth an unnatural woman?

Clue: What does she ask the ‘spirits’ to do to her body, spirit and mind?

Development: What is the difference between her public and private persona and what

does this tell us about what she is capable of?

3. Does Lady Macbeth have supernatural powers or is she perhaps a witch?

Clue: Read her speech in Act 1 Scene 5.

Development: What were the 17th century thoughts and perspectives on witchcraft that

are particularly reflected in the play?

4. Does Lady Macbeth have the power in the marriage?

Clue: Read her exchange with Macbeth in Act 1 Scene 7.

Development: Whose idea is it to kill Duncan? Is Lady Macbeth cleverer than Macbeth?

Lady Macbeth / Credit: Gordon

Anthony / Getty Images / Universal

Images Group / Copyright © Getty

Images / For Education Use Only.

This and millions of other

educational images are available

through Britannica Image Quest.

For a free trial, please

visit www.britannica.co.uk/trial

http://www.britannica.co.uk/trial

Lesson 7

Resource 18


Group 2 – Macbeth is guilty!

You must build a case to show the murder of Duncan is the fault of Macbeth. Answer the


1. Is Macbeth capable of murder?

Clue: What has he done at the beginning of the play?

Development: What does Macbeth’s success as a soldier tell us about what sort of man

he is and what he is capable of?

2. Is Macbeth vain and ambitious?

Clue: What is his reaction to the witches’ prophecy?

Development: Compare his reaction to Banquo’s. What is the difference?

3. Is Macbeth a jealous man?

Clue: What is his reaction to Malcolm’s promotion?

Development: How do jealous people act to the success of others and what might they

be tempted to do?

4. Is Macbeth an insecure man?

Clue: Look at the exchange between Macbeth and Lady Macbeth in Act 1 Scene 7. How

does she persuade him to kill the king?

Development: What sort of marriage do Macbeth and Lady Macbeth seem to have?

MACBETH (1948) - WELLES,

ORSON / Credit: REPUBLIC

PICTURES / Album /

Universal Images Group /

Copyright © Album / For

Education Use Only. This

and millions of other

educational images are

available through

Britannica Image Quest.

For a free trial, please

visit www.britannica.co.uk

/trial



Lesson 7

Resource 18


Group 3 – The supernatural is guilty!

Three Sisters / Credit: Hulton Archive / Hulton Archive / Getty Images / Universal Images Group / Copyright © Getty Images / For

Education Use Only. This and millions of other educational images are available through Britannica Image Quest. For a free trial,

please visit www.britannica.co.uk/trial

You must build a case to show the murder of Duncan is the fault of the supernatural. Answer the


1. Do the three witches cast a spell so powerful that it is beyond the control of any of the

characters?

Clue: Read the opening of the play with the three witches.

Development: Does the beginning of the play already indicate the future is set? How

important are the supernatural and fate in the play?

2. Do you think Macbeth would have started killing if it wasn’t for the witches’ prophecy?

Clue: Read Act 1 Scene 3, the exchange between Macbeth, Banquo and the witches.

Development: Macbeth was a decent man and a decorated soldier. Why would he

suddenly become a cold-blooded killer? Does it indicate the presence of supernatural

forces?

3. Do you think Lady Macbeth was under the influence of supernatural forces?

Clue: Read Lady Macbeth’s speech in Act 1 Scene 5.

Development: Some say Lady Macbeth is a witch and she seems to be casting a spell

here. Explore this idea.


Act 2

Lesson 8


Lesson 8 – Hell’s Gate (Act 2 Scene 3)

Starter activities

The Porter’s speech: Let students hear an audio version or watch a clip of the

Porter’s speech, and discuss why Shakespeare has included it. Shakespeare’s Porter

imagines someone who has committed suicide, an equivocator and a thief. Ask

students to imagine they are in hell and sinners are knocking on the door. What

modern day criminals would they include instead? You could share the audio version

of this scene to discuss:

www.youtube.com/watch?v=Yr4jULsh9Lg (David Tennant) (AO1)

Blood on their hands: Macbeth and Lady Macbeth are covered with blood after

killing their guest, King Duncan. They have gone to their rooms to wash the blood off

and change into their night clothes. In pairs, students role play the conversation they

have offstage when they hear the knocking at the door. (AO1)

Main activities

The alarm is raised: In groups of four, students read from the start of Act 2 Scene 3

up to the entrance of Lady Macbeth (ending with the line ‘To countenance this

horror’). Guide students with the following questions and discuss together:

1. What were Duncan’s plans for the next day?

2. How well is Macbeth concealing his thoughts?

3. Why is the weather important?

4. Why is the owl mentioned here (‘the obscure bird’)?

5. Why does Macduff describe the king as ‘the Lord’s anointed temple’?

6. A Gorgon is a snake-haired woman from Greek mythology who could turn

her victims into stone if they looked at her. How effective is Macduff’s

metaphor here?

7. When Macduff raises the alarm, Shakespeare uses short sentences and

people’s names. What effect does that have on stage and how could it be

performed for maximum effect? (AO1, AO2)

http://www.youtube.com/watch?v=Yr4jULsh9Lg

Act 2

Lesson 8


News of the death: Groups read the rest of the scene, up to the exit of Lady

Macbeth after Macduff’s line ‘Look to the lady’. Ask students to identify the speakers

of these reactions to the death: ‘O horror, horror, horror, / Tongue nor heart cannot

conceive, nor name thee.’ (Macduff) ‘What, in our house?’ (Lady Macbeth), ‘Too

cruel, anywhere … say it is not so.’ (Banquo) ‘O, by whom?’ (Malcolm). They should

then explore what each reaction shows about each of those characters (the contrast

of Lady Macbeth’s and Banquo’s reactions is interesting here). They could also select

examples of dramatic irony in this scene. (AO1, AO2)

‘O gentle lady’: Discuss with students how in Shakespeare’s time, people believed

women were naturally softer and kinder than men. With this in mind, ask students to

look at the presentation of Lady Macbeth in this scene, by creating a mind map of

her character here (her behaviours, her language, the contrast with the male

characters). As an extension, you could ask students to develop their mind map to

cover the presentation of Lady Macbeth in the play so far. (AO1, AO3)

Plenary activities

Did she faint? Whether Lady Macbeth faints or pretends to faint in this scene is up to

the interpretation of the reader/audience. Take a class vote on which is more likely

and discuss why. (AO1)

Hypocrites: Who is the biggest hypocrite in this scene? Macbeth or Lady Macbeth?

Pairs find evidence and put forward their case, for a whole class decision. (AO1)

Act 2

Lesson 9


Lesson 9 – The loss of the king (Act 2 Scenes 3-4)

Starter activities

What next? Since Duncan named his son Malcolm as his heir, by law he should now be

proclaimed king. Ask your students what they think is going to happen next. (AO1)

What’s the question? Display the names of the characters who now discuss the

aftermath of Duncan’s death (Macduff, Banquo, Malcolm, Donaldbain and Macbeth).

If each name is the answer to a question, what is the question? This could prompt

students to revise their knowledge of the characters and their involvement in events

so far. (AO1)

Main activities

Malcolm and Donaldbain: Students should read Act 2 Scene 3 from Lady Macbeth’s

exit to the end of the scene and discuss the following questions:

Why do Malcolm and Donaldbain decide to escape Scotland?

Banquo suggests that they hold an enquiry into Duncan’s death. Based on

what they know, what evidence would he and Macduff use, and who would

they blame? (AO1)

Act 2 Scene 4: Read through the scene. The dialogue between Ross and the Old Man

is quite different to the previous scene. Ask students why it has been included, and

to explore what their topic of conversation and imagery suggests about events to

come.

Possible answers: the Old Man could represent ordinary people’s understanding of

events, pathetic fallacy creates foreboding, there are omens indicated by the

unnatural darkness, the owl and falcon could symbolise Duncan’s murder and the

fighting horses could foreshadow Macbeth killing Banquo. (AO1)

Act 2

Lesson 9


Tweeting the news: In Act 2 Scene 4, Macduff and Ross give us information about

what has happened as a result of the murder and where suspicion falls. Students

compose four tweets to summarise the news.

Tweet 1: who falls under suspicion of the murder?

Tweet 2: who has been announced king and where will he be crowned?

Tweet 3: what has happened to Duncan’s body?

Tweet 4: what does Macduff think about it all and is he going to the

coronation? (AO1)

Plenary activities

Hot-seating: Cast students in role as Macduff, Banquo, Malcolm, Donaldbain and

Macbeth after reading the end of Act 2 Scene 3. Get students to work in groups to

prepare responses to the following questions: Who do you think is to blame for King

Duncan’s death? Why do you think he was killed? Where will you go and why? (AO1)

Tweets: Ask students to share their chosen tweet on a Post-it on the board, or use

iPads to actually tweet the news to a school Twitter account. (AO1)

Act 2

Lesson 10


Lesson 10 – Shakespeare’s language (Act 2 Scenes 1-3)

Starter activities

Language adaptation: Ask students to answer the following questions in response to

being asked by a) a close friend or b) the head teacher:

1. What did you do at the weekend?

2. What plans do you have for the next school holiday?

They should think about how their topic and language choices varied according to

their audience. Shakespeare considers his audience using word choices too. Display

the following quotation on the whiteboard, and ask students to consider the question

that follows. When Macbeth’s hands are covered with blood after the murder, he

says:

‘Will all great Neptune’s ocean wash this blood

Clean from my hand? No: this my hand will rather

The multitudinous seas in incarnadine,

Making the green one red.

‘Incarnadine’ means to make red, so why does the next line say the same thing in

simpler words? You could suggest that Shakespeare was writing for a wide audience

and he has included both for clarity of meaning. (AO2)

‘Look like th’innocent flower, / But be the serpent under’t’: Using the interactive

Matching activity Look like the innocent flower (Resource 19), students should match

up Macbeth’s words throughout Act 2 with the truth he hides beneath them. You

could ask students to find further examples and explain the connection with the

theme of appearance and reality in the play. (AO1, AO2)

Main activities

Levels of language: Using Levels of language (Resource 20), explore the contrasts

between prose and poetry in the play so far. In task three, students may well think

that Macbeth and Lady Macbeth speak in prose, but in fact Shakespeare splits an

iambic pentameter between his two speakers. (AO2)

Act 2

Lesson 10


Themes: Ask students to mind map the development of the key themes in the play so

far. You could use Themes in the play (Resource 21) to help students begin, as well

as providing quotations for students who need support. More able students could be

given fewer quotations as a starting point, and include their own quotations or key

events as evidence. You could return to this activity at a later point in the play, or

complete it as a revision activity. (AO1, AO2)

Theme sorting: As an alternative to creating mind maps for themes, students could

sort the quotations in the resource Themes in the play (Resource 21) into relevant

themes, and consider the context of some of the quotations to discuss their

importance and how they contribute to the relevant theme’s development. (AO1,

AO2)

Plenary activities

Recap on language levels: More able students could look back over the two acts they

have studied and identify examples of different types of language levels used in

specific sections. They suggest ideas about why this level was chosen at that point.

(AO2)

Just a Minute: In pairs, students talk about their understanding of each theme from

either of the theme tasks. Based on the rules of the popular Radio 4 show, give them

a one minute time limit per person, and remind them that they can’t repeat,

hesitate or deviate! Their partner should take over if they don’t manage it. (AO1)

Lesson 10

Resource 19


Like the innocent flower





Lesson 10

Resource 20


Levels of language

Shakespeare’s plays were written to be

played in daylight on an open air stage.

To give a range of intensity and focus,

whereas in modern times a director might

use lighting, and a film director would

use different shots, such as close up and

long shots, Shakespeare uses different

styles of language.

Auditorium of the Garden Theatre at Herrenhausen, Hanover / Credit: Lebrecht / Universal Images Group / Universal Images Group / Copyright © Lebrecht Music & Arts/ For Education Use Only. This and millions of other educational images are available through Britannica Image Quest. For a free trial, please visit www.britannica.co.uk/trial The levels are (in increasing levels of intensity):

Prose – most like normal speech, it is often used for comedy characters and

moments of relaxed talk.

Blank verse – iambic pentameter without rhyme, used for the bulk of a play and

lines are easier to remember.

Rhymed verse – also iambic pentameter, but with the addition of rhyme.

Song – used to give texture and variety, rhymed but not usually iambic. Mostly

used by the witches in Macbeth.

Task one

Prose

The Porter’s speeches in Act 2 Scene 3 are in prose. Read the reasons for this below, and

decide on which is the strongest argument for the Porter speaking in prose. Rank these

from 1-4 (1 being the strongest reason, 4 being the weakest).

Low born character

Relief of tension

Comedy

Contrast from how noble characters speak


Lesson 10

Resource 20


Task two

Blank verse

Look at Macbeth’s soliloquy ‘Is this a dagger which I see before me’. Macbeth is under

the spotlight here. Why is this written in blank verse? List some reasons.

..................................................................................................

..................................................................................................

..................................................................................................

..................................................................................................

Rhymed verse

At the end of this speech some rhymes appear. Find them.

Why do you think they are used?

..........................................................................................................

..........................................................................................................

Task three

Look back at the dialogue between Lady Macbeth and Macbeth after he has killed

Duncan. Using your knowledge, what level of language you do think Shakespeare is using

here?

Macbeth: I have done the deed. Didst thou not hear a noise?

Lady Macbeth: I heard the owl scream and the crickets cry.

Did not you speak?

Macbeth: When?

Lady Macbeth: Now.

Macbeth: As I descended?

Lady Macbeth: Ay.

Macbeth: Hark, who lies i’th’second chamber?

Lady Macbeth: Donaldbain.

Macbeth: This is a sorry sight.

Why do you think he does this? How would you deliver these lines on stage?

.........................................................................................................

.........................................................................................................

.........................................................................................................

Lesson 10

Resource 21


Themes in the play

Shakespeare introduces and develops themes throughout the play.

Here are some of the themes introduced in Act 1 and Act 2:

Appearance and reality what is real and what only seems real, what lies

are told, who is fooled

Order and disorder how stable the government is, the weather,

people’s minds

Ambition how the desire to be rich or important affects

people

Evil and the

supernatural how someone can be corrupted by wickedness

Violence threats, emotions and actual violence

Guilt and conscience Macbeth is a focus for this theme, along with Lady

Macbeth

What makes a king? this question is asked throughout the play

Loyalty Banquo and Macduff are important for this theme

Create a mind map of the themes.

Use a different colour for each theme, and add characters and quotations or events on

the branches.

Lesson 10

Resource 21


Quotation cards

In every point twice done and then done

double,

Were poor and single business to contend

Against those honours deep and broad

wherewith

Your majesty loads our house.

I have no spur


Vaulting ambition, which o’erleaps itself

And falls on th’other –

Your face, my thane, is as a book where men

May read strange matters. To beguile the

time,

Look like the time, bear welcome in your eye,

Your hand, your tongue; look like th’innocent

flower,

But be the serpent under’t.

Stars, hide your fires,

Let not light see my black and deep desires,

The eye wink at the hand. Yet let that be,

Which the eye fears when it is done to see.

Fair is foul, and foul is fair: Glamis, and Thane of Cawdor:









Whose howl’s his watch, thus with his

stealthy pace,

With Tarquin’s ravishing strides, towards his

design

Moves like a ghost.

Lesson 10

Resource 21


Why, worthy thane,

You do unbend your noble strength to think

So brain-sickly of things.

Come to my woman’s breasts

And take my milk for gall, you murd’ring

ministers,

Wherever in your sightless substances

You wait on nature’s mischief.

By th’clock, ’tis day

And yet dark night strangles the travelling

lamp.

Is’t night’s predominance, or the day’s

shame,

That darkness does the face of earth entomb

When living light should kiss it?

But ’tis strange,





I have given suck and know

How tender ‘tis to love the babe that milks

me:

I would, while it was smiling in my face,

Have plucked my nipple from his boneless

gums

And dashed the brains out, had I so sworn


Our eldest, Malcolm, whom we name

hereafter

The Prince of Cumberland, which honour

must

Not unaccompanied invest him only,

But signs of nobleness like stars shall shine

On all deservers.

Come, thick night,

And pall thee in the dunnest smoke of hell,

That my keen knife see not the wound it

makes,

Duncan



Will plead like angels, trumpet-tongued

against


Lesson 10

Resource 21


with his brandished steel

Which smoked with bloody execution,

Like Valour’s minion carved out his passage

Till he faced the slave,

Which ne’er shook hands, nor bade farewell

to him,

Till he unseamed him from the nave to

th’chaps

And fixed his head upon our battlements.

A little water clears us of this deed.

He’s here in double trust:


Strong both against the deed; then, as his

host,

Who should against his murderer shut the

door,

Not bear the knife myself.

There’s no art

To find the mind’s construction in the face.

He was a gentleman on whom I built

An absolute trust.

merciful powers,

Restrain in me the cursèd thoughts that

nature

Gives way to in repose.

Knock, knock, knock. Who’s there, i’th’name

of

Beelzebub? 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.

Still it cried ‘Sleep no more’ to all the house;

‘Glamis hath murdered sleep’, and therefore

Cawdor

Shall sleep no more: Macbeth shall sleep no

more.

still keep

My bosom franchised and allegiance clear,

Lesson 10

Resource 21



These are the suggested themes for the quotations, although of course there is not an exact fit

with a single theme.

Appearance and reality

‘In every point twice done and then done double …’

‘Your face, my thane, is as a book …’

‘Fair is foul, and foul is fair:’

‘There’s no art …’

Order and disorder

‘Were such things here as we do speak about? …’

‘Why, worthy thane …’

‘By th’clock, ‘tis day …’

Ambition

‘I have no spur …’

‘Stars, hide your fires …’

‘Glamis, and Thane of Cawdor …’

Evil and the supernatural

‘Nature seems dead …’

‘Come to my woman’s breasts …’

‘But ‘tis strange …’

‘Knock, knock, knock. Who’s there, i’th’name of Beelzebub? …’

Violence

‘I have given suck and know …’

‘Come, thick night, …’

‘with his brandished steel …’

Guilt and conscience

‘A little water clears us of this deed.’

‘He’s here in double trust:…’

‘merciful powers,…’

‘Still it cried ‘Sleep no more’ to all the house;…’

What makes a king?

‘Our eldest, Malcolm, whom we name hereafter …’

‘Duncan / Hath borne his faculties so meek …’

Loyalty

‘still keep

My bosom franchised and allegiance clear,’

Act 2




AQA



Macbeth

Read the following extract from Macbeth Act 2 Scene 2, and answer the question that follows it.

At this point in the play, Macbeth has just murdered King Duncan.

LADY MACBETH

These deeds must not be thought

After these ways; so, it will make us mad.

MACBETH

Methought I heard a voice cry ‘Sleep no more:

Macbeth does murder sleep’, the innocent sleep,

Sleep that knits up the ravelled sleeve of care,

The death of each day’s life, sore labour’s bath,

Balm of hurt minds, great nature’s second course,

Chief nourisher in life’s feast.

LADY MACBETH

What do you mean?

MACBETH

Still it cried ‘Sleep no more’ to all the house;

‘Glamis hath murdered sleep’, and therefore Cawdor

Shall sleep no more: Macbeth shall sleep no more.

LADY MACBETH

Who was it, that thus cried? Why, worthy thane,

You do unbend your noble strength to think

So brain-sickly of things. Go get some water,

And wash this filthy witness from your hand.

Why did you bring these daggers from the place?

They must lie there. Go carry them and smear

The sleepy grooms with blood.

MACBETH

I’ll go no more.

I am afraid to think what I have done;

Look on’t again, I dare not.

LADY MACBETH

Infirm of purpose!

Give me the daggers. The sleeping and the dead

Are but as pictures; ’tis the eye of childhood

That fears a painted devil.

5

10

15

20

25

01 Starting with this moment in the play, explore how Shakespeare presents Lady Macbeth as an unstable

character.

Write about:

how Shakespeare presents Lady Macbeth at this point in the play

how Shakespeare presents Lady Macbeth in the play as a whole.

[30 marks]

A04 [4 marks]

Act 2



Edexcel





Macbeth – from Act 2 Scene 1, lines 31 to 64.

In this extract, Macbeth is on his way to murder King Duncan.

MACBETH

Go bid thy mistress, when my drink is ready,

She strike upon the bell. Get thee to bed.

Exit [Servant]










Thou marshall’st me the way that I was going,












Whose howl’s his watch, thus with his stealthy pace,






Which now suits with it. Whiles I threat, he lives;


5

10

15

20

25

30

Act 2



A bell rings




Exit

1. (a) Explore how Shakespeare presents the character of Macbeth. Refer closely to the extract

in your answer.

(20)

1. (b) In this extract, Macbeth is showing signs of madness. Explain the importance of madness

elsewhere in the play.


• how madness affects Macbeth and other characters

• why madness is important in the play.


(20)


Act 2



OCR

Section B

Shakespeare

Macbeth



EITHER

8 Explore how Shakespeare creates horror in the play. Refer to this extract from Act 2 Scene 3

and elsewhere in the play.

[40]*

In this extract Macduff has just discovered the body of King Duncan.

MACDUFF

O horror, horror, horror,

Tongue nor heart cannot conceive, nor name thee.

MACBETH and LENNOX

What’s the matter?

MACDUFF

Confusion now hath made his masterpiece:

Most sacrilegious murder hath broke ope

The Lord’s anointed temple and stole thence

The life o’th’building.

MACBETH

What is’t you say, the life?

LENNOX

Mean you his majesty?

MACDUFF

Approach the chamber and destroy your sight

With a new Gorgon. Do not bid me speak:

See and then speak yourselves.

Exeunt MACBETH and LENNOX

Awake, awake!

Ring the alarum bell! Murder and treason!

Banquo and Donaldbain! Malcolm, awake,

Shake off this downy sleep, death’s counterfeit,

And look on death itself. Up, up, and see

The great doom’s image. Malcolm, Banquo,

As from your graves rise up and walk like sprites

To countenance this horror.

Act 2



Bell rings

Enter LADY MACBETH

LADY MACBETH

What’s the business,

That such a hideous trumpet calls to parley

The sleepers of the house? Speak, speak.

MACDUFF

O gentle lady,

’Tis not for you to hear what I can speak.

The repetition, in a woman’s ear

Would murder as it fell. —

Enter BANQUO

O Banquo, Banquo,

Our royal master’s murdered.

LADY MACBETH

Woe, alas.

What, in our house?

BANQUO

Too cruel, anywhere.

Dear Duff, I prithee contradict thyself

And say it is not so.

OR

9 How and why is ambition important in the play? Explore at least two moments from the play to

support your ideas.

[40]*


Act 2



WJEC Eduqas

2. Macbeth

Answer both part (a) and part (b). You are advised to spend about 20 minutes on part (a), and

about 40 minutes on part (b).


What does this extract show an audience about Macbeth and Banquo’s consciences at this point

in the play? Refer closely to details from the extract to support your answer.

[15]

Enter BANQUO, and FLEANCE bearing a torch before him

BANQUO

How goes the night, boy?

FLEANCE

The moon is down; I have not heard the clock.

BANQUO

And she goes down at twelve.

FLEANCE

I take’t, ’tis later, sir.

BANQUO

Hold, take my sword. — 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: merciful powers,

Restrain in me the cursèd thoughts that nature

Gives way to in repose.

Enter MACBETH, and a Servant with a torch

Give me my sword —

Who’s there?

MACBETH

A friend.

BANQUO

What, sir, not yet at rest? The king’s abed.

He hath been in unusual pleasure

And sent forth great largess to your offices.

This diamond he greets your wife withal,

By the name of most kind hostess, and shut up

In measureless content.

MACBETH

Being unprepared,

Our will became the servant to defect,

Which else should free have wrought.

Act 2



BANQUO

All’s well.

I dreamt last night of the three weird sisters;

To you they have showed some truth.

MACBETH

I think not of them;

Yet when we can entreat an hour to serve,

We would spend it in some words upon that business,

If you would grant the time.

BANQUO

At your kind’st leisure.

MACBETH

If you shall cleave to my consent, when ’tis,

It shall make honour for you.

BANQUO

So I lose none

In seeking to augment it, but still keep

My bosom franchised and allegiance clear,

I shall be counselled.

MACBETH

Good repose the while.

BANQUO

Thanks, sir; the like to you.

*(b) Write about the theme of appearance and reality and its importance in Macbeth.

[25]



Act 3

Lesson 11


Act 3

Act 3

Lesson 11 – King Macbeth (Act 3 Scene 1)

Starter activities

A changed man: Get your students to imagine this scenario: Imagine something great

happened for your best friend. However, you have a feeling they did something

wrong to make this happen. You have noticed they are not as friendly as they used to

be. What would you say to them about their behaviour and its impact on your

changed relationship? Explain the connection with Macbeth and Banquo’s current

situation. (AO1)

Election of the king: Give students a paired role play task based on an imagined

scene. One student plays one of the thanes who went to Macbeth’s coronation, the

other plays Macduff. Presume that Macduff did not go. What is Macduff told about

the event? (AO1)

The role of men: In Shakespeare’s time, manly qualities were courage, honour,

physical strength, success fighting in battles and being in control of their emotions.

Ask students to consider what character traits would be considered ‘manly’ in

modern times. As you work through the activities on this scene, consider Macbeth in

this light. (AO3)

Main activities

Losing a friend: Macbeth is now king, but is he happy? Ask students to read

Macbeth’s soliloquy from Act 3 Scene 1 and complete the tasks on the resource

Losing a friend (Resource 22) to consider why Macbeth should fear Banquo. There is

an interactive version of the ranking task available (Resource 23), with suggested

reasons. Follow up the activities with a class vote on task two, to discuss what

Macbeth should do. (AO1)

Act 3

Lesson 11


Macbeth’s plan: Display Banquo’s soliloquy on the whiteboard and ask students to

discuss whether Macbeth is right to worry about Banquo.

Banquo: Thou hast it now: King, Cawdor, Glamis, all,

As the weird women promised, and I fear

Thou played’st most foully for’t; yet it was said

It should not stand in thy posterity,

But that myself should be the root and father

Of many kings. 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, no more. (AO1)

Reading: In groups of six (or five if easier and someone can double as the servant

who only has one line), pupils read the whole scene (Act 3 Scene 1). Ask students to

discuss the following:

1. Banquo is invited to a special supper tonight. Do you think he will get

there? If not, why not?

2. Why is Macbeth so keen to know if Fleance will be with Banquo, who has to

ride out on an errand?

3. How does Macbeth continue to make himself look innocent of the murder?

4. You can tell a person by the company they keep. Who is Macbeth friendly

with now instead of Banquo? What does this show about him?

5. How does Macbeth make these men want to kill Banquo?

6. What is the plan? (AO1)

Plenary activities

Prose and poetry: Macbeth and the murderers begin speaking in prose but switch to

poetry. Suggest why Shakespeare has written the conversation this way. (AO2)

What is a man? Macbeth’s speech starting ‘Ay, in the catalogue ye go for men’ raises

the question of ‘What is a man?’, a debate which Lady Macbeth started in Act 2,

when she suggested Macbeth is only a ‘man’ if he kills Duncan. Ask students to look

at this speech and identify how Macbeth persuades the murderers to murder Banquo,

and what he considers distinctive of real men. (AO2, AO3)

Lesson 11

Resource 22


Losing a friend

Task one

With a partner, read Macbeth’s soliloquy below. Underline or highlight parts of the speech that give reasons why Macbeth is dissatisfied with his friend, Banquo.

When you have identified the reasons, number them from most to least important (1 being the reason that makes Macbeth most dissatisfied with Banquo).

To be thus is nothing,

But to be safely thus. Our fears in Banquo

Stick deep, and in his royalty of nature

Reigns that which would be feared. ’Tis much he dares,

And to that dauntless temper of his mind,

He hath a wisdom that doth guide his valour

To act in safety. There is none but he,

Whose being I do fear; and under him

My genius is rebuked, as it is said

Mark Antony’s was by Caesar. He chid the sisters

When first they put the name of king upon me

And bade them speak to him. Then prophet-like,

They hailed him father to a line of kings.

Upon my head they placed a fruitless crown

And put a barren sceptre in my gripe,

Thence to be wrenched with an unlineal hand,

No son of mine succeeding. If’t be so,

For Banquo’s issue have I filed my mind;

For them, the gracious Duncan have I murdered,

Put rancours in the vessel of my peace

Only for them, and mine eternal jewel

Given to the common enemy of man,

To make them kings, the seeds of Banquo kings.

Rather than so, come Fate into the list.

And champion me to th’utterance.

Lesson 11

Resource 22


Task two

Now discuss with your partner what you think Macbeth should do about Banquo.

Should he …

a. try to talk to him?

b. bribe him by giving him lands and power to gain his loyalty?

c. kill him?

d. have someone else kill him?

e. make Fleance (Banquo’s son) his heir?

Lesson 11

Resource 23


Losing a friend interactive





Act 3

Lesson 12


Lesson 12 – The murder of Banquo (Act 3 Scenes 2-3)

Starter activities

Macbeth’s character: You could ask students to populate a ‘role on the wall’

template to consider Macbeth’s character development. How do you think Macbeth

might be feeling now he has set a plan in motion to kill his best friend? Macbeth has

not shared his plan with his wife. ‘Be innocent of the knowledge, dearest chuck, /

Till thou applaud the deed.’ What do you think this shows about their relationship

since the murder of Duncan? (AO1)

Dusk: Display the word ‘dusk’ or ‘twilight’ on the board and ask students to add

ideas of the connotations of this time of day using Post-its, or writing on ideas. Why

might this time of day be chosen for a murder scene? How could this be staged? (AO2)

Main activities

Ambush! Use the PowerPoint resource Ambush! (Resource 24) to explore Macbeth’s

relationship with Lady Macbeth and his intentions to kill Banquo and Fleance in Act 3

Scene 2. (AO1, AO2)

Banquo’s murder: Ask students to read Act 3 Scene 3 in groups of four. The scene

takes place in the dark. How could this scene be shown on stage? There are supposed

to be two murderers but three have turned up. Some say it is Macbeth, others

suggest the devil. Ask students for their ideas. Banquo’s first thought is to save his

son. How will Macbeth react to the news Fleance has escaped? (AO1)

Plenary activities

Imagery of darkness: Using slides 5-7 of the PowerPoint presentation Ambush!

(Resource 24), model, then ask students to annotate an extract demonstrating the

darkness within Macbeth’s mind. (AO2)

Witnessing the murder: We have just seen a murder on stage. Students imagine they

were nearby in the woods when Banquo was being killed and Fleance was running

away. In pairs, they role play the conversation they would have to report what they

witnessed. (AO1)

Lesson 12

Resource 24


Ambush!






Act 3

Lesson 13


Lesson 13 – The banquet and Banquo’s ghost (Act 3 Scene 4)

Starter activities

A party to remember: Ask students to think about the following questions: What is

the worst party you have ever been to, or seen on film or TV? Why might a party end

up in disaster? (AO1)

Jigsaw puzzles: Photocopy the resource Banquet jigsaw (Resource 25) and enlarge

the pictures. Cut up each of the images into smaller pieces and distribute the pieces

so that students have one piece each. Get them to find others with a piece of their

puzzle, and assemble the full picture. What do they find interesting about that

image? How is Macbeth portrayed? How is the ghost dressed? Discuss the images on

the whiteboard. (AO1, AO3)

Main activities

Comparing productions: Show students three different versions of the banquet

scene, to compare – links are given below. The banquet scene on screen (Resource

26) includes a table for comparison.

1. Macbeth (Polanski, 1971):

www.youtube.com/watch?v=7U0DwUC0BuE

2. William Shakespeare’s Macbeth (Casson, 1978):

www.youtube.com/watch?v=gCFjpr3Ehm4

3. Macbeth (Goold, 2010) :

www.youtube.com/watch?v=AaIfPfZ7C5s (AO1, AO3)

Performing the scene: The banquet scene in performance (Resource 27) gives a

dramatic structure for your class to perform the scene. The activities include using a

defining space, freeze frame, re-enactment and thought-tracking. The drama is very

structured, with support and guidance alongside the scene.(AO1)

http://www.youtube.com/watch?v=7U0DwUC0BuE

http://www.youtube.com/watch?v=gCFjpr3Ehm4

http://www.youtube.com/watch?v=AaIfPfZ7C5s

Act 3

Lesson 13


Plenary activities

Thought-tracking: The drama task comes with its own plenary activity in the

teaching notes, to thought-track the characters in a freeze frame at the end of the

performance. The alternative plenary is to write a witness statement, referring to

the play script for details. (AO1)

Alternative production: Students design their own setting for the scene, working

individually or in groups. They should describe the setting and write a brief

explanation. (AO1)

Lesson 13

Resource 25


Banquet jigsaw

Jigsaw 1

SHAKESPEARE: MACBETH. - The ghost of Banquo appears before Macbeth (Act III, scene 4) / Credit: The Granger Collection / Universal Images Group / Copyright © The Granger Collection / For Education Use Only. This and millions of other educational images are available through Britannica Image Quest. For a free trial, please visit www.britannica.co.uk/trial


Lesson 13

Resource 25


Jigsaw 2

Banquo’s ghost appearing in front of Macbeth / Credit: De Agostini Picture Library / Universal Images Group / Copyright © DeAgostini Editore / For Education Use Only. This and millions of other educational images are available through Britannica Image Quest. For a free trial, please visit www.britannica.co.uk/trial


Lesson 13

Resource 25


Jigsaw 3

Parnell as Macbeth and Dr. Cronin as Banquo’s ghost. Plate to: St. Stephen’s Review / Credit: Wellcome Trust Library\UIG /

Copyright © Wellcome Trust Library / For Education Use Only. This and millions of other educational images are available through

Britannica Image Quest. For a free trial, please visit www.britannica.co.uk/trial


Lesson 13

Resource 25


Jigsaw 4

Shakesp

eare

/ M

acbeth

/ L

iebig

Nr.

3 /

Cre

dit

: akg-i

mages

/ U

niv

ers

al Im

ages

Gro

up /

Copyri

ght

© a

kg-i

mages

/ F

or

Educati

on U

se O

nly

. This

and m

illions

of

oth

er

educati

onal im

ages

are

available

thro

ugh B

rita

nnic

a Im

age Q

uest

. For

a f

ree

tria

l, p

lease

vis

it w

ww

.bri

tannic

a.c

o.u

k/tr

ial

Lesson 13

Resource 26


The banquet scene on screen

Watch the three different versions of the banquet scene, and make notes to compare

the presentation of the main characters and different production choices.

Polanski (1971) Casson (1978) Goold (2010)

Setting and

its effect

How the

ghost was

presented (or

not)

How Lady

Macbeth

behaves

How Macbeth

behaves

Others’

behaviour

and reactions

to Macbeth

Which was

the most

effective?

Do you think it was more effective and terrifying to include the ghost or not?

Explain why / why not.

..........................................................................................................

..........................................................................................................

..........................................................................................................

Lesson 13

Resource 27


The banquet scene in performance

Teaching notes

This is a very structured drama activity, so you could make use of a school drama space

to allow students to take the drama more seriously. Everyone will need a role for the

performance, so you could split your class into groups of seven, or have one central

group, with the rest of the class playing unnamed lords, the wives of all the lords, the

second murderer and servants.

To set the scene, add as many suitable props as you can (e.g. candelabra, goblets, a

table cloth) and simple costumes (e.g. a piece of fabric as a cloak or crowns for the

royals).

Casting:

Students will need to take on the following named roles:

Macbeth

Lady Macbeth

The first murderer

Ross

Lennox

Banquo’s ghost

Narrator (to announce the guests)

Allow the class some time to read over their roles and check they understand, and allow

some time for inventing personas. If not playing a named role, they should make a few

character notes to help them stay consistent, including giving themselves a name.

Setting:

You will need a central banqueting table (groups of desks) as a defining space. It helps

students imagine the set. The table for the banquet needs enough seats for the cast, as

well as an extra empty chair which should be labelled ‘Reserved’.

Lesson 13

Resource 27


Possible layout:

Follow up:

At the end of the dramatic performance, all the players return to their positions, with

the guests seated, Lady Macbeth and Macbeth on their thrones and the ghost of Banquo

in the corner. Prepare students to freeze in role on the count of three. If possible, take

photos to display on the whiteboard later as a reminder.

Go round and touch random pupils on the shoulder to prompt them to state in role what

their character is thinking about the scene they just witnessed. For example, one of the

servants might say ‘That was so embarrassing. Our master often seems a bit strange but

he made a show of us in front of all the lords, and after we worked so hard in the

kitchen to make the food really good. Look at it, not even touched!’

Alternatively (or additionally) students write a statement of what happened in their

character role, or as a servant, as a witness statement.

Banqueting table with

odd number of seats

Door

Queen

Macbeth’s

throne

King

Macbeth’s

throne

Lesson 13

Resource 27


Read through the script below, and prepare your role by making notes around the suggested performance notes.

You could highlight your lines, and add stage directions, gestures or facial expressions for your character. You

could also adapt the suggestions, if you have different ideas about how you would like to stage the scene.

Lady Macbeth and Macbeth sit on the seats (thrones) at the front. Servants are setting out the table, straightening chairs,

generally being busy. The two murderers stand apart near the door. Lords and their wives, including Lennox and Ross, line up

ready to be announced. They should stand in procession in pairs, well away from the murderers.

When they are in position, the characters are announced. Macbeth and his wife stand up and shake hands with the announcer.

Guests stand behind their chairs (remember the reserved one is left empty).

MACBETH: You know your own degrees; sit down;

at first and last, the hearty welcome.

LORDS: Thanks to your majesty.

MACBETH: Our self will mingle with society and play the humble

host; our hostess keeps her state, but in best

time we will require her welcome.

LADY MACBETH: Pronounce it for me, sir, to all our friends for my heart

speaks, they are welcome.

First Murderer appears at the door

The lords and their wives speak their line together and sit

down round the table.

Lady Macbeth sits down, then speaks her line to her

husband.

Macbeth moves towards the door.

Lesson 13

Resource 27


MACBETH: See, they encounter thee with their hearts’ thanks.

Both sides are even: here I’ll sit i’th’midst.

Be large in mirth, anon we’ll drink a measure

The table round.

To First Murderer

There’s blood on thy face.

FIRST MURDERER: ’Tis Banquo’s then.

MACBETH: ’Tis better thee without, than he within.

Is he dispatched?

FIRST MURDERER: My lord, his throat is cut; that I did for him.

MACBETH: Thou art the best o’th’cut-throats,

Yet he’s good that did the like for Fleance;

If thou didst it, thou art the nonpareil.

FIRST MURDERER: Most royal sir, Fleance is ’scaped.

MACBETH: Then comes my fit again: I had else been perfect;

Whole as the marble, founded as the rock,

As broad and general as the casing air:

But now I am cabined, cribbed, confined, bound in

To saucy doubts and fears. But Banquo’s safe?

FIRST MURDERER: Ay, my good lord: safe in a ditch he bides,

With twenty trenchèd gashes on his head,

The least a death to nature.

MACBETH: Thanks for that.

There the grown serpent lies; the worm that’s fled

Hath nature that in time will venom breed,

He turns his face towards the table and speaks these four

lines to the lords at the table.

Macbeth turns away to speak to the murderers. This

conversation should be whispered.

Macbeth seems pleased until he hears this news.

This speech should be read in an angry, slightly louder

voice.

The second murderer can be given these lines or some

others if needed.

When the murderers leave, they can take the roles of

servants if they wish to stay in the drama.

Lesson 13

Resource 27


No teeth for th’present. Get thee gone; tomorrow

We’ll hear ourselves again.

Exit Murderer

LADY MACBETH: My royal lord,

You do not give the cheer; the feast is sold

That is not often vouched while ’tis a-making,

’Tis given with welcome. To feed were best at home:

From thence, the sauce to meat is ceremony,

Meeting were bare without it.

Enter the Ghost of Banquo and sits in

Macbeth’s place

MACBETH: Sweet remembrancer!

Now, good digestion wait on appetite,

And health on both!

LENNOX: May’t please your highness, sit.

MACBETH: Here had we now our country’s honour roofed,

Were the graced person of our Banquo present,

Who may I rather challenge for unkindness

Than pity for mischance.

ROSS: His absence, sir,

Lays blame upon his promise. Please’t your highness

To grace us with your royal company?

MACBETH: The table’s full.

LENNOX: Here is a place reserved, sir.

MACBETH: Where?

Macbeth is standing deep in thought, so Lady Macbeth

reminds him he is hosting a party. She could get up to

speak to him, and offer him a goblet of wine.

He toasts his wife and then the guests.

Lennox points to the empty seat.

The person playing Banquo enters silently and sits in the

empty chair. No one except Macbeth can see the ghost so

no one else must react.

Macbeth has not seen the ghost yet, so he sounds rather

grand and formal in this speech.

A further request to sit down.

Macbeth sees that there is no room but not who is sitting

there.

Lennox points to the empty seat.

Lesson 13

Resource 27


LENNOX: Here, my good lord. What is’t that moves your highness?

MACBETH: Which of you have done this?

LORDS: What, my good lord?

MACBETH: Thou canst not say I did it; never shake

Thy gory locks at me!

ROSS: Gentlemen, rise, his highness is not well.

Lady Macbeth joins the Lords

LADY MACBETH: Sit, worthy friends. My lord is often thus,

And hath been from his youth. Pray you, keep seat.

The fit is momentary; upon a thought

He will again be well. If much you note him

You shall offend him and extend his passion.

Feed, and regard him not. [To Macbeth] Are you a man?

MACBETH: Ay, and a bold one, that dare look on that

Which might appal the devil.

LADY MACBETH: O proper stuff!

This is the very painting of your fear;

This is the air-drawn dagger which, you said

Led you to Duncan. O, these flaws and starts,

Impostors to true fear, would well become

A woman’s story at a winter’s fire

Authorised by her grandam. Shame itself!

Why do you make such faces? When all’s done

You look but on a stool.

At this point Macbeth realises what is sitting in the seat.

His face looks horrified. The ghost stares at him.

He appears to think it is a trick at first.

The ghost shakes his head.

At Ross’s words, the guests begin to get up from their

seats.

Lady Macbeth stands up. She tries to rescue the party.

‘Are you a man?’ is said privately to Macbeth, in a

whisper. She could also touch his arm.

The rest of this conversation is a row between Macbeth

and his wife.

She cannot see the ghost and is not sympathetic to him.

He did not tell her he was having Banquo killed.

Macbeth is agitated and tries to prove to his wife there is

something there.

Lesson 13

Resource 27


MACBETH: Prithee, see there! Behold, look, lo! How say you?

[To Ghost] Why, what care I? If thou canst nod, speak

too.

If charnel houses and our graves must send

Those that we bury back, our monuments

Shall be the maws of kites.

Exit Ghost

LADY MACBETH: What, quite unmanned in folly?

MACBETH: If I stand here, I saw him.

LADY MACBETH: Fie, for shame.

MACBETH: Blood hath been shed ere now, i’th’olden time,

Ere humane statute purged the gentle weal;

Ay, and since too, murders have been performed

Too terrible for the ear. The time has been

That when the brains were out, the man would die,

And there an end. But now they rise again

With twenty mortal murders on their crowns

And push us from our stools. This is more strange

Than such a murder is.

LADY MACBETH: My worthy lord,

Your noble friends do lack you.

MACBETH: I do forget —

Do not muse at me, my most worthy friends.

I have a strange infirmity which is nothing

To those that know me. Come, love and health to all,

Then I’ll sit down. Give me some wine; fill full!

He becomes braver and challenges the ghost to speak – he

could point at it.

The person playing the ghost gets up from their chair and

stands in the corner with their face to the wall.

Lady Macbeth is scornful. Another row between them

follows.

Lady Macbeth tries again to save the occasion.

Macbeth rallies and makes an excuse.

A servant refills the goblets, and Macbeth drinks a toast;

the others join in by raising their goblets.

Macbeth toasts Banquo and this is the actor’s cue to

return to the seat.

Lesson 13

Resource 27


Enter Ghost

I drink to th’general joy o’th’whole table,

And to our dear friend Banquo, whom we miss.

Would he were here! To all, and him we thirst,

And all to all.

LORDS: Our duties, and the pledge.

MACBETH: Avaunt and quit my sight! Let the earth hide thee!

Thy bones are marrowless, thy blood is cold;

Thou hast no speculation in those eyes

Which thou dost glare with.

LADY MACBETH: Think of this, good peers,

But as a thing of custom. ’Tis no other,

Only it spoils the pleasure of the time.

MACBETH: What man dare, I dare;

Approach thou like the rugged Russian bear,

The armed rhinoceros, or th’Hyrcan tiger,

Take any shape but that, and my firm nerves

Shall never tremble. Or be alive again,

And dare me to the desert with thy sword;

If trembling I inhabit then, protest me

The baby of a girl. Hence horrible shadow,

Unreal mock’ry, hence.

Exit Ghost

Why, so: being gone,

I am a man again. Pray you, sit still.

Macbeth tries bravery. ‘Avaunt’ is an instruction for a

ghost to leave. He points at the ghost and speaks aloud.

Lady Macbeth is embarrassed, and tries to make excuses

for him.

This speech could be delivered as though Macbeth is

panicking.

The person playing Banquo’s ghost returns to the offstage

position.

Macbeth recovers himself. But the guests have had

enough and are rising from their seats, putting on their

cloaks.

Lady Macbeth is very angry because he has ruined her

party.

Lesson 13

Resource 27


LADY MACBETH: You have displaced the mirth, broke the good meeting

With most admired disorder.

MACBETH: Can such things be,

And overcome us like a summer’s cloud,

Without our special wonder? You make me strange

Even to the disposition that I owe,

When now I think you can behold such sights

And keep the natural ruby of your cheeks,

When mine is blanched with fear.

ROSS: What sights, my lord?

LADY MACBETH: I pray you speak not; he grows worse and worse.

Question enrages him. At once, good night.

Stand not upon the order of your going,

But go at once.

LENNOX: Good night, and better health

Attend his majesty.

LADY MACBETH: A kind good night to all.

Exeunt Lords. Macbeth and Lady Macbeth remain

MACBETH: It will have blood they say: blood will have blood.

Stones have been known to move and trees to speak.

Augurs, and understood relations, have

By maggot-pies, and choughs, and rooks brought forth

The secret’st man of blood. What is the night?

LADY MACBETH: Almost at odds with morning, which is which.

Macbeth is now thoughtful, and amazed his wife was not

afraid. He speaks this aloud.

Ross has heard him and questions him. Others are leaving

the party. Ross lingers behind.

Lady M does not want Ross and Lennox to question her

husband, She ushers them to follow the others.

Lady Macbeth tries to preserve the formal occasion with a

formal good night.

The tone changes to just a conversation between the two

of them. The servants are clearing away. The lords and

ladies are lined up in procession to leave.

Lesson 13

Resource 27


MACBETH: How say’st thou that Macduff denies his person

At our great bidding?

LADY MACBETH: Did you send to him, sir?

MACBETH: I hear it by the way, but I will send.

There’s not a one of them but in his house

I keep a servant fee’d. I will tomorrow —

And betimes I will — to the weird sisters:

More shall they speak. For now I am bent to know

By the worst means, the worst. For mine own good,

All causes shall give way. I am in blood

Stepped in so far that, should I wade no more,

Returning were as tedious as go o’er.

Strange things I have in head, that will to hand,

Which must be acted ere they may be scanned.

LADY MACBETH: You lack the season of all natures, sleep.

MACBETH: Come, we’ll to sleep. My strange and self-abuse

Is the initiate fear that wants hard use;

We are yet but young in deed.

Exeunt

Future plans are calmly made and the pair seems

reconciled.

The couple leaves the stage arm in arm.

Act 3

Lesson 14


Lesson 14 – Plots against Macbeth (Act 3 Scenes 5-6)

Starter activities

Changing characters: Pair up students, and ask them to perform a conversation in

role as someone who knows Macbeth and Lady Macbeth. Discuss their recent

behaviour. (AO1)

Main activities

Act 3 Scene 5: Organise students in groups to read Hecate’s speech round the group,

each person reading a rhyming couplet. They should experiment with different ways

of reading the scene, for example in an angry tone, a mocking tone, laughing or

whispering. They could also plan movements, for example, a dance round a cauldron,

and some gestures, and you could ask groups to perform it. What is the plot against

Macbeth? They will need to explain this to the class, which can be done in role or out

of role. How do the other witches react when Hecate has gone? Are they

afraid/relieved/rude behind her back? (AO1, AO2)

Act 3 Scene 6: Here Lennox and another lord discuss the situation; they are deeply

suspicious of Macbeth. Lennox has to check he can speak freely to the other lord, so

he tries him out first. Ask groups of students to prepare a performance of the scene

by dividing up the speeches for more speakers and adding movements where

appropriate (slapping backs, stamping feet etc.). They should read the scene a few

times, experimenting with changes of tone. What is the plot against Macbeth and

who mistrusts him? Ask them to explain this to the class, using examples of language

which show Macbeth is no longer trusted, e.g. ‘tyrant’, ‘accursed’ etc. (AO1)

Plenary activities

Choosing the plot: Compare the plots against Macbeth:

1. The witches’ plot

Bring Macbeth down by telling him his future using strange visions, to make

him over-confident. This will confuse him and trick him.

Act 3

Lesson 14


2. The lords’ plot

Bring Macbeth down by encouraging Malcolm, Duncan’s son, who is in

England at the court of Edward the Confessor, to raise an army to take

Scotland back. Macduff has already gone to ask Malcolm. However, they

need to be very careful because those who oppose Macbeth don’t seem to

survive long.

Which plot seems to be the best way of getting rid of Macbeth? Take a class vote.

(AO1)

Advising the plotters: Get students to make advice notes for the plotters. What

visions could the witches show Macbeth? They already told his fortune once before.

What might they tell him this time? Would he believe them? How might the plotters

be in danger from Macbeth? How can they keep their disloyalty secret when Macbeth

has spies everywhere? (AO1)

Act 3

Lesson 15


Lesson 15: Imagery (Act 3)

Starter activities

Poetic techniques: Recap on students’ knowledge of poetic techniques by using the

interactive task Poetic techniques (Resource 28) to match the quotations with the

techniques. (AO2)

The catalogue of beasts: Referring to Macbeth’s ‘catalogue’ of living creatures (‘ay,

in the catalogue ye go for men’), explain to students the great chain of being where

God is at the top, then kings, and so on to the lowliest animal. Macbeth implies that

the murderers could rise on the list if they kill Banquo. You could ask students to

make a list of the beasts referred to in the play so far, ranking them from highest to

lowest on the chain of being:

sparrows (1.2), eagles (1.2), hare (1.2), lion (1.2), rat (1.3), serpent/snake (1.5,

3.2, 3.4), wolf (2.1), owl (2.2), crickets (2.2), horses (2.4), scorpions (3.2), bat

(3.2), beetle (3.2), worm (3.4), bear (3.4), rhinoceros (3.4), tiger (3.4).

(AO1, AO2)

Main activities

Imagery treasure hunt: The resource Imagery treasure hunt (Resource 29) includes

two tasks for students to explore some of the imagery in the first three acts. The

second task on the sheet is a class treasure hunt. This works by splitting your class

into three (one team per act), and getting them to find as many quotations as they

can within a given time frame. You might like to get students to tear up some paper

to make numbered bookmarks on which they could write the line numbers of their

located quotations. Alternatively, students could just list these in their books. Make

it competitive by stopping the clock and praising the student(s) with the most

quotations.

To follow up on this task, you could get students to write out the quotations onto

Post-its and sort them into appropriate imagery categories on large sheets of paper

displayed around the classroom, copying these for revision. (AO1, AO2)

Act 3

Lesson 15


Bird spotting: Use the resource Bird spotting (Resource 30) to find references to

birds in the play, and analyse the significance of these. (AO1, AO2)

Analysing imagery: Using the traditional PEE structure, the resource Analysing

imagery (Resource 31) helps students to explain the effectiveness of the imagery in

the play. (AO1, AO2)

Plenary activities:

Imagery impressions: Ask students to choose a quotation from the imagery activities

and get pairs or small groups to devise a freeze frame. Alternatively, individuals

could draw a picture to represent it. The rest of the class should guess the quotation

the freeze frame or image represents.(AO1, AO2)

Peer assessment: Part of the Analysing imagery (Resource 31) worksheet includes

peer assessment of written analyses of the imagery in the play so far. You could use

this activity following the Bird spotting activities too. (AO1, AO2, AO4)

Lesson 15

Resource 28


Poetic techniques





Lesson 15

Resource 29


Imagery treasure hunt

Macbeth has some central themes such as

ambition, evil, appearance versus reality. These

are sometimes shown through imagery as well as

events and characters. Imagery is also used to

create atmosphere, setting and revealing

characters’ inner thoughts. Shakespeare uses

imagery because our brains think in pictures.

Also, the sets used at the Globe Theatre were

very simple, so the imagery helps the audience

imagine the scene and remember things. Look

back through the imagery in the three acts

studied so far with the activities below.

Macbeth / Credit: Private Collection / Look and Learn / Bridgeman Images / Copyright © Bridgeman Images / For Education Use Only. This and millions of other educational images are available through Britannica Image Quest. For a free trial, please visit www.britannica.co.uk/trial

Some of the imagery which is central to Macbeth:

Darkness

and light Clothing Sleep

Motherhood

and birth

Animals, birds

and insects

Feasting and

banquets Blood

Disease, madness

and medicine Hunting Children

Task one

Read through the quotations below and decide which form of imagery they fit best. Cut

them out and write the appropriate category on the back of each quotation.

come Fate into the list*,

And champion me to

th’utterance*.

(Act 3 Scene 1)

list = jousting

tournament, battlefield

Utterance = death

Give me some wine; fill

full!

I drink to th’general joy

o’th’whole table,

And to our dear friend

Banquo, whom we miss.

Would he were here! To

all, and him we thirst,

And all to all.

(Act 3 Scene 4)

Was the hope drunk

Wherein you dressed

yourself?

(Act 1 Scene 7)


Lesson 15

Resource 29


I have given suck and

know

How tender ‘tis to love

the babe that milks me:

I would, while it was

smiling in my face,

Have plucked my nipple

from his boneless gums,

And dashed the brains

out, had I so sworn


(Act 1 Scene 7)

Come, seeling night,

Scarf up the tender eye of

pitiful day

And with thy bloody and

invisible hand

Cancel and tear to pieces

that great bond

Which keeps me pale.

(Act 3 Scene 2)

Augurs, and understood

relations, have

By maggot-pies, and

choughs, and rooks

brought forth

The secret’st man of

blood.

(Act 3 Scene 4)

This is the very painting

of your fear;

This is the air-drawn

dagger which, you said

Led you to Duncan.

(Act 3 Scene 4)

Had he not resembled

My father as he slept, I

had done’t.

(Act 2 Scene 2)

I am in blood

Stepped in so far that,

should I wade no more,

Returning were as tedious

as go o’er.

(Act 3 Scene 4)

Task two

Your teacher will split you into class teams. You will work against the clock to read back

through one of the first three acts, finding quotations rich in imagery. Either note these

down with line references or mark them with bookmarks.

Next, sort the quotations you have found into the appropriate imagery category/ies.

Write out each quotation on an individual Post-it and stick all of these onto large sheets

of paper around the room. You can use the quotations from the first task to save you

writing these out.

Lesson 15

Resource 30


Bird spotting

Cut up the cards below, and match the bird with the

relevant quotation. When you have done this, choose three

birds and analyse why they have been used at that point in

the play and their significance.

You will need your copy of the play.

Birds Quotations

Owl

The cry of a screech owl was thought to announce a death. The owl is the ‘obscure bird’, because it flies in the night and can’t be seen.

This guest of summer, The temple-haunting martlet, does approve, By his loved mansionry that the heaven’s breath Smells wooingly here. No jutty, frieze, Buttress, nor coign of vantage but this bird Hath made his pendent bed and procreant cradle; Where they most breed and haunt, I have observed The air is delicate.

(Act 1 Scene 6 lines 3-10)

Wren

The smallest of British native birds.

Augures, and understood relations, have By maggot-pies, and choughs, and rooks brought forth The secret’st man of blood.


Eagle

A bird of prey which often symbolises spiritual protection and wisdom.

Sparrow

Small, common bird often associated with loyalty.

It was the owl that shrieked, the fatal bellman Which gives the stern’st good-night.


Raven

A bird of ill omen.

Why, what care I? If thou canst nod, speak too. If charnel houses and our graves must send Those that we bury back, our monuments Shall be the maws of kites.


Lesson 15

Resource 30


Birds Quotations

Crow

A bird of ill omen.

Rook

A bird of ill omen. They would attack and kill a lone crow.

Light thickens, And the crow makes wing to th’rooky wood; Good things of day begin to droop and drowse, Whiles night’s black agents to their preys do rouse


Falcon

A noble bird of prey, a royal companion, active in the daytime.

as sparrows eagles, or the hare, the lion.

(Act 1 Scene 2 line 35)

Martlet

A kind of swallow (a martin) who is ‘temple-haunting’ because it likes to build its nests high on the walls of tall buildings.

He loves us not; He wants the natural touch, for the poor wren, The most diminutive of birds, will fight, Her young ones in her nest, against the owl. All is the fear, and nothing is the love;


Kite

Another bird of prey.

A falcon tow’ring in her pride of place Was by a mousing owl hawked at and killed.

(Act 2 Scene 4 liens 12-13)

Magpie

Another bird of ill omen, also associated with this rhyme: One for sorrow, two for joy, three for a girl, and four for a boy …

Chough

A bird of the crow family.

The raven himself is hoarse That croaks the fatal entrance of Duncan Under my battlements.


Lesson 15

Resource 31


Analysing imagery

Analysing imagery means writing about its effectiveness. To understand that, you need

to consider how the image connects with the object, as well as considering the context.

For example, when Macbeth says ‘Oh, full of scorpions is my mind, dear wife’ in Act 3

Scene 2, including the information that he is driven mad by the thought that Banquo and

Fleance are still alive helps to explain why he feels as though venomous arachnids are

running round in his head.

Shakespeare shows the mental state Macbeth is in

very effectively in Act 3 Scene 2, when Macbeth says:

‘Oh, full of scorpions is my mind, dear wife’

Macbeth says this privately to his wife. To everyone

else he must appear as king and in charge. This

metaphor shows his private hell, because the witches

have told him Banquo’s line will inherit his throne.

Evil thoughts are running through his mind.

Shakespeare uses scorpions because they are

terrifying and capable of killing a human with their

sting.

This kind of comment will help you achieve a good grade. Avoid making weak comments

like ‘has a good effect’.

Task one

Choose an example of imagery from anywhere in the play. It might be one you have

found doing other activities on imagery in the play.

Point

Quotation

Lesson 15

Resource 31


Explanation

Lesson 15

Resource 31


Task two

Swap with a partner and assess each other’s work using this checklist:

Does it have a clear point?

Has the correct terminology been used?

Does the quotation fit the point?

Has context been included?

Does the quotation prove the point?

Is the comment specific?

Does the analysis add to your understanding of the play?

What could be improved?

..........................................................................................................

..........................................................................................................

..........................................................................................................

..........................................................................................................

..........................................................................................................

..........................................................................................................

Act 3




AQA



Macbeth


At this point in the play, Macbeth has been crowned king but Banquo suspects Macbeth killed

Duncan.

BANQUO

Thou hast it now: king, Cawdor, Glamis, all

As the weird women promised, and I fear

Thou played’st most foully for’t. Yet it was said

It should not stand in thy posterity.

But that myself should be the root and father

Of many kings. 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, no more.

Sennet sounded. Enter Macbeth, as King, Lady Macbeth as Queen,

Lennox, Ross, Lords, and Attendants

MACBETH

Here’s our chief guest.

LADY MACBETH

If he had been forgotten,

It had been as a gap in our great feast

And all-thing unbecoming.

MACBETH

Tonight we hold a solemn supper sir,

And I’ll request your presence.

BANQUO

Let your highness

Command upon me, to the which my duties

Are with a most indissoluble tie

Forever knit.

MACBETH

Ride you this afternoon?

BANQUO

Ay, my good lord.

5

10

15

20

Act 3



MACBETH

We should have else desired your good advice,

Which still hath been both grave and prosperous,

In this day’s council: but we’ll take tomorrow.

Is’t far you ride?

BANQUO

As far, my lord, as will fill up the time

’Twixt this and supper: go not my horse the better.

I must become a borrower of the night

For a dark hour or twain.

25

30

01 Starting with this moment in the play, explore how Shakespeare presents the relationship

between Macbeth and Banquo.

Write about:

how Shakespeare presents Macbeth and Banquo at this point in the play

how Shakespeare presents Macbeth and Banquo’s relationship in the play as a whole.

[30 marks]

A04 [4 marks]

Act 3



Edexcel






In this extract, Macbeth is plotting to have Banquo killed.

LADY MACBETH

Come on,

Gentle my lord, sleek o’er your rugged looks:

Be bright and jovial among your guests tonight.

MACBETH

So shall I, love, and so I pray, be you.

Let your remembrance apply to Banquo:

Present him eminence, both with eye and tongue:

Unsafe the while, that we

Must lave our honours in these flattering streams

And make our faces vizards to our hearts,

Disguising what they are.

LADY MACBETH

You must leave this.

MACBETH

O, full of scorpions is my mind, dear wife!

Thou know’st that Banquo and his Fleance lives.

LADY MACBETH

But in them Nature’s copy’s not eterne.

MACBETH

There’s comfort yet, they are assailable;

Then be thou jocund: ere the bat hath flown

His cloistered flight, ere to black Hecate’s summons

The shard-borne beetle with his drowsy hums

Hath rung night’s yawning peal, there shall be done

A deed of dreadful note.

LADY MACBETH

What’s to be done?

MACBETH

Be innocent of the knowledge, dearest chuck,

Till thou applaud the deed. — Come, seeling night,

Scarf up the tender eye of pitiful day,

And with thy bloody and invisible hand

5

10

15

20

25

Act 3



Cancel and tear to pieces that great bond

Which keeps me pale. Light thickens,

And the crow makes wing to the rooky wood:

Good things of day begin to droop and drowse,

Whiles night’s black agents to their preys do rouse. —

Thou marvell’st at my words: but hold thee still.

Things bad begun make strong themselves by ill.

So prithee, go with me.

30

1. (a) Explore how Shakespeare presents the relationship between Macbeth and his wife at this

point in the play.


(20)

1. (b) In this extract, Macbeth is becoming increasingly wicked. Explain the importance of evil

and the supernatural elsewhere in the play.


• how evil has taken over Macbeth’s mind

• why evil and the supernatural are important.


(20)


Act 3



OCR

Section B

Shakespeare

Macbeth



EITHER

8 Explore how Shakespeare shows that a guilty conscience affects Macbeth’s behaviour. Refer to


[40]*

In this extract Macbeth and Lady Macbeth are holding a supper party, shortly after Banquo has

been murdered.

LADY MACBETH

My worthy lord,


MACBETH

I do forget —

Do not muse at me, my most worthy friends,




[Enter Ghost]

I drink to the general joy o’th’whole table,



And all to all.

LORDS

Our duties, and the pledge.

MACBETH

Avaunt and quit my sight! Let the earth hide thee!




LADY MACBETH

Think of this, good peers,



Act 3



MACBETH

What man dare, I dare;







The baby of a girl. Hence, horrible shadow,


[Exit Ghost]



OR

9 How important is the theme of appearance and reality in the play? Explore at least two

moments from the play to support your ideas.

[40]*


Act 3



WJEC Eduqas

2. Macbeth




How does this extract show differences between Macbeth and Lady Macbeth’s consciences and

behaviours at this point? Refer closely to details from the extract to support your answer.

[15]

LADY MACBETH

My worthy lord,


MACBETH

I do forget —

Do not muse at me, my most worthy friends,




[Enter Ghost]

I drink to the general joy o’th’whole table,



And all to all.

LORDS

Our duties, and the pledge.

MACBETH

Avaunt and quit my sight! Let the earth hide thee!




LADY MACBETH

Think of this, good peers,



Act 3



MACBETH

What man dare, I dare;







The baby of a girl. Hence, horrible shadow,


[Exit Ghost]



*(b) Write about the theme of the supernatural and its importance in Macbeth.

[25]



Act 4

Lesson 16


Act 4

Act 4

Lesson 16 – Macbeth returns to the weird sisters (Act 4 Scene 1)

Starter activities

Hubble bubble / Double, double: Ask students to continue this spell to see how

much of it they already know. It is one of the most famous speeches in any

Shakespeare play, and is often misquoted. Explain that the witches are making a

spell full of nasty ingredients. If you were writing a modern version of this play, what

might you have them throw into their cauldron? Go for a ‘Room 101’ take on the

activity if you like, allowing more than just concrete items to go in (but pre-warn

that no students/teachers are allowed to go in!). (AO1)

Cast a spell on Macbeth: Hecate tells the witches to trick Macbeth with some

fortune telling. Ask students to make some predictions: what do they think is going

to happen to him? (AO1)

Main activities

Double, double toil and trouble: Using the activities on Double, double toil and

trouble (Resource 32) students study the first part of the scene. They consider other

‘doubles’ in the play, complete a cloze activity for the spell, and perform their own

version of the spell. You could show them a conventional portrayal of the scene as a

starting point: www.youtube.com/watch?v=VXQoFm8hbI4.

Some suggested responses to task one: the two-facedness of Macbeth and Lady

Macbeth, Duncan’s two sons, the way Macbeth is contrasted with Banquo and then

Macduff. (AO1, AO2, AO3)

http://www.youtube.com/watch?v=VXQoFm8hbI4

Act 4

Lesson 16


Macbeth: a changed man: Using the tasks on Macbeth: a changed man (Resource

33), students should read the rest of the scene, and work through tasks to compare

the presentation of Macbeth with earlier impressions in the play. For task two, you

could split your class so that one group focuses on close analysis of this scene to

complete the first column, and more able students could range more widely through

the play to complete the second column, both of which are valuable preparation for

the exam. (AO1, AO2)

The prophecies: Using the PowerPoint resource The prophecies (Resource 34)

students consider each of the prophecies, and Macbeth’s responses to them. (AO1)

Plenary activities

The line of kings: Ask eight students to act out the line of kings shown in the last

prophecy, reading the last part of the scene together from line 111 ‘Thou art too like

the spirit of Banquo. Down!’ Discuss whether the witches should be pleased with

their work, and then consider whether Lennox is loyal to Macbeth or not (refer back

to Act 3 Scene 6). (AO1)

The witches in control: Ask students to imagine that the three witches gather for a

gossip when Macbeth has gone, and improvise their conversation. Draw students’

attention to the additional ingredients that have now gone into the cauldron: the

blood of a pig which has eaten her young, and the grease from the forehead of a

murderer about to be hanged for his crimes. (AO1)

Lesson 16

Resource 32


Double, double toil and trouble

Task one

The word ‘double’ in the witches’ spell ‘Double, double toil and trouble …’ reminds the

audience of some doubles in the play, for instance the two captains, Macbeth and Banquo.

Which other ‘doubles’ can you think of?

Task two

The witches’ spell in Act 4 Scene 1 is written in rhythm and rhyme. With this in mind, fit in the

missing words where they sound best and make most sense.

Turk blind-worm dragon shark babe

baboon newt tiger howlet’s wing Lizard’s leg

yew Toad tongue of dog tooth of wolf hemlock

FIRST WITCH: Round about the cauldron go;

In the poisoned entrails throw.

.................... , that under cold stone

Days and nights has thirty-one

Sweltered 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 .................. , and toe of frog,

Wool of bat, and ................... ,

Adder’s fork, and .................. ’s sting

.................. and ................... ,

For a charm of powerful trouble,

Like a hell-broth, boil and bubble.

ALL: Double, double toil and trouble,


THIRD WITCH: Scale of ................ , ................

Witches’ mummy, maw and gulf

Lesson 16

Resource 32


Of the ravined salt-sea ................... ,

Root of ................... , digged i’th’dark;

Liver of blaspheming Jew,

Gall of goat, and slips of .................... ,

Slivered in the moon’s eclipse;

Nose of .................... , and Tartar’s lips,

Finger of birth-strangled .................... ,

Ditch-delivered by a drab,

Make the gruel thick and slab.

And thereto a ................... ’s chawdron

For th’ingredience of our cauldron.

ALL: Double, double toil and trouble,


SECOND WITCH: Cool it with a ................ ’s blood,

Then the charm is firm and good.

Task three

After the ghost of Act 3, the audience is already terrified. In Shakespeare’s time, there

was no interval in the performance, so they have had very little time to calm down.

Given that they believed in witches and their powers to

communicate with the devil, they would have been terrified to

hear what sounded like a real spell performed on stage.

However, modern audiences would be more dubious about

witches’ abilities to curse people or tell the future. The terror is

more diluted.

In groups of four prepare a version of this scene, including some

movement. One member acts as a director, and also plays the

part of Hecate. You can include more witches if you wish.

Here are a few ideas to start you off:

masks puppets dolls

a cookery programme talking Hallowe’en lanterns a fortune teller / tarot card readers

three grandmothers children voices on the radio

Lesson 16

Resource 33


Macbeth: a changed man

Macbeth’s entrance is sensed by the witches:

By the pricking of my thumbs

Something wicked this way comes

Open locks, whoever knocks

This is his second meeting with the witches, but the first time he has sought them out.

Task one

How has Macbeth changed since that first meeting in Act 1 Scene 3? Complete this

comparison chart:

Macbeth at the start of the play … Macbeth at the end of Act 3 or

start of Act 4 …

1 is loyal to King Duncan

2 is a brave fighter

3 is a good husband

4 is a good friend to Banquo and others

5 is well respected

6 has a promising career

7 has a clear conscience

Lesson 16

Resource 33


Task two

Find a quotation for each point in the table. Here’s an example:

Macbeth has a promising career:

Duncan tells Macbeth in Act 1 Scene 4:

I have begun to plant thee, and will labour

To make thee full of growing

However, in Act 3, he is regarded as a tyrant by his lords and they are arranging to bring

an army against him. His career as king will be over if they succeed, as Lennox says (Act

3 Scene 6):

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.

Extension task

The first time Macbeth had his fortune told by

the witches, he did not seek it, but now he has

gone to them to ask for more hints about his

future. The witches use particular language,

for example words to do with magic,

wickedness and evil. They also speak in

riddles, use rhyme and speak in threes. What

do you notice about Macbeth’s speech in Act 4

Scene 1 lines 48-60?

Lesson 16

Resource 34


The prophecies






Act 4

Lesson 17


Lesson 17 – Macbeth’s crimes worsen (Act 4 Scene 2)

Starter activities

Danger!: Ask students to consider what they would do if a friend was in danger. Give

them options of scenarios to imagine:

1. their friend has been asked to meet in person by someone they have met

online

2. their friend has been threatened by someone with a history of physical

violence

3. their friend is about to talk to someone who they argue with constantly

4. their friend is thinking of doing something dangerous.

Link these ideas with Act 4 Scene 2, where Lady Macduff is warned of nearby danger,

but ignores the warnings. (AO1)

Dramatic irony: Display the last lines of the previous scene on the board:

The castle of Macduff I will surprise;

Seize upon Fife; give to th’edge o’th’sword

His wife, his babes, and all unfortunate souls

That trace him in his line. No boasting like a fool;

This deed I’ll do before this purpose cool,

Ask students to predict what is about to happen and who will be in the next scene.

Do they think Macbeth will do this himself? (AO1)

Main activities

Reading: Read through the scene in small groups, or together, and discuss the

following questions:

1. Why is Lady Macduff angry with her husband? Is she right to be?

2. Why is Ross there? And why is he in such a hurry to leave? Does he know for

sure she is in danger?

3. Why is Macduff’s son introduced here as a new character?

Act 4

Lesson 17


4. What sort of relationship does Lady Macduff have with her husband and

son?

5. Would you say Lady Macduff is an obedient wife, as women were supposed

to be then?

6. Think about the theme of babies and children in the play. Why would

Shakespeare show us a promising young boy at this stage?

7. Why might this part of the scene be in prose, not poetry?

8. Why does Lady Macduff refuse to go when the messenger warns her? (AO1,

AO2)

Slow motion miming: Reread the last part of the scene, from the entrance of the

murderer, with groups of students performing the action in slow motion. This part of

the scene relies much more on the action than the dialogue, so you could take out

the dialogue once the students have got the gist of the scene. Set a time limit for

students to fill, and stop them to freeze frame at various moments. (AO1)

Plenary activities

Performances: Watch some of the slow motion mimes together, and ask the class to

mark these with two stars and a wish for improvement, according to how well they

represented the scene, and how seriously you could take it on the stage. (AO1)

Rating the killings: Take a class vote by asking students to go to a different part of

the room for each of the killings, choosing the one they think is the worst crime:

killing Duncan, killing Banquo and trying to kill Fleance or killing Macduff’s family.

Ask students why they have chosen the one that they have. (AO1)

Act 4

Lesson 18


Lesson 18: England (Act 4 Scene 3)

Starter activities

What is a tyrant? Increasingly Macbeth is being called a tyrant. Share a definition

and give out Post-its for students to add ideas to support the idea that Macbeth is a

tyrant.

An extremely oppressive, unjust, or cruel ruler.

An absolute ruler who governs without restrictions, especially one

who seized power illegally.

An oppressive, harsh, arbitrary person. (AO2)

Tyrants: Using the resource Tyrants (Resource 35) students could compare Macbeth

with these historical tyrants, by writing a profile for him and considering how he fits

among these tyrants from history. (AO1, AO3)

Main activities

Malcolm and Macduff: Using the resource Malcolm and Macduff (Resource 36)

students should read the scene up to the doctor’s entrance and compare the

behaviour of these two characters by sorting out statements and finding quotations

to prove the points. For more able students, you could ask them to find the

evidence. As a follow-up, you could discuss whether Macduff would want Malcolm to

be king after all the elaborate lying. (AO1)

A true king: Explore the historical context with the reference to Edward the

Confessor, King of England, made by Malcolm in lines 149-161. Display an image of

Edward such as Edward the Confessor (1003-1066) (Resource 37) and discuss his

reputation as someone whose touch could cure disease. Ask students to analyse the

description of him in this scene from the doctor’s entrance, exploring the contrast he

presents with Macbeth. Ask students to decide whether Malcolm could be a king like

him, using evidence from the scene. (AO1, AO3)

Act 4

Lesson 18


Plenary activities

Puppets: To consolidate students’ understanding of the two characters in the early

part of the scene, get them to create puppets for Malcolm and Macduff. On one side,

they should write quotations or statements to show their external character traits

and behaviour; on the other side they should show their inner thoughts.(AO1)

Interview: Pairs of students role play a conversation between a journalist and

Malcolm, about Malcolm’s plans to invade Scotland. Questions might include: Why do

you think you would be a good king? What can you offer Scotland? What is your vision

for a new Scotland once you have defeated Macbeth? How will you reward your

supporters? How will you create stability in Scotland? (AO1)

Lesson 17

Resource 35


Tyrants

Cut out the tyrants with their evil deeds, and rank them according to how evil they

were. Add a short biography to Macbeth’s card, and place him among the tyrants.

Does he deserve the name ‘tyrant’?

Tyrant Evil deeds

Henry VIII

King of England 1509-1547. Ordered friends, relatives and wives to be

executed, showing no mercy. Said he forgave rebels, but later had

them executed. Allowed torture. Dissolved the monasteries.

Persecuted people who would not recognise him as head of the church.

Pinochet

President of Chile 1973-1990. Attacked his people who wanted

democracy using mass arrests, unfair trials, systematic torture, secret

executions and imprisonment. Over 2000 people were killed during his

rule, 31947 tortured, and 1312 exiled.

Hitler

Chancellor of Germany from 1933-1945. Started World War II,

murdered millions of Jews, Roma, disabled people and homosexuals in

death camps. Over seventy million people died because of him.

Genghis Khan

Founder and ruler of the Mongol Empire 1206-1227. He was known for

his cruelty to the areas he conquered, massacring the defeated and

harshly enforcing his empire’s rules.

Stalin

General Secretary of the Soviet Union 1922-1953. Many of his crimes

are still coming to light, including massacres during the war. The

Soviet people suffered during his time in power, from the famine of

the 1930s, the notorious Purges, where many Russian people were

slaughtered, and the creation of the gulag system (corrective labour

camps).

Lesson 17

Resource 35


Tyrant Evil deeds

Pol Pot

Ruler of Democratic Kampuchea, now Cambodia, from 1975-1979.

Killed a million of his own people (nearly 25% of the population), by

cruel means, after making them dig their own graves (in the Killing

Fields). Abolished education and religion.

Ivan the Terrible

Tsar of Russia from 1533-1584. Gave his first death sentence aged 13.

Killed his own people in cruel ways, without trial, and had several of

his wives and his eldest son murdered.

Robespierre

Ruler of France from 1793-1794. An estimated 16000 to 40,000 people

were killed during his reign of terror following the French Revolution.

Qaddafi

Ruler of Libya from 1969 to 2011. Though his Arab nationalist ideas and

socialist style policies gained him support in the early days, his

corruption, military interference in Africa, and horrific human rights

abuses turned the population against him. He supported terrorism and

was suspected of being behind the Lockerbie bombings and other acts

of terrorism against the west.

Fidel Castro

Prime Minister of Cuba 1959-1976 and President 1976-2008. Opinions

differ on whether he was a hero or a tyrant. Many abuses of human

rights during his time, and approximately one million Cubans went into

voluntary exile for their own safety. There were food shortages and

personal freedom was curtailed.

Macbeth

................................................................................

................................................................................

................................................................................

................................................................................

By Ministerio de Relaciones Exteriores de Chile. [CC BY 2.0 cl (http://creativecommons.org/licenses/by/2.0/cl/deed.en)], via Wikimedia Commons

Bundesarchiv, Bild 183-H1216-0500-002 / CC-BY-SA 3.0 [CC BY-SA 3.0 de (http://creativecommons.org/licenses/by-sa/3.0/de/deed.en)], via Wikimedia Commons

[Attribution], via Wikimedia Commons

All other images within creative commons and require no attribution

Lesson 17

Resource 36


Malcolm and Macduff

In this scene, Malcolm and Macduff are presented as very contrasting characters.

Task one

Read the statements below and decide whether they are true of Malcolm or Macduff.

Cut them up, and sort them out so that they match the correct character.

1. Speaks softly, with lots of long vowel

sounds.

2. Speaks more assertively, with harsh

consonant sounds.

3. Speaks with language of action.

4. Is distrustful of the other, because

Macbeth used to be his friend and

Macbeth has not harmed him.

5. Talks of appearance versus reality,

showing a lack of trust.

6. Has left behind his wife and children

but won’t talk about it.

7. Personifies Scotland as a bleeding,

dying individual.

8. Has openly accused the other as a

villain.

9. Considers himself capable of more evil

than Macbeth – and is bluffing.

10. Considers Macbeth far more fearsome

than anyone else.

11. Considers himself a danger to women –

and is bluffing.

12. Considers lust a problem that has

caused the downfall of many kings.

13. Considers himself too greedy to be king

– and is bluffing.

14. Thinks that should he be King of

Scotland, he would ruin the country –

and is bluffing.

15. Vows to leave Scotland because being

ruled by the other makes him despair.

16. Reveals that he has been tricking the

other, and says he trusts him now.

17. Uses an oxymoron to show how he is

confused.

Lesson 17

Resource 36


Task two

Now match the quotations with the statements, to prove the points.

the villain that thou think’st (line 35)

Hold fast the mortal sword, and like

good men

Bestride our down-fall’n birthdom:

(lines 3-4)

each new morn

New widows howl, new orphans cry, new

sorrows

Strike heaven on the face, that it resounds

As if it felt with Scotland and yell’d out

Like syllable of dolour. (lines 4-8)

Bleed, bleed, poor country (line 31)

I think our country sinks beneath the yoke;

It weeps, it bleeds, and each new day a

gash

Is added to her wounds. (lines 39-41)

all things foul would wear the brows of

grace (line 23)

Why in that rawness left you wife and child

…? (line 26)

you have loved him well —

He hath not touched you yet. (lines 13-14)

Let us seek out some desolate shade, and

there

Weep our sad bosoms empty. (lines 1-2)

black Macbeth

Will seem as pure as snow, and the poor

state

Esteem him as a lamb, being compared

With my confineless harms. (lines 52-55)

Boundless intemperance

In nature is a tyranny; it hath been

Th’untimely emptying of the happy throne

And fall of many kings (lines 66-69)

Lesson 17

Resource 36


Your matrons, and your maids could

not fill up

The cistern of my list (lines 62-63)

were I king,

I should cut off the nobles for their lands,

Desire his jewels … (lines 78-80)

These evils thou repeat’st upon thyself

Hath banished me from Scotland.

(lines 112-113)

Such welcome and unwelcome things

at once (line 138)

Not in the legions

Of horrid hell can come a devil more

damned

In evils to top Macbeth. (lines 55-57)

had I power, I should

Pour the sweet milk of concord into hell,

Uproar the universal peace, confound

All unity on earth. (lines 97-100)

this noble passion,

Child of integrity, hath from my soul

Wiped the black scruples, reconciled

my thoughts

To thy good truth and honour. (lines 114-

117)

Lesson 17

Resource 36



Statement Quotation

1. Speaks softly, with lots of long vowel sounds (Malcolm)

Let us seek out some desolate shade, and there Weep our sad bosoms empty. (lines 1-2)

2. Speaks more assertively, with harsh consonant sounds (Macduff)

Hold fast the mortal sword, and like good men Bestride our down-fall’n birthdom: (lines 3-4)

3. Speaks with language of action (Macduff)

each new morn New widows howl, new orphans cry, new sorrows Strike heaven on the face, that it resounds As if it felt with Scotland and yell’d out Like syllable of dolour. (lines 4-8)

4. Is distrustful of the other, because Macbeth used to be his friend and Macbeth has not harmed him (Malcolm)

you have loved him well — He hath not touched you yet. (lines 13-14)

5. Talks of appearance versus reality, showing a lack of trust (Malcolm)

all things foul would wear the brows of grace (line 23)

6. Has left behind his wife and children but won’t talk about it (Macduff)

Why in that rawness left you wife and child …? (line 26)

7. Personifies Scotland as a bleeding, dying individual (Malcolm and Macduff)

Bleed, bleed, poor country (line 31) I think our country sinks beneath the yoke; It weeps, it bleeds, and each new day a gash Is added to her wounds. (lines 39-41)

8. Has openly accused the other as a villain (Malcolm)

the villain that thou think’st (line 35)

9. Considers himself capable of more evil than Macbeth – and is bluffing (Malcolm)

black Macbeth Will seem as pure as snow, and the poor state Esteem him as a lamb, being compared With my confineless harms. (lines 52-55)

Lesson 17

Resource 36


Statement Quotation

10. Considers Macbeth far more fearsome than anyone else (Macduff)

Not in the legions Of horrid hell can come a devil more damned In evils to top Macbeth. (lines 55-57)

11. Considers himself a danger to women – and is bluffing (Malcolm)

Your matrons, and your maids could not fill up The cistern of my list (lines 62-63)

12. Considers lust a problem that has caused the downfall of many kings (Macduff)

Boundless intemperance In nature is a tyranny; it hath been Th’untimely emptying of the happy throne And fall of many kings (lines 66-69)

13. Considers himself too greedy to be king – and is bluffing (Malcolm)

were I king, I should cut off the nobles for their lands, Desire his jewels … (lines 78-80)

14. Thinks that should he be King of Scotland, he would ruin the country – and is bluffing (Malcolm)

had I power, I should Pour the sweet milk of concord into hell, Uproar the universal peace, confound All unity on earth. (lines 97-100)

15. Vows to leave Scotland because being ruled by the other makes him despair (Macduff)

These evils thou repeat’st upon thyself Hath banished me from Scotland. (lines 112-113)

16. Reveals that he has been tricking the other, and says he trusts him now (Malcolm)

this noble passion, Child of integrity, hath from my soul Wiped the black scruples, reconciled my thoughts To thy good truth and honour. (lines 114-117)

17. Uses an oxymoron to show how he is confused (Macduff)

Such welcome and unwelcome things at once (line 138)

Lesson 17

Resource 37


Edward the Confessor (1003-1066)

Edward The Confessor (c1003-66) Anglo-Saxon king of England from 1042. Edward on his throne. / Credit: Universal History Archive/Universal Images Group / Copyright © Universal Images Group / For Education Use Only. This and millions of other educational images are available through Britannica Image Quest. For a free trial, please visit www.britannica.co.uk/trial


Act 4

Lesson 19


Lesson 19: What is a king? (Act 4 Scene 3)

Starter activities

What is a good leader? Students think about the qualities of a good leader and mind

map these qualities. For each quality, they could add why this is an advantage, and

any pitfalls that could occur along the way. For example if a good leader has a vision

and doesn’t sway from it, the vision might not be accepted by the leader’s followers,

and/or could turn out to be a poor choice. (AO1)

Main activities

Malcolm as king: Read through the rest of the scene, so that students know how

Malcolm and Macduff behave towards each other. They should then complete the

activity What is a king? (Resource 38) to assess Malcolm’s qualities as a king. For your

more able learners, you could take out the examples and ask them to complete this

column. (AO1, AO3)

Why does Macduff support Malcolm? Is it better to have an untried, potentially good

king, or a strong tyrant? Macduff is taking a huge chance on Malcolm. Discuss with

your students why he is prepared to follow him. Using the resource Why does Macduff

support Malcolm? (Resource 39), also available as an interactive resource (Resource

40), get students to consider whether they agree or disagree with the statements,

and which are the strongest motivating factors for Macduff to support Malcolm. (AO1)

Plenary activities

Macbeth’s Scotland: Ask students to imagine they are an ordinary person living in

Scotland at the time of Macbeth. His reign has been full of violence, storms and

strange happenings. Get students to write a diary entry recording how they feel and

what they wish for the future. (AO1, AO3)

Lesson 19

Resource 38


What is a king?

Throughout Macbeth, this question is asked, alongside

the question ‘what is a man?’

The Kings of Scotland in the play are Duncan, Macbeth

and King Elect, Malcolm. In England, Edward the

Confessor rules, although we never see him as a

character.

The King of England at the time Shakespeare wrote the

play was James I, who was also James IV of Scotland.

Everything about kingship in the play would have been of

particular interest to him.

In Act 4 Scene 3, Malcolm says that these twelve

qualities are needed to be a good king. Complete this

chart, giving Malcolm a mark out of ten for each quality.

Qualities Malcolm’s known actions Score

Justice

(fairness)

Verity

(truthfulness)

Lies to Macduff about his character, to test him.

(Act 4 Scene 3)

Temperance

(self-control)

Stableness

(even temper)

Changes often when talking to Macduff. (Act 4 Scene

3)

Bounty

(generosity)

Tells Macduff to ‘dispute it like a man’ (pull yourself

together) when he is upset about the murder of his

wife and children. (Act 4 Scene 3)

Lesson 19

Resource 38


Qualities Malcolm’s known actions Score

Perseverance

Gives up the chance of the throne by running away

instead of seizing the throne when Duncan was

killed. (Act 2 Scene 3)

Mercy

Lowliness

(humility)

Does claim he isn’t worthy to be king when testing

Macduff in Act 4 Scene 3, but is he telling the truth?

Devotion

(to God)

Mentions God when speaking to Macduff in Act 4

Scene 3 (‘God above deal between me and thee’).

Patience Waits in England for it to be safe to return to

Scotland.

Courage Runs away to England when his father Duncan is

murdered (Act 2 Scene 3).

Fortitude

(strength)

Total

/120

Lesson 19

Resource 39


Why does Macduff support Malcolm?

The statements below are all reasons why Macduff

might support Malcolm. Put them in order from the

one you agree with most to the one you agree with

least.

Which one do you agree with the most and why? Discuss.

He’s loyal to Duncan and

he wants to follow his

wishes.

He hopes that if he helps

Malcolm become king, he

will be richly rewarded.

He hates Macbeth so

much he’s prepared to

try anything.

He thinks the ordinary

people of Scotland will

support Duncan’s named

heir.

He thinks Malcolm can

muster the best army.

He doesn’t want to be

king himself.

There is no one else left. He doesn’t know where

Donaldbain is.

He supports Malcolm

because he’s the oldest.

He thinks he can shape

and mould Malcolm into

being a good king.

He looks to rule through

Malcolm by becoming his

close adviser.

He really is a double

agent and he hopes to

deliver Malcolm to

Macbeth for slaughter.

He wants stability for

Scotland by the

continuation of the same

family as kings.

He admires Malcolm and

thinks he is the best

person to rule.

He thinks because

Duncan showed all the

qualities of a king, his

son will take after him.

Lesson 19

Resource 40


Why does Macduff support Malcolm? Interactive





Act 4

Lesson 20


Lesson 20: News from Scotland (Act 4 Scene 3)

Starter activities

How do you break bad news? Ask students to imagine that they have some bad news

to tell a friend. How would they time giving the news? How would they behave? What

might they say? Link this with Ross having to tell Macduff that his wife and children

have been killed.

Explore the dramatic irony in Ross’s line: ‘they were well at peace when I did leave

’em.’ (line 181) How will this affect Macduff’s feelings towards Macbeth? (AO1)

Main activities

Reading: Reread the scene from Ross’s entrance and ask students to answer the

following questions:

1. Malcolm seems suspicious of Ross because he does not recognise him. How

could this be shown on stage by an action or gesture?

2. Ross gives us some insight into what life is like in Scotland; it has got worse

all the time Macduff has been away. What does Ross mean when he says

‘[Scotland] cannot / Be called our mother, but our grave’? What are the

sounds most commonly heard in Scotland now?

3. What news does Malcolm give Ross?

4. When Ross finally tells Macduff the news, he is worried that his friend will

hate him for telling him. Macduff is so overcome by grief that at first he

does not respond. How does Macduff express his grief now, and then at the

end of the scene?

5. Why does Macduff say Malcolm has no children? Do you think Malcolm is a

little insensitive here? How does it change our view of Malcolm? (AO1)

Act 4

Lesson 20


Plenary activities

Plot the fear: Ask students to draw graphs to plot the rise and fall of the tension

through Act 4. Get them to plot the events along the x-axis and the level of tension

on the y-axis. (AO1)

What is a man? In response to Macduff’s open expression of grief, Malcolm tells

Macduff to ‘Dispute it like a man’ and Macduff responds by saying ‘But I must also

feel it as a man.’ Take a class vote on whose version of manliness they prefer and

discuss why. (AO1)

Act 4




AQA



Macbeth


At this point in the play, Macbeth has sought out the witches to learn his fate, but they have

decided to trick him. They show him visions.

FIRST APPARITION

Macbeth, Macbeth, Macbeth: beware Macduff,

Beware the Thane of Fife. Dismiss me. Enough.

Descends

MACBETH

Whate’er thou art, for thy good caution, thanks;

Thou hast harped my fear aright. But one word more,—

FIRST WITCH

He will not be commanded. Here’s another,

More potent than the first.

Thunder. Second Apparition, a bloody child

SECOND APPARITION

Macbeth, Macbeth, Macbeth!

MACBETH

Had I three ears, I’d hear thee.

SECOND APPARITION

Be bloody, bold, and resolute; laugh to scorn

The power of man, for none of woman born

Shall harm Macbeth.

Descends

MACBETH

Then live, Macduff, what need I fear of thee?

But yet I’ll make assurance double sure

And take a bond of fate: thou shalt not live,

That I may tell pale-hearted fear it lies,

And sleep in spite of thunder.

Thunder. Third Apparition, a child crowned, with a tree in his hand

5

10

15

Act 4



What is this

That rises like the issue of a king

And wears upon his baby-brow the round

And top of sovereignty?

ALL

Listen, but speak not to’t.

THIRD APPARITION

Be lion-mettled, proud, and take no care

Who chafes, who frets, or where conspirers are.

Macbeth shall never vanquished be until

Great Birnam Wood to high Dunsinane hill

Shall come against him.

Descends

MACBETH

That will never be:

Who can impress the forest, bid the tree

Unfix his earth-bound root? Sweet bodements, good.

Rebellious dead, rise never till the wood

Of Birnam rise, and our high-placed Macbeth

Shall live the lease of nature, pay his breath

To time and mortal custom. Yet my heart

Throbs to know one thing. Tell me, if your art

Can tell so much, shall Banquo’s issue ever

Reign in this kingdom?

ALL

Seek to know no more.

20

25

30

35

01 Starting with this moment in the play, explore how Shakespeare presents Macbeth and his

anxieties.

Write about:

how Shakespeare presents Macbeth and his interactions with the witches at this point in

the play

how Shakespeare presents Macbeth and his interactions with the witches in the play as a

whole.

[30 marks]

A04 [4 marks]

Act 4



Edexcel






In this extract, Macduff has gone to England to persuade Malcolm to claim the throne of Scotland,

but Malcolm does not trust him so tests him.

MACDUFF

Scotland hath foisons to fill up your will

Of your mere own. All these are portable,

With other graces weighed.

MALCOLM

But I have none. The king-becoming graces —

As justice, verity, temp’rance, stableness,

Bounty, perseverance, mercy, lowliness,

Devotion, patience, courage, fortitude,

I have no relish of them, but abound

In the division of each several crime,

Acting it many ways. Nay, had I power, I should

Pour the sweet milk of concord into hell,

Uproar the universal peace, confound

All unity on earth.

MACDUFF

O Scotland, Scotland!

MALCOLM

If such a one be fit to govern, speak.

I am as I have spoken.

MACDUFF

Fit to govern?

No, not to live. O nation miserable,

With an untitled tyrant bloody-sceptred,

When shalt thou see thy wholesome days again,

Since that the truest issue of thy throne

By his own interdiction stands accursed

And does blaspheme his breed? Thy royal father

Was a most sainted king; the queen that bore thee,

Oft’ner upon her knees than on her feet,

Died every day she lived. Fare thee well.

These evils thou repeat’st upon thyself

Have banished me from Scotland. O my breast,

Thy hope ends here.

5

10

15

20

25

Act 4



MALCOLM

Macduff, this noble passion,

Child of integrity, hath from my soul

Wiped the black scruples, reconciled my thoughts

To thy good truth and honour. Devilish Macbeth

By many of these trains hath sought to win me

Into his power, and modest wisdom plucks me

From over-credulous haste; but God above

Deal between thee and me, for even now

I put myself to thy direction and

Unspeak mine own detraction, here abjure

The taints and blames I laid upon myself,

For strangers to my nature. I am yet

Unknown to woman, never was forsworn,

Scarcely have coveted what was mine own,

At no time broke my faith, would not betray

The devil to his fellow, and delight

No less in truth than life. My first false speaking

Was this upon myself. What I am truly

Is thine and my poor country’s to command:

Whither indeed, before thy here-approach,

Old Siward with ten thousand warlike men

Already at a point, was setting forth.

Now we’ll together, and the chance of goodness

Be like our warranted quarrel. Why are you silent?

MACDUFF

Such welcome and unwelcome things at once

’Tis hard to reconcile.

30

35

40

45

50

55

1. (a) Explore how Shakespeare presents the relationship between Malcolm and Macduff at this

point in the play.


(20)

1. (b) In this extract, Malcolm discusses the qualities of a king. Explain the importance of

kingship elsewhere in the play.


• what it means to be a king according to the play

• why kingship is important.


(20)


Act 4



OCR

Section B

Shakespeare

Macbeth



EITHER

8 Explore how Shakespeare shows Macbeth’s character has changed since killing Duncan. Refer

to this extract from Act 4 Scene 1 and elsewhere in the play.

[40]*

In this extract Macbeth has gone to the witches to find out more about his future.

SECOND WITCH

By the pricking of my thumbs,

Something wicked this way comes;

Open, locks, whoever knocks.

Enter Macbeth

MACBETH

How now, you secret, black and midnight hags?

What is’t you do?

ALL

A deed without a name.

MACBETH

I conjure you by that which you profess,

Howe’er you come to know it, answer me.

Though you untie the winds and let them fight

Against the churches, though the yeasty waves

Confound and swallow navigation up,

Though bladed corn be lodged and trees blown down,

Though castles topple on their warders’ heads,

Though palaces and pyramids do slope

Their heads to their foundations, though the treasure

Of nature’s germen tumble altogether

Even till destruction sicken: answer me

To what I ask you.

Act 4



OR

9 How important is the theme of kingship in the play? Explore at least two moments from the

play to support your ideas.

[40]*


Act 4



WJEC Eduqas

2. Macbeth




How does this extract show Macduff’s grief at the loss of his wife and children? Refer closely to

details from the extract to support your answer.

[15]

ROSS

Your castle is surprised; your wife and babes

Savagely slaughtered. To relate the manner

Were on the quarry of these murdered deer

To add the death of you.

MALCOLM

Merciful heaven!

What, man, ne’er pull your hat upon your brows:

Give sorrow words; the grief that does not speak,

Whispers the o’erfraught heart and bids it break.

MACDUFF

My children too?

ROSS

Wife, children, servants, all

That could be found.

MACDUFF

And I must be from thence?

My wife killed too?

ROSS

I have said.

MALCOLM

Be comforted.

Let’s make us med’cines of our great revenge

To cure this deadly grief.

MACDUFF

He has no children. All my pretty ones?

Did you say all? O hell-kite! All?

What, all my pretty chickens and their dam

At one fell swoop?

MALCOLM

Dispute it like a man.

MACDUFF

I shall do so;

But I must also feel it as a man;

I cannot but remember such things were

Act 4



That were most precious to me. Did heaven look on,

And would not take their part? Sinful Macduff,

They were all struck for thee. Naught that I am,

Not for their own demerits but for mine,

Fell slaughter on their souls. Heaven rest them now.

MALCOLM

Be this the whetstone of your sword, let grief

Convert to anger. Blunt not the heart, enrage it.

MACDUFF

O, I could play the woman with mine eyes

And braggart with my tongue. But gentle heavens,

Cut short all intermission. Front to front

Bring thou this fiend of Scotland and myself;

Within my sword’s length set him. If he scape,

Heaven forgive him too.

*(b) Write about the theme of children and how it is presented in Macbeth.

[25]



Act 5

Lesson 21


Act 5

Act 5

Lesson 21 – Guilt will out (Act 5 Scene 1)

Starter activities

The Macbeths: Get students to consider whether the Macbeths have grown apart.

They should work in pairs to improvise some arguments between them. They could be

based around these topics:

why he didn’t tell her he was having Banquo killed

why he had her friend Lady Macduff and her children killed

why he ruined her party

why he is avoiding her

why she encouraged him to kill Duncan in the first place

why they have no children. (AO1)

Main activities

Watch and read the scene: Use the YouTube clip

www.youtube.com/watch?v=9dgbbtUbgcM and read the scene together. Ask students

to consider why it is in prose and then changes to poetry at the end. (AO1, AO2)

Sleepwalking torment: The resource Sleepwalking torment (Resource 41) includes an

activity exploring what haunts Lady Macbeth. To differentiate, you could set more

able students the challenge of finding the quotations for themselves. For less able

students, you could add the events from earlier in the play for them to match with

the parts of Lady Macbeth’s sleepwalking narrative. (AO1)

http://www.youtube.com/watch?v=9dgbbtUbgcM

Act 5

Lesson 21


Confessions: Once you have read or watched the scene, ask students to imagine they

are the gentlewoman or doctor, and then write a letter to a friend to say what she or

he has heard from Lady Macbeth.

You could guide more able students to write as the gentlewoman who says ‘I will not

report after her’ (and therefore has heard her say more than the words the doctor

hears). Less able students could write as the doctor, using only the evidence from

this scene. (AO1, AO4)

Plenary activities

Doctor’s report: Get students to write the doctor’s report on Lady Macbeth’s illness.

(AO1)

Peer assessment: If students completed the writing task Confessions above, they

could swap their letter with a partner and give a score to show how many of the

earlier events in the play they had covered. (AO1, AO4)

Lesson 21

Resource 41


Sleepwalking torment

Task one

Lady Macbeth’s conscience reveals some of the secrets that haunt her.

Complete the second column of the table with the haunting memories she is referencing

when she’s sleepwalking.

Lady Macbeth sleepwalking Event from earlier in the play Quotation

no.

Yet who would have thought the old man to have had so much blood in him?

The Thane of Fife had a wife. Where is she now?

What, will these hands ne’er be clean?

No more o’ that, my lord, no more o’ that. You mar all with this starting.

Wash your hands, put on your night-gown, look not so pale.

I tell you yet again, Banquo’s buried; he cannot come out on’s grave.

To bed, to bed; there’s knocking at the gate.

Task two

Now choose from the following quotations for each of the events, and write the number

of a relevant quotation in the third column of the table above.

1. Get on your nightgown, lest occasion call us,

And show us to be watchers. Be not lost

So poorly in your thoughts. (Lady Macbeth)

2. I hear a knocking

At the south entry: retire we to our chamber; (Lady Macbeth)

Lesson 21

Resource 41


3. If he do bleed,

I’ll gild the faces of the grooms withal;

For it must seem their guilt. (Lady Macbeth)

4. Whither should I fly?

I have done no harm. But I remember now

I am in this earthly world; where to do harm

Is often laudable, to do good sometime

Accounted dangerous folly: why then, alas,

Do I put up that womanly defence,

To say I have done no harm? (Lady Macduff)

Enter Murderers

5. O proper stuff!

This is the very painting of your fear:

This is the air-drawn dagger which, you said,

Led you to Duncan. O, these flaws and starts,

Impostors to true fear, would well become

A woman’s story at a winter’s fire,

Authorized by her grandam. Shame itself!

Why do you make such faces? When all’s done,

You look but on a stool. (Lady Macbeth)

6. Will all great Neptune’s ocean wash this blood

Clean from my hand? No: this my hand will rather

The multitudinous seas incarnadine,

Making the green one red. (Macbeth)

7. You do unbend your noble strength to think

So brain-sickly of things. (Lady Macbeth)

Lesson 21

Resource 41



Lady Macbeth sleepwalking Event from earlier in the play Quotation

Yet who would have thought the old man to have had so much blood in him?

She remembers seeing Duncan dead and how she needed to put blood on the guards.

3

The Thane of Fife had a wife. Where is she now?

She thinks about her murdered friend Lady Macduff.

4

What, will these hands ne’er be clean?

She remembers when both she and Macbeth needed to wash the blood from their hands.

6

No more o’ that, my lord, no more o’ that. You mar all with this starting.

She had told Macbeth to stop appearing so nervous.

7

Wash your hands, put on your night-gown, look not so pale.

She had told Macbeth to put his nightclothes back on so they would look innocent.

1

I tell you yet again, Banquo’s buried; he cannot come out on’s grave.

She recalls how Macbeth had seen visions of Banquo at the banquet.

5

To bed, to bed; there’s knocking at the gate.

She is haunted by the knocking sound when she and Macbeth were disturbed after Duncan’s murder.

2

Act 5

Lesson 22


Lesson 22 – Dunsinane Castle (Act 5 Scenes 2-6)

Starter activities

Insults: Macbeth calls his servant a ‘cream-faced loon’ for bringing him a message he

dislikes. Get students to make new insults and pair up to vent some hot air using the

Insults generator (Resource 42) or Shakespearean insults starter resource (Resource

43). (AO2)

An army on stage: Present students with this problem for Act 5:

How does Shakespeare show an army marching on foot from London to Scotland on

stage?

Discuss Shakespeare’s solutions and whether any students had chosen these solutions:

he alternates scenes between the destination (Macbeth’s castle) and the

marching army

he shows the leaders talking but no ordinary soldiers

he uses Lady Macbeth in Act 5 Scene 1 to show the passage of time. (AO1)

Main activities

Reading: You could split your class into five groups to cover the next set of scenes,

with each group focusing on one of the scenes involving the advancing army and

Macbeth’s castle. The resource The army marches (Resource 44) includes discussion

questions for each group. To differentiate, you could give a group of weaker readers

Act 5 Scene 4 and Act 5 Scene 6 (or combine these scenes if you have an able class),

and more able learners could work on Act 5 Scene 5 where the questions prompt

further thinking. (AO1)

Act 5

Lesson 22


Plenary activities

Spies: Ask students to look back over Act 5 Scenes 2-6. Get them to imagine they are

a spy for the invading army or for Macbeth. Choose one or two pieces of espionage to

share with the class as a tweet. (AO1)

Feedback: Groups should share their learning from the army’s approach in Scenes 2-

6. Choose whichever format you like: flipchart paper with Post-its for students to

visit by moving around the room, large sheets of sugar paper, collages using iPads, a

formal presentation etc. (AO1)

Lesson 22

Resource 42


Insult generator





Lesson 22

Resource 43


Shakespearean insults

block pander boggler

drone coxcomb time-pleaser

lubber hilding flibbertigibbet

patch mountebank whoremonger

fancy-monger puke-stocking varlet

shoulder-clapper basilisk bug

fragment ticklebrain candle-maker

varlet bubble double-dealer

popinjay whey-face pantaloon

mag wag horse-drench boil

promise-breaker shrimp

Lesson 22

Resource 44


The army marches

Act 5 Scene 2

The Scottish lords wait to meet up with the army coming from England.

Read the scene and discuss the following questions:

This dialogue is all written in poetry. Why might Shakespeare have chosen to

do that?

Notice that the lords mention Birnam Woods more than once. Why is this of

interest?

Pick out some words which show the lords’ low opinion of Macbeth.

Act 5 Scene 3

This scene takes place inside Dunsinane Castle.


In his first speech, Macbeth refers to the three prophecies the visions gave

him. What does that show about his attitude towards them?

Why does he speak so nastily to his servant?

List Macbeth’s moods in this scene. What does that show about him?

How does he react to the news about Lady Macbeth and what effect does this

have on the doctor?

Act 5 Scene 4

This short scene is where Malcolm gives the order that every man shall cut a

branch to carry as a disguise for their approach to Macbeth’s castle.


Which of the prophecies comes true in this scene?

Whose idea was it to use the branches as disguise for the approaching army?

Siward comments ‘We learn no other but the confident tyrant / Keeps still in

Dunsinane’ – what does this mean and what are the implications for the

army?

Lesson 22

Resource 44


Act 5 Scene 5

Macbeth thinks he can survive a siege. He puts his faith in the castle’s high

position. Lady Macbeth dies and her husband has no time to mourn her. Macbeth is

angry with the servant who tells him Birnam Wood is getting closer.


Do you think Macbeth seems confident or is he putting on a brave face in his

opening speech?

Macbeth says he has forgotten what it is to be afraid because he has seen so

many horrors. Do you think he has regrets?

How does Lady Macbeth die? Do you think it was an accident or suicide?

Macbeth is angry with the servant who tells him about Birnam Wood.

Do you think the servant will leave Macbeth or stay?

Act 5 Scene 6

The approaching army shows itself. Malcolm gives the order to throw down the

branches and invade the castle, with Siward and his son leading the attack.

Read the scene and discuss the following question:

Shakespeare alternated scenes to suggest the passage of time and a huge

invading army. To what extent do you think this tactic worked?

Lesson 22

Resource 44



Here are some possible ‘answers’ for the questions in each scene. Of course, many of

the questions are open to interpretation.

Act 5 Scene 2

Shakespeare has chosen to write the scene in poetry to stress the seriousness of

the situation, to create dramatic tension, to show the army is well disciplined and

because the speakers are lords.

Birnam Woods is important because it is in one of the prophecies. Macbeth is not

to fear until Birnam Woods come to Dunsinane.

Macbeth is mad, distempered, has secret murders sticking on his hands, is sickly,

and his king’s robes are too big for him.

Act 5 Scene 3

Macbeth believes the prophecies and is clinging to them. They make him feel

confident.

Macbeth is angry with his servant because he looks afraid.

Refuses to show fear, anger, sadness, showing that he is ready to die, feels

defiance, impatience, and he is worried people are running away – he is confused.

Macbeth expects the doctor to be able to cure his wife. The doctor vows to leave

and never return.

Act 5 Scene 4

‘Macbeth shall never vanquished be until / Great Birnam Wood to high Dunsinane

hill / Shall come against him.’ (Act 4 Scene 1)

It was Malcolm’s idea.

It means they have found out from their spies that Macbeth has been deserted by

his army and no one will oppose their approach to his castle.

Act 5 Scene 5

Students should choose a quotation to prove some of these opinions.

Act 5 Scene 6

Students should justify their thinking by referring to specific moments in the plot.

Act 5

Lesson 23


Lesson 23 – Macbeth’s character (Act 5 Scene 7)

Starter activities

Do you like Macbeth? Ask students to identify some moments in the first four acts

where Macbeth has seemed likeable. Do they think his life would have been better

had he never met the witches? (AO1)

Main activities

Plotting Macbeth’s rise and fall: Use the resource Macbeth’s rise and fall (Resource

45) for students to analyse the language Macbeth uses in Act 5 and previously, to

explore the changes in his character. (AO1, AO2)

Reading: Read Act 5 Scene 7. This scene shows the advancing army entering

Dunsinane Castle to dethrone Macbeth. After reading, discuss these questions:

1. Macbeth kills young Siward. Which one of them do you think is the most

courageous and why?

2. Macbeth thinks no one born of woman can harm him. What do you think he

is expecting?

3. Macduff says he only wants to kill Macbeth, not his servants, who have

done him no harm. Do you think he is right to think that way, or should he

be more wary of anyone loyal to Macbeth?

4. Old Siward and Malcolm follow Macduff into the castle. ‘Gently rendered’

means it was easy to gain access as no one is defending the place. Why do

you think this is? (AO1)

Act 5

Lesson 23


Plenary activities

Metaphors for life: Looking again at Macbeth’s speech in Act 5 Scene 5 ‘Tomorrow,

and tomorrow, and tomorrow …’), get students to come up with their own metaphors

for life. (AO2)

Comparing graphs: Ask students to compare or present their graphs of Macbeth’s rise

and fall, following the activity on Macbeth’s rise and fall (Resource 45). Ask them to

think of other scenes that they could include on the graph. (AO1)

Lesson 23

Resource 45


Macbeth’s rise and fall

In Act 5 Scene 5, Macbeth expresses a mood of despair in response to his wife’s death.

He accepts his imminent death (or at least the end of his rule).

Task one

Read and annotate his speech, identifying interesting imagery, words that suggest

despair and anything else that interests you about Macbeth’s character and his view of

life and death.

Tomorrow, and tomorrow, and tomorrow

Creeps in this petty pace from day to day

To the last syllable of recorded time;

And all our yesterdays have lighted fools

The way to dusty death. Out, out, brief candle,

Life’s but a walking shadow, a poor player

That struts and frets his hour upon the stage

And then is heard no more. It is a tale

Told by an idiot, full of sound and fury

Signifying nothing.

Task two

Compare Macbeth’s attitude to life and death with his speech in Act 3 Scene 2:

Come, seeling night,

Scarf up the tender eye of pitiful day

And with thy bloody and invisible hand

Cancel and tear to pieces that great bond

Which keeps me pale. Light thickens,

And the crow makes wing to th’rooky wood;

Good things of day begin to droop and drowse,

Whiles night’s black agents to their preys do rouse.

Thou marvell’st at my words, but hold thee still;

Things bad begun, make strong themselves by ill.

Lesson 23

Resource 45


Task three

Now plot the rise and fall of Macbeth on a graph. Plot the following events to show how

we regard him as a character:

He is introduced as a brave soldier.

He responds to the prophecies.

Malcolm is made Duke of Cumberland.

He tries to resist his wife’s plans to kill the king.

He kills the king.

He starts being dissatisfied and has Banquo killed.

He visits the witches who give him further

prophecies.

He has Macduff’s wife and children killed.

He shouts at his servants.

He sees an end of his reign by violent means.

By Window & Grove (photographer) [CC BY-SA 4.0

(http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons

Extension task

Look back through the play and select quotations for each of the events.

Add these to your graph.

Lesson 23

Resource 45


Graph

Act 5

Lesson 24


Lesson 24 – The fall of Macbeth (Act 5 Scenes 8-9)

Starter activities

Advice for Macduff and Macbeth: The next few scenes will see Macduff finally

confront Macbeth. Ask students to suggest one piece of advice for each of them. Who

would they back to win? (AO1)

Macbeth the bear: Display an image of bear baiting and discuss how this makes us

feel about Macbeth when he compares himself to a baited bear. An image and

Macbeth’s comparison are included in the resource Macbeth’s courage (Resource 46).

(AO3)

Main activities

Reading: Read through Act 5 Scenes 8-9 with students. Ask students to summarise

the events, and then discuss their lasting impressions of Macbeth at the end of the

play. (AO1)

Macbeth’s courage: Use the resource Macbeth’s courage (Resource 46) to compare

Macbeth and Macduff’s courage as they fight to the death. (AO1, AO2)

Plenary activities

Epitaphs: Display Malcolm’s last words about Macbeth:

‘this dead butcher and his fiend-like queen’

Ask students to come up with their own epitaphs to go on Macbeth’s and Lady

Macbeth’s gravestones, based on their more complete understanding of their

characters. (AO1)

Lesson 24

Resource 46


Macbeth’s courage

Bear Baiting’, pub. by Thomas McLean, 1820 / Credit: Henry Thomas Alken / Bridgeman Art Library / Universal Images Group / Copyright © Bridgeman Art Library / For Education Use Only. This and millions of other educational images are available through Britannica Image Quest. For a free trial, please visit www.britannica.co.uk/trial

In Shakespearian times, people used to bait bears. It was a cruel sport. A bear, tied to a

stake, and sometimes blinded and/or with its claws removed, would be set upon by

dogs. The crowd bet on which animal would win the fight.

They have tied me to a stake; I cannot fly,

But bear-like I must fight the course.

Macbeth compares himself to such a bear. How do you feel about Macbeth?

Lesson 24

Resource 46


Look at the chart below. Use it to judge who is the bravest of Macbeth and Macduff, as

they confront each other in a fight to the death. Mark each speech with your score 1-10,

where 10 is high. There are some footnotes below the chart to help you if you need

them.

Speaker Speech Bravery

Macbeth Why should I play the Roman fool, and die

On mine own sword?1

Macduff Turn, hell-hound, turn.

Macbeth

Of all men else I have avoided thee,

But get thee back, my soul is too much charged

With blood of thine already.2

Macduff I have no words:

My voice is in my sword3

Macbeth

Let fall thy blade on vulnerable crests;

I bear a charmèd life, which must not yield

To one of woman born.4

Macduff

Despair thy charm,

And let the angel whom thou still hast served

Tell thee, Macduff was from his mother’s womb

Untimely ripped.5

1 Macbeth refers to the ancient Roman practice of honour suicide by falling on your own sword when you know you are beaten. He refuses to do this and wants to fight to the death.

2 Macbeth had hoped to avoid Macduff. Maybe he feels guilty for killing his family, or is he afraid of him?

3 Macduff does not want to talk, just to fight. The time for words is over.

4 Is it easy to be brave when you think your enemy cannot hurt you?

5 Macduff tells his enemy that he was not born from a woman, but by Caesarian section. At this time, it was only done to free a baby from a dead mother.

Lesson 24

Resource 46


Speaker Speech Bravery

Macbeth

Accursèd be that tongue that tells me so,

For it hath cowed my better part of man;

And be these juggling fiends no more believed

That palter with us in a double sense,

That keep the word of promise to our ear,

And break it to our hope. I’ll not fight with thee.6

Macduff

Then yield thee, coward,

And live to be the show and gaze o’ th’time.

We’ll have thee, as our rarer monsters are,

Painted on a pole, and underwrit,

‘Here may you see the tyrant.’

Macbeth

I will not yield,

To kiss the ground before young Malcolm’s feet,

And to be baited with the rabble’s curse.

Though Birnam Wood be come to Dunsinane

And thou opposed being of no woman born,

Yet I will try the last. Before my body

I throw my warlike shield. Lay on, Macduff,

And damn’d be him that first cries, ‘Hold, enough!’7

Macduff total

Macbeth total

6 When he hears this Macbeth does not want to fight. He’s angry with the witches. Does this show bravery or cowardice?

7 In the end Macbeth fights on, even though he knows he will lose, because at least death is preferable to the humiliation if he lets himself be taken prisoner.

Act 5

Lesson 25


Lesson 25 – Revising characters

Starter activities

Which character … ? Ask students to choose one character for the following

statements. Which character is the …

1. … bravest?

2. … most evil?

3. … most kinglike?

4. … most worthy?

5. … most trustworthy?

6. … most engaging on stage?

7. … least likeable? (AO1)

Main activities

Top Trumps: Use the resource Character Top Trumps (Resource 47) to revise the

characters and consider how they compare with other characters. For a long version

of the task, each student makes their own pack of cards. For a short version of the

task, you could get students to work in groups of three so that they only make three

cards each, then share the pack of nine cards to play. (AO1)

Secret identities: You could revise the characters of the play by asking students to

choose a particular character to concentrate on, and then reread parts of the play

where they appear. They should then write down five pieces of cryptic information

about their character (choosing less obvious facts, and perhaps including the opinions

of other characters).

Put students in small groups, to reveal one fact at a time about their character, or to

guess the identity of another team member. The winner is the last to be identified.

(AO1)

Act 5

Lesson 25


Decorate a chair/hat: Get students to work in groups to decorate a chair or hat for a

particular character. You’ll have to provide the hats if you choose this option (or ask

them to bring them in)! Using paper, magazines, craft materials or anything you like,

students decorate a chair for their character. You could follow this up with a hot-

seating activity, making sure that students have prepared probing questions for other

characters. (AO1)

Plenary activities

Quiz: Using students’ Top Trumps cards, make a display of the key quotations. You

could number them around the classroom to create a quick quiz. (AO1)

Guess Who? Have a game of ‘Guess Who?’ choosing a student to pretend to be one of

the characters, and respond with yes/no answers to questions. (AO1)

Lesson 25

Resource 47


Character Top Trumps

Using the template, make a set of character cards, using the example below as a model.

5 is a high score, while 1 is the lowest score available for each of the character traits.

You will need to make one for each of these main characters:

The three weird sisters (one card for all three)

King Duncan Macbeth

Lady Macbeth Banquo Macduff

Ross Malcolm A murderer

Name The three weird sisters/ witches

Role/character type Supernatural

Any changes during the play

They give Macbeth prophecies which tempt him to kill the king, but later bring about his downfall with further prophecies.

Main events Appear in Act 1 and Act 4, using black magic

Status at the end Vanished, never seen again

Key quotation Double, double, toil and trouble; Fire burn and cauldron bubble.

Character attributes

Power: 5

Wickedness: 5

Honesty: 2

Bravery: 1

Leadership: 1

Lesson 25

Resource 47


Name

Role/character type

Any changes during the play

Main events

Status at the end

Key quotation

Character attributes

Power:

Wickedness:

Honesty:

Bravery:

Leadership:

To play:

First deal out all the cards face down, then each player puts their cards into a stack and

turns them over, so only one card can be seen, and hidden from other players.

Player one chooses one attribute, for example, power. Player two then reads out the value

of that attribute on their first card, and so on around the team. Whoever has the highest

value wins all the first cards, collects them and places them at the bottom of their stack.

Whoever won the cards then chooses any attribute to read from their next card, and again

whoever has the best value of this attribute on their top card wins the cards and begins

the next turn. This continues until one of the players collects all the cards – they then win

the game!

Act 5




AQA



Macbeth


At this point in the play, Lady Macbeth is beginning to show that the guilt of Duncan’s murder is

affecting her health. She is sleepwalking.

Enter Lady Macbeth, with a taper

GENTLEWOMAN

Lo you, here she comes. This is her very guise and, upon my life, fast asleep.

Observe her, stand close.

DOCTOR

How came she by that light?

GENTLEWOMAN

Why, it stood by her. She has light by her continually, ’tis her command.

DOCTOR

You see, her eyes are open.

GENTLEWOMAN

Ay, but their sense is shut.

DOCTOR

What is it she does now? Look, how she rubs her hands.

GENTLEWOMAN

It is an accustomed action with her, to seem thus washing her hands; I have

known her continue in this a quarter of an hour.

LADY MACBETH

Yet here’s a spot.

DOCTOR

Hark; she speaks. I will set down what comes from her to satisfy my remembrance

the more strongly.

LADY MACBETH

Out, damned spot! Out, I say! — One: two: why then, ’tis time to do’t. — Hell is

murky. — Fie, my lord, fie, a soldier, and afeard? What need we fear? Who knows

it, when none can call our power to account? — Yet who would have thought the

old man to have had so much blood in him?

5

10

15

Act 5



DOCTOR

Do you mark that?

LADY MACBETH

The Thane of Fife had a wife: where is she now? — What, will these hands ne’er be

clean?— No more o’ that, my lord, no more o’ that. You mar all with this starting.

DOCTOR

Go to, go to; you have known what you should not.

GENTLEWOMAN

She has spoke what she should not, I am sure of that. Heaven knows what she has

known.

LADY MACBETH

Here’s the smell of the blood still; all the perfumes of Arabia will not sweeten this

little hand. O, O, O!

DOCTOR

What a sigh is there! The heart is sorely charged.

GENTLEWOMAN

I would not have such a heart in my bosom for the dignity of the whole body.

DOCTOR

Well, well, well —

GENTLEWOMAN

Pray God it be, sir.

DOCTOR

This disease is beyond my practice; yet I have known those which have walked in

their sleep who have died holily in their beds.

LADY MACBETH

Wash your hands, put on your night-gown, look not so pale. I tell you yet again,

Banquo’s buried; he cannot come out on’s grave.

20

25

30

01 Starting with this moment in the play, explore how Shakespeare presents Lady Macbeth’s

state of mind.

Write about:

how the guilt of past deeds is affecting Lady Macbeth at this point in the play

how Lady Macbeth behaved earlier in the play as a whole.

[30 marks]

A04 [4 marks]

Act 5



Edexcel





Macbeth – from Act 5 Scene 5, lines 7 to 27

In this extract, Macbeth has been given the news his wife is dead, leaving him to face his enemies

alone.

A cry within of women

MACBETH

What is that noise?

SEYTON

It is the cry of women, my good lord.

Exit

MACBETH

I have almost forgot the taste of fears;

The time has been, my senses would have cooled

To hear a night-shriek and my fell of hair

Would at a dismal treatise rouse and stir

As life were in’t. I have supped full with horrors;

Direness familiar to my slaughterous thoughts

Cannot once start me.

Seyton re-enters

Wherefore was that cry?

SEYTON

The queen, my lord, is dead.

MACBETH

She should have died hereafter;

There would have been a time for such a word.

Tomorrow, and tomorrow, and tomorrow

Creeps in this petty pace from day to day

To the last syllable of recorded time;

And all our yesterdays have lighted fools

The way to dusty death. Out, out, brief candle,

Life’s but a walking shadow, a poor player

That struts and frets his hour upon the stage

And then is heard no more. It is a tale

Told by an idiot, full of sound and fury

Signifying nothing.

5

10

15

20

Act 5



1. (a) Explore how Shakespeare presents the character of Macbeth in this extract.


(20)

1. (b) In this extract, Macbeth says he has had enough horror in his life. Explore the importance

of horror elsewhere in the play.


• which events in the play have been horrifying

• the effects of these horrific events on Macbeth.


(20)


Act 5



OCR

Section B

Shakespeare

Macbeth



EITHER

8 Explore how Shakespeare shows Macbeth as a tyrant in his behaviour towards others. Refer to


[40]*

In this extract Macbeth is in Dunsinane Castle as Malcolm’s army approaches.

Enter Macbeth, Doctor, and attendants

MACBETH

Bring me no more reports; let them fly all;

Till Birnam Wood remove to Dunsinane,

I cannot taint with fear. What’s the boy Malcolm?

Was he not born of woman? The spirits that know

All mortal consequences have pronounced me thus:

‘Fear not, Macbeth, no man that’s born of woman

Shall e’er have power upon thee.’ Then fly false thanes

And mingle with the English epicures;

The mind I sway by and the heart I bear

Shall never sag with doubt nor shake with fear.

Enter Servant

The devil damn thee black, thou cream-faced loon!

Where got’st thou that goose look?

SERVANT

There is ten thousand —

MACBETH

Geese, villain?

SERVANT

Soldiers, sir.

MACBETH

Go prick thy face, and over-red thy fear,

Thou lily-livered boy. What soldiers, patch?

Death of thy soul, those linen cheeks of thine

Are counsellors to fear. What soldiers, whey-face?

Act 5



SERVANT

The English force, so please you.

MACBETH

Take thy face hence!

Exit Servant

Seyton!— I am sick at heart,

When I behold — Seyton, I say! — this push

Will cheer me ever, or disseat me now.

I have lived long enough. My way of life

Is fall’n into the sear, the yellow leaf,

And that which should accompany old age,

As honour, love, obedience, troops of friends,

I must not look to have; but, in their stead,

Curses, not loud but deep, mouth-honour, breath

Which the poor heart would fain deny, and dare not.

Seyton!

OR

9 How important is the theme of children and heredity in the play? Explore at least two

moments from the play to support your ideas.

[40]*


Act 5



WJEC Eduqas

2. Macbeth




What does this extract show an audience about Macbeth’s courage at this point in the play?

Refer closely to details from the extract to support your answer.

[15]

MACBETH

Why should I play the Roman fool, and die

On mine own sword? Whiles I see lives, the gashes

Do better upon them.

Enter Macduff

MACDUFF

Turn, hell-hound, turn!

MACBETH

Of all men else I have avoided thee.

But get thee back: my soul is too much charged

With blood of thine already.

MACDUFF

I have no words:

My voice is in my sword, thou bloodier villain

Than terms can give thee out.

They fight

MACBETH

Thou losest labour.

As easy mayst thou the intrenchant air

With thy keen sword impress as make me bleed.

Let fall thy blade on vulnerable crests;

I bear a charmèd life which must not yield

To one of woman born.

MACDUFF

Despair thy charm,

And let the angel whom thou still hast served

Tell thee, Macduff was from his mother’s womb

Untimely ripped.

MACBETH

Accursèd be that tongue that tells me so,

For it hath cowed my better part of man;

And be these juggling fiends no more believed

That palter with us in a double sense,

Act 5



That keep the word of promise to our ear

And break it to our hope. I’ll not fight with thee.

MACDUFF

Then yield thee, coward,

And live to be the show and gaze o’th’time:

We’ll have thee, as our rarer monsters are,

Painted upon a pole, and underwrit,

‘Here may you see the tyrant.’

MACBETH

I will not yield

To kiss the ground before young Malcolm’s feet

And to be baited with the rabble’s curse.

Though Birnam Wood be come to Dunsinane,

And thou opposed being of no woman born,

Yet I will try the last. Before my body

I throw my warlike shield. Lay on, Macduff,

And damned be him that first cries, ‘Hold, enough!’

Exeunt, fighting. Alarums

*(b) Write about the theme of violence in Macbeth.

[25]



Westfield Academy | - Cover · 2020-03-24 · Specification: English Literature (exam in 2017)...

Documents

Transcript of Westfield Academy | - Cover · 2020-03-24 · Specification: English Literature (exam in 2017)...