A READING GUIDE TO MACBETH
The Tragedy of Macbeth is one of the four great tragedies of Shakespeare’s late career. The play presents a radical and quick descent
of a warrior into evil as he plots to kill his king and then must deal with the consequences, both exterior conflicts as well as his own
guilt: one might say this play is an exploration of the consequences of sin. The play is a nightmare featuring witches and villainous
characters. Lady Macbeth, wife of Macbeth, though only in a few scenes, is a memorable presence.
The play is set in Scotland, ruled (at first) by King Duncan; several castles, fields, moors
Tragedy is a form of drama dealing with a protagonist (a nobleman) placed in a highly stressful situation that
leads to a disastrous, usually fatal conclusion. Tragedies focus on a powerful central character (the tragic hero)
whose tragic flaw is the source of his catastrophe. He is the victim of his own strength, which will not allow accommodation with his
situation, and the audience is appalled at this paradox and at the inexorability of his fate.
Three Witches (sometimes called weird sisters)—the witches
take interest in Macbeth and Banquo; they are sometimes
presented on stage as three beggar women or even “Halloween
witches”
Duncan—King of Scotland at the beginning of the play
Malcolm—Malcolm’s eldest son, not necessarily the heir to
the throne (Scottish monarchy didn’t function like the English
or French)—will become an antagonist to Macbeth
Donnalbain—younger son of Duncan
Macbeth—a general in Duncan’s army at the beginning of the
play, defending Duncan’s kingdom from external threats and
from traitors within
Lady Macbeth—Macbeth’s wife
Banquo—another general in Duncan’s army, friend to
Macbeth
Fleance—Banquo’s young son
Macduff—Scottish nobleman, will become the main
antagonist to Macbeth
Lady Macduff—Macduff’s wife, meant to “balance” Lady
Macbeth
Macduff’s son—very young son of Macduff (4-5 years old)
Siward—English nobleman, related to Malcolm distantly—
brings an army against Macbeth in the last acts
Young Siward—son of Siward
Scottish Lords (Lennox, Ross, Menteith, Angus, Caithness)
Servants including doctors, gentlewoman (lady-in-waiting)
Hecate—ruler of the witches, borrowed from Greek
mythology. Her scenes are generally regarded as an addition
to Shakespeare’s text
Three Apparitions—three ghosts or demonic presences
summoned by the witches
Look for examples of the following. Be prepared to devise a theme statement for each and provide evidence to support.
• Guilt (and the expression of guilt)
• Conscience
• Fate
• Ambition
• Corruption
• Gender (manhood/ womanhood)
1.
2.
3.
4.
5.
6.
Relate the prophecies made in Macbeth (from the witches to Macbeth, to Banquo, and the apparitions). How does each come
true? How are each deceptive?
What is your judgment of Macbeth’s character by the end of the play? Do you think that he showed dignity in defeat? Cite
evidence from the play to support your judgment.
Is Macbeth’s downfall a result of fate or his own actions? Use examples from the play to defend your opinion. Consider: the
extent the witches control or affect the future, the depth of Macbeth’s ambition to be king, Lady Macbeth, and Macbeth’s
actions.
What positive and negative effects of ambition does the play illustrate? Cite different characters in the play as examples of
these effects.
Were you satisfied with the way the play ended? Why or why not?
What lessons do you think Macbeth offers to leaders today?
For each of the following passages:
A. identify the speaker and occasion
B. paraphrase its meaning
A READING GUIDE TO MACBETH
C. its significance to the progression of the plot, a development of theme, or the revelation of character.
1.
2.
3.
4.
5.
6.
7.
8.
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…Yet do I fear thy nature./ It is too full o' the milk of human kindness/ To catch the nearest way. Thou wouldst be great; / Art not
without ambition, but without / The illness should attend it. What thou wouldst highly, / That wouldst thou holily; wouldst not
play false, /And yet wouldst wrongly win.
… I have no spur/ To prick the sides of my intent, but only /Vaulting ambition, which o'erleaps itself/ And falls on the other.
What hands are here? Ha, they pluck out mine eyes! / 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.
My hands are of your color, but I shame /To wear a heart so white.
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? ….Here's the smell of the blood still. All the perfumes of Arabia will not sweeten this little hand. Oh, oh, oh!
… To bed, to bed; there's knocking at the gate. Come, come, come, come, give me your hand. What's done cannot be undone. To
bed, to bed, to bed.
Canst thou not minister to a mind diseased, / Pluck from the memory a rooted sorrow, / Raze out the written troubles of the brain,
/ And with some sweet oblivious antidote / Cleanse the stuff'd bosom of that perilous stuff.
I have almost forgot the taste of fears: / The time has been, my senses would have cool'd /To hear a night-shriek, and my fell of
hair / Would at a dismal treatise rouse and stir.