(a) At the beginning of the play, Duncan describes Macbeth as a "valiant cousin, worthy gentleman!" (I, ii, 24). At the end of the play Duncan’s son Malcolm describes him as a "butcher" (V, ix, 35); Macduff calls him a "hell-hound" (V, viii, 4). Collect a series of quotations which plot the changes in Macbeth, and others’ perceptions of him. For each quotation (or group of quotations if they are about the same aspect of Macbeth) write a brief comment. Try to bring out the various conflicting aspects of his character - e.g. ambition/duty, bravery/fear, strength/uncertainty, good/evil. Place these in a table like the one following.

(b)The following commentary has been made about Lady Macbeth:

What judgements can we make about Lady Macbeth? She is at times gentle and loving, but she also displays great ambition (at least for her husband) and seems to provide him with the strength that he cannot muster on his own. She directs him, persuades him. However, by the end of the play she is unable to cope with the guilt of what she and Macbeth have done.

Collect quotations which demonstrate Lady Macbeth’s character. Set them out in the same way as for Macbeth.

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Part Three: Oral presentation

Choose ONE of the following speeches and learn it by heart. You should think carefully about what the speaker is trying to say, how he or she feels at the time of delivering the speech, the meaning of the words, the voice tones which are appropriate.

Macbeth:

• Act 1, Scene iii, lines130-142;
• 1,vii,1-28
• 2,1,33-51
• 3,2,13-26;
• 5,5,17-28.

Lady Macbeth:

• Act 1, Scene 5, lines 14-29
• 1,5,37-53
• 1,7,47-59
• 5,1,35-69 (omit Doctor and Gentlewoman).

For the following speeches, work with a partner.

• Macbeth and Lady Macbeth: Act 2, Scene 2, lines 36-73; (can be broken in two)
• The witches (read as two characters) : Act 4, Scene 1, lines 4-38
• Macbeth and Macduff: Act 5, Scene 7, lines 33-63

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Part Four: Presentation

A.

Compare two or three scenes from different versions of Macbeth. Versions which supply interesting contrasts are:

• The film directed by Roman Polanski. You might like to keep in mind that the film was made after Polanski’s pregnant wife, Sharon Tate, was murdered by the Charles Manson gang. It is also is produced by the Playboy organisation. The film is very ‘visual’, and cuts out large sections of the text.
• The film by the produced BBC – a much more traditional version of the play
• The Claude D’Anna film of Verdi’s Macbeth – an opera starring Leo Nucci as Macbeth and Shirley Verrett as Lady Macbeth (on a Decca video). A very different approach – particularly in relation to the role of the witches.
• The Glyndebourne Festival Opera Verdi’s Macbeth. (Longman Video). A traditional version of the opera.

Your answer should outline the way each scene is produced, including such things as use of light, sound effects, costumes, mood of the actors. Comment on the effectiveness of the scenes.

Scenes which are significant points of contrast are:

• the opening scenes (the appearance of the witches)
• Macbeth on his way to murder Duncan
• the ending

B

Produce an annotated script of a section of the play. The section you choose should be approximately 25 lines long.

When preparing your speech, you will need to consider how the character is feeling, how they might move, any changes that might occur during the speech. Set your work out in a two column table, with the speech on one side and your comments on the other. Speeches can be interpreted many ways. Imagine that you are writing directions for an actor, and that anything you say must be able to be acted. Thus, it is not helpful to say what is going on in a person's mind unless that can be shown on their face, or through some movement. Here is a sample:

Act I, Scene v.

How will Lady Macbeth enter? Is she reading the letter for the first time? Has she glanced at it and now reads it closely? Has she read it and now experiences what it means? How will your answer affect your reading?

Hail King that shalt be! This is the climax of the news. Is it a moment of wonder, excitement, hope or terror or ferocity? Practice reading the line to reveal these different emotions.

When Lady Macbeth reads my dearest partner in greatness, is she touched [moved], proud, impatient or businesslike?

How does she behave during the letter reading? Here is the way one actress played it:

‘Reinhardt began to read the letter slowly, grew more excited at "missives from the King"; at "Thane of Cawdor" she was checked [stopped], read slowly and with surprise until "Hail King...". She let the hand that held the letter fall, and for a long silence stared straight ahead. She raised the letter again, read it to the end, let her hand fall again, and in deep abstraction stared ahead.’

M. Rosenberg, Masks of Macbeth. Quoted in

Look at Lines 13-28 and Lines 40-56. What are possible actions for Lady Macbeth in these speeches?

Line	Action
Come thick night	She moves to the window. Spoken softly and slowly, but firmly. Facial expression is sharp, grim.

Set out your work as is done above (if you are working on the computers in A1, use Microsoft Word and insert a table with two columns). Under the Action column, include both movements and general instructions to the actors about the way in which the lines should be spoken. Note that there is no correct way to answer this. What mood is Lady Macbeth in at this stage? Perhaps the instruction to the actor could be:

Line	Action
Come thick night	She looks toward to the window. Spoken quickly and excitedly, but firmly. Face has a hint of a smile.

A further example, written by a student, suggests an interpretation of the Macbeth's speech as he walks to Duncan's room on his way to murder the king (Act II, Scene 1). Do you agree with this interpretation? Could an actor easily interpret all the directions? Are actions and facial expressions "busy" enough (that is, show the range of emotions which Macbeth is experiencing)? Too busy (and therefore look melodramatic)?

Line	Action
Is this a dagger which I see before me, the handle toward my hand?	He stops then stiffens. Spoken softly and unsurely. Facial expression shows puzzlement and slight fear.
Come, let me clutch thee	He takes a step towards the dagger and lifts his right hand to clutch it. Spoken softly but with conviction. Facial expression hasn't changed.
I have thee not and yet I see thee still! Art thou not, fatal vision, sensible to feeling as to sight?	His hand is still outstretched towards the dagger, he frowns questioningly at the dagger. Spoken fearfully but in strained, hushed tones.
Or art thou but a dagger of the mind, a false creation, Proceeding from the heat-oppressed brain?	He closes his eyes and turns his head away from the dagger. Face shows grief and signs of an inner struggle. Spoken in a strained voice.
Thou marshall'st me the way that I was going And such an instrument I was to use	He looks towards the King's chambers, then at the dagger in his hand. Spoken softly and wonderingly. Face lights up slightly.
Mine eyes are made the fools o' the other senses, or else worth all the rest	He lifts a hand to his face and rubs his eyes gently. His voice is thoughtful, and so is his facial expression.
I see thee still; And, on thy blade and dudgeon, gouts of blood which was not there before.	He drops his hand from his face and looks at the dagger. Spoken softly, thoughtfully.
There's no such thing. It is the bloody business which informs thus to mine eyes.	The dagger disappears. He shakes his head gently from side to side. Spoken grimly,
Now o'er the one half-world nature seems dead, and wicked dreams abuse the curtained sleep	He breathes deeply, sighs, then speaks softly. Facial expression is grim.
Witchcraft celebrates pale Hecate's offerings; and withered Murder, Alarumed by his sentinel, the wolf, Whose howls his watch thus with his stealthy pace, With Tarquin's ravishing strides, towards his design Moves like a ghost.	Looks at the dagger in his hand. He speaks in disgust. Facial expression still grim, with a hint of a frown.
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.	He starts to pace slowly towards the King's chamber. Spoken softly, but more quickly and excitedly. Facial expression strained but sharp.
Whiles I threat, he lives: Words to the heat of deeds too cold breath gives.	He moves more directly, more certainly. Spoken with some impatience mixed with new strength.
A bell rings	Walks quickly to the door of the King's chamber. Facial expression shows resolution.
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	He speaks quickly but firmly and with conviction.

C

You should keep a record of your work in groups. Use your normal Oral Communication log for this.

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Part five: research

Section 1: The Supernatural

(a) What view of the supernatural was held by the Elizabethans?

(b)What is the effect of the opening scene of the play?

(c) In Act I, Scene iii we find Macbeth echoing what the witches had said in the first scene.

• quote the lines
• What is the effect on the audience of this?

(d) Explain the ambiguities in the witches’ prophecies. (Refer to I, i, 11-12; I, iii, 38-78; IV, i, 71-132)

(e) How is Macbeth affected by:

• the ‘air-drawn dagger’ (II, i, 33-61; III, iv, 61-62)
• Banquo’s ghost (III, iv, 41 - 143)?

Section 2: The Natural Order

One of the effects of Macbeth’s crime (the murder of Duncan) is the way it alters the natural order. Discuss the changes, making particular reference to:

(a) the attitude towards kingship in Shakespeare's time);

(b) the unnatural events which took place (II, iii, 53-62; II, iv, 1-20; IV, ii, 1-26; IV, 3, 4-7)

(c) the references to Macbeth and Lady Macbeth’s nightmares and sleeplessness.

Section 3: Shakespeare on the Internet

Produce a webpage of Macbeth resources on the Internet for VCE students studying the play. Your page should include review of three sites (which includes a brief summary of their content). Remember to include the internet address - if you are using a wordprocessor like Microsoft Word, this will become a hot link to the site. It may be possible, after saving your work in HTML format, to place your webpage on your school's intranet as a guide for other students.

Keep in mind that you are reviewing three SITES, not just three PAGES. A site will normally consist of several linked pages. Also, you are reviewing the site from the point of view of its usefulness to a VCE student studying the play. Therefore, it should increase your understanding of such things as the background to the play, what happens in the play, the language, the staging, the characters or the themes which are raised in the play. Some points to consider in your review are:

• Does the content suit the needs of a Year 11 student? For example: is the material too difficult? This might apply to commentaries which are aimed at university students.
• Is the material detailed enough? For example, there may be a copy of the text, but unless it has explanations of the vocabulary, or linked notes, or a search facility, why would a student use it rather than the book?
• If there is a bulletin board for comments, questions and answers, are they interesting?

Note that links to outside sites may be commented on in general — you might find a very extensive list that leads to good sites; it may be that they lead places VCE students are wasting their time with. However, these other pages/sites should not be regarded as part of the site you are reviewing.

Consider also Internet specific things such as the use of graphics or sounds. Are these useful, or merely a distraction which take time to load?

The following sites provide starting points:

http://daphne.palomar.edu/shakespeare

http://the-tech.mit.edu/Shakespeare/works.html

http://tqd.advanced.org/2888

http://www.ptraining.com/macbeth/Default.htm

Or use an Internet search engine such as www.yahoo.com.au, www.anzwers.com.au, www.altavista.com, www.dogpile.com and enter "Shakespeare Macbeth" in the Search for section.

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For more on Shakespeare, see:
Richard McRoberts and Philip Gardner English Skills Second Edition
Chapter 3 "Reading Shakespeare" pp 30-45

© Wizard Books and Philip Gardner 1999
Published by Macmillan Education
627 Chapel Street, South Yarra, Vic 3141 Australia
www.macmillan.com.au