Through the use of a mysterious scene, Shakespeare opens Macbeth in an engaging manner. Unlike in Romeo and Juliet, Shakespeare does not provide a monologue to summarize the necessary background knowledge, but rather foreshadows future events in Act I, Scene 1's discussion between three witches. Such an approach effectively confuses readers and prompts further reading for clarification. Especially for modern day readers, the description of the three supernatural witches with "grotesque" (I.i.1) appearances seems strange, but when one witch mentions the namesake of the play, the need to continue reading increases. Shakespeare lures readers into his work with his words, but because plays are designed to be seen, he also appeals to viewers with bizarre visuals. The "gaunt and eery-looking" (I.i.1) witches' conversation takes place amongst "fog and filthy air" (I.i.11), as well as thunder and lightning, while the second scene opens dramatically with a bloody, wounded soldier and a king. The beginning of the second scene also drops the name of Macbeth, describing him as, "brave...disdaining fortune, with his brandished steel" (I.ii.16-17), again drawing readers in to learn more. A pattern of dramatic and enthralling openings is prevalent as the work begins and Shakespeare's aptitude for captivating the reader or viewer's attention becomes clear.
William Shakespeare opens the play Macbeth by introducing a common theme set forth by Act 1: confusion and ambiguity. As readers attempt to absorb the setting described as “a wild and desolate place,” they are unaware of the witches intent through their incantations, and for the time being, Scene i makes little sense. The witches speak in paradoxical riddles, such as “When the battle’s lost and won” (I.i.4), and “Fair is foul and foul is fair” (I.i.11), and these nonsensical phrases foreshadow Macbeth’s confusion in his pursuit to determine the best path to fulfill his destiny and grab power. The opposite of her husband, Lady Macbeth fully desires to become queen, and decides to murder the king with Macbeth, who obeys her order with the response, “I am settled, and bend up each corporal agent to this terrible feat” (1.vii.79-80). Shakespeare wrote the beginning of Macbeth to increase readers’ curiosity, but also to establish a common theme throughout the play.
The opening scene of Macbeth begins with a dark and gloomy setting similar to that of Godot. The viewers of the play are confused and possibly scared as the witches are introduced. Shakespeare even wrote a note at the beginning of the script, “Thunder and lightning. Three witches enter. They are bearded, gaunt and eery-looking, their clothes ragged and grotesque” (I.I.21). This odd opening scene which contains a conversation between the witches is confusing for the audience because the witches repeatedly make statements that contradict themselves. For example, statements such as “when the battle’s lost” or “fair is foul, and foul is fair” (I.I.21) are made. This scene completely contrasts the second scene in which a fully lit room is presented with noblemen dressed in uniform and trumpets playing in the background. This scene is fully comprehendible and the audience can understand the conversations taking place. Shakespeare does this in order to strike emotions from the viewers. Shakespeare wants people to fear the witches when they are present in the play.
Shakespeare opens all of his plays similarly. The first scene of Macbeth with the witches acts as almost a prologue to his play, just as the "two households" scene in Romeo and Juliet describe the following play. In Macbeth, the witches mention a later meeting, and the main character, Macbeth. Additionally, the utter the famous lines, "fair is foul and foul is fair" (1,1,12). This phrase will act as a common theme throughout the rest of the play which is already apparent during the subsequent six scenes in the first act. Foul play indeed will occur during the Macbeth and his wife's attempt to kill the King, and the dominant discourses we have been discussing in class (dreams v. reality, etc...) will present issues during the play as a whole. Shakespeare includes information at the beginning of his plays which initially may seem unimportant, but prove a crucial foreshadowing as one continues to read/watch.
In reference to the opening of scenes, patterns seem to be occurring which are skillfully used to control the emotions of the readers/viewers. To begin the play Shakespeare opens with conversation between the three ugly witches. Generally categorized as evil, the tone is set for a play with involvement with supernatural ideas. Completely switching ideas, the play next goes into the lives of the ore noble characters of the play. This contrast between Act I Scene 1 plays with viewers emotions starting off with skepticism and switching to a more trustworthy mindset. Inserting another set of contrasts, the next scene opens, again, with a conversation among the witches and soon after Macbeth and Banquo as well. This scene arises the familiar feeling of deception when having worthy generals in the presence of evil. Yet again the emotional roller coaster continues when the next scene commences with King Duncan. Continuing on the next scene's introduction includes Lady Macbeth, clearly a character with immoral intentions. King Duncan begins the next scene and the corrupt layer of Macbeth opens the last scene of the act. The repetitive nature of Shakespeare's back and forth between "good" and "bad" characters is clever and successful in setting contrasting tones between one scene and the next. The tone of each scene sets the stage for viewers emotions and the way in which Shakespeare does so contributes to the aspect of the play that makes viewers eager to see more.
Scene i presents itself as absolutely vital to the early stages of Macbeth. While typically Shakespeare's works begin with a highly straightforward exposition, Macbeth does not. Without this first scene, the first scenes of the play, scenes ii, iii, and iv, would become an entirley different experience, an experience that would not measure up to what readers expect of Shakespeare. The opening portion presents an intriguing substitute for the straightforward type of exposition found in Romeo and Juliet, for example. The scene sets up Macbeth as a serious point of emphasis as its most straightforward effect, and yet readers find themselves wondering about the origins of the way the word Macbeth rings in the head after finishing reading. This is due to a special rhyme scheme reserved by Shakespeare for supernatural characters, known as trochaic tetrameter (Parrott). Shakespeare has subtly established Macbeth as a subject of reader scrutiny without the need to have an address to the audience describing his importance. The eerie atmosphere of the scene, generated by the witches appearances, way of speaking, and desert setting add additional intrigue. The effect of this first scene is profound. Where, without scene i, a reader would be sitting back, idly wondering what is going on through the first through scenes, readers find themselves devouring the first few acts with all the information they may have ordinarily dismissed or ignored. Shakespeare parallels the witches' behavior, as he plants the seeds of feverish interest in the reader with a prophecy (Scene i). Before readers even discover the true problem of the piece, Shakespeare is building suspense. This suspense is a key part of the cocktail that makes Shakespearean openings so enigmatically incredible. By deviating somewhat from his typical style, Shakespeare created an exaggerated form of what exists in his other works. He has set the scene for the impressively exciting and suspenseful experience that is Macbeth, and leaves the imagination racing as the reader progresses into the next act.
Shakespeare opens Macbeth in a strange and ambiguous manner. The scene introduces three witches conversing rhythmically, mentioning Macbeth's name, and ending their encounter with "Fair is foul/foul is fair/ Hover through the fog an filthy air" (I. i. 11-12). Unlike most Shakespearean works or plays in general, this one does not begin with a lengthy prologue providing the reader with background information, rather, it begins quite mysteriously and confuses the reader with a clever chiasmus, engaging them to try and uncover the witch's relevance to the story and the meaning behind their cryptic verses. Shakespeare also foreshadows the prophecy's ending when the witches talk about after the battle ending and all the chaos has ceased "That will be ere set of the sun" (I. i. 5). The opening scene subtly foretells the results of the play in short, stagnant, and obscure verses, compelling the reader to continue on to see the results of the numerous incidences of foul play in the book in order to acquire positions of power.
During the beginning of Act II of Macbeth, Shakespeare opens his act up to the readers by forming a wave of characters entering and exiting the stage. This approach to opening up his acts creates a commotion of actions and dialogue on and off the stage. For example, the play begins with Banquo and his son conversing amongst themselves when Macbeth enters the stage. Banquo and Fleance leave, and subsequently, Macbeth leaves to Duncan’s chambers. The next scene opens to Lady Macbeth, and although the scene focuses on her, the vital actions are taking place off stage, in Duncan’s chambers. Macbeth eventually re-enters the scene where Lady Macbeth announces “I laid their daggers ready” (II.ii.12) and Macbeth replies “I have done the dead. Didst thou not hear a noise?” (II.ii.16). Although their plan has been fulfilled, neither of their actions were shown on stage. By opening up to secondary characters and leaving the important actions a mystery, Shakespeare produces commotion and leaves a greater degree of suspense and interpretation to the reader.
Shakespeare introduces his play with a dark, spooky scene with thunder and lightning. He strays from the normal every day characters and brings forth the abnormal with three witches. The first cryptic scene teases the reader into reading farther into the play to decode their question of meeting again. Three witches conclude they are meeting after a war, in a much peaceful time, to "meet with Macbeth" (I.i.8). At this point, the reader is drawn to the mystery and has a curiosity about the war and even Macbeth. This scene foreshadows the war and it's burdens and also introduces the main actor this play revolves around. By hooking the reader with a mysterious opening, Shakespeare sets the play's events to answer the questions the curious reader has.
Through the usage of dreary imagery as well as morbid commentary, Shakespeare opens the doomed fate of Macbeth. Starting with three witches in a setting disturbed by "Thunder and lightning" (I.i.setting), Shakespeare uses conventional dark imagery to display the diabolical intentions of the witches. Using words such as "foul, fog, filthy, thunder, lightning, rain", the immediate tone of the play introduces an underlying evil within the witches. This evil shows its ability to effect Macbeth, as the words of the witches seem inspiring to the general, and upon hearing the hails from each witch, Macbeth states, "Stay, you imperfect speakers, tell me more" (I.iii.70) as if to invite the pollutant dread into his consciousness before even understanding his new position as the thane of Cawdor.
Without being identical, Act II of Macbeth opens in a similar manner as the first Act of the play, which subtly but effectively set the tone for the subsequent actions of Macbeth and Lady Macbeth. Following the end of Act I, in which Lady Macbeth eventually prompts her husband to murder Duncan in order to become King himself, Act II opens with Banquo, the only other character who physically witnessed the three Witches and their predictions alongside Macbeth, accompanied by his son walking in the middle of the night. Although just a simple background setting sentence, as Banquo and his son come upon Macbeth’s castle, the weather outside is “stormy,” which parallels the opening scene of Act I in which the reader is first introduced to the Witches and their maniacal personas, which foreshadow their malevolent intrusion in the lives of Macbeth and everyone affected by his actions as a result of the Witches prophecies. As the scene progresses, Macbeth creeps up on his friend, and in their exchange Banquo admits to Macbeth his dream regarding the “three weird sisters” (II.i.20) as when Macbeth was named thane of Cawdor, it has appeared “to [Macbeth] they have showed some truth” (II.i.21). Macbeth replies to Banquo with a blatant lie, saying “I think not of them” (II.i22) as just prior to this scene Macbeth and Lady Macbeth started to become obsessed with the Witches word, discussing the possibilities for power and greatness if Macbeth took his fate into his own hands and murdered Duncan. When they part ways, Macbeth is once again alone, and delivers his Dagger Speech, one of Macbeth’s most well known soliloquies. In the deliverance, Macbeth shows his first signs of craziness when he imagines a dagger in front of his eyes and ends by saying “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” (II.i.62-64), sealing his fate and finally deciding to kill Duncan. This first scene of Act II, although short in length, solidifies Macbeth’s fate, whatever it may be, as it shows the juxtaposition between Macbeth and Banquo when Macbeth resolves to give in to the temptation of Kingship through brutal murder.
Act 3. Shakespeare opens act 3 with Macbeth not being concerned with the murder he just committed. Macbeth appears to be calm and is inquiring about the party he will be having the same night. The opening of the act makes the reader question why Macbeth is calm about the murder he committed and is now moving along with his life as though nothing happened. Macbeth's personality resembles the personality he had at the beginning of the play before becoming a murderer. Though his demeanor is calm, he quickly becomes paranoid about the amount of power he will continue to have once he begins thinking about what the witches said about Banquo's children being eligible to become king. He begins panicking and thinking to himself "then, prophetlike, they hailed him father to a line of kings" (III.i.63) where he notices he will not be blood related to the next king. With this shocking new discovery, Macbeth, crazed with power, decides to be proactive and kill the people who will get into his way. The opening of act 3 changes completely when Macbeth's mood changes from content to panicked.
Instead of opening the act with imagery and description of setting, Shakespeare tactfully writes the characters’ dialogue with heavy irony. The statements characters make in Act III’s opening scene directly contradict the events of the near future, highlighting the confusion and angst tied into the play. For example, Lady Macbeth articulates her appreciation of Banquo: “If [Banquo] had been forgotten, it had been a gap in our great feast, and all-thing unbecoming” (III.i.12-14), and as the scenes progress, Banquo ends up being murdered by Macbeth’s enlisted assassins on his way to the feast. Furthering the irony, Banquo’s ghost appears to occupy his assigned chair to Macbeth’s horror, preventing a “gap” in the feast from appearing to Macbeth. Banquo’s first line spoken in Act III also drips with irony, as he grumbles of Macbeth, “Now you have it all” (III.i.1), referring to Macbeth’s seemingly perfect, successful life as the new king. Later in the act, however, Macbeth realizes that each of his actions fail to erase his guilt and instead increase his anxiety, particularly when he learns that Fleance escaped the murderers’ attack. Macbeth states regretfully, “Then comes my fit again. I had else been perfect” (III.iv.22).
“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.” (III, I, 1-10)
In the beginning, Shakespeare opens up Act III to the readers with complete irony and foreshadowing. Banquo begins speaking to the newly crowned king, Macbeth about the accuracy of the witches’ prophecy. In his words, Banquo states that Macbeth must have cheated to receive the title and reveals his suspicion that Macbeth murdered Duncan. Although he suspects Macbeth of the horrendous murder, he makes no threat of vengeance, but rather thinks of the prophecy as the witches predicted that his children shall reign, and hopes that this prophecy too may be fulfilled. Banquo does not have any plans to fulfill his prophecy as he is content to serve the murderer in the hope that something profitable will be the result to him and his descendants. Even though they superficially preserve the practices of a gracious king and a loyal subject, as a consequence of the witches' prediction, the two friends become entirely alienated as there is no way to avoid the witches’ propehcies, and only one of them will be able to get what they want.
Shakespeare opens up Act III by opening up a new character or version of Macbeth. Out of his Kingship, Macbeth has found an abundance of stealth and confidence he didn't have before. "Here's our chief guest./I'll request your presence./ Fail not our feast" (III.i.11,16,28). Swiftly making Banquo feel wanted and of a higher power, then requesting his presence, Macbeth changes the subject as soon as he knows Banquo's whereabouts for the evening. Prior to this act Macbeth had a wavering and unsure-of-himself personality in which his wife controlled his decisions. By introducing this new side of Macbeth, Shakespeare is starting off the act with a powerful message about power: power corrupts. Adding to the finesse of techniques Shakespeare utilized in the opening of Act III, he uses ironic foreshadowing to introduce Banquo's upcoming murder. When Macbeth suddenly changes the subject from the feast to a cousin, it is obvious Macbeth's lying skills are not fully obtained yet in his new personality. Reading between the lines of 20-30 one can easily hypothesize Banquo isn't going to have a good evening.
In the opening of Act III, the foreshadowing of Banquo’s death is revealed through Macbeth’s opening lines. He personally invites Banquo to the formal introduction of his new kingship saying, “Tonight we hold a solemn supper, sir, And I’ll request your presence” (III.i.15-16). The tension between the two characters is revealed later in the scene, when Macbeth admits how threatened he feels with Banquo still alive. As the reader continues throughout Act III, eventually Banquo is killed by the hired murderers of Macbeth. Purposefully setting Banquo up to find out what his schedule looks like for the rest of the afternoon and evening prior to the banquet, Macbeth can discreetly set up a plan to have him killed. The irony of the situation comes from the very first opening lines of the Act from Banquo, revealing his suspicions about Macbeth’s rise to the crown. Banquo presumes “Thou played’st most foully for ’t” (III.i.3). The unique approach to the opening of this scene exploits Shakespeare’s ability to craft varying literary techniques.
In this opening scene of Act II, there isn’t much action but still feel a slight feel suspense as Banquo and his son roam in the darkness. Unlike Act 1, there isn’t a storm or the witches, but their prophecy remains in the minds of Banquo and Macbeth. The moment at which Banquo almost draws his sword shows dramatic irony. Banquo has no idea that the readers know Macbeth is on his way to kill the king. As usual, Banquo and Macbeth immerge into conversation. Banquo lets Macbeth know the king is asleep, indirectly aiding into the murder, and proceeds to tell Macbeth his dream about the “weird sisters”. Macbeth merely brushes it off, saying “I think not of them” (II.I.) insinuating that he could care less about the witches...which aids again in the dramatic irony. After their meeting, the two men part ways and Macbeth starts hallucinating that he sees a dagger. In this hallucination, he decides it is time to kill King Duncan and receive his title as King.
The opening of Act II keeps the tension very high as we soon come to find out that on Macbeth's quest for power Banquo is soon to be dispatched. Macbeth however despite having committed murder and under the suspicion of Banquo seems relatively calm and seems to forget his own personal guilt. Rising action, tension and emotions are continued immediately in Act III as the the climax of the play nears. This action in Act III can also be largely attributed to the stress which Banqiuo no causes Macbeth as he is clearly questioning his innocence and possible motives which lead to the king's untimely death. "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." (III, I, 57-60) As the act advances and in fact Banquo is murdered by men who take orders from Macbeth we see how deeply entrenched him and his lady are in their plot to rise to power over their country. All of the accusations and eventually second homicide are set up by the initial tension created in the act's opening, carried over from the previous act. "But that myself should be the root and father/ Of many kings. If there come truth from them--" (III, I, 5-6) Banquo and his meddling ways which seek to expose Macbeth only add to this suspense and continually rising action.
Much like in Act I, Shakespeare opens Act IV with the witches, who serve the same purpose as in the first scene of Macbeth. Set against thunder and darkness, the witches create a sense of gloom and mystery, which draws readers into the scene. Although readers already have a more detailed knowledge of the witches, unlike in Act I when the witches were altogether supernatural and perplexing, the three strange women still provide a mysterious presence. Describing their actions as, "A deed without a name" (IV.i.49), Shakespeare engages the reader’s curiosity and causes him or her to wonder how the witches make their predictions with such accuracy. When Macbeth enters the scene and begins demanding more answers concerning the future from the witches, the intensity of the scene increases further, pulling readers into the rest of Act IV. Due to the validity of the witches' first predictions, the reappearance of the witches signals more action for the continuation of the plot in a captivating manner.
At the opening of Act 3 scene 1, Shakespeare uses a short soliloquy with Banquo as he speaks to Macbeth. Macbeth lacks presence so it becomes apparent that the audience is witnessing the persona of Banquo as he dwells upon the Witches predictions of Macbeth and himself, "Thou hast it now: king, Cawdor, Glamis, all, Thou play'dst most foully for't" (Act III, scene I, lines 1-3). As he reminds the absent Macbeth that the witches also predicted that he, himself, would be the father of the future kings of Scotland, he shows concern for Macbeth's future and his own, possibly contemplating the validity of Macbeth's honor in that he was given an oracle. He asks Macbeth/himself that if the witches were true to there convictions, that they would be correct on "my oracles as well," (Act III scene I, lines 1-3). Here the audience witnesses the power of evil that Banquo experiences much like Macbeth. Banquo allows the oracle of hope and prosper to consume his thoughts, stirring him in an evil direction. This allows the audience to believe that Banquo is starting to feel the desire for good fortune that could ultimately lead to his downfall.
Act III of William Shakespeare's Macbeth opens with a soliloquy from Banquo regarding the witches' prophecy, speculating that although the crown was bestowed upon Macbeth, the prophecy states "It should not stand in thy posterity/But that myself should be the root and father/Of many kings" (III. i. 4-6). This utterance that Macbeth will not remain in power causes his blood to boil and the tension in the play to rise. What Banquo says leaves Macbeth feeling threatened, as Banquo questions his motives and suspects Macbeth did not ascend to power honestly. To secure his place as King, Macbeth eventually converses with murderers. He reveals to the two murderers that "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" (III. i. 57-60) due to Banquo's "dauntless temper of mind" (III. i. 55) and "valor/ To act in safety" (III. i. 56-57). Banquo is ultimately murdered, demonstrating how consumed Macbeth is becoming by power and control. This soliloquy contributes to the rising tension which causes the murder of Fleance as well, and Banquo's meddling to try and expose Macbeth due to the glimmer of hope the prophecy filled him with also reveals evil nature in Banquo, all factors adding to the suspense of tension.
Through the use of a mysterious scene, Shakespeare opens Macbeth in an engaging manner. Unlike in Romeo and Juliet, Shakespeare does not provide a monologue to summarize the necessary background knowledge, but rather foreshadows future events in Act I, Scene 1's discussion between three witches. Such an approach effectively confuses readers and prompts further reading for clarification. Especially for modern day readers, the description of the three supernatural witches with "grotesque" (I.i.1) appearances seems strange, but when one witch mentions the namesake of the play, the need to continue reading increases. Shakespeare lures readers into his work with his words, but because plays are designed to be seen, he also appeals to viewers with bizarre visuals. The "gaunt and eery-looking" (I.i.1) witches' conversation takes place amongst "fog and filthy air" (I.i.11), as well as thunder and lightning, while the second scene opens dramatically with a bloody, wounded soldier and a king. The beginning of the second scene also drops the name of Macbeth, describing him as, "brave...disdaining fortune, with his brandished steel" (I.ii.16-17), again drawing readers in to learn more. A pattern of dramatic and enthralling openings is prevalent as the work begins and Shakespeare's aptitude for captivating the reader or viewer's attention becomes clear.
ReplyDeleteWilliam Shakespeare opens the play Macbeth by introducing a common theme set forth by Act 1: confusion and ambiguity. As readers attempt to absorb the setting described as “a wild and desolate place,” they are unaware of the witches intent through their incantations, and for the time being, Scene i makes little sense. The witches speak in paradoxical riddles, such as “When the battle’s lost and won” (I.i.4), and “Fair is foul and foul is fair” (I.i.11), and these nonsensical phrases foreshadow Macbeth’s confusion in his pursuit to determine the best path to fulfill his destiny and grab power. The opposite of her husband, Lady Macbeth fully desires to become queen, and decides to murder the king with Macbeth, who obeys her order with the response, “I am settled, and bend up each corporal agent to this terrible feat” (1.vii.79-80). Shakespeare wrote the beginning of Macbeth to increase readers’ curiosity, but also to establish a common theme throughout the play.
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ReplyDeleteThe opening scene of Macbeth begins with a dark and gloomy setting similar to that of Godot. The viewers of the play are confused and possibly scared as the witches are introduced. Shakespeare even wrote a note at the beginning of the script, “Thunder and lightning. Three witches enter. They are bearded, gaunt and eery-looking, their clothes ragged and grotesque” (I.I.21). This odd opening scene which contains a conversation between the witches is confusing for the audience because the witches repeatedly make statements that contradict themselves. For example, statements such as “when the battle’s lost” or “fair is foul, and foul is fair” (I.I.21) are made. This scene completely contrasts the second scene in which a fully lit room is presented with noblemen dressed in uniform and trumpets playing in the background. This scene is fully comprehendible and the audience can understand the conversations taking place. Shakespeare does this in order to strike emotions from the viewers. Shakespeare wants people to fear the witches when they are present in the play.
ReplyDeleteShakespeare opens all of his plays similarly. The first scene of Macbeth with the witches acts as almost a prologue to his play, just as the "two households" scene in Romeo and Juliet describe the following play. In Macbeth, the witches mention a later meeting, and the main character, Macbeth. Additionally, the utter the famous lines, "fair is foul and foul is fair" (1,1,12). This phrase will act as a common theme throughout the rest of the play which is already apparent during the subsequent six scenes in the first act. Foul play indeed will occur during the Macbeth and his wife's attempt to kill the King, and the dominant discourses we have been discussing in class (dreams v. reality, etc...) will present issues during the play as a whole. Shakespeare includes information at the beginning of his plays which initially may seem unimportant, but prove a crucial foreshadowing as one continues to read/watch.
ReplyDeleteIn reference to the opening of scenes, patterns seem to be occurring which are skillfully used to control the emotions of the readers/viewers. To begin the play Shakespeare opens with conversation between the three ugly witches. Generally categorized as evil, the tone is set for a play with involvement with supernatural ideas. Completely switching ideas, the play next goes into the lives of the ore noble characters of the play. This contrast between Act I Scene 1 plays with viewers emotions starting off with skepticism and switching to a more trustworthy mindset. Inserting another set of contrasts, the next scene opens, again, with a conversation among the witches and soon after Macbeth and Banquo as well. This scene arises the familiar feeling of deception when having worthy generals in the presence of evil. Yet again the emotional roller coaster continues when the next scene commences with King Duncan. Continuing on the next scene's introduction includes Lady Macbeth, clearly a character with immoral intentions. King Duncan begins the next scene and the corrupt layer of Macbeth opens the last scene of the act. The repetitive nature of Shakespeare's back and forth between "good" and "bad" characters is clever and successful in setting contrasting tones between one scene and the next. The tone of each scene sets the stage for viewers emotions and the way in which Shakespeare does so contributes to the aspect of the play that makes viewers eager to see more.
ReplyDeleteScene i presents itself as absolutely vital to the early stages of Macbeth. While typically Shakespeare's works begin with a highly straightforward exposition, Macbeth does not. Without this first scene, the first scenes of the play, scenes ii, iii, and iv, would become an entirley different experience, an experience that would not measure up to what readers expect of Shakespeare.
ReplyDeleteThe opening portion presents an intriguing substitute for the straightforward type of exposition found in Romeo and Juliet, for example. The scene sets up Macbeth as a serious point of emphasis as its most straightforward effect, and yet readers find themselves wondering about the origins of the way the word Macbeth rings in the head after finishing reading. This is due to a special rhyme scheme reserved by Shakespeare for supernatural characters, known as trochaic tetrameter (Parrott). Shakespeare has subtly established Macbeth as a subject of reader scrutiny without the need to have an address to the audience describing his importance. The eerie atmosphere of the scene, generated by the witches appearances, way of speaking, and desert setting add additional intrigue.
The effect of this first scene is profound. Where, without scene i, a reader would be sitting back, idly wondering what is going on through the first through scenes, readers find themselves devouring the first few acts with all the information they may have ordinarily dismissed or ignored. Shakespeare parallels the witches' behavior, as he plants the seeds of feverish interest in the reader with a prophecy (Scene i). Before readers even discover the true problem of the piece, Shakespeare is building suspense.
This suspense is a key part of the cocktail that makes Shakespearean openings so enigmatically incredible. By deviating somewhat from his typical style, Shakespeare created an exaggerated form of what exists in his other works. He has set the scene for the impressively exciting and suspenseful experience that is Macbeth, and leaves the imagination racing as the reader progresses into the next act.
This comment has been removed by the author.
ReplyDeleteShakespeare opens Macbeth in a strange and ambiguous manner. The scene introduces three witches conversing rhythmically, mentioning Macbeth's name, and ending their encounter with "Fair is foul/foul is fair/ Hover through the fog an filthy air" (I. i. 11-12). Unlike most Shakespearean works or plays in general, this one does not begin with a lengthy prologue providing the reader with background information, rather, it begins quite mysteriously and confuses the reader with a clever chiasmus, engaging them to try and uncover the witch's relevance to the story and the meaning behind their cryptic verses. Shakespeare also foreshadows the prophecy's ending when the witches talk about after the battle ending and all the chaos has ceased "That will be ere set of the sun" (I. i. 5). The opening scene subtly foretells the results of the play in short, stagnant, and obscure verses, compelling the reader to continue on to see the results of the numerous incidences of foul play in the book in order to acquire positions of power.
ReplyDeleteCommotion in Macbeth:
ReplyDeleteDuring the beginning of Act II of Macbeth, Shakespeare opens his act up to the readers by forming a wave of characters entering and exiting the stage. This approach to opening up his acts creates a commotion of actions and dialogue on and off the stage. For example, the play begins with Banquo and his son conversing amongst themselves when Macbeth enters the stage. Banquo and Fleance leave, and subsequently, Macbeth leaves to Duncan’s chambers. The next scene opens to Lady Macbeth, and although the scene focuses on her, the vital actions are taking place off stage, in Duncan’s chambers. Macbeth eventually re-enters the scene where Lady Macbeth announces “I laid their daggers ready” (II.ii.12) and Macbeth replies “I have done the dead. Didst thou not hear a noise?” (II.ii.16). Although their plan has been fulfilled, neither of their actions were shown on stage. By opening up to secondary characters and leaving the important actions a mystery, Shakespeare produces commotion and leaves a greater degree of suspense and interpretation to the reader.
Shakespeare introduces his play with a dark, spooky scene with thunder and lightning. He strays from the normal every day characters and brings forth the abnormal with three witches. The first cryptic scene teases the reader into reading farther into the play to decode their question of meeting again. Three witches conclude they are meeting after a war, in a much peaceful time, to "meet with Macbeth" (I.i.8). At this point, the reader is drawn to the mystery and has a curiosity about the war and even Macbeth. This scene foreshadows the war and it's burdens and also introduces the main actor this play revolves around. By hooking the reader with a mysterious opening, Shakespeare sets the play's events to answer the questions the curious reader has.
ReplyDeleteThrough the usage of dreary imagery as well as morbid commentary, Shakespeare opens the doomed fate of Macbeth. Starting with three witches in a setting disturbed by "Thunder and lightning" (I.i.setting), Shakespeare uses conventional dark imagery to display the diabolical intentions of the witches. Using words such as "foul, fog, filthy, thunder, lightning, rain", the immediate tone of the play introduces an underlying evil within the witches. This evil shows its ability to effect Macbeth, as the words of the witches seem inspiring to the general, and upon hearing the hails from each witch, Macbeth states, "Stay, you imperfect speakers, tell me more" (I.iii.70) as if to invite the pollutant dread into his consciousness before even understanding his new position as the thane of Cawdor.
ReplyDeleteWithout being identical, Act II of Macbeth opens in a similar manner as the first Act of the play, which subtly but effectively set the tone for the subsequent actions of Macbeth and Lady Macbeth. Following the end of Act I, in which Lady Macbeth eventually prompts her husband to murder Duncan in order to become King himself, Act II opens with Banquo, the only other character who physically witnessed the three Witches and their predictions alongside Macbeth, accompanied by his son walking in the middle of the night. Although just a simple background setting sentence, as Banquo and his son come upon Macbeth’s castle, the weather outside is “stormy,” which parallels the opening scene of Act I in which the reader is first introduced to the Witches and their maniacal personas, which foreshadow their malevolent intrusion in the lives of Macbeth and everyone affected by his actions as a result of the Witches prophecies.
ReplyDeleteAs the scene progresses, Macbeth creeps up on his friend, and in their exchange Banquo admits to Macbeth his dream regarding the “three weird sisters” (II.i.20) as when Macbeth was named thane of Cawdor, it has appeared “to [Macbeth] they have showed some truth” (II.i.21). Macbeth replies to Banquo with a blatant lie, saying “I think not of them” (II.i22) as just prior to this scene Macbeth and Lady Macbeth started to become obsessed with the Witches word, discussing the possibilities for power and greatness if Macbeth took his fate into his own hands and murdered Duncan. When they part ways, Macbeth is once again alone, and delivers his Dagger Speech, one of Macbeth’s most well known soliloquies. In the deliverance, Macbeth shows his first signs of craziness when he imagines a dagger in front of his eyes and ends by saying “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” (II.i.62-64), sealing his fate and finally deciding to kill Duncan. This first scene of Act II, although short in length, solidifies Macbeth’s fate, whatever it may be, as it shows the juxtaposition between Macbeth and Banquo when Macbeth resolves to give in to the temptation of Kingship through brutal murder.
Act 3.
ReplyDeleteShakespeare opens act 3 with Macbeth not being concerned with the murder he just committed. Macbeth appears to be calm and is inquiring about the party he will be having the same night. The opening of the act makes the reader question why Macbeth is calm about the murder he committed and is now moving along with his life as though nothing happened. Macbeth's personality resembles the personality he had at the beginning of the play before becoming a murderer. Though his demeanor is calm, he quickly becomes paranoid about the amount of power he will continue to have once he begins thinking about what the witches said about Banquo's children being eligible to become king. He begins panicking and thinking to himself "then, prophetlike, they hailed him father to a line of kings" (III.i.63) where he notices he will not be blood related to the next king. With this shocking new discovery, Macbeth, crazed with power, decides to be proactive and kill the people who will get into his way. The opening of act 3 changes completely when Macbeth's mood changes from content to panicked.
Instead of opening the act with imagery and description of setting, Shakespeare tactfully writes the characters’ dialogue with heavy irony. The statements characters make in Act III’s opening scene directly contradict the events of the near future, highlighting the confusion and angst tied into the play. For example, Lady Macbeth articulates her appreciation of Banquo: “If [Banquo] had been forgotten, it had been a gap in our great feast, and all-thing unbecoming” (III.i.12-14), and as the scenes progress, Banquo ends up being murdered by Macbeth’s enlisted assassins on his way to the feast. Furthering the irony, Banquo’s ghost appears to occupy his assigned chair to Macbeth’s horror, preventing a “gap” in the feast from appearing to Macbeth. Banquo’s first line spoken in Act III also drips with irony, as he grumbles of Macbeth, “Now you have it all” (III.i.1), referring to Macbeth’s seemingly perfect, successful life as the new king. Later in the act, however, Macbeth realizes that each of his actions fail to erase his guilt and instead increase his anxiety, particularly when he learns that Fleance escaped the murderers’ attack. Macbeth states regretfully, “Then comes my fit again. I had else been perfect” (III.iv.22).
ReplyDelete“Thou hast it now: king, Cawdor, Glamis, all,
ReplyDeleteAs 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.” (III, I, 1-10)
In the beginning, Shakespeare opens up Act III to the readers with complete irony and foreshadowing. Banquo begins speaking to the newly crowned king, Macbeth about the accuracy of the witches’ prophecy. In his words, Banquo states that Macbeth must have cheated to receive the title and reveals his suspicion that Macbeth murdered Duncan. Although he suspects Macbeth of the horrendous murder, he makes no threat of vengeance, but rather thinks of the prophecy as the witches predicted that his children shall reign, and hopes that this prophecy too may be fulfilled. Banquo does not have any plans to fulfill his prophecy as he is content to serve the murderer in the hope that something profitable will be the result to him and his descendants. Even though they superficially preserve the practices of a gracious king and a loyal subject, as a consequence of the witches' prediction, the two friends become entirely alienated as there is no way to avoid the witches’ propehcies, and only one of them will be able to get what they want.
Shakespeare opens up Act III by opening up a new character or version of Macbeth. Out of his Kingship, Macbeth has found an abundance of stealth and confidence he didn't have before. "Here's our chief guest./I'll request your presence./ Fail not our feast" (III.i.11,16,28). Swiftly making Banquo feel wanted and of a higher power, then requesting his presence, Macbeth changes the subject as soon as he knows Banquo's whereabouts for the evening. Prior to this act Macbeth had a wavering and unsure-of-himself personality in which his wife controlled his decisions. By introducing this new side of Macbeth, Shakespeare is starting off the act with a powerful message about power: power corrupts. Adding to the finesse of techniques Shakespeare utilized in the opening of Act III, he uses ironic foreshadowing to introduce Banquo's upcoming murder. When Macbeth suddenly changes the subject from the feast to a cousin, it is obvious Macbeth's lying skills are not fully obtained yet in his new personality. Reading between the lines of 20-30 one can easily hypothesize Banquo isn't going to have a good evening.
ReplyDeleteIn the opening of Act III, the foreshadowing of Banquo’s death is revealed through Macbeth’s opening lines. He personally invites Banquo to the formal introduction of his new kingship saying, “Tonight we hold a solemn supper, sir, And I’ll request your presence” (III.i.15-16). The tension between the two characters is revealed later in the scene, when Macbeth admits how threatened he feels with Banquo still alive. As the reader continues throughout Act III, eventually Banquo is killed by the hired murderers of Macbeth. Purposefully setting Banquo up to find out what his schedule looks like for the rest of the afternoon and evening prior to the banquet, Macbeth can discreetly set up a plan to have him killed. The irony of the situation comes from the very first opening lines of the Act from Banquo, revealing his suspicions about Macbeth’s rise to the crown. Banquo presumes “Thou played’st most foully for ’t” (III.i.3). The unique approach to the opening of this scene exploits Shakespeare’s ability to craft varying literary techniques.
ReplyDeleteACT II
ReplyDeleteIn this opening scene of Act II, there isn’t much action but still feel a slight feel suspense as Banquo and his son roam in the darkness. Unlike Act 1, there isn’t a storm or the witches, but their prophecy remains in the minds of Banquo and Macbeth. The moment at which Banquo almost draws his sword shows dramatic irony. Banquo has no idea that the readers know Macbeth is on his way to kill the king. As usual, Banquo and Macbeth immerge into conversation. Banquo lets Macbeth know the king is asleep, indirectly aiding into the murder, and proceeds to tell Macbeth his dream about the “weird sisters”. Macbeth merely brushes it off, saying “I think not of them” (II.I.) insinuating that he could care less about the witches...which aids again in the dramatic irony. After their meeting, the two men part ways and Macbeth starts hallucinating that he sees a dagger. In this hallucination, he decides it is time to kill King Duncan and receive his title as King.
Act III
ReplyDeleteThe opening of Act II keeps the tension very high as we soon come to find out that on Macbeth's quest for power Banquo is soon to be dispatched. Macbeth however despite having committed murder and under the suspicion of Banquo seems relatively calm and seems to forget his own personal guilt. Rising action, tension and emotions are continued immediately in Act III as the the climax of the play nears. This action in Act III can also be largely attributed to the stress which Banqiuo no causes Macbeth as he is clearly questioning his innocence and possible motives which lead to the king's untimely death. "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." (III, I, 57-60) As the act advances and in fact Banquo is murdered by men who take orders from Macbeth we see how deeply entrenched him and his lady are in their plot to rise to power over their country. All of the accusations and eventually second homicide are set up by the initial tension created in the act's opening, carried over from the previous act. "But that myself should be the root and father/ Of many kings. If there come truth from them--" (III, I, 5-6) Banquo and his meddling ways which seek to expose Macbeth only add to this suspense and continually rising action.
Much like in Act I, Shakespeare opens Act IV with the witches, who serve the same purpose as in the first scene of Macbeth. Set against thunder and darkness, the witches create a sense of gloom and mystery, which draws readers into the scene. Although readers already have a more detailed knowledge of the witches, unlike in Act I when the witches were altogether supernatural and perplexing, the three strange women still provide a mysterious presence. Describing their actions as, "A deed without a name" (IV.i.49), Shakespeare engages the reader’s curiosity and causes him or her to wonder how the witches make their predictions with such accuracy. When Macbeth enters the scene and begins demanding more answers concerning the future from the witches, the intensity of the scene increases further, pulling readers into the rest of Act IV. Due to the validity of the witches' first predictions, the reappearance of the witches signals more action for the continuation of the plot in a captivating manner.
ReplyDeleteAt the opening of Act 3 scene 1, Shakespeare uses a short soliloquy with Banquo as he speaks to Macbeth. Macbeth lacks presence so it becomes apparent that the audience is witnessing the persona of Banquo as he dwells upon the Witches predictions of Macbeth and himself, "Thou hast it now: king, Cawdor, Glamis, all, Thou play'dst most foully for't" (Act III, scene I, lines 1-3). As he reminds the absent Macbeth that the witches also predicted that he, himself, would be the father of the future kings of Scotland, he shows concern for Macbeth's future and his own, possibly contemplating the validity of Macbeth's honor in that he was given an oracle. He asks Macbeth/himself that if the witches were true to there convictions, that they would be correct on "my oracles as well," (Act III scene I, lines 1-3). Here the audience witnesses the power of evil that Banquo experiences much like Macbeth. Banquo allows the oracle of hope and prosper to consume his thoughts, stirring him in an evil direction. This allows the audience to believe that Banquo is starting to feel the desire for good fortune that could ultimately lead to his downfall.
ReplyDeleteAct III of William Shakespeare's Macbeth opens with a soliloquy from Banquo regarding the witches' prophecy, speculating that although the crown was bestowed upon Macbeth, the prophecy states "It should not stand in thy posterity/But that myself should be the root and father/Of many kings" (III. i. 4-6). This utterance that Macbeth will not remain in power causes his blood to boil and the tension in the play to rise. What Banquo says leaves Macbeth feeling threatened, as Banquo questions his motives and suspects Macbeth did not ascend to power honestly. To secure his place as King, Macbeth eventually converses with murderers. He reveals to the two murderers that "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" (III. i. 57-60) due to Banquo's "dauntless temper of mind" (III. i. 55) and "valor/ To act in safety" (III. i. 56-57). Banquo is ultimately murdered, demonstrating how consumed Macbeth is becoming by power and control. This soliloquy contributes to the rising tension which causes the murder of Fleance as well, and Banquo's meddling to try and expose Macbeth due to the glimmer of hope the prophecy filled him with also reveals evil nature in Banquo, all factors adding to the suspense of tension.
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