B.A 1st Semester English Unit 4 Shakespearean Drama

B.A 1st Semester English Unit 4 Shakespearean Drama Solution English Medium As Per New Syllabus of D U to each Chapter is provided in the list of Dibrugarh University, BA 1st Sem English (Major & Minor) Chapter 4 Question Answer/B.A First Semester English Chapter 4 Question Answer are given so that you can easily search through the different Chapters and select the needs Notes of BA 1st Sem English Chapter 4 Question Answer English Medium. covers all the exercise questions in Dibrugarh University.

B.A 1st Sem English Major & Minor Unit 4 Shakespearean Drama

B.A 1st Semester English Unit 4 Shakespearean Drama Solution English Medium | Guide for B.A First Semester English Major & Minor Unit 4 Solutions, B.A 1st Sem English in this post we will explain to you what to try If you are a Student of English Medium then it will be very helpfull for you. Dibrugarh University, B.A 1st Sem English Chapter 4.

Unit 4 Shakespearean Drama

Short Questions & Answers:

1. Who wrote the play “Macbeth”?

Ans: William Shakespeare.

2. What genre is “Macbeth”?

Ans: Tragedy.

3. What is the central theme of “Macbeth”?

Ans: Ambition, fate, and the consequences of unchecked power.

4. Who is the protagonist of “Macbeth”?

Ans: Macbeth, a Scottish general.

5. Who encourages Macbeth to murder King Duncan?

Ans: Lady Macbeth.

6. What supernatural beings play a significant role in “Macbeth”?

Ans: The witches, also known as the Weird Sisters.

7. What is Macbeth’s tragic flaw?

Ans: Ambition combined with moral weakness.

8. How does “Macbeth” explore the theme of guilt?

Ans: Both Macbeth and Lady Macbeth struggle with guilt and remorse after committing murder.

9. Where does the climactic battle in “Macbeth” take place?

Ans: Dunsinane Hill.

10. Who eventually kills Macbeth in the play?

Ans: Macduff.

11. Who wrote the play “Twelfth Night”?

Ans: William Shakespeare.

12. What genre is “Twelfth Night”?

Ans: Comedy. 

13. What is the setting of “Twelfth Night”?

Ans: Illyria, a fictional land.

14. What mistaken identity plot device is central to “Twelfth Night”?

Ans: Viola disguises herself as Cesario, a young man.

15. Who does Viola/Cesario fall in love with in “Twelfth Night”?

Ans: Orsino, Duke of Illyria.

16. What role does the character Malvolio play in “Twelfth Night”?

Ans: He is Olivia’s steward and becomes the victim of a prank by Sir Toby Belch and Maria.

17. What themes are explored in “Twelfth Night”?

Ans: Themes of love, mistaken identity, gender roles, and the folly of ambition.

18. Who ends up marrying Viola at the end of “Twelfth Night”?

Ans: Orsino.

19. How does Shakespeare use music in “Twelfth Night”?

Ans: Music is used to enhance the romantic atmosphere and reflect characters’ emotions.

20. What is the significance of the title “Twelfth Night”?

Ans: It refers to the last night of the twelve days of Christmas festivities, traditionally a time of revelry and misrule, reflecting the play’s themes of disguise and revelry.

Long Questions & Answers:

1. Is Shakespeare’s Twelfth Night a comedy or tragedy, and why?

Ans: When defining what a comedy is, particularly a Shakespearean comedy, while the ability to make us laugh can be a part of it, the term comedy usually defines a “dramatic form, a structure” (“Comedy: An Introduction”). Typically, comedies surround some sort of familial situation, and tension is developed within the family; the tension leads to a point of calamity, and then the tension is resolved. In a comedy, the tension is always resolved through marriage because comedies surround the topic of families, and as a result, “Marriage is celebrated, as is the family as a whole as a social occasion” (“Comedy: An Introduction”).

Consistent devices can also be found in Shakespeare’s comedies that help distinguish comedies from his other plays. For one thing the action of the play surrounds the topic of love, and it’s the lovers who must overcome the play’s problems, leading to the resolution Shakespeare’s comedies also always included stock characters, which are character types seen repeatedly within a certain genre. The types of stock characters Shakespeare included in his comedies are the clever wife, the bragging soldier or knight, servants who are known for their cleverness, the heroine’s confidant, and especially clowns or fools (“Shakespeare’s Plays: Comedy”). Shakespeare’s comedies also revolve around society; hence, his comedies also involve certain characters who run contrary to society. At times his comedies seem to have a sad ending underlying the happy ending because these social misfits are “so lost or misguided that they cannot be accommodated or restored to society” (“Shakespeare’s Plays: Comedy”). Malvolio is an example of the type of social misfit who cannot be redeemed and simply remains a social outcast.

Twelfth Night certainly does contain all of the elements needed to make it fit in with the rest of Shakespeare’s comedies. However, because Malvolio is humiliated and abandons the company swearing, “I’ll be revenged on the whole pack of you” (V.i.391), the play ends on a sadder note than would be expected. Even the weddings must be postponed until Malvolio can be found again because Malvolio has the sea captain who rescued Viola in jail, and the sea captain has Viola’s feminine clothes. Orsino does not want to carry on with the wedding until Viola is dressed as a woman. The play continues to end on a sad note due to Feste’s final song that basically signs of the harshness of reality and how foolishness plays a role in the harshness of life, as we see in the first few lines:

When I was a little tiny boy, With hey, ho, the wind and the rain, A foolish thing was but a toy, For the rain it raineth every day. (V.i.401-04)

However, regardless of the fact that the play ends on a sadder note than would be expected, the play still surrounds the topics of family, love, and society, plus ends in marriage rather than death or any other great, tragic loss. Therefore, the play most definitely fits the dramatic structure of a comedy rather than any other of Shakespeare’s play structures, such as his histories or tragedies.

2. Is Shakespeare’s Twelfth Night really a comedy?

Ans: When we speak of comedy, we are really referring to a specific dramatic structure. While a comedy generally makes us laugh, and Twelfth Night certainly does have that effect in many scenes, being comic is really not all there is to a comedy. Specifically, comedies always surround the same topic or themes and end in similar ways. More specifically, a huge element in especially a Shakespearean comedy is that it surrounds the topic of family and the tension that must lead to a resolution also surrounds a familial situation.

Since family is a huge topic in comedies, the plays always end in marriage, and more importantly, “marriage is celebrated … as a social occasion” (“Comedy: An Introduction”). Shakespeare’s comedies also always involve stock characters, which are character types seen repeatedly within a specific genre. Stock characters you will find in Shakespeare’s comedies are the heroine’s parents or guardians, clever wives or servants, and especially clowns, and fools (“Shakespeare’s Plays: Comedy”). Since Twelfth Night certainly ends in marriage and contains stock characters, like Maria who is a clever servant and Feste who is a fool, we certainly know that the play fits in with the dramatic structure referred to as a comedy.

However, comedies, especially Shakespeare’s comedies, aren’t always very simple. Not only do they surround the topic of family, they surround the topic of society at large. Hence, often within one of Shakespeare’s comedies you will also find characters who are social misfits and at the end of the play are ostracized because they are “so lost or misguided that they cannot be accommodated or restored to society” (“Shakespeare’s Plays: Comedy”). Malvolio Malvolio fits the description of this sort of misguided character. He is proven to be so arrogant and clashes so much with the other characters that he leaves their society, vowing, “I’ll be revenged on the whole pack of you” (V.i.391). 

Because the play ends with Malvolio having been severely mistreated and leaving the rest of society in the play, the play ends on a sadder note than would be expected, even though the characters will be marrying in the end. The play further ends on a sadder note when we get to Feste’s song, which describes the harshness of life and especially the fact that foolishness, like Malvolio’s foolishness as well as the foolish way in he was treated, is a primary contributing factor to the harsh reality of life, as we see in his first few lines:

When I was a little tiny boy, With hey, ho, the wind and the rain, A foolish thing was but a toy, For the rain it raineth every day. (401-04)

Hence we see that even though comedies, especially Shakespeare’s comedies, can deal with some weighty subjects and themes, if they follow a specific structure, they are most definitely considered comedies as opposed to any other dramatic structure, like histories or tragedies.

3. Can “Twelfth Night” be considered a festive comedy?

Ans: Yes, Twelfth Night is a festive holiday play; its title, in fact, refers to the twelfth night of the Christmas season, the day before Epiphany, which celebrates when the Magi brought gifts to the infant Jesus. Twelfth Night was often celebrated in Shakespeare’s day with the drinking of wassail, a hot mulled cider, parties, and “merriments.”

Shakespeare’s play captures the zany, upside down feeling of a festive occasion. Genders bend with Viola impersonating a man by disguising herself as Cesario, and humor revolves around Malvolio, the steward trying to cross class lines to woo Olivia. There’s quite a lot of love, obstacles to love, mistaken identity, mixups, and word play in this madcap comedy. Sir Toby Belch and Sir Andrew Aguecheek provide comic relief along with Malvolio, and the play comments on the lunacy of love. But perhaps the festive spirit is captured best in the appropriately named Feste’s carpe diem [seize the day] song about love:

“What is love? ‘Tis not hereafter;

Present mirth hath present laughter, 

What’s to come is still unsure. 

In delay there lies no plenty, 

Then come kiss me sweet and twenty.

Youth’s a stuff will not endure.”

If you are looking for an entertaining romantic comedy to top off Christmas festivities, this “enjoy the moment” play would be a fine choice.

4. What is an example of a double entendre in Shakespeare’s Twelfth Night?

Ans: A double entendre is a form of figurative language in which a given phrase of words can be interpreted as having more than one meaning, usually the second meaning is sexually suggestive. Double entendres are similar to puns in that both are forms of word play. The main difference is that a pun is a play on a single word rather than an entire phrase. However, a double entendre can certainly make use of a pun in the phrase in order to create the double meaning. A few examples of double entendres in Twelfth Night can be found in Act 1, Scene 3 in the conversation between Maria and Sirs Toby and Andrew.

Sir Toby invites Sir Andrew to greet Maria by making a sexual pun out of the word “accost,” as we see in his line, “Accost, Sir Andrew, accost” (l.iii.44). The word accost but it’s primary definition refers to can refer to a being confronted in greeting, an offending way, especially confronted for “sexual purposes” (Random House Dictionary). Hence, Sir Toby’s sexual pun begins a series of other sexual double entendre.

One double entendre is seen in another thing Sir Toby says to Sir Andrew, that if he lets Maria go, he hopes Sir Andrew “mightst never draw sword again” (56-57). Literally, the the line refers to the fact that Sir Andrew is a knight and is trained in sword fighting; however, figuratively, the phrase also has sexual connotations referring to erections.

A second double entendre can be seen in what Maria says to Sir Andrew when she shakes his hand. She says of his hand, “It’s dry, sir” (67). Literally, this line simply means his hand is dry, but the phrase also contains a double meaning in that “in Shakespeare’s time, a person with a dry hand was believed to be impotent” (eNotes). Hence, this line is a continuation of the sexual pun Sir Toby created with the word accost; it is also serving as a rejection.

5. Explore the transformative power of fooling in Twelfth Night.

Ans: Twelfth Night is ultimately centered around Viola’s transformation into Cesario, the woman disguised as a man, in order to access Orsino’s court. This is where your use of the specific term “transformative” is a particularly apt way of describing it, because really, Viola’s transformation of identity (and the complications which follow from that transformation) will drive the plot that follows.

Orsino is pursuing Olivia and sends Viola as his representative, only for Olivia to fall in love with the disguised Viola instead. Meanwhile, Viola is secretly pining after Orsino. Later, Viola’s twin brother, Sebastian, will arrive, adding additional complications to the confusion, with Olivia mistaking him for Cesario, marrying Sebastian, and Viola being mistaken for her twin brother in turn. Across the course of the play, that initial deception (by which Viola disguises herself as a man) takes on a life of its own, as more and more people are drawn into this net of confusion.

That being said, it is worth noting that, for all the confusion her trickery creates, Viola does not have malicious intent. This contrasts the far more mean-spirited deceptions carried out by Toby Belch and Maria, who trick the steward Malvolio into believing that Olivia is in love with him, with the goal of humiliating him.

6. What are the similarities between Orsino and Malvolio in Twelfth Night?

Ans: Firstly, Orsino and Malviolio are linked in their mutual pursuit of Olivia’s love. While their social statuses are very different, they both exhibit pride, self-importance, and inconstancy of character.

Beginning with pride and self-importance, Orsino is a Duke. He is wealthy, well situated in society, and a bit full of himself. In the opening scene of the play, we see Orsino respond to the news that Olivia will not see him because she is in mourning for her dead brother. Rather than being sympathetic makes this about himself.

O, she that hath a heart of that fine frame 

To pay this debt of love but to a brother, 

How will she love, when the rich golden shaft

Hath kill’d the flock of all affections else

That live in her;

Orsino’s thought is not to Olivia’s grief, but to how much she would grieve over his death if her grief is this great over a loss as insignificant as that of a brother. Furthermore, despite his apparent love for Olivia, he considers his own understanding and experience of love to be greater than that of any woman, as seen in his conversation with Viola (Cesario) in Act 2, scene 4.

Malvolio is aptly characterized for his sense of self importance by Maria in Act 2, scene 3.

The devil a puritan that he is, or any thing constantly, but a time pleaser; an affectioned ass, that cons state without book and utters it by great swarths: the best persuaded of himself, so crammed, as he thinks, with excellencies, that it is his grounds of faith that all that look on him love him; and on that vice in him will my revenge find notable cause to work.

Maria’s opinion of Malvolio is shared by Toby, Andrew, Fabian, Feste, and even Olivia. It is because of Malvolio’s self-importance that he is subject to the cruel pranks set upon him by Toby and company. We see in Malvolio’s own demeanor and speech that he considers himself to be superior to the other characters in the play, including those of higher status than he, such as Toby and Andrew. Despite the fact that he is a steward, he does not even question the probability that Olivia could be in love with him. He thinks of himself that highly.

This pride connects to both characters’ changeability. We have two men in love with the same woman, but as the play unfolds, we find that love to be inconsistent or untrue. Orsino’s affections shift from Olivia to Viola (though he is confused because he believes Viola is a boy) pretty easily. His love for Olivia is not substantial; he doesn’t even go in person to speak to her. He sends other people and pines. Orsino, in love more than he is seems to be in love with the idea of being actually in love with Olivia.

Malvolio’s love seems to be grounded in a desire for advancement more than in any actual romantic feeling. He never describes Olivia’s beauty or his feelings toward her. All of his thoughts are focusing on achieving higher status. The best way to achieve this, in his mind, would be through a marriage to Olivia.

7. Choose two characters in Twelfth Night and identify what their masks are and what those masks are hiding. Are the masks helpful or harmful? Do people today use similar techniques to hide their true feelings or identities?

Ans: Disguise, deception, and false appearances are central to the plot of Twelfth Night. William Shakespeare fills the plot with multiple layers of these themes, as characters literally wear disguises especially those of other genders or metaphorically “mask” their true feelings or intentions. The importance of being true to oneself is one of Shakespeare’s most often used themes; failure to do so generally has negative consequences. Two contrasting examples of characters that mask themselves in different ways are Viola and Malvolio.

Viola is an elite young woman who understands that her gender places her in a precarious position when she is shipwrecked and alone. Her decision to dress as a man is primarily practical; by assuming a male identity, she can travel safely and find out necessary information will relative ease. Her situation is complicated, however, when romance gets in the way: Olivia falls in love with “Cesario” (Viola’s male alias) and Viola herself falls in love with the Duke who knows Viola only through her male persona and Viola must use her wits to extricate herself from the situation.

Malvolio is a servant who wishes to be upper class. A serious but self-important person, he rarely speaks his true emotions but is also easily swayed. When he is tricked into thinking that Olivia cares for him and wants him to dress a certain way, he decides to do so. Because Malvolio does not actually care about fashion or the latest trends, his appearance in the garters and stockings makes him seem ridiculous.

The themes of self-deception and its outward correspondence are as relevant today as they were four centuries ago. Both personal safety and emotional vulnerability are still reasons that people put up false fronts.

8. How and why does Shakespeare criticize those in positions of power or authority, as seen in Twelfth Night?

Ans: Literary critics have pointed out that Shakespeare wrote during a time of important socio political changes considering that there was a switch from patriarchal monarchy to a matriarchal monarchy. Shakespeare wrote for Queen Elizabeth’s court and a significant social concern of the time was whether or not a woman out that many of Shakespeare’s plays and themes “reflect political gender anxieties” (“The Stage and the State”). 

In particular, Dall asserts that both Hamlet and Macbeth have women in power taking a significant fall while men in the plays regain power, showing that Shakespeare questioned a woman’s ability to be in power and intimidating his hope for a “return of state stability” through the reestablishment of a patriarchal monarchy (“The Stage”). Hence, we can claim that one reason why Shakespeare appears in his plays is because to criticize authority is questioning the strength of his own monarchical government, wishing instead to return to a patriarchal monarchy.

We can see Shakespeare questioning women’s ability to maintain power in Twelfth Night when he has Olivia marry by the end of the play. When we first meet Olivia, she has recently lost both her father and brother, leaving her to manage her family’s estate all on her own. It can be said that one reason why she has rejected Duke Orsino’s proposal is because she wants to maintain total control of her estate, thereby ensuring that the estate is not compromised. 

However, she is unable to keep maintaining control as she soon finds herself falling in love with one who is actually a perfect reflection of herself, a woman alone with an estate she needs to protect who also feels the need for disguise. Regardless, Shakespeare has nature correct this course by having Olivia mistake Sebastian for Cesario and marry Sebastian instead. Sebastian comments on the fact that nature led Olivia to a union with Sebastian, rather than Viola pretending to be Cesario, in his lines:

So comes it, lady, you have been mistook:

But nature to her bias drew in that.

You would have been contracted to a maid. (V.i.268-71)

But now that she is married to Sebastian, she is no longer in control of her own estate, which also reestablishes the patriarchal control within her household and seems to be what Shakespeare wants for his own government.

What’s also interesting to note is that Duke Orsino, Illyria’s true ruler, while portrayed as a noble leader, is also characterized as a bit fanciful and foolish, which can be interpreted as Shakespeare’s means of criticizing Orsino. But, Shakespeare also creates balance by uniting him with the wiser Viola. Perhaps portraying Duke Orsino as fanciful and foolish is Shakespeare’s way of showing that even a patriarchal government can be insufficient and any form of government must be balanced to create a balanced society. Having both masculine and feminine counterparts in a leadership union would create that balance.

9. What is the strongest example of homosexuality in William Shakespeare’s Twelfth Night?

Ans: Twelfth Night is rife with homoerotic dialogue and interactions: Duke Orsino and his attraction to Viola dressed as Cesario, Antonio and Sebastian’s suggestive friendship, and Olivia’s obvious attraction to Viola’s Cesario disguise. Any of these relationships can make a strong argument for homosexuality as a theme of the play, but I think the strongest are the central lovers: Duke Orsino and Viola/Cesario.

Consider how Orsino compliments Cesario:

“Dear lad, believe it;

[…] Diana’s lip

Is not more smooth and rubious, thy small pipe

Is as the maiden’s organ, shrill and sound,

And all is semblative of a woman’s part” (1.4.32; 34-37).

This compliment of Cesario’s girlishness is strange and very sexual, but makes sense for Orsino, whose sexuality seems to find both feminine and masculine attractive. This confusion of Cesario’s gender continues throughout the play and seems intentional on Örsino’s part; it is the mix of feminine and masculine that he seems to like. Plus, as heterosexuality is the expected norm, he seems to be keeping up appearances in valuing that which is feminine in Cesario.

When Orsino learns that Cesario is really a woman, he jumps at the chance to marry her, even though he has ostensibly been courting Olivia this whole time:

“Cesario, come;

For so you shall be, while you are a man; But when in other habits you are seen, Orsino’s mistress and his fancy’s queen” (5.1.30).

These lines make it unclear which identity Orsino regards as a disguise. His explanation Viola of putting on clothes to look like his “fancy queen” paired with his use of her masculine name suggests that he still sees her as a man and the feminine clothes are for the benefit of others’ opinions of them and Orsino’s reputation.

Finally, the fact that Viola’s dress is unavailable and the play ends while the characters are waiting for it to come so she can put it on and they can be married means that the final pose, where all the couples are paired off and gazing into one another’s’ eyes, takes place while Viola is still dressed as a boy. Shakespeare seems to be playing with the convention of unending the social order to the very end, making an even stronger case for Orsino’s homosexuality.

10. To what extent are some of the masks that characters wear in Twelfth Night destroyed by the end of the play?

Ans: If we think about it, we can relate your question and the concept of characters wearing masks that allow them to deceive themselves to one of the principal Shakespearian themes, which is appearance vs. reality. Many characters appear or think that they are something other than they are, and by the end of the play have these masks forcefully taken from them and are forced to accept the truth about themselves.

Surely, the major character that this applies to is Malvolio, who, thanks to the ruse of Maria and Sir Toby, thinks that he is something much more than he actually is. It is notable, and somewhat ironic, that, after being a force of sobriety and Puritanism at the beginning of the play, when he is brought out in Act V scene 1 at the end of the play, Olivia refers to him as a “poor fool” that has been “baffled” by the stratagems of Sir Toby and Maria. Malvolio is forced to confront that he is nothing more than a fool who has tried to rise above his station and failed dramatically. His angry response to the otherwise happy crowd reveals his inability to accept his own mistakes and his own identity: “I’ll be revenged on the whole pack of you!”

But let us also remember the way that other characters are forced to confront their true identity and realise how they have been deceiving themselves. The love sick Orsino, for example, so consumed with passion for Olivia, realises that the true object of his affection is actually Viola and also realises how over the top his love has been for Olivia.

The poor Sir Andrew Aguecheek likewise realises that he has been tricked by Sir Toby into entertaining hopes of a match with Olivia and is forced to accept that he has no chance of ever marrying her. Lastly, Olivia realises how severe her vow of chastity in response to her brother’s and father’s death was, and also the way that she is tricked by the twins reveals just how foolish she was to make such a strong vow that she could not keep. Masks, and their often forceful removal are a key motif of this brilliant play.

11. In Shakespeare’s Twelfth Night, which characters wear figurative masks as opposed to the literal masks represented in the mistaken identities?

Ans: An individual who wears a figurative mask would appear to be something entirely different on the outside from what the individual is on the inside. One of those individuals would be Malvolio.

As we see Maria describing in Act 2, Scene 3, Malvolio comes across as being a flatterer and so dignified that “all that look on him love him” (II.iii.139). He is further described as being very proud and even as a “kind of Puritan,” meaning that he is excessively virtuous and strict, just like the Puritans (129). He is so proud and dignified that he frequently insults other characters, such as when he insulted Feste’s abilities as a court jester in Act 1. 

However, though on the surface he appears to be virtuous, upright, dignified, and well admired, Maria, Feste and the other characters soon prove that on the inside he is really nothing more than a gullible fool who quickly loses all sense of dignity the moment his foolishness is exposed. Maria proves he is a gullible fool by convincing him through a letter that Olivia is in love with him and wants to elevate him to her station. Feste proves him to be a fool when he manages to deceive Malvolio into believing that Feste is the curate who has come to diagnose him as insane.

12. How does Shakespeare use mistaken identities in Twelfth Night?

Ans: One way in which Shakespeare makes use of mistaken identities is to show that people are not always what they appear to be. Viola illustrates this point by discussing the illusion of appearances in the very first scene in which we meet her. In Act 1, Scene 2, Viola reflects on the fact that the character of the sea captain who rescued her is just as “fair,” or good and noble, as his looks are fair, as apparently he is a rather handsome man. We see her compare his fairness in character to his fairness in looks in her lines:

There is a fair behavior in thee, captain; And though that nature with a beauteous wall Doth oft close in pollution, yet of thee I will believe thou hast a mind that suits With this thy fair and outward character.

These lines are also important because they express her understanding that looks can be deceiving, and that someone can be something completely different on the inside than they appear to be on the outside, which is a dominant theme in the play.

We especially see the illusion of appearances portrayed when Sebastian is mistaken for his sister who is pretending to be a manservant named Cesario. It’s very apparent that both Sebastian and Viola have very different character traits. For one thing, when Viola as Cesario converses with Feste in Act 3, Scene 1, she is very congenial with him. They exchange witty retorts, and she remarks about how good Feste is at his job as a fool. 

However, when Sebastian encounters Feste in Act 4, Scene 1, whom Feste mistakes for Cesario, Sebastian doesn’t give Feste the same congenial treatment. Instead, he becomes annoyed by Feste, even calling him a “foolish fellow” to which Feste retorts that Sebastian “will prove a cockney,” meaning “clueless person” (eNotes, IV.i.2, 12). Sebastian even proves to have a temper. While Viola says she hates violence and prefers peace, Sebastian readily strikes Sir Andrew. 

Sebastian even severely hurts both Sir Andrew and Sir Toby a second time in the final act. If we can believe Sirs Andrew and Toby, the second time Sebastian struck them was apparently unprovoked, showing us that, unlike his sister, he has a much more aggressive temper, and even though he and Viola look alike, inside they are very different. Yet, Olivia feels she is in love with Sebastian merely because he looks like Cesario, who is la. Olivia will probably eventually be his sister Viola. really disappointed to learn that their characters are really very different Hence, Shakespeare gives both Viola and Sebastian opposing character traits, plus mistakes their identities, to show just how deceptive looks can be.

13. Where does mistaken identity occur in Twelfth Night?

Ans: Shakespeare loves gender bending and makes the most of it in this madcap holiday comedy.

When Viola shipwrecks, she decides it would be safer to be a man and disguises herself as Cesario. She enters the duke’s service. Olivia then falls in love with “Cesario,” not realizing she has fallen for a woman. Viola, unfortunately, falls in love with the duke, and other impossible situations as long as he thinks she is a man.

Meanwhile, Olivia’s servant, Maria, pretends to be Olivia and writes fake love letters from “Olivia” to Malvolio, making the foolish man think Olivia is in love with him. As Malvolio is nothing but her servant, it is not likely Olivia would become enamored of him but he makes the mistake of believing the letters are from her.

If things aren’t already mixed up enough, Viola’s twin brother Sebastian appears, also shipwrecked. Olivia mistakes him for Cesario, and they marry. Then Cesario reveals she is a woman, and she and the Duke wed.

Shakespeare seems to be saying that love goes deeper than gender and he creates a good time in the process.

14. Compare and contrast the characters of Viola and Olivia in Twelfth Night.

Ans: Both Viola and Olivia are women who belong to the aristocracies of their respective communities. They are “gently bred” and educated in womanly arts rather than in such masculine skills as swordplay and classical languages. Both, at the time of the play, are young, single, and attractive. Both have or had beloved brothers, but while Olivia’s brother is actually dead, Viola’s has merely been separated from her by a storm, although it takes them some time (and many comic plot twists) to be reunited.

That being said, the two young women differ greatly in character. Olivia has become distraught over the death of her brother, while in adversity Viola displays great strength of character and intelligence. Olivia seems more conventional than Viola and also more emotionally melodramatic, while Viola has greater self control and sense of purpose. Despite this, Olivia at times displays flashes of insight, as when she dismisses praise of her appearance with an inventory of her beauties:

Item, two lips, indifferent red; item, two grey eyes, with lids to them; item, one neck, one chin, and so forth.

This suggests that, as a wealthy young woman, Olivia has learned to take a somewhat cynical view of her suitors, seeing that they are interested only in her appearance or wealth, and her being attracted to Viola’s kindness and intelligence actually does suggest good judgment.

15. Twelfth Night begins with a tragic accident, but what hints does the text give that there might be some hope?

Ans: You can find the answer to your question at the beginning of act 1, scene 2, of Twelfth Night. The scene takes place on a sea coast where Viola has just landed after being rescued from a shipwreck. She asks the Captain where they are, and he informs her that they have reached Illyrium. Viola laments her brother who could not be rescued and remarks that he “may be in Elysium” (a heavenly realm mentioned in ancient Greek literature). 

The Captain gives Viola the following hopeful news:

Assure yourself, after our ship did split, When you and those poor number saved with you Hung on our driving boat, I saw your brother, Most provident in peril, bind himself, Courage and hope both teaching him the practise, To a strong mast that lived upon the sea; Where, like Arion on the dolphin’s back, I saw him hold acquaintance with the waves So long as I could see.

In other words, the Captain saw that Viola’s brother had tied himself to a broken mast and was riding the waves “like Arion on the dolphin’s back.” This is an allusion to a story from ancient Greece about a poet named Arion who is said to have been kidnapped by pirates and rescued by a dolphin.

16. What are some of the differences between the film and the text of Twelfth Night?

Ans: For the purposes of this question I will be referring to the film version of this play that came out in 1996 and was directed by Trevor Nunn, starring Toby Maguire and Helena Bonham Carter. This is an excellent film version of this play and I have used it myself when teaching this text.

The first thing to state is that every single film version or perFormance of a play is just one “reading” or “vision” of what that play looks like. The job of a director is to take the text on the page and flesh it out; add colour to it and life and turn it into something that is living and breathing. This necessarily involves a number of decisions that make each performance or film version of the play very different from every other.

In the film version, therefore, what is very interesting is that Nunn chooses to create a situation of political tension between Illyria and where Viola and Sebastian come from. There is some danger as Viola and the Captain rush out of the sea and hide themselves, and Orsino’s troops look for them. Another key aspect of the play is the way that Viola (disguised as Cesario) is always viewed in very intimate places with Orsino. This adds to the humour, as in one scene Orsino is naked in the bath and Cesario is called to sit next to him. 

Viola of course is placed in a very difficult position as she is able to see the man she loves whilst also having to pretend to be advising him about how to pursue Olivia. Such touches really serve to elucidate the humour in the text and create a memorable film.

Therefore I would take issue with your question. In a sense, there are no “differences” between the text and the film version. Rather, the film version contains one man’s interpretation of the text that allows us to see the original genius of Shakespeare more clearly.

17. What does Duke Orsino fear will happen if Olivia does not stop mourning over her brother on Twelfth Night? Write down the lines that express this fear.

Ans: Shakespeare’s Twelfth Night opens with Orsino, Duke of Illyria, expressing his passionate love for Lady Olivia. Orsino previously sent one of his attendants (appropriately named Valentine) to Lady Olivia to tell her of Orsino’s love for her and his desire to marry her, but Valentine returns with bad news. Not only will Lady Olivia not speak to Valentine, but she sends word by way of a servant that she’s devastated by the death of her brother and that she’ll cover her face with a veil and cloister herself to mourn him for seven ‘years.

It might well be that Lady Olivia is simply using the death of her brother as an excuse to avoid Orsino and reject his advances towards her, but Orsino takes this to mean that until seven years have passed, Lady Olivia will not think about romance or even consider his proposal. Orsino’ is distressed by this news and is concerned that he’ll lose Olivia forever: 

DUKE ORSINO: O, she that hath a heart of that fine frame To pay this debt of love but to a brother, How will she love, when the rich golden shaft Hath kill’d the flock of all affections else That live in her; when liver, brain, and heart, These sovereign thrones, are all supplied, and fill’d Her sweet perfections with one self king! (1.1.35-41) Orsino’s fears that by focusing her love so intently on her brother, and only on her brother, that by the end of seven years’ time Lady Olivia’s love for her brother will have totally consumed her, and she won’t be able to love anyone else.

18. Why did Shakespeare title his play Twelfth Night?

Ans: The phrase “Twelfth Night” refers to the Church calendar and the last night of the twelve days following Christmas Day, December 25th. The Twelfth Night falls on January 5th or 6th, depending on tradition. The Twelfth Night is also the eve of Epiphany, which celebrates the Magi bringing gifts to baby Jesus. The Twelfth Night was also full of festivities. While one might think the festivities would have been related to the birth of Jesus, apparently the parties in Shakespeare’s time could get quite wild.

Shakespeare wrote the play Twelfth Night; or What You Will for an Epiphany Eve party held at “one of the Inns of Court in 1602,” a party that can be described as “absolutely secular and even quite bawdy” (“Shakespeare’s Twelfth Night”). The party “was a time of masques, revels, defiance of authority, and general foolishness” (“Shakespeare’s Twelfth Night”). Hence, the reason why, despite the title, Twelfth Night contains no Christmas content is because the celebration on Twelfth Night, or Epiphany Eve really had nothing to do with Christmas. Instead, just like the party the play was written for, the play explores loss of innocence, foolery, revelry, deception, and a general festive atmosphere.

19. Why is Shakespeare’s play Twelfth Night famous?

Ans: When Twelfth Night was first performed in 1602, it proved to be very popular. Shakespeare’s audiences especially took a liking to Malvolio and all of the comedy surrounding his characterization. In fact, Malvolio was so popular that by 1623 Shakespeare’s fans came to call the play simply Malvolio. The prank Maria pulls on Malvolio is certainly the height of comedy, especially convincing him to do the things Olivia detests, such as wearing yellow stockings, appearing cross gartered and smiling, as signs that he is returning her affection, as we see Maria explain in her speech:

[H]e will come to her in yellow stockings, and ’tis a colour she abhors, and cross gartered, a fashion she detests; and he will smile upon her, which will now be so unsuitable to her disposition, being addicted to melancholy as she is. (II.v.179-84)

However, beyond Malvolio, Twelfth Night delves into intriguing themes, such as “conflicts of power, class structure, and sexuality,” particularly the sexual complications demonstrated by the fact that Olivia falls in love with who is essentially a fellow woman and even that Antonio, the sea captain who rescued Sebastian, has such strong feelings for Sebastian that his feelings lead him to danger (“Twelfth Night In Performance”). It’s these themes that have made Twelfth Night popular throughout the ages, each era wanting to interpret the play differently. In addition, naturally the mistaken identities and mixed up lovers add to the play’s humor, making it one of the most frequently performed plays.

20. What is the most famous scene in Shakespeare’s Twelfth Night?

Ans: It’s debatable what scene is the most “famous” in Shakespeare’s Twelfth Night; various audience members might have different preferences on this matter. Some people are more partial to the more sweepingly romantic scenes within the play, such as in Act One, Scene One, when Count Orsino declares his unrequited love for Lady Olivia and iconically proclaims, “If music be the food of love, play on…” Others prefer the comedic elements, like Sir Toby and Sir Andrew’s drunken antics or the ridiculous duel between Sir Andrew and Cesario in Act Three, Scene Four.

That being said, perhaps one of the most loved scenes in the play is Act Three, Scene Four, in which the grumpy servant Malvolio gets his comeuppance at the hands of Maria, Sir Andrew, and Sir Toby. Tired of Malvolio’s “better than thou” attitude and his eagerness to get the others in trouble, this crew decides to make a fool of Malvolio; they send him a fake love letter from Lady Olivia and convince him that he must appear to her dressed in yellow, cross gartered stockings.

Malvolio does so and attempts to proclaim his love to a very confused Lady Olivia. This scene is full of miscommunication and hilarious sexual misinterpretations, such as when Olivia asks Malvolio if he’ll “go to bed” (here meaning to go lie down and rest in his quarters), and Malvolio perceives it as an invitation to sleep with her, replying, “To bed! ay, sweetheart, and I’ll come to thee.”

Malvolio is ultimately humiliated in front of his employer, which is a comedic payoff both for the characters in the play and for the audience who has had to listen to his dry, humorless talk. This scene also includes one of the most quoted Shakespearean lines of all time, which Malvolio repeats from the fake love letter he had received: “Be not afraid of greatness… Some are born great, some achieve greatness, and some have greatness thrust upon them.”

21. Which scene in Shakespeare’s Twelfth Night seems to be the most important dramatic point in the play?

Ans: The most dramatic point or moment would most likely be the moment of climax in the story line or play. The climax is the turning point in any story; the moment when the action or drama is at its highest point and the resolution comes into sight. Twelfth Night is composed of a few different plots, so there are a few different climaxes. One of the plots surrounds Viola’s disguise and mistaken identity. Hence, the moment of climax surrounding that particular plot would be the moment when it looks like her true identity will be exposed at an inopportune moment.

Viola very nearly exposes her identity as a woman rather than as a male servant named Cesario when, at Fabian and Sir Toby’s insistence, Sir Andrew challenges Viola as Cesario to a duel in Act 3, Scene 4. Naturally, since Viola is a woman, she has absolutely no education in the skill of sword fighting, and fearing for her life, tries to escape the situation. She’s so terrified that she says she would “rather go with sir priest than sir knight” and that she doesn’t care “who knows so much of [her] mettle” (III.iv.254-56). In other words, she is saying that she is more of a religious person than a fighter and does not care who knows of her cowardice. She even says she’s about to confess her true identity as a woman in her aside, “Pray God defend me! A little thing would make me tell them how much I lack a man” (282-83). 

Her identity is further nearly exposed when Antonio, the sea captain who rescued her brother, puts an end to the duel by offering to duel on Viola’s behalf, whom he mistakes for Sebastian. This scene proves to be the climax because not only is her identity nearly exposed, leading to that part of the resolution, but also hearing Antonio call her by the name Sebastian makes her believe he is mistaking her for her brother, which gives her hope her brother is still alive, leading to yet further resolution. Since this is most definitely a climatic scene, it is also one of the most dramatic points in the play.

22. What role does fate play in Shakespeare’s Twelfth Night?

Ans: The hand of fate is evident in Twelfth Night in a few different places; however, for the most part, consequences and resolutions happen as a result of characters’ choices.

The two most obvious ways in which fate is evident in the play is with respect to the fact that both Viola and Sebastian managed to be rescued from the shipwreck. Viola was saved by a sea captain and so was Sebastian saved by a different captain of a different vessel. Viola’s captain even comments on the role chance, or fate, had in rescuing Viola and says there is the same chance that Sebastian was rescued as well, as we see in his line, “It is perchance that you yourself were saved,” meaning, “It was by chance” that Viola was saved; therefore, there is a possibility her brother could have been saved as well (L.ii.7).

A third way in which fate has a hand in the action is with respect to the fact that both Viola and Sebastian wind up in Illyria. Being in the same place at the same time further provides the opportunity for them to be mistaken for each other, which also offers the opportunity for Olivia to marry a man rather than continue to be in love with a woman posing as a man. Hence we see that fate plays a role in coupling Olivia with Sebastian plus even reuniting the brother and sister pair.

However, while Olivia’s marriage to Sebastian has a great deal to do with chance, Orsino made the choice to ask Viola to be his wife, showing us that the play’s resolutions also depend on choices and not just on fate. In addition, Malvolio was persecuted by the other characters due to the characters’ own choices as well 25 Malvolio’s own choices. Hence, the play has even more to do with choices than it does with fate.

23. What role does Curio play in Shakespeare’s Twelfth Night?

Ans: Curio has a very minor role in Twelfth Night, only appearing in 3 scenes and only speaking in 2 out of those 3 scenes. His role can be considered the role of a stock character. A stock character is a character type that appears repeatedly within certain genres. Shakespeare made use of many stock characters, including ill tempered wives, bragging soldiers, “clowns, outlaws, clever servants, [and] female confidants” (Dr. Schwartz, “Shakespeare’s Plays: Comedy”). He especially frequently makes use of a “jester, fool, or buffoon” (Schwartz). While Curio does not have as great a role as a character like Nurse in Romeo and Juliet, who especially fits the description of a clever servant, he proves to be very intelligent, sensible, and even compassionate, showing us that he fits the description of a clever servant stock character.

Among Curio’s very few lines, one thing is said with the purpose of distracting Duke Orsino from his alleged suffering. After Duke Orsino opens the play by moaning over his feelings for Olivia, Curio suggests that Orsino go out hunting as a means of distracting him, as we see in Curio’s line, “Will you go hunt, my lord?” (1.i.16). He then suggests that Orsino go out and hunt a heart, meaning stag. Whether or not Curio is deliberately making a pun out of heart in the same way that Orsino does in the next lines is unclear. If Curio was intentionally making a pun, he may have been subtly telling Orsino to stop sitting there moping and go out and do something about his lovesickness, which would certainly portray Curio’s cleverness. At any rate, Curio is certainly showing wisdom in wanting to distract Orsino from his absurd suffering.

Curio even shows compassion the next time he speaks in Act 2. Scene 4 by respectfully doing Orsino’s bidding. In this scene, again feeling glum, Orsino asks for some music as music is the “food of love.” Specifically, he asks for a song he heard sung last night. When Curio says the singer is not present in the room and Orsino asks who sang it, Curio readily answers that Feste sang it, “a fool that the Lady Olivia’s father took much delight in,” and quickly goes to find him in the house (II.iv.12-13). Curio’s willingness to find Feste to entertain Orsino with another song to feed his woes of love shows us that, while Curio may not agree with his master’s behavior, he can certainly feel compassionate enough and respectful enough to do Orsino’s bidding, showing us that Curio certainly fills the role of a clever servant stock character.

24. What lessons can be learned from Shakespeare’s Twelfth Night?

Ans: For the most part, Shakespeare’s Twelfth Night is an exploration of and exposure of human nature. In particular, Shakespeare exposes human nature and behavior as being sometimes pretty bawdy and foolish. The play is titled after the twelfth day after Christmas, which marks Epiphany. Epiphany celebrates the moment when the Magi, or Three Wise Men, arrived to give gifts to baby Jesus. While one would expect an Epiphany celebration to have a Christmas like mood to it, apparently in Elizabethan times the holiday was a particularly rowdy and wild one.

Shakespeare specifically wrote Twelfth Night for an Epiphany party held at one of the Inns of Court. This particular party was well known to be “absolutely secular and even quite bawdy” (“Shakespeare’s Twelfth Night”). The festivity was also known as a “time of masques, revels, defiance of authority, and general foolishness” (“Shakespeare’s Twelfth Night”). Since Shakespeare’s characters perfectly portray the masquerades, revelry, and foolishness characteristic of that night, we can see that Shakespeare is using the play to spoof such behavior. Hence, one thing the reader can take away from the play is the understanding that human nature has a tendency to be rather foolish.

We see foolishness and bawdiness portrayed in Sir Toby’s drunken behavior, in Sir Andrew’s cowardly behavior, and in Maria’s plan to humiliate Malvolio. We even see foolishness in Duke Orsino’s obsession with Olivia, in Olivia’s obsessive prolonged grief over her brother, and even in Olivia’s rejection of Orsino, even though she knows him to be “virtuous,” and “noble” (I.v.243). What’s more, in the final song of the play, Feste sings about how foolishness is a part of what makes the world a harsh and dreary place, as we see in his lines:

When that I was a little tiny boy,

With a hey, ho, the wind and the rain,

A foolish thing was but a toy,

For the rain it raineth every day. (V.i.401-04)

The importance of these lines is that Feste states that the young, or young minded like Maria and Sirs Toby and Andrew, treat foolish things like toys. Plus he links foolishness to the rain that falls every day, showing us that foolishness is linked to the harshness of the world. Hence, while Shakespeare’s play makes light of man nature, another thing the reader can take away from the play is that foolishness is a cause of trials and tribulations, just like the tribulation Malvolio suffered at the hands of other foolish characters.

25. What does Viola learn about herself in Shakespeare’s Twelfth Night?

Ans: If Viola did not know so already, one thing she learns about herself is that she certainly possesses a great deal of gumption. To have gumption is to be resourceful and even to be aggressive. Gumption is also defined as “courage, spunk, [or] guts” (Random House Dictionary). Viola shows gumption when she first decides to bravely go to work for Duke Orsino disguised as a eunuch. 

We learn in the very second scene that not only has Viola just survived a shipwreck, she believes she is the only member left in her family; her father died earlier, and now she believes her brother, her remaining guardian, has drowned in the shipwreck. More importantly, she is a wealthy noblewoman and knows full well what a vulnerable position she is in with respect to being both wealthy and all alone. Hence, she resolves to disguise her identity as a noblewoman until she feels it is safe for her to disclose who she really is. A second way in which she demonstrates she has learned she has gumption is in her treatment of Olivia. Not only does she tell Olivia she is cruel to reject Orsino, she even ends their conversation by wishing a man Olivia loves will be as cruel to her as she has been to Orsino, as we see in the lines:

My master, not myself, lacks recompense. Love makes his heart of flint that you shall love; And let your fervor, like my master’s, be Placed in contempt! Farewell, fair cruelty. (1.v.272-75)

Literally what she is saying here is that she hopes one Olivia loves will have a heart of flint, meaning stone, and that he will also hate her passion, in the same way she hates Orsino’s passion. Hence, since Viola is so bold as to make this statement to Olivia, it shows us she has learned that she has a great deal of gumption.

A second thing she learns is that she does not only have the ability to deceive but also the ability to hurt through her deception. Viola realizes this when it becomes clear to her that Olivia has fallen in love with her as Cesario. Since Olivia is in love with her when she is really a woman, Olivia will feel very hurt indeed when she learns the truth about Viola’s identity. We see Viola disclose her revelation about deception and disguise in her lines, “Disguise, 1 see, thou art a wickedness. / Wherein the pregnant enemy does much” (II.ii.26-27).

26. What are Viola’s characteristics in Twelfth Night?

Ans: Viola is passionate and witty, and she is willing to go to great lengths to get what she wants.

Viola is devastated when she learns that her brother drowned. She doesn’t know what to do or where to go. She finds out that the Duke of Illyria is interested in a woman named Olivia, and she decides to pretend to be a man to help him. All of this is pretty extraordinary. It takes a special kind of woman to pull this off.

Things do not go easily for Viola, even though she is such a convincing young man that no one suspects her secret. Olivia, the woman she is supposed to convince to fall in love with her new boss Orsino, falls in love with her instead thinking she is Cesario. This demonstrates Viola’s charisma and intelligence.

It is her empathy that got her into this position in the first place, and now she is in a bind. Olivia fell in love with her instead of Orsino. Viola has some pangs of self-doubt, regretting the deceit of her disguise.

Disguise, I see, thou art a wickedness, 

Wherein the pregnant enemy does much. 

How easy is it for the proper false

In women’s waxen hearts to set their forms!

Alas, our frailty is the cause, not we!

For such as we are made of, such we be. 

(Act 2, Scene 2)

Although she is basically a good person, deceit is the everyday normal in Viola’s life right now. In addition to having the problem of Olivia having fallen in love with her because she thinks she is a man named Cesario, Viola has also fallen in love with Orsino. Orsino suspects nothing, thinking that he can confide in Cesario and trust him.

At the same time, Viola is a witty young lady. When Orsino philosophizes that women cannot love equally with men, she speaks up. She tells him that they can indeed, essentially admitting that she is in love with him but pretending to tell him a story about her “sister.”

VIOLA

Ay, but I know–

DUKE ORSINO 

What do you know?

VIOLA:

Too well what love women to men may owe:

In faith, they are as true of heart as we.

My father had a daughter loved a man, 

As it might be, perhaps, were I a woman,

I should your lordship. (Act 2, Scene 4)

The audience or reader likely finds this conversation very funny, but there is a sadness to it too. Viola wants to tell Orsino that she loves him, but she has no idea how. To do so would be to admit she has deceived him this long. If he rejects her, she will lose him completely. At least in this position she gets to be close to him and pine for him while he pines for another.

The interaction also shows that Viola is intelligent and witty, despite her harebrained scheme. She spars verbally with Olivia and with Feste, and here she tells Orsino in no uncertain terms that women can love as deeply as men. She should know.

27. In “Twelfth Night,” who is Viola’s twin brother?

Ans: Sebastian is the name of Viola’s twin brother in William Shakespeare’s Twelfth Night. When Viola first washes ashore in Illyria following a shipwreck, she believes her brother to have died at sea and assumes a male disguise so that she can find employment with the Duke Orsino, taking on the name Cesario.

In act 2, scene 1, the audience learns that Sebastian has not drowned but has in fact also arrived in Illyria; he assumes Viola is dead. The uncanny resemblance between Sebastian and Viola in her “Cesario” disguise leads to many cases of mistaken identity as the play progresses.

It is not until act 5, the very end of the play, that the twins are reunited. The revelation that the person everyone had assumed to be Cesario was in fact two people disguised as Viola and Sebastian allows for the complicated love triangle of the play to resolve itself.

28. How is Viola smart in Twelfth Night?

Ans: Viola is a smart and resourceful character. As a young woman shipwrecked alone, she successfully disguises herself as a man, and quickly enters the service of Duke Orsino. This shows her ability to imitate others, move comfortably in social situations, and problem solve on the fly. Very few people could so easily resolve their problems in this way. Orsino quickly comes to trust her so much that he entrusts her to be his messenger to his beloved Olivia. She has only arrived and already she is in the inner circle. Viola performs this duty well, playing her role as Cesario so convincingly that Olivia falls in love with her. 

Then, later in the play, when Olivia mistakenly marries her twin brother, she is socially skilled enough to reveal her identity in a way that does not confuse or offend the other characters too deeply. She marries Orsino, whom she loves. Through the course of the play, a young woman shipwrecks alone in a strange place and is resourceful enough to turn this bad situation into a marriage with a Duke she loves. That shows a huge amount of intelligence and resourcefulness on her part. 

29. Compare and contrast the characters of Viola and Olivia in Twelfth Night.

Ans: Both Viola and Olivia are women who belong to the aristocracies of their respective communities. They are “gently bred” and educated in womanly arts rather than in such masculine skills as swordplay and classical languages. Both, at the time of the play, are young, single, and attractive. Both have or had beloved brothers, but while Olivia’s brother is actually dead, Viola’s has merely been separated from her by a storm, although it takes them some time (and many comic plot twists) to be reunited.

That being said, the two young women differ greatly in character. Olivia has become distraught over the death of her brother, while in adversity Viola displays great strength of character and intelligence. Olivia seems more conventional than Viola and also more emotionally melodramatic, while Viola has greater self-control and sense of purpose. Despite this, Olivia at times displays flashes of insight, as when she dismisses praise of her appearance with an inventory of her beauties:

Item, two lips, indifferent red; item, two grey eyes, with lids to them; item, one neck, one chin, and so forth.

This suggests that, as a wealthy young woman, Olivia has learned to take a somewhat cynical view of her suitors, seeing that they are interested only in her appearance or wealth, and her being attracted to Viola’s kindness and intelligence actually does suggest good judgment.

30. What happened during Viola’s interview with Olivia in Twelfth Night?

Ans: Olivia’s basic premise is that Orsino doesn’t really know her and has no reason to pursue her. She tells Viola that she only got in because she was “saucy” at the gate and Olivia was curious.

Viola is able to get in the door seeing anyone, because she is Viola will not take “no” for by being stubborn. Olivia is not in mourning for her father and brother. an answer though, and Olivia wants to know more about this unusual young man at her gate.

Viola is pretending to be Cesario, a young man, and she is in the employ of Orsino. Orsino is in love with Olivia, but she won’t see him, so he sends Cesario/Viola. Viola’s cleverness gets her into the house. However, then she has to match wits with Olivia.

Viola tries to start the speech she has prepared, based on Orsino’s script, but she has trouble at first figuring out which lady is Olivia, and then Olivia is veiled. Viola asks her to show her face.

OLIVIA:

Have you any commission from your lord to negotiate with my face? You are now out of your text: but we will draw the curtain and show you the picture.

Look you, sir, such a one I was this present: is’t not well done? (Act 1, Scene 5)

The conversation continues along this vein. When Viola tells her she is beautiful and should not be keeping herself from the world, Olivia says that she has no problem with her beauty, and will “give out diverse schedules” of it. Viola accuses her of being proud. Olivia explains that Orsino can’t really love her without knowing her.

OLIVIA

Your lord does know my mind; I cannot love him:

Yet I suppose him virtuous, know him noble, 

Of great estate, of fresh and stainless youth; 

In voices well divulged, free, learn’d and valiant;

And in dimension and the shape of nature

A gracious person: but yet I cannot love him;

He might have taken his answer long ago. (Act 1, Scene 5)

In the end, of course, Olivia falls in love with Cesario instead of Orsino. She enjoys the matching of wits. She surprises even herself by falling for him. Viola doesn’t realize this until Malvolio brings her the ring, a ploy to get Cesario to come back. Viola then realizes that Olivia loves her as Cesario, and she feels sorry for her, even though she loves Orsino.

31. Why might Olivia be more likely to fall in love with Viola disguised as Cesario than with Orsino in Shakespeare’s Twelfth Night?

Ans: One reason why Olivia falls in love with Viola disguised as Cesario is because Viola is extremely direct and forthright with her, which can be very attractive. Unlike Orsino, Viola is able to view Olivia through critical judgement, which is far more honest than mere blind love. We especially see Viola being openly critical of Olivia in the very first scene in which they meet. 

For one thing, Viola very boldly declares that what is Olivia’s right to give, such as her hand in marriage, is not also her right to withhold, which is essentially an open critique of Olivia’s character, calling her selfish (L.v.176). She even further calls Olivia “the cruelest she alive” for leaving “no copy” of her face, meaning for leaving no offspring (225-27). She even very rightly proclaims Olivia to be “too proud” (234). While one would think Olivia would shun such criticisms, she finds them very attractive because they are honest. Unlike Orsino who blindly sees Olivia the way he wants to see her, Viola as Cesario is seeing Olivia as she really is. Hence, Olivia is attracted to Viola’s forthright honesty and her realistic perception. In addition, it’s part of human nature to want more of what is unlikely for us to have. Hence, Olivia sees that Viola has criticized and spurned Olivia’s character, making Olivia want to please Viola and feel att attracted Viola as Cesario. to

Literary critics also point out that another reason why Olivia falls in love with Viola is that she sees they are intellectual and free spirited equals (eNotes, Forbes, “Viola and Olivia”). Viola first demonstrates both her intellect and her free spirited nature when she refuses to be sent away at the gate. She even goes so far as to say she is already aware of all the excuses Olivia will give not to see her, but still she will insist on speaking with her. By the time Viola perseveres and gains admittance at the gate through her cleverness, Olivia is already very intrigued by her. 

Then Viola shows even more free spirit by openly criticizing Olivia to her face. Literary critics point out that both Olivia and Viola are very similar in both their losses and their perseverance (eNotes, Parker, “Viola and Olivia”). Both women have just lost all family members and are left to manage their estates on their own. Olivia, through her own determination, has managed to handle her estate very well and even managed not to succumb to marriage; hence, when Viola enters her life and shows the same amount of perseverance and determination, she becomes very intrigued.

31. How might Twelfth Night be considered a satire of sentimentality?

Ans: Love is the central concern of Twelfth Night, and most of the characters indulge in sentimentality at one time or another. The overall satirical stance is conveyed early on by Duke Orsino, as he listens to music and sighs while daydreaming about love: “If music be the food of love, play on;/ Give me excess of it.” His intention to over indulge in love and the things that nurture it is a common attitude of other lovers in the play. Orsino’s supposedly deep love, which shifts rapidly, indicates that it is the idea of love that he actually enjoys the most. Olivia, originally the object of his desire, is similar in temperament, and her affections are also transferred quickly to another man.

The pairing up of the main couples by the end is achieved through a series of deceptive steps, including gendered disguises. Viola, the most level headed of the four, mocks constancy in love by defending it while actually pretending to be someone else, a man.

Another satirical aspect is presented by the plot in which Malvolio is fooled into believing that he is the object of Olivia’s love. He is so swayed by the idea of her adoration that he is willing to make a complete fool of himself by dressing in exaggerated fashion just because he thinks she likes that style. Excessive sentiment causes him to throw reason out the window.

32. What are the main points that might make Twelfth Night a festive comedy?

Ans: ‘Festive comedy’ was a subgenre which a critic called Barber established with her book ‘Shakespeare’s Festive Comedy. It argues that the spirit of the festival (meaning simply a public or religious holiday) was to turn the normal hierarchies of the social sphere upside down and that unacceptable behaviour became ac. ceptable for a single day.

We might see in Twelfth Night many thematic clues towards festive comedy: a play in which the main character is a woman dressed as a man, a play which is catalysed by a storm (literally turning everything topsy turvy), and a play in which normal is subverted: Olivia comes out of mourning to woo Cesario, and Malvolio (usually unsmiling and severe) and smiles to woo Olivia. wears yellow stockings

Also associated with festive comedies are celebratory drinking and eating (‘festive’ is a close verbal relation of ‘feast’) and, when Toby turns on Malvolio, telling him that the ‘cakes and ale’ will stop simply because he is virtuous, many critics have argued that Toby and Malvolio represent respectively the festive and the puritan. 

Malvolio is compared to a puritan by Maria: and the puritans, against enjoyment of most kinds and certainly opposed to festive celebrations, were the enemy of having a good time!

In brief then: what are the main points that might make Twelfth Night a festive comedy? Turning social structure on its head, unusual behaviour, and cakes and ale.

33. What in Shakespeare’s Twelfth Night makes it a romantic comedy?

Ans: Comedy as a dramatic structure does not simply refer to something that makes us laugh, although that can be a part of comedy. Instead, comedy as a dramatic structure can be defined as a movement from tension, usually family tension, to a complication of the tension “to the point of catastrophe,” and then to finally a resolution (“Comedy: An Introduction”). 

Since the comic plots, especially Shakespeare’s comic plots, surround the topic of family, the tension is always resolved through marriage; plus the state of marriage and even the concept of family are celebrated (“Comedy”). Shakespeare’s comedies also contain certain plot devices, such as struggles that lovers must overcome; “separation and unification”; “mistaken identities”; “a clever servant,” such as a fool; and “multiple, intertwining plots” (“Shakespeare plays comedies, tragedies, histories”).

Shakespeare’s Twelfth Night certainly does fit all of the above definitions perfectly. For starters, we see the tension surrounding familial situations with respect to both Olivia and Viola. Olivia creates tension in the play through her prolonged mourning of her brother; her grief over her brother’s death almost a year ago is so severe that she has completely ostracized herself from society, which 5 one reason why she is refusing the courtship of Duke Orsino. Viola creates tension when her response to being cut off from her family through being shipwrecked, orphaned, and separated from her brother is to disguise herself as a male servant in order to protect herself as an alone, wealthy, noble woman. We see her explain her motives for wanting to disguise her vulnerable, wealthy identity in her lines:

O that I served [Olivia]

And might not be delivered to the world,

Till I had made mine own occasion mellow,

What my estate is! (I.ii.43-46)

Viola’s decision to disguise herself as a boy also leads to the mistaken identity plot so prevalent in Shakespearean comedy. Not only does Viola successfully disguise herself as a male se male servant to the point of Olivia falling in love with her, her twin brother is later mistaken for being her when he later arrives in Illyria after also having survived the shipwreck. Plus, his arrival in Illyria also leads to the brother and sister being united after having been separated during the shipwreck. Beyond the devices of struggling lovers, characters being separated and reunited, and mistaken identities, Twelfth Night also has multiple plots that intertwine and even Feste, the servant who is far more clever than the other characters, proving that Twelfth Night is indeed a comedy.

34. How does Olivia ensure further visits from Viola/Cesario?

Ans: Viola, crossdressed under the guise of a servant named Cesario, inadvertently seduces Olivia with the famous “Make me a willow cabin at your gate” speech in act 1, scene 5. Viola was sent to Olivia by her new master, Orsino, who is in love with Olivia himself. In order to ensure Cesario’s return, Viola sends her own servant, Malvolio, off to deliver Cesario (in reality, Viola) a ring:

Run after that peevish messenger.

The county’s man. He left this ring behind him…

If that youth will come this way tomorrow,

I’ll give him reasons for’t. Hie thee, Malvolio. (Act 1, scene 5)

The delivery of the ring leads to some confusion, though Viola sees through the trick quickly: “Fortune forbid my outside have not charmed her! Poor lady, she better love a dream” (act 2, scene 2). It is up to the actress playing Olivia to decide what the intent of the ring was. She can play the delivery of the ring off as a mistake, confusing Cesario in order to make him return, or she might be outright seducing him by the promise that if he returns, there will be “reasons for’t.”

35. Why does Duke Orsino use Cesario (Viola) to woo Olivia in Twelfth Night?

Ans: Something is flawed in Orsino’s approach to romance, and fixing that is the work of the comic action. In the opening scene, we learn that Orsino has been sending his serving men to deliver messages of love to Olivia, a newly bereaved woman. He is doing the best he can, sending Petrarchan missives of passion, but this is not the type of wooing that could win over Olivia, who has vowed to remain cloistered in grief for years. One senses that a subtext in both Orsino’s and Olivia’s plot line involves fear, for Orsino seems afraid to make himself personally vulnerable in love, and Olivia is afraid to claim a role for herself in the world after losing both her brother and father. Withdrawal seems emotionally safe for both. posture

The fun of the comedy involves Orsino being attracted to Cesario but not quite understanding how or why. The indeterminacy of Cesario’s gender leads Orsino to think that he will be equally appealing to Olivia:

It shall become thee well to act my woes;

She will attend it better in thy youth 

Then in a nuncio’s more grave aspect. (4.1)

Orsino is partly right while Cesario stays on script with the overblown ornamentation of Orsino’s address (“Most radiant, exquisite and unmatchable beauty”), Olivia can resist. However, when she speaks from her own passion, as she does in the “Willow Cabin” speech, Olivia falls hard for Cesario, causing Orsino’s plan to backfire.

Cesario is the “in between” figure, literally and figuratively, that causes both Orsino and Olivia to move past their self-protecting positions and engage in the world directly. Because his androgyny seems less threatening to both Orsino and to Olivia, Cesario can cause Illyria to become “unstuck” from its unproductive situations in act I.

36. In Twelfth Night, why does Viola want to serve Orsino?

Ans: Viola is shipwrecked in Illyria and separated from her twin brother, Sebastian. However, from the words of the ship’s captain, she has reason to hope her brother might still be alive and not drowned at sea. After questioning the captain, Viola decides first that she wants to serve Olivia, because she doesn’t wish yet to reveal who she is. As a gentlewoman to Lady Olivia, she would have safety and security in a world she suspects she may now be alone in. As she puts it, she would serve that she

might not be delivered to the world,

Till I had made my own occasion mellow,

What my estate is!

When the captain tells her that Olivia, in mourning, isn’t seeing anyone, the energetic Viola quickly determines to disguise herself as a male so she can become a gentleman to Duke Orsino. This serves her purpose of remaining incognito, but it’s also significant that she remembers Orsino as a bachelor.” The captain confirms that he is still one; he has no wife Viola could serve in Olivia’s stead. It seems her only option is to disguise herself as a man. 

37. Why does Malvolio want to marry Olivia in Twelfth Night?

Ans: Malvolio himself actually answers this question quite well in Act II, Scene 5, when Sir Toby, Sir Andrew, and Maria are eavesdropping on his little private moment. In a few words, he wants respect; he feels like Sir Toby and Sir Andrew don’t ever listen to him (and to be completely fair, he’s right), and he fantasizes about having such far reaching authority that he can boss them around and they have to listen to him.

To hear him tell it in that scene:

“…she uses me with a more exalted respect…” By which he means Olivia, at least, has the decency to respect him and his position.

“Calling my officers about me, in my branched velvet gown…” and a bit later, “Seven of my people, with obedient start, make an out for him: I frown the while; and perchance wind up watch, or play with my some rich jewel…” Both of these quotes reflect Malvolio’s longing for the outward signifiers of power as well as power itself. Velvet and jewels (ignoring what’s almost certainly a lewd joke on Shakespeare’s part with regard to the jewel) are obvious markers of wealth and power, but Malvolio also regards other people as markers of wealth and power. He refers to “my officers” and “my people,” indicating a degree of possession. More generally, having people around to do his business for him, instead of having to do it himself, would indicate more power and influence than he currently has.

“Toby approaches; courtesies there to me…” Quite the image, isn’t this Sir Toby having to grovel in front of a former servant. Yet it seems to be Malvolio’s most fervent desire.

Now, let’s back it up a bit. “There is an example for’t; the lady of the Strachy married the yeoman of the wardrobe.” This quote is particularly telling. Twelfth Night as a play is concerned with a lot of overarching themes, perhaps most notably gender roles, but class and its cousin propriety are two other hugely important themes. The play’s name itself is a reference to a traditional festival from medieval/Tudor times, in which the Lord of Misrule turns all society upside down. Class roles are reversed temporarily.

So the play itself is full of role reversals, of class boundaries being transcended or disregarded. “Malvolio, meanwhile, is the character perhaps most emotionally invested in maintaining order and propriety, parti articularly where Sir Toby and Sir Andrew’s antics are concerned. That makes this quote doubly interesting, because he expresses above his station, to a wish to rise defy class strata, but he also defends himself by citing precedent. Inter class marriage has been done before, he reasons, so in a way he thinks that gives him the right to do it himself. 

So, in short: Malvolio wants to marry Olivia because he thinks it’ll give him the power and respect he needs in order to maintain propriety in the household.

38. Why does Malvolio want to marry Olivia in Twelfth Night?

Ans: Malvolio himself actually answers this question quite well in Act II, Scene 5, when Sir Toby, Sir Andrew, and Maria are eavesdropping on his little private moment. In a few words, he wants respect; he feels like Sir Toby and Sir Andrew don’t ever listen to him (and to be completely fair, he’s right), and he fantasizes about having such far reaching authority that he can boss them around and they have to listen to him.

To hear him tell it in that scene:

“…she uses me with a more exalted respect…” By which he means Olivia, at least, has the decency to respect him and his position.

“Calling my officers about me, in my branched velvet gown…” and a bit later, “Seven of my people, with an obedient start, make out for him: I frown the while; and perchance wind up watch, or play with my some rich jewel…” Both of these quotes reflect Malvolio’s longing for the outward signifiers of power as well as power itself. Velvet and jewels (ignoring what’s almost certainly a lewd joke on Shakespeare’s part with regard to the jewel) are obvious markers of wealth and power, but Malvolio also regards other people as markers of wealth and power. He refers to “my officers” and “my people,” indicating a degree of possession. More generally, having people around to do his business for him, instead of having to do it himself, would indicate more power and influence than he currently has.

“Toby approaches; courtesies there to me…” Quite the image, isn’t this Sir Toby having to grovel in front of a former servant. Yet it seems to be Malvolio’s most fervent desire. 

Now, let’s back it up a bit. “There is an example for’t; the lady of the Strachy married the yeoman of the wardrobe.” This quote is particularly telling. Twelfth Night is concerned with a lot of overarching themes, perhaps most notably gender roles, but class and its cousin propriety are two other hugely important themes.

The play’s name itself is a reference to a traditional festival from mediaeval/Tudor times, in which the Lord of Misrule turns all society upside down. Class roles are reversed temporarily. So the play itself is full of role reversals, of class boundaries being transcended or disregarded. Malvolio, meanwhile, or dis is the character perhaps most emotionally invested in maintaining order and propriety, particularly where Sir Toby and Sir Andrew’s antics are concerned. That makes this quote doubly interesting, because he expresses a wish to rise above his station, to defy class strata, but he also defends himself by citing precedent. Interclass marriage has been done before, he reasons, so in a way he thinks that gives him the right to do it himself.

So, in short: Malvolio wants to marry Olivia because he thinks it’ll give him the power and respect he needs in order to maintain propriety in the household.

39. What role does Malvolio serve in Shakespeare’s Twelfth Night?

Ans: To some extent, Malvolio acts as the antagonist to many of the play’s characters. He is extremely critical and judgmental of Maria, Sirs Toby and Andrew, and even Feste. But at the same time, many of the play’s characters dislike and are critical of Malvolio, which turns him into just as much of a victim as he is an antagonist and creates the conflict of the play’s subplot.

The first character we see Malvolio being critical of is Feste. In the first act, Olivia is angered because Feste has been away from her household for so long and demands that Feste be taken away when he shows up again, Feste soothes her by making a witticism about her prolonged grief over her brother. When Olivia asks Malvolio if he thinks Feste’s foolery improves over time, Malvolio responds by insulting Feste, even stating he is surprised that Olivia finds Feste so amusing, as we see in Malvolio’s lines:

I marvel that your ladyship takes delight in such a barren rascal; 1 saw him put down the other day with an ordinary fool that has no more brain than a stone. (1.v.76-78)

Later, Malvolio further insults Maria and Sirs Andrew and Toby. Maria is trying to quiet down Sirs Andrew and Toby who are acting a bit wild late at night due to drunkenness, but Malvolio interprets her behavior as encouraging them, and he comes out to scold the lot of them, accusing them of being mad and having “no wit, manners, nor honesty” (II.iii.81-82). Malvolio’s behavior angers Maria so much that he becomes not only the antagonist but also the victim of Maria’s conditions creates conflict be prank in additiers, and that conflict culminates in Malvolio being victimized by Maria’s prank and locked up in a dark room as madman. Hence, we see that Malvolio’s function is as the antagonist, which leads to the climax of the subplot.

40. What function does Maria serve in Shakespeare’s Twelfth Night?

Ans: Maria serves the function of uniting the foolery in the play with the more sensible thoughts and actions. She also has a very important role in driving the plot forward. 

Maria walks an interesting line between the play’s bawdy characters, like Sirs Toby and Andrew, and the more rational characters, like Feste, and the line she walks serves to unite the two worlds. Since the play was written for an Epiphany, or Twelfth Night, celebration and spoofs the type of behavior characteristic of the holiday, Sirs Toby and Andrew are perfect examples of such bawdy, reckless, and lawless behavior you would find on that night. Sir Toby is a drunkard, while Sir Andrew is described as a wasteful, idiotic coward. More importantly, Maria is seen reprimanding their behavior. 

In the beginning of the third scene, she scolds Sir Toby for his drunken behavior, warning him that Olivia disapproves and that he “must confine [himself] within the modest limits of order” (I.iii.7. 8). She even points out that Sir Andrew is a spendthrift and an idiot. Furthermore, she even tries to quiet them down one night when they are getting rowdy in the house, begging, “For the love of’ God, peace!” (II.iii.80). Maria’s ability to recognize bawdy, foolish behavior and her desires to at least calm down such behavior shows us that while she associates with the bawdy and foolish, to some extent, she herself is actually above the behavior, which also shows us that she walks a line between bawdy and reasonable behavior.

However, she crosses that line when she comes up with the plan to humiliate Malvolio through making him believe Olivia is in love with him. While Maria is enough above bawdy, foolish behavior to chastise it, she is not as strict in her principles as Malvolio.

She sees him as an arrogant, pompous “kind of Puritan,” meaning that, just like the Puritans who immigrated to America, she sees him as being “overly virtuous and too strict,” even judgmental, and she resents him for it (eNotes, II.iii. 129). While the prank to write the letter and humiliate him before Olivia is innocent enough, Maria slips into bawdy, unlawful behavior when she goes along with Sir Toby’s idea to next lock Malvolio in a dark room as a madman. This is particularly unjust treatment, especially since it is a form of torture. However, since prior to this fall Maria was condoning bawdy behavior, we see that she does act as a link between the foolish and sensible behavior found in the play. In addition, her idea to pull a prank on Malvolio helps move that part of the plot forward.

41. How does Shakespeare portray love in Twelfth Night?

Ans: Love is a very common theme in Shakespeare’s comedies.

The structure of a classical Comedy is such that, after a series of complications for at least one romantic couple, the play ends “happily in at least one marriage. Though not everyone actually says his/her vows before the play’s end, Twelfth Night concludes in three marriages: Viola and Orsino, Olivia and Sebastian, and Sir Toby and Maria.

Love is depicted in a number of ways. First, there is the melancholy, unrequited “sickness” that is Orsino’s love. He opens the play mooning over Olivia and the fact that she will not return his love. He seems to be the sort of lover that actually takes a sort of delight in his own misery. Viola mirrors Orsino when she dresses as Cesario and takes on the role of a young man serving in Orsino’s household. She falls hopelessly in love with Orsino and describes herself this way:

…[S]he never told her love, 

But let concealment like a worm i’ th’ bud 

Feed on her damask cheek: she pin’d in thought 

And with a green and yellow melancholy 

Sat like Patience on a monument, 

Smiling at grief.

Olivia, unable to return Orsino’s affections, falls in love with Cesario (Viola), and her love is a sort of unrequited sickness as well. However, when Olivia mistakes Sebastian for Cesario, the two are wed, really even before Sebastian knows what has happened to him. Sebastian’s love is “love at first sight” in the extreme.

Then there is Malvolio, who fancies himself in love with Olivia, but seems, rather, to be very much in love with becoming the lord and master of her household. Sir Andrew also falls into the “unrequitedly in love with Olivia” category. Shakespeare uses him to spoof the actions of a young courtly man pursuing her through making good friends with her male relative (Sir Toby) and challenging his rival (Cesario) to a duel.

And, though Sir Toby and Maria (Olivia’s serving woman) never have any scene in which they confess their love for each other, it is reported at the end of the play that Toby was so grateful to Maria for the part she played in duping Malvolio that “”[i]n recompense. he hath married her.” Is there love between them? Shakespeare doesn’t answer this question.

The links below will connect you to essays that further investigate the topic of love in Twelfth Night.

42. How does Shakespeare unfold the love triangle in Twelfth Night?

Ans: Typically as one of Shakespeare’s comedies, this play in volvensi stupien identities, cross dressing, disguises with people falling in love with people they shouldn’t fall in love with. Thus it is that we are introduced in Act I scene i to the Duke Orsino, who is swift to declare his undying love for Lady Olivia:

O, when mine eyes did see Olivia first, 

Methought she purged the air of pestilence.

That instant was I turned into a hart,

And my desires, like fell and cruel hounds,

E’er since pursued me.

This situation is immediately complicated by news of Olivia’s unremitting resolution to not marry for love of her dead brother.

The element itself, till seven years’ heat, 

Shall not behold her face at ample view, 

But like a cloistress she will veiled walk…

So, it is clear that Olivia does not return these feelings, as we see from her distaste of being forced to listen to them once more from Cesario. However, this situation is further complicated in Act I scene iv by the irony of Viola dressed as Cesario being forced to take messages of love from her master to Olivia when she is in love with Orsino herself!

Yet a barful strife!

Whoe’er I woo, myself would be his wife.

Then of course note Olivia’s response to Cesario in Act I scene V

Even so quickly may one catch the plague? Methinks I feel this youth’s perfections With an invisible and subtle stealth

To creep in at mine eyes.

So, three characters, each involved in a crazy tangled up relationship involving disguises, secret loves and unrequited love. The real question of course is how on earth is Shakespeare going to resolve this situation in this “comedy”?!

43. How is Feste characterized in Shakespeare’s Twelfth Night?

Ans: As the play’s court jester, Feste is characterized as both a witty and wise person. One of Feste’s functions is to illustrate the merry, festive themes of Twelfth Night that are associated with the play’s title. The play’s title refers to the holiday celebrated on the twelfth day after Christmas known as Epiphany. Hence, Feste’s is a derivative of the word festival and his jokes and witticism name characteristic of the holiday.

However, more importantly, Feste also functions as the play’s wise observer, and as a wise observer, he also illustrates the theme of foolish human nature. Literary critics have noted that Feste does not get involved in any of the play’s conflicts, he is able to remain the play’s objective observer (eNotes, “Feste the Clable (Character Analysis”). One of the things he observes is the foolishness of the other characters. For example, he notes that Olivia is foolish for wasting her youth and beauty by prolonging her mourning over her brother, especially when she believes his soul to be in heaven, as we see in lines, “The more fool, maddomourn for your brother’s soul being in heaven. 

Take away the fool, gentlemen” (1.v.64-65). He even rightly observes that Duke Orsino’s love for Olivia is not really genuine and that Orsino actually will for pining prove to be fickle, showing us just how foolish Orsino is for over Olivia. We see Feste call Orsino fickle when Feste declares, “[T]hy mind is a very opal” (II.iv.79-80). Since an opal is a stone that changes color easily, in likening Orsino’s mind to an opal, Feste is calling Orsino’s mind easily changeable, or fickle. Hence we see that as a court jester, Feste is characterized as being both witty and wise with the purpose of illustrating the theme of human folly.

One thing we know about Feste’s characterization is that even though he plays the role of a fool, or court jester, he is actually one of the play’s only sensible, intelligent, and perceptive characters, the only character who is actually not foolish.

We especially see Feste’s wisdom and perception in the very first scene in which we meet him, Act 1, Scene 5. Here, when Olivia, angered by his long absence, declares, “Take the fool away,” Feste wisely turns her own words against her, calling her the real fool. Feste’s argument is that her prolonged mourning over her brother is foolish and a waste of her youth and beauty, especially because she believes her brother’s soul to be “in heaven,” as we see in his lines, “The more fool, madonna, to mourn for your brother’s soul being in heaven. Take away the fool, gentlemen” (I.v.64-65). Later, Feste even rightly observes Duke Orsino’s love for Olivia to be just an illusion and wisely calls Orsino fickle, which predicts the ending of the play, as we see in Feste’s lines to Orsino:

Now the melancholy god protect thee; and the tailor make thy doublet taffeta, for thy mind is a very opal. (II.iv.78-80)

Since taffeta is a type of silk that changes color with the light and an opal is a type of stone that also changes colors easily, Feste is declaring Orsino to have a changeable, or fickle, mind, showing us that Feste rightly knows Orsino’s proclaimed feelings of love for Olivia are not really as genuine as Orsino would like to believe they are. Since Feste wisely sees the foolishness of both Olivia and Orsino, we can say that Feste is characterized as the only character in the play who is not foolish.

44. What is Feste’s purpose in the play Twelfth Night by William Shakespeare?

Ans: One role of Feste’s is as a stock character. Stock characters were types of characters that Shakespeare used repeatedly throughout his plays, such as parents, clever servants, and of course the clown or the fool. But Feste has a much more significant role than just being the play’s fool. For one thing, Twelfth Night was in honor of the written Epiphany celebration held on the twelfth day of December, which marked the arrival of The Magi, or the Three Wise men, who came bearing gifts for baby Jesus. 

Epiphany was a very wild and festive celebration that involved heavy drinking, revelry, masquerades, and general bawdy foolishness. Feste, whose name contains the root word of festival, embodies the festivities of an Epiphany celebration, particularly, his jokes and singing embody the Epiphany celebration. He sings throughout the play, plus in Act 2, Scene 3, joins in on the loud drinking party both Sirs Toby and Andrew are having by singing them a song, plus joining in on their round songs.

But Feste is even far more than just an embodiment of festivities. While he participates in the play’s merrymaking to some extent, he also remains an observant outsider. In fact, his most important role is as a commentator on the other characters’ foolish behavior and about the nature of life in general. Feste’s role as commentator also more importantly identifies one of the play’s most central themes concerning the foolishness of human nature. 

We see Feste comment on the foolishness of human nature when he calls Olivia’s obsessive mourning over her brother foolish. We also see Feste comment on Duke Orsino’s obsessive love for Olivia and very keenly observe the truth about Orsino, that he is actually rather fickle and his love for Olivia is insincere. Finally, at the end of the play, we see Feste comment on the hardships of life and how foolishness is linked to those hardships, as we see in his lines:

When that I was and a little tiny boy,

With hey, ho, the wind and the rain,

A foolish thing was but a toy, 

For the rain it raineth every day. (V.i.401-04)

Hence, we see that Feste’s most central role and purpose is to illustrate the theme of mankind’s foolishness.

45. What are some puns that Feste uses in Twelfth Night?

Ans: A pun is a play on words which reveals a clever and often humorous double meaning for a word or the sound of a word. Puns are widely used in literature but in the twenty-first century they are sometimes cliche and so they do not always achieve their desired result. In order to benefit from a pun, the response needs to be spontaneous; otherwise the joke is often lost when the implied meaning is not shared.

Shakespeare uses puns generously in his works and in Twelfth Night, Feste the Fool or clown is an intelligent and astute man, a keen observer and well placed to recognize weakness in others. In Act I, scene v he quips “Better a witty fool than a foolish wit” (33) having just bantered with Maria over the benefits of being hanged and therefore avoiding “a bad marriage” (18). He says “I am resolved on two points” (21) and Maria shares this pun when she comments on the “points” used to hold up his trousers.

When Olivia instructs “Take the fool away” (35), Feste immediately responds that she must mean herself. He says, “Do you hear, fellows? Take away the lady.” The “fool” is a duly appointed jester or entertainer and no fool at all but he is again using a pun suggestente ing that Olivia must be the real fool and he can prove it. He suggests that Olivia’s state of mourning for her brother is misplaced as he is surely in heaven not hell; thus proving that she is foolish as why would anyone mourn for a soul that is peacefully in heaven.

When Feste talks to Viola and she asks him about his tabor or drum and whether he “lives by” it (III.1.2), she is inquiring whether it is essential to his profession and from which he makes a living but he uses a pun in taking her intended meaning of “live by” and advises that “I live by the church.” He means that he lives next to the church and not that he is a clergyman; thereby purposefully misleading her. Viola is happy to continue the thread and recognizes Feste’s sharp wit.

46. What is an example of a pun in Shakespeare’s Twelfth Night?

Ans: A pun is a play on words in which you use two words that sound alike but have different meanings. Many puns can be found all throughout Twelfth Night. Both Sir Toby and Feste especially make use of puns. One pun spoken by Sir Toby can be found in the very first scene in which we meet Sir Toby, Act 1, Scene 3. At the beginning of this scene, Maria scolds him for his behavior, warning him that Olivia is very offended by his nightly drunken revelries. 

She further advises, “[Y]ou must confine yourself within the modest limits of order” (I.iii. 7-8). Toby responds by making a pun out of the word “confine.” He interprets “confine” as “can fine,” which could be translated as referring to dressing oneself up in finery, as we see in his statement, “Confine? I’ll confine myself 0). In thishan am: these clothes are good enough to drink in (9-10), In this line, he is essentially saying that he does not need to address the needs to go out drinking. However, Maria meant to say the other hat restricted his behavior to acting civilly. Str Toby, on word her hand, chooses to ignore her by making a pun out of the confine to refer to finery rather than restrictions. 

47. What is an example of malapropism found in Shakespeare’s Twelfth Night?

Ans: A malapropism is a comic substitution of one word for another or a word mixup that is meant to raise laughs. An example of a malapropism occurs in Twelfth Night in the first act, scene three, when Sir Toby Belch mixes up the words subtractors and detractors. After Maria puts down his friend Sir Andrew Aguecheek, Sir Toby responds:

They are scoundrels and subtractors

That says so of him.

The “s” in subtractors makes for better alliteration but, in fact, people who put other people down are called detractors. Sir Toby drinks too much (Belch is an apt surname) and people who drink tend to mix up their words.

Sir Andrew also engages in malapropisms: he mistakes Sir Toby’s meaning when Sir Toby tells him to “accost” Maria, thinking accost is her name. Sir Andrew greets her as “Good Mistress Accost.” Of course, what Sir Toby means is that Andrew should make sexual advances towards Maria. When Maria corrects Sir Andrew by saying her name is Mary, she repeats the mistake, this time calling her Good Mistress Mary Accost.

These malapropisms help characterize Sir Andrew and Sir Toby as the comic fools they are in the play.

48. What satire can be found in Shakespeare’s Twelfth Night?

Ans: Twelfth Night is predominantly a satire of the ideas of love professed by and made popular by the Medieval poet Francesco Petrarch (“Shakespeare’s Twelfth Night”). Petrarch wrote over 300 sonnets containing the subject of a woman named Laura. In these sonnets, he idealized the beautiful Laura, putting her on a pedestal, creating an unequal relationship between the lover and one who is loved. 

His sonnets also professed the necessity to suffer for the sake of the beloved, likening love to feelings of freezing and burning (“Juliet Trumps Laura: Shakespeare and the Petrarchan Sonnet”). Twelfth Night satirizes Petrarchan love by first having Duke Orsino idealize Olivia in Petrarchan fashion but then being taught to be more reasonable and practical when he decides to accept Viola as a wife instead of continuing to pine for Olivia, We see signs of Orsino placing Olivia on a pedestal and suffering over his unrequited love for her all throughout the play, but especially in the very first scene. 

Here we see just how much he has claimed that he idealized Olivia when he makes his metaphorical beliefs Olivia’s beauty can heal plagues, as we see in his lines, “O, when mine eyes did see Olivia first, / Methought she purged the air of pestilence!” (I.1.20-21). In this same speech, we also see the extent to which he has allowed himself to suffer over the thought of her when he likens his heart to a “hart,” or stag, being hunted by his desires, which he likens to cruel hunting dogs:

That instant was I turn’d into a hart;

And my desires, like fell and cruel hounds,

E’er since pursue me. (22-24)

However, Shakespeare does not allow him to remain in this frame of mind, showing us that Shakespeare is really satirizing these Petrarchan ideals. Throughout the play, we are given hints that Orsino has actually become disenchanted with pining over Olivia and is starting to find himself falling for who he thinks is his new manservant Cesario. 

We even see this intimated in Act 1, Scene 4, just before Orsino sends Cesario out to court Olivia for him. Orsino comments that Cesario looks nothing like a man and even has lips as red as Diana’s and a maiden’s throat (I.v.31-34). In addition, Viola as Cesario had earned Orsino’s affection through her devout friendship and loyalty to him as she continued to do his bidding, despite the fact that she was in love with Orsino herself. Hence, by the time Orsino decides to make Viola his wife in the final scene, we see that Orsino has gained a more reasonable, rational understanding of love, which satirizes Patrarch’s irrational interpretation of love.

49. What is Duke Orsino’s concept of love in Shakespeare’s Twelfth Night?

Ans: Duke Orsino’s views on love prove to be a bit contradictory, and all of his contradictory views culminate in his sudden, fickle switch from loving Olivia to loving Viola by the end of the play. However, one view of Orsino’s that does remain constant is that love can be very cruel.

We see him expressing his view on love’s cruelty in the very first scene. Here, he compares love to the deep, vast sea, saying that just like the sea swallows up things of value, like in shipwrecks, making those things completely worthless, love also swallows up things of value, rendering them worthless. In these lines, he is thinking of himself, his own value and merit, and thinking of all of what he is. has now become completely worthless since falling in love with Olivia due to her rejection of him. Hence, love takes what’s valuable and makes it worthless. In this scene, he further describes love as being cruel when he likens himself to a heart, or deer, being pursued by his cruel desires for Olivia. In other words, since his desires won’t leave him alone, he sees himself as being hunted and tormented by his desires.

Orsino expresses contradictory views on love later when talking with Viola as Cesario in Act 2, Scene 4. In this scene, he begins by speaking of the constancy of true lovers and advising Cesario to love as Orsino does, if ever Cesario should fall in love, because Orsino is as constant as “all true lovers” in that he thinks of absolutely nothing but whom he loves, as we see in his lines:

For such as I am all true lovers are, Unstaid and skittish in all motions else, Save in the constant image of the creature That is beloved. (II.iv.17-20)

More specifically, Orsino is saying here that he is “unstaid,” meaning “changeable,” and “skittish,” meaning “fickle” in all things other than the one he loves (eNotes). However, even though he claims to be constant in these lines, he next contradicts himself by asserting that all men are fickle. When he learns that Cesario is in love with someone older, Orsino advises him to find someone younger because men’s “fancies are more giddy and uniform” and “sooner lost and worn, / Than women’s [fancies] are,” meaning that men’s fancies are far more changeable and fickle than women’s fancies are (36-38).

Therefore, while on the one hand he sees himself as being devoted to Olivia. he confesses that men are fickle, which is contradictory. His co..fession also shows his concept of love being a fickle emotion as well as a tormenting emotion.

50. How is Duke Orsino’s version of love strange in Shakespeare’s Twelfth Night?

Ans: One reason why Duke Orsino’s version of love is strange is because it is not really genuine love, but rather more of an obsession. In fact, he is really more in love with the idea of the self-satisfaction he can gain from love rather than in love with Olivia, making his love a self-love rather than a genuine love for Olivia. We can see both the obsessiveness and true selfish nature of his love in the very opening scene. For one thing, all of his speeches in this scene reflect more on himself and the pain he is experiencing through love rather than on Olivia. One speech in particular that reflects more on himself rather than on Olivia is a speech in which he likens his own heart to a deer, or hart, that is being mercilessly hunted by his desires for Olivia, and he also likens his desires for Olivia to fierce, cruel hunting dogs, as we see in his lines:

O, when mine eyes did see Olivia first, 

Methought she purged the air of pestilence!

That instant was I turn’d into a hart; 

And my desires, like fell and cruel hounds,

E’er since pursue me. (I.1.20-24)

While on the surface these lines appear to be a praise of Olivia and a declaration of his love for her, the truth is that her name only shows up once. Instead, this passage is really full of the words “I,” “me,” and “my,” which appear five times collectively. The fact that this passage is so heavily focused on himself shows us that his love for Olivia is not genuine love and really more of a love for self-satisfaction. He is only interested in how experiencing love can benefit him, such as sexual sati satisfaction. In addition, the passage shows us that he is absolutely obsessed with the pain his feelings are causing him, rather than accepting her rejection and allowing himself to move on, showing us again that he is not obsessed with Olivia so much as he is obsessed with the idea of being in love with Olivia.

Hence we see that Orsino’s love is strange because, not only is it an obsession rather than genuine love, it’s an obsession over self-gratification, showing us just how much his love for Olivia isn’t real love at all.

51. Why do Toby, Maria, and Fabian mastermind the duel between Cesario and Andrew?

Ans: As one of Olivia’s suitors, Sir Andrew Aguecheek is a rival of Duke Orsino for her affection. A foolish, vain, self-absorbed man, he is discouraged and even a little insulted by feeling that she ignores him. The situation has gotten even worse since Cesario came on the scene. He is not just interesting as a newcomer but is also a charming, good looking young man (or so they all think).

Sir Toby Belch is Olivia’s uncle but also a heavy drinker who enjoys Sir Andrew’s company, especially when he buys the drinks. Sir Toby knows that his niece has no interest in marrying Sir Andrew. He promotes the duel partly out of boredom and partly to mock Sir Andrew. Maria and Toby see the matchup as more humorous than dangerous, assuming both men to be incompetent fighters. The two servants endorse the battle as a sham for their entertainment and to make Sir Andrew less pompous, assuming he will lose.

52. What does Maria tell Fabian and Sir Toby?

Ans: I think you are referring to Act II, Scene 5, where Maria is setting up Malvolio for his downfall. In this scene, she says to Fabian and Sir Toby:

Get you all three into the boxtree. Malvolio’s coming down this walk. He has been yonder i’the sun practicing behaviour to his own shadow this half hour. Observe him, for the love of mockery, for I know this letter will make a contemplative idiot of him. Close, in the name of jesting! Lie though there for here comes the trout that must be caught with tickling.

She is telling the men to hide and watch Malvolio carefully as he is about to make a fool of himself. It is important that it is Fabian who is with the other men instead of the intended third, the Fool, For it is Fabian who can later inform Olivia; he can do this because he is less involved in the mischief himself.

53. Is Malvolio a character to condemn or sympathize with in Twelfth Night? What is the way Maria and Sir Toby plan to deceive Malvolio?

Ans: Malvolio has few obvious characteristics to recommend for sympathy. Many of the other characters seem dedicated to getting fun out of life. Malvolio, his very name means “ill will” seems determined to stop them from enjoying themselves. He is vain, and so assumes that an elegant lady will love him rather than other men.

The scene in which Maria and Sir Toby plan to make him an object of ridicule is directly related to Malvolio’s actions. Not only did he not join in the fun while Sir Toby and Sir Andrew were drinking and singing with the Clown, but he also criticized their activities as unworthy. Maria had chided them for being loud, so the objection is not the real problem. Malvolio questions their honesty, and accuses them of having no respect for place or persons, then says he speaks on Olivia’s behalf, threatening to throw them out.

But what follows sets up the beginnings of sympathy for Malvolio and a hint that it is what Shakespeare intended. Nobility, for Shakespeare, is both birthright and behavior. While Sir Toby could be loud and bawdy, he should not be unkind. Malvolio is Olivia’s steward, and thus a commoner. Sir Toby goes out of his way to remind him of this.

Art any more than a steward? Dost thou think, because thou art virtuous, there shall be no more cakes and ale?

While Malvolio does have an exaggerated opinion of his own virtue, he believes he is doing his job. His behavior does not seem enough to merit the complicated plot that Maria concocts, writing a fake letter that will mislead him into believing himself beloved. The subsequent scenes when he presents himself as looking ridiculous, cross gartered in yellow stockings, serve to cement the modern audiences’ sympathies and to suggest that Shakespeare did intend him to be at least somewhat sympathetic. 

54. What is the importance of the minor character Maria in the play Twelfth Night by William Shakespeare? Is she a foil to Malvolio or any other character in the play?

Ans: Maria, Olivia’s lady in waiting, first serves as “a balancing character” who points out in Act I the drunkenness of Sir Toby and introduces “the foolish knight,” his vulgar friend Sir Andrew Aguecheek, as well as Feste, the clown. Her humorous exchanges with Feste contribute greatly to the comedy of Twelfth Night. For instance, in Act I, Scene 5, she succeeds in better punning than the clown. He uses colours to mean homonyms, collars, but Maria switches its meaning to the meaning of colours, the flags of different countries.

CLOWN: Let her [Olivia] hang me: he that is well hanged in this world needs to fear no colours.

MARIA: Make that good.

CLOWN: He shall see none to fear.

MARIA: A good lenten Ans: I can tell thee where that saying was born, of, ‘I fear no colours.

CLOWN: Where, good Mistress Mary?

MARIA: In the wars; and that may you be bold to say in your foolery. (1.5.4-11)

More importantly, with part of what Harold Bloom calls the “erotic lunacy” of Twelfth Night lying in the “seriocomic rivalry” of Shakespeare and Ben Johnson, whose comedy of humors Shakespeare satirizes, Maria is the character, who with great wit and cunning, orchestrates the practical joke upon the Johnsonian personnage of Malvolio. In contrast to Sir Toby, Olivia’s uncle, and Sir Andrew Aguecheeck, Maria appears charming, witty, clever, fearless, and highly intelligent. Clearly, she is a foil to the bumbling Sir Toby and Sir Andrew and the crass and sanctimonious Puritan, Malvolio.

Further, Maria’s character also contrasts darkly with the practical jokers and, most especially with that of Malvolio. For, it is extremely ironic that Malvolio, whose name means “ill will,” is not the most malevolent of characters. Truly, it is Maria, albeit a natural comic, who harbors a malice in her heart and is the one truly mean spirited character in the play. For, in Act III, Scene 4, Maria suggests even that Malvolio is evil, “Lo, how hollow the fiend speaks within him!” (3.4.86), and in contrast to Sir Toby who worries about harming Malvolio, she coolly considers if her manipulations of Malvolio will drive him mad and decides that things will be better without him:

SIR TOBY: His very genius hath taken the infection of the device man.

MARIA: Nay, pursue him now; lest the device take air and taint.

FABIAN: Why, we shall make him mad indeed.

MARIA: The house will be the quieter. (3.4.124-126)

A most clever and multi sided character, Maria is the one character who benefits the satiric and “topsy turvy spirit” that drives the comedy, Twelfth Night.

55. Why does Shakespeare give Malvolio an ambiguous ending in Twelfth Night?

Ans: I am glad you have identified that the ending of this excellent play is not entirely the “happy ending” that we would expect of a Shakesperian comedy. It is vitally important to consider how the character of Malvolio and what happens to him fits in overall to this “comedy.” Certainly there is a sense in which this play could be regarded as a “tragedy,” and definitely we are left with the feeling that Malvolio’s punishment at the hands of Maria and Sir Toby does not fit his crime of self-importance and arrogance. His final words, which he utters before leaving, strike a discordant note in the otherwise happy ending: 

I’ll be revenged on the whole pack of you!

Certainly this ending makes us ask some hard questions about the play. The festival of Twelfth Night was a riotous affair, characterised by disguises and characters being free to operate outside of their social circles. It was the last blast before the Christmas season was over and the long, hard and dark months of January set in. 

Of course, this party spirit is best symbolised by the character of Sir Toby Belch, whose diehard party spirit is reflected throughout the play. Yet, in the final act, the confusion of Twelfth Night is resolved and we are left with the union of the main characters. But to what extent are we convinced with the happy ending? Olivia and Sebastian hardly know each other, and the relationship of Viola and Orsino has been based on mistaken identity. To what extent will their future be happy?

Thus one way of viewing the problematic ending of Malvolio is to see it as a kind of prompt to force us to ask other questions about the supposedly “happy” ending view the resolution of the play. Maybe it leads us to not being that “happy” after all, as Twelfth Night is over and real life must be returned to.

56. Is Macbeth a moral play? Is justice served at the end of the play?

Ans: The term “moral play” is normally used to refer to very simple works that are intended simply to illustrate a basic moral precept. As the characters of Macbeth are complex and fully drawn, most critics would not describe it as a moral play per se. Instead, it is a play of great psychological insight, looking at how characters’ flaws can lead to evil or madness by gradual steps.

Macbeth himself is initially portrayed as a brave, even heroic, character who is led astray not just by the witches but by his own weaknesses, arrogance, ambition, and love of power. Lady Macbeth’s loyalty to her husband, although in some ways a virtue, when combined with his ambition, leads her to “unwoman” herself and act immorally.

At the end of the play, one senses that Macbeth is not just destroyed by Macduff but by his own ambition, and of course, Lady Macbeth has been driven mad by her own moral downfall. One could say that justice is served in the sense that the characters who behave in evil ways come to bad ends, but Duncan and Banquo both come to bad ends as well, and so this should not be read as a simple morality play in which good characters thrive and bad ones are punished.

57. Justice in Macbeth Is justice served in “Macbeth”?

Ans: An excellent question! The answer is more complicated, but I would venture to say “yes” and “no”. Macbeth definitely gets what he deserves. He has murdered the King; he has murdered Banquo and attempted to kill his son, Fleance; he has attacked and killed the members of the MacDuff household; and he has ruled Scotland in such a way that no one rests easily in his or her bed at night. As honorably as he began in the play, he has ended up in a very dishonorable position at the end. So, therefore, being killed and paraded before the victors is what he deserves for causing so much pain and suffering among innocent people. 

Lady Macbeth also gets her due…after her part in Duncan’s murder, she and her husband grow apart, she goes crazy and commits suicide.

The witches, however, get off scot free (no pun intended). They are the ones who originally plant the seed of ambition and ladder climbing into the minds of the Macbeths. Macbeth himself is so taken by their prophecies that he can not stay away from them. He goes back more than once to find out more information and never realizes they are toying with him. It is not until he realizes that MacDuff has been “from his mother’s womb untimely ripped” that Macbeth discovers the witches have intentionally misled him for their own entertainment. From a plot point of view, the witches are just as guilty for the events that take place, but they suffer no punishment for it. 

58. What are two quotes that show Lady Macbeth manipulating Macbeth in Macbeth?

Ans: The quotes you are looking for are in Act I, Scene vii. Macbeth is having second thoughts about killing Duncan, but Lady Macbeth refuses to allow him to pass up the opportunity to be king. Lady Macbeth says the following lines to him:

Was the hope drunk

Where in you dress yourself? Hath it slept since?(40)

And wakes it now, to look so green and pale

What did it do so freely? From this time I account for their love. Art thou afeard To be the same in thine own act and valor As though art in desire? Wouldst thou have that(45)

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’ the adage?

Lady Macbeth questions Macbeth’s courage, and then says to him:

What beast was’t then

What made you break this enterprise to me?

When you durst do it, then you were a man; (55) And, to be more than what you were, you would

Be so much more than a man. 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. I have given suck, and know(60) How tender ’tis to to love the babe that milks me:

I would, while it was smiling in my face, Have pluck’d my nipple from his boneless gums, And dash’d the brains out, had I so sworn as you

Have done to this.(65)

In the quote above, Lady Macbeth questions Macbeth’s manliness, knowing that this is the greatest insult she can say to him. Because Lady Macbeth and Macbeth are so close at the beginning of the play, she knows exactly how to manipulate him into committing murder

59. In William Shakespeare’s Macbeth, what is the quote which shows that Lady Macbeth wants power too?

Ans: William Shakespeare’s Macbeth proves to be a play which speaks to the quest for power. That said, Macbeth is not the only character who desires power. In act one, scene five, Lady Macbeth proves to be another character who desires the power a title will bring.

Perhaps the most prominent quote spoken by Lady Macbeth, which shows her desire for power, is found in lines 41-44:

Come, you spirits

That tends on mortal thoughts, unsex me here And fill me, from the crown to the toe, top full.

Of direst cruelty!

While power is not directly spoken of, one can readily see that Lady Macbeth desires power. Here, she is asking “spirits” to make her male, figuratively. She recognizes the fact that men are the ones who possess power. She, therefore, asks to be “unsexed” in order to possess the power to do what needs to be done. In this sense, “direst cruelty” parallels power for Lady Macbeth.

Compounding this idea, Lady Macbeth constantly questions Macbeth’s maleness, stating that he is far “too full o’ the milk of human kindness” to do what must be done to take the throne from Duncan.

60. What quote shows that Macbeth is power hungry in Act III?

Ans: An additional quote that shows how power hungry Macbeth is comes when he speaks to the murderers he’s hiring to kill Banquo and Fleance. He tells them that Banquo is their enemy as well as his and that he “wear[s] [his] health but sickly in [Banquo’s] life, / Which in his death were perfect” (3.1.119-120). In other words, Macbeth claims that while Banquo lives, Macbeth is sick, but he will be healthy when Banquo is dead. In other words, he doesn’t feel that his power and authority are complete while Banquo still breathes (as a result of the witches’ prophecy), and so the only way to acquire more and more secure power is to get rid of Banquo, his former best friend. 

Macbeth also claims that he could kill Banquo himself but that he doesn’t want to lose the friends whom he shares with Banquo. He says,

And though I could With barefaced power sweep him from my sight And bid my will avouch it, yet I must not, For certain friends that are both his and mine, Whose loves I may not drop, but wail his fall Who I myself struck down. And then it is That I with your assistance do make love, Masking the business from the common eye For sundry weighty reasons. (3.1.134-142) 

In other words, Macbeth does not want to lose any power, something he believes would happen if he were to kill Banquo himself. He is afraid that if he kills Banquo, although it is currently in his power to do so, people who care for both him and Banquo would lose their love for him. In other words, it would diminish power over those individuals.

61. What quotes show that Macbeth is a hero?

Ans: At the beginning of the play, Macbeth’s courageous exploits on the battlefield are celebrated by King Duncan and the Scottish nobles. In act 1, scene 2, the Captain recalls Macbeth’s heroic performance in battle against Macdonwald’s forces by telling King Duncan,

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 valor’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’ chops, And fixed his head upon our battlements (Shakespeare, 1.2.15-24).

The Captain proceeds to tell King Duncan how Macbeth and Banquo valiantly fought against Norwegian forces after defeating Macdonwald’s soldiers. He likens Macbeth to a lion and says,

If I say sooth, I must report they were As cannons overcharged with double cracks, So they doubly redoubled strokes upon the foe. Except they meant to bathe in reeking wounds, Or memorize another Golgotha (Shakespeare, 1.2.63-41).

When Ross finds Macbeth to deliver the news that he has been given the title Thane of Cawdor, Ross begins by describing King Duncan’s reaction to the accounts of Macbeth’s fearless performance on the battlefield. Ross’s account of the king’s reaction once again emphasizes Macbeth’s heroics. Ross tells Macbeth the following: 

The king hath happily received Macbeth, The news of thy success, and when he reads Thy personal venture in the rebels’ fight, His wonders and his praises do contend Which should be thine or his. Silenced with that, In viewing the rest o’ the self same day, He finds thee in the stout Norweyan ranks, Nothing afraid of what thyself didst make, Strange images of death. As thick as tale Can post with post, and everyone did bear Thy praises in his kingdom’s great defense, And poured them down before him (Shakespeare, 1.3.90-101).

As the play progresses, Macbeth falls victim to his own ambition and turns into a ruthless, malevolent tyrant.

62. How is Macbeth a tragic hero?

Ans: Macbeth is a tragic hero because he started the play as a good man, but the manipulations of the Weird Sisters and his wife brought out his baser qualities. This leads to Macbeth’s moral corruption and downfall by the play’s end.

It is clear Macbeth begins the play as a loyal friend and decent man. When the Captain speaks about the battle, Macbeth is described as “brave,” even as “Valor’s minion” (Act I, Scene 2, lines 18, 21). As a result of Macbeth’s great loyalty and service to the crown, Duncan describes him as “valiant” and “worthy” (Act I, Scene 2, line 26). In addition, Macbeth’s wife, the person who would likely know him best, describes him as “full o’ th’ milk of human kindness” (Act I, Scene 5, line 17). Macbeth tries to get out of the plan to kill Duncan, telling Lady Macbeth, “We will proceed no further in this business” because his own ambition is not enough to compel him to murder his friend, kinsman, and king (Act 1, Scene 7, line 34).

It is not until Lady Macbeth insults Macbeth’s pride, deftly manipulating him to do what she wants, that he commits to their plan. Lady Macbeth insults her husband’s finally truly masculinity, calling him a “coward” and saying that, when Macbeth is willing to murder the king, “then [he will be] a man,” implying Macbeth wouldn’t really be a man unless he goes forward with their plan (Act I, Scene 7, lines 47, 56). 

None of this would even be an issue, however, had the Weird Sisters not tried to manipulate Macbeth with their “prophecies.” They say, “Fair is foul, and foul is fair,” meaning that good things will look bad and bad things will look good, implying their “prophecies” to Macbeth will seem wonderful but will really lead to terrible consequences (Act I, Scene 1, line 12). Hecate says she will conjure up “artificial sprites” that will “draw him on to his confusion” (Act III, Scene 5, lines 27, 29); she intends to deceive Macbeth and lead him to his destruction. Had Macbeth never been subjected to the manipulations of the witches and his wife, he would likely spend his final years peacefully in Glamis or Cawdor. Instead, before his death, Macbeth finds himself without love, morally bankrupt, loathed by all, and with a name now synonymous with tyranny. 

63. Would Lady Macbeth be considered a tragic hero? 

Ans: The standard definition of a tragic hero is someone fundamentally virtuous and noble, yet brought low by a fatal character flaw. It’s fair to say that Lady Macbeth doesn’t really measure up to this standard. On the contrary, she shows herself to be a devious, power crazed individual who’s so eaten up by ambition that she’s prepared to arrange a savage, treacherous act of murder.

Lady Macbeth only really seems virtuous by comparison with her husband, who unilaterally embarks upon a  campaign of vicious slaughter after he’s safely ensconced on the throne. And even then, it could reasonably be said that Lady Macbeth is the Frankenstein to her husband’s monster. She, more than anyone, helped to create this cold hearted killer constantly cajoling him, questioning his manhood, goading him on to murder Duncan. No wonder she can’t seem to get the blood off her hands; she’s in it up to her neck.

Even her later expressions of guilt ring a tad hollow. There’s a suggestion that her mental breakdown is related to her loss of power and influence over Macbeth, rather than constituting an expression of genuine remorse. Because as soon as her husband ascends the throne, Lady Macbeth becomes marginalized. She’s more responsible than anyone for helping Macbeth become king, yet having achieved his overriding ambition, he no longer has any need for his wife’s guidance and advice. Without any kind of role in the cutthroat world of high politics, Lady Macbeth has nowhere to go, and so her mind starts to cave in on itself. There’s nothing vaguely tragic about this; on the contrary, it’s a prime example of poetic justice.

64. What is Shakespeare saying about ambition in Macbeth? 

Ans: Macbeth and Lady Macbeth make quite the ambitious duo. Once the witches foretell of Macbeth’s rise to greatness, the couple becomes unstoppable in their quest to achieve what they believe is rightfully theirs.

Macbeth and Lady Macbeth are willing to sacrifice whatever it takes to ensure Macbeth’s claim to the throne. They lie, manipulate, and murder to achieve greatness. It isn’t enough that Macbeth is known as a great warrior and is well respected when the play begins:

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 valor’s minion carved out his passage Till he faced the slave. (1.2.17-22)

They want more. They want Macbeth to be king, at any cost. Macbeth knows that his ambitions are not pure and noble, as he describes them in this aside:

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. (1.4.57-60) “Black and deep” desires connote his knowledge that he seeks greatness through evil means. When this arises to the forefront of his judgement and he begins to falter in his ambitious quest to kill Duncan, his wife pushes him to follow their plan of eliminating Duncan (and killing several others in an effort to conceal their deeds):

Art thou afeard:

To be the same in thine own act and valor As thou art in desire? Wouldst thou have that Which thou esteem’st the ornament of life. (I.vii.42-45) Macbeth’s ambition, coupled with that of his wife, causes him to take the life of Duncan and then frame several other people for the murder. He then kills Banquo and Macduff’s family to further secure his own path to the throne.

Once Macbeth believes that it is his destiny to become king, he becomes willing to kill anyone who stands in his path. His path of destruction eventually leads to his own death and the death of his wife.

The ultimate message, therefore, is that ambition borne in selfish desires is destined for self-destruction.

65. What does Shakespeare’s Macbeth say about the nature of man?

Ans: At the beginning of the play, Macbeth is a loyal servant to the kin king and a war hero. There is no indication of him having evil inclinations in any way at this point. Macbeth does not begin to consider or commit evil deeds until the prophecies/suggestions of the witches and the encouragements of his wife. After he’s committed murders, Macbeth is consumed with guilt and fear of his crimes being discovered. Those things being said, he is not inherently good nor inherently evil; he is capable of both.

From Macbeth’s point of view, he might feel his free will is in a battle with fate. While he might understand that humans are capable of good and evil, he surely must feel (to some extent) that he is fighting a difficult battle against fate itself. After learning that his wife has died, he is still determined to fight on but he has a moment when he considers the insignificance of his life:

Tomorrow, and tomorrow, and tomorrow Creeps in this petty pace from day to day, To the last syllable of recorded time; (V.v.21-23) Life’s but a walking shadow, a poor player the st 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. (V.v.26-30)

If anything, Macbeth shows the duality of man (humanity). Humans are capable of good and evil. When Macbeth succumbs to the allure of power by means of evil, he develops from a loyal hero to a murdering tyrant. This shows the good/evil duality of humankind.

Since Macbeth was essentially persuaded to go down this evil path, the play also shows the temptation of evil, whether through supernatural (witches) or human (Lady Macbeth) influence. Note from the quote above how Macbeth is frustrated with battling the fates and his own feelings; he determines that life signifies nothing. This shows how, when dealing with good and evil influences in the world, people (like Macbeth) can despair to the point that they think life is meaningless. In the play, the nature of man is the good/evil duality. But man’s nature is also a dual struggle between free will and the good and evil influences around us. Life only becomes meaningless when we cease trying to understand these dualities in order to make wise decisions.

66. What is Lady Macbeth’s reaction to her husband’s letter?

Ans: After meeting the witches on the heath in act 1, scene 3, and hearing that he will be king one day, Macbeth writes a letter to his wife, Lady Macbeth, to share the good news. We witness her reading this letter at the start of act 1, scene 5. In short, Lady Macbeth is excited about the news and is already thinking about how she and her husband can gain the throne.

She begins by reciting Macbeth’s titles Glamis and Cawdor and affirms that he “shalt be / What thou art promis’d” (I.v.15-16). Lady Macbeth is certain that Macbeth will be king one day, so she’s definitely brought into the truth of the prophecy.

However, Lady Macbeth is almost immediately worried that Macbeth will not be able to do what it takes to become king. She says that he is “too full o’ th’ milk of human kindness” (L.v.17), and that while may be ambitious, he does not have the wicked nature to achieve his goals. She imagines, though, that he would not regret doing a wicked deed if it earned him something he wanted. She concludes by hoping that Macbeth will be home soon so that she can “pour [her] spirits in [his] ear” (1.v.26).

Lady Macbeth believes that she can persuade Macbeth of the necessity of killing Duncan to gain the throne. She aims to remove “All that impedes” Macbeth from going through with the murder (1.v.28). After this soliloquy, a servant comes in to tell Lady Macbeth that her husband has returned, and the two begin plotting. It turns out to be true that Macbeth needs some persuading, but Lady Macbeth is ultimately not correct that Macbeth will not regret the actions they take to make him king. 

67. Why does Lady Macbeth fear her husband after she reads his letter?

Ans: Lady Macbeth is initially very excited upon reading the letter. It seems that the witches have put a supernatural seal of approval upon her ambitious plans for Macbeth. Greatness is not just within their grasp; it has been promised to them by the forces of darkness.

At the same time, however, Lady Macbeth is somewhat apprehensive. She’s absolutely determined in her own mind to do whatever’s necessary to put her husband on the throne. But the same can’t be said of Macbeth himself. Prophecy or not, he still has to take the fateful step to make it happen, and Lady Macbeth’s not entirely sure that her husband has the guts or the outright ruthlessness to kill Duncan and take his throne:

Yet do I fear thy nature; / It is too full o’ th’ milk of human kindness / To catch the nearest way: thou wouldst be great, / Art not without ambition, but without / The illness should attend it. (Act I, Scene v).

Lady Macbeth readily concedes that her husband has the necessary ambition. But does he have the requisite mean streak within him? She’s not so sure. Still, once Macbeth has returned home, his scheming wife is certain that she’ll soon talk him round:

Hie thee hither, / That I may pour my spirits in thine ear / And chastise with the valor of my tongue / All that impedes thee from the golden round, Which fate and metaphysical aid doth seem / To have thee crowned with. (Act I, Scene v).

Both fate and witchcraft have determined that it is Macbeth’s destiny to be king. And Lady Macbeth’s not about to let her husband miss this once in a lifetime opportunity.

68. What excuse does Lady Macbeth give for not killing Duncan herself in Shakespeare’s Macbeth?

Ans: Lady Macbeth starts out as a strong female character (albeit with villainous motives) not commonly seen in Shakespeare. She has a sense of purpose and will seemingly stop at nothing to ensure her husband is on the throne.

Yet when it is time to commit the actual murder, Lady Macbeth stands solidly to the side, using this excuse:

Had he not resembled

My father as he slept, I had done’t. (2.2.15-6)

Shakespeare likely needed a good excuse here to move Lady Macbeth back to the sidelines and allow her husband to commit the actual murder. First, she is fairly isolated, especially as a woman. Whom would she look to for support if she had committed murder? She has been the main source of strength in this power couple, so it is unlikely that Macbeth could have been an emotional or mental support if she became a murderer. There are no other women around her to fulfill this role.

Second, the historical context pointed to Macbeth needing to be the actual murderer. An audience could understand a man showing dominance, cunning, and leadership taking what he thinks he deserves. But could they understand this plot if Lady Macbeth had committed the murder? It is likely that a strong, independent, murderous woman would have received an entirely different reaction.

Furthermore, where would this action then leave her throne seeking husband if he had not had the fortitude to follow through with the plan and simply stood behind his wife instead? Also worth noting is that Macbeth was written early in the reign of King James I, further supporting the need for a strong male character, as Shakespeare and King James had a strong relationship.

Shakespeare needed to shift the focus from Lady Macbeth to the title character here, and these lines provide a convenient excuse for Lady Macbeth to slide into the background and for her husband to emerge as the man of action.

69. Malcolm says, “Angels are bright still, though the brightness fell. Though all things foul would wear brows of grace, Yet grace must still look so.” What does this mean?

Ans: In Macbeth IV.iii, Malcolm and Macduff meet in England. Each is suspicious of the other. In particular, Malcolm thinks Macduff may be a spy sent by Macbeth. Macduff bluntly tells Malcolm that he is not treacherous, and Malcolm excuses himself by saying: 

That which you are, my thoughts cannot transpose.

Angels are bright still, though the brightest fell:

Though all things foul would wear the brows of grace,

Yet grace must still look so.

This means that nothing Malcolm thinks about Macduff can alter what he is. Angels remain bright although the brightest of them, Satan, fell to become the Devil (an analogy with Macbeth here, since he was recently the most trusted and admired of King Duncan’s thanks). Everything foul attempts to look virtuous, but virtue must still look like itself. It cannot change its aspect merely because it is widely imitated. The implication is that Macduff seems honorable, but so do many dishonorable men. There is, however, nothing Macduff can do about this.

70. In act one, scene seven, what is the power of external influence on an individual’s life?

Ans: Macbeth is affected by two opposing sets of external influences in act I, scene VII of Macbeth. He is contemplating killing King Duncan, but he is concerned about the consequences that the murder might bring. More than that, Macbeth doesn’t believe he wouldn’t suffer some kind of eternal judgement for his actions. These external influences eventually cause Macbeth to talk himself out of going through with the plan. However, just as he resolves himself to let King Duncan live, Lady Macbeth enters the scene and acts as an external influence on her husband as well. She pressures him by questioning his manhood, and she demands that he move forward with their scheme. This external influence changes Macbeth’s mind yet again, and he decides to move forward with the murder after all.

71. Why did Shakespeare use androgyny in writing Macbeth? 

Ans: Shakespeare uses androgyny in Macbeth to create confusion and reinforce the theme of strength and violence.

The word androgyny means having male and female traits. In Macbeth, there are two examples. First, the witches are genderless. Second, Lady Macbeth is often talked about as a man and asks to be a man.

When Macabeth and Banquo first see the witches, Banquo questions their gender. He also questions whether they really are inhabitants of the earth.

You should be women,

And yet your beards forbid me to interpret 

That you are so. (Act 1, Scene 3, notes pdf p. 12) Some versions of the play have the witches played by men. They are women, but have male characteristics. This makes them strange, but also reinforces the idea of strength and power since men usually have the power in society.

Lady Macbeth, he says, will only have sons because she is so tough. She also seems to ask to become a man or have a man’s strength.

Come, you spirits

That tends on mortal thoughts, unsex me here And fill me, from the crown to the toe, top full Of direst cruelty! cruelty! (Act 1, Scene 5, p. 20)

Lady Macbeth famously is compared to a man by Macbeth, and also seems to be asked to turn into a man or have men’s strength. Macbeth tells his wife this when she pushes him. 

Bring forth men children only,

For thy undaunted mettle should compose Nothing but males. (Act 1, Scene 7, p. 24)

In each case, Lady Macbeth is seen as the driving force in the plan. She is the one who spurs her husband along and tries to convince him to kill Duncan. When he falters, she is the one who calls him a coward.

By making the women act less as women, Shakespeare is able to characterize them as he needs to. He is also making a statement about what women really are. Women can be strong, and can be violent.

72. Why did Shakespeare write Macbeth for King James? 

Ans: We don’t know exactly why Shakespeare wrote Macbeth. While we have much documentary evidence that Shakespeare was Shakespeare, all of it is business related, such as contracts and wills: we have nary a shred of paper in which Shakespeare recorded a personal opinion or thought. We can only rely on his poetry and plays and larger historical currents to guide our thinking. Therefore, the best we can do is to make an educated guess.

Macbeth was written about 1606, shortly after James I took the throne in England and became patron of Shakespeare’s theater company. We can surmise Shakespeare had two purposes in writing this play: to flatter James and to caution him.

The play flatters James, also king of Scotland, by being set in Scotland and showing his ancestor, Banquo, in a positive light. An allusion in the play to King Edward the Confessor curing scrofula was also a nod to James I, who revived the idea that the royal touch could cure illnesses.

Furthermore, Shakespeare showed he knew James’s story well: James believed in witchcraft and thought that witches had raised a storm that threatened him and his wife as they set sail to Denmark. Shakespeare’s acknowledgment of witches and their power would have played a flattering tribute to James’s worldview.

More importantly than these flattering little touches, however, is the overall theme of the play. English citizens, with good reason, feared James would veer into tyranny. He took an aggressive stance on the rights and power of the monarchy in a way that unnerved many. Shakespeare’s play shows the ill effects of a tyrant on a country and on the tyrant himself, and thus Macbeth acts as cautionary tale or “advice to princes” advising James to take it easy and steer a moderate course.

73. What makes Duncan a good king and a good leader in Macbeth?

Ans: First, King Duncan values honor and bravery and seeks to reward those who display those qualities. In act 1, scene 2, when a captain returns from battle to tell Duncan of the various ways some men have proven their loyalty to him, Duncan replies, 

So well thy words become thee as thy wounds;

They smack of honor both. Go get him surgeons. (I.ii.45-46) 

Duncan cares for his subjects and values the captain’s honor. Unfortunately in this scene, the captain has also told him of Macbeth’s valiant efforts, and supporting Macbeth will not prove fruitful for Duncan.

Duncan is also a humble leader. When Macbeth tells him of the death of the Thane of Cawdor, Duncan replies,

There’s no art

To find the mind’s construction in the face.

He was a gentleman on whom I built

An absolute trust. (I.iv.13-16)

In these lines, King Duncan admits that he is as human as any other man and cannot interpret the intentions of all those around him (another line which shows verbal irony). irony).

Most notably, Macbeth himself doesn’t really want to go through with the murder because he recognizes that Duncan is a good leader for several reasons:

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; (I.vii. 16-20)

Macbeth acknowledges that Duncan is humble, honorable, honest, and never tangled in deceptive matters. He says that angels would cry out against murdering such an honorable man. Of course, Lady Macbeth finds a way to convince Macbeth to put his own selfish quest (a 1, more importantly, her own) above the honorable leadership of Duncan.

It is worth noting here that these very qualities also lead to Duncan’s ultimate downfall. He is so trusting, honorable, and humble that he cannot see the deception staring him right in the face and promotes the very man who will end his life in an effort to steal his crown.

74. How does Macbeth exhibit fear and guilt? 

Ans: Life was much simpler and less fraught with guilt and fear when the most important thing Macbeth had to worry about was how to stay alive on the battlefield, one sword and dagger wielding adversary at time. It was when Macbeth’s ambitions were awakened by the Witches’ prophecies that his life suddenly got complicated. Within a few scenes, Macbeth is telling the stars, “hide your fires; / Let not light see my black and deep desires” (1.4.57-58). From the moment Macbeth’s ambition got the better of him, his life was little more than day after day fear, guilt, and regret.

At first, Macbeth decides against killing Duncan. (1.7.1-28). Lady Macbeth misjudges Macbeth’s reasoning “Art thou afeard / To be the same in thine own act and valor / As thou art in desire? (1.7.43-45) but she correctly calculates the breadth of his pride and ambition. Later, once Macbeth has made the decision to murder Duncan after all, he starts to have doubts. However, he commits the murder anyway.

Macbeth fears that someone saw or heard him. At the same time, guilt starts to prey on him. He also forgot to leave the bloody daggers with the guards, and Lady Macbeth tells him to go back, smear the sleeping guards with blood, and leave the daggers behind. Macbeth refuses.

MACBETH. I’ll go no more: I am afraid to think what I have done;

Look on’t again I dare not. (2.2.64-66) 

Guilt and regret have immobilized him. He hears knocking at the gate and wishes that it could cause Duncan to “wake” or return to life.

When Duncan’s murder is discovered the next morning by Macduff, Macbeth panics and kills Duncan’s guards, fearful of what they might say.

Now King, Macbeth fears the Witches’ prophecy “Thou shalt get kings, though thou be none the death of Banquo and his son, Fleance. (1.3.70) to Banquo, (1.3.70) and orders

Macbeth’s fears and guilt rise to their highest point in the banquet scene, when the ghost of the murdered Banquo appears and sits in Macbeth’s chair. Macbeth is overcome with fear and guilt at having ordered Banquo’s death, and he’s unnerved when Banquo’s ghost silently confronts him. He fears the omen of Banquo’s ghost.

MACBETH. It will have blood: they say blood will have blood. (3.4.149.)

When Macbeth recovers his senses, he’s determined to forego all future fear and guilt..

MACBETH. I am in blood Stepp’d in so far that, should I wade no more,

Returning were as tedious as go o’er. (3.4.165-167) Macbeth’s inherent bravery returns to him the next morning, when the Witches summon apparitions invincible he is. to remind Macbeth how

SECOND APPARITION. Be bloody, bold, and resolute; laugh to scorn

The power of man, for none of woman born Shall harm Macbeth.(4.1.87-89)

THIRD APPARITION…. Macbeth shall never vanquished be until

Great Birnam Wood to high Dunsinane Hill Shall come against him. (4.1.103-105)

Macbeth orders the murder of Macduff’s household, including his wife and children, and prepares for battle against the forces of Malcolm, Macduff, and their many soldiers aligned against him. Even in the face of dire reports from the field, he doesn’t waver in his self-confidence. He hears a cry from inside the castle, and remarks about how unmoved he is by the sound.

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. (5.5.10-16)

Macbeth even seems unfazed by the report of Lad Macbeth’s death. He contemplates the futility of his life, but, as he said before, he’s in blood so deep there’s simply no reason for guilt or regret. The next report Macbeth receives from the field is that Great Birnam Wood is indeed coming to Dunsinane Hill, but he soldiers on.

It’s only when Macbeth hears from Macduff’s own mouth that he is not of woman borne he “was from his mother’s womb /Untimely ripp’d” (5.8.19-20) that Macbeth is shaken to his core and fears the worst is now to come. He despairs and, in his desperation, throws himself into a single battle with Macduff.

MACBETH. Lay on, Macduff,

And damn’d be him that first cries, “Hold, enough!” (5.8.38-39)

75. What are some differences between Macbeth and Othello? 

Ans: The protagonists in Shakespeare’s tragedies tend to be men in positions of some degree of power, who then fall from grace due to a flaw in themselves, the so-called fatal flaw, or hamartia. There are certainly similarities between Othello and Macbeth: both are soldiers, well thought of in their societies, who are encouraged by external forces to do terrible things. Their fatal flaws, however, are not the same. Where Macbeth is driven by a weakness for ambition and a desire for power, Othello’s flaw is jealousy. lago knows this and is able to manipulate him using it.

There are other differences, too. While Macbeth and Othello both become murderers, Othello murders only his wife. Macbeth, by contrast, begins with the murder of his king and then escalates to further killings. He is working at first on the orders of his wife; she is not his victim. Furthermore, we see a lot of the inner workings of Macbeth’s mind as we watch his downfall progress. In Othello, it is not the inner workings of Othello we see so much as those of lago, the villain, to whom falls most of the soliloquies and deliberations.

In simplistic terms, there’s also the fact that Othello is black and Macbeth is white, Othello is living in Italy and Macbeth in Scotland, and they are living in different time periods.

76. What are some good examples of metaphors and similes in Macbeth?

Ans: The play is rich in metaphors and similes, the technical structure of which is more than adequately defined by the educators above. I will focus on some of the metaphors and similes in the play.

In Act 1, scene 2, Malcolm asks a returning sergeant about the state of the battle. The soldier uses an apt simile to describe the situation:

“Doubtful it stood; As two spent swimmers, that do cling together And choke their art.”

He means that the outcome of the battle was uncertain, just as indefinable as the fate of two exhausted swimmers who hang onto each other for support, preventing one another from fully using their abilities and saving themselves, would be. And, in another simile:

“And fortune, on his damned quarrel smiling, Show’d like a rebel’s whore”

In this instance, fortune is compared to “a rebel’s whore” emphasising the fact that MacDonwald had achieved some kind of advantage and that he had been favoured by fate who had entered the fray, as much as an immoral woman, who, without any qualms or restrictions, would rush to support and defend her rebellious partner.

In the same description, the sergeant also uses various metaphors, such as:

“his brandish’d steel, which smoked with bloody execution,”

The metaphor compares Macbeth’s sword to an instrument which releases vapour caused by the heat of battle as it executes its purpose, which in this example, is to kill those at whom it is directed.

An added example of a simile is: “Like valour’s minion carved out his passage.” Macbeth’s fierce fighting has induced the sergeant into comparing him to a favourite of Courage. He was fearless and literally cut a path through his enemies.

In Act 3, scene 1, Macbeth uses a double metaphor when he comments in a soliloquy:

“Upon my head they placed a fruitless crown”

He is referring to the witches’ prediction that he will not bear any heirs. The word “fruitless” conveys the idea of barrenness and “crown” refers to the title of king. Macbeth will therefore not have anyone to continue his line and bear his title and his name. Further descriptions such as “barren sceptre” and “unlineal hand” extend and reinforce the metaphor in this instance. 

In Act 5, scene 3, Macbeth, in a brief soliloquy, says the following:

“…my way of life

Is fall’n into the sear, the yellow leaf;”

In this metaphor, Macbeth is comparing his situation to that of an object which has deteriorated and is dying away. The “yellow leaf” emphasises this decay just as leaves start decaying during autumn in preparation for winter, and has now fallen into decay. Macbeth now realises that the game is almost up.

77. What are some examples of dark imagery in Macbeth?

Ans: In William Shakespeare’s Macbeth the ambition for power leads to the dark and mysterious realm of witchcraft, murders, insomnia, and madness. And, the imagery used to inspire the experiences of darkness and evil are abundant.

Certainly, the weather connotes sinister acts. For instance, the play opens with “fog and filthy air” as the three witches stir their cauldron and the captain describes the actions of the dauntless Macbeth:

For brave Macbeth well he deserves that name Disdaining fortune, with his brandished steel,

Which smoked with bloody execution. (1.2.16-19)

And, throughout the play there are storms, dark castles in which the candles are out (2.2,5), and murders in the night. As Lady Macbeth prepares to “unsex” herself in order to encourage Macbeth in his deadly deeds, she asks that heaven not “Peep through the blanket of the dark” (1.53)

Enthralled by the prophecies of the “instruments of darkness” as they win him with “honest trifles,” Macbeth spends many a night of “curtained sleep” (2.2.51).

When Macduff and Lennox arrive at Macbeth’s castle in Act II, Scene 3, Lennox describes the night as “unruly,” speaking of confusion. He describes the earth as shaking .” Ironically, Macbeth agrees, “”twas a rough night” (2.3.63).

The many dark images of night and its predominance in the play clearly suggest that evil abounds:

That darkness does the face of earth entomb. (2.4.

Banquo says in Act III that he must become a borrower of the night

For a dark hour or twain.(3.1.27-28)

And, as he sends his murderers to kill Banquo, Macbeth comments,

Good things of day begin to droop and drowse (3.3.53)

In Act IV, Malcolm, determined to return to Scotland, tells Macduff, “The night is long that never finds the day” (4.3.240). And, so it is for Macbeth whose many nights of murder have finally caused the madness of Lady Macbeth as well as that of Macbeth himself. 

78. In what ways does Lady Macbeth’s behavior deviate from femininity?

Ans: Lady Macbeth defies typical femininity in Shakespeare’s Macbeth by embodying the masculine traits of the time as she demonstrates intelligence, courage, and ambition. Instead of playing the role of a submissive, obedient wife, who is vulnerable and fearful, Lady Macbeth is an authoritative, ambitious woman, who is willing to corrupt her soul in order to become queen. After receiving her husband’s letter regarding the seemingly favorable prophecies, Lady Macbeth calls upon evil spirits to fill her with vice and malice. She then formulates a foolproof plan to assassinate King Duncan, criticizes Macbeth for hesitating to take action, and encourages him to maintain his composure following the murder.

Lady Macbeth also participates in the assassination by bringing the bloody daggers back into Duncan’s chamber and feigning grief in front of the Scottish lords. Lady Macbeth is portrayed as a resolute, determined woman while her husband vacillates and fears the consequences of committing regicide. Although Lady Macbeth gradually becomes overwhelmed with guilt and eventually commits suicide, her participation in Duncan’s murder and resolute personality significantly deviates from femininity. 

79. Why were the weird sisters included in the play Macbeth?

Ans: Macbeth is unique among the protagonists of Shakespearean tragedy in the violence and completeness of his transition from universally admired hero at the beginning of the play to detested tyrant at the end. Even Othello does not come close to this type of transformation and Othello has lago constantly feeding his jealousy and urging him on to murder.

Macbeth without the weird sisters would be an even more extreme and unbelievable story than Othello without lago. After being Duncan’s most loyal and brilliant general, Macbeth, with no prophecy and no explanation, would decide he wanted to be King. His wife would turn out to be in agreement and they would start their killing spree with no predictions of success or supernatural encouragement. The transformation of Macbeth from hero to villain would be even more sudden and inexplicable than it is already.

From an aesthetic standpoint, although the witches’ words are some of the weakest poetry in the play (they were mainly written by Shakespeare’s collaborator, Middleton), they give rise to some of Macbeth’s most brilliant monologues as he agonizes over their predictions. One would not, therefore, want to be without the weird sisters, despite their doggerel.

80. In Shakespeare’s Macbeth, when does Macbeth kill Duncan?

Ans: The actual murder of Duncan takes place between scenes, offstage. We hear Macbeth and Lady Macbeth planning to kill Duncan in Act I, and during Act II, we hear that the deed has been done.

In Act II, Scene I, Macbeth is awake late at night and roaming the castle grounds. He meets Banquo, who asks why he is not sleeping; Macbeth tells him he has been thinking about the witches. This is true, actually, because the witches’ prediction that he’d be king is what motivates him to kill Duncan. At the end of the scene, he hears a bell. Macbeth says, 

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.19-21)

The bell means that Macbeth is now going to commit the murder, which is why it’s Duncan’s death knell. 

When we next see Macbeth in Scene II, he is no longer calm and determined but panicked. He keeps claiming to hear strange noises and is very jumpy and on edge. Lady Macbeth discovers that Macbeth still has the knife, the murder weapon. He was supposed to plant it on the guard, who they drugged so he’d be asleep during the crime. Macbeth cannot work up the nerve to go back and plant the knife, so Lady Macbeth has to do it herself. In this scene, we already see the toll the murder has taken on Macbeth. He cries,

Me thought I heard a voice cry, “Sleep no more! Macbeth does murder sleep” the innocent sleep, Sleep that knits up the raveled sleave of care, The death of each day’s life, sore labor’s bath, Balm of hurt minds, great nature’s second course, Chief nourisher in life’s feast. (II.ii.35-40)

In addition to noticing his paranoia (hearing a voice), the audience can tell that Macbeth is feeling remorse and knows that he will never be the same. He will “sleep no more” because his conscience will never recover from this act. He will never experience the “Balm of hurt minds,” sleep, since he will never feel at ease or at peace again. For Shakespeare’s purposes, it is not important to see the murder itself, but it is crucial that we see the immediate impact of those events. Interestingly, Macbeth becomes rather hardened to this initial murder over time, while Lady Macbeth seems to be more psychologically damaged, as she clearly descends into madness. In Act II, Scene II, the opposite is depicted.

81. What is the importance of act 1, scene 4, in Macbeth? 

Ans: Act 1, scene 4, of William Shakespeare’s Macbeth begins with Malcolm telling his father, King Duncan, that the Thane of Cawdor confessed his treason for betraying his allegiance to Duncan and died a dignified, if not entirely honorable, death.

MALCOLM. Nothing in his life

Became him like the leaving it… (1.4.8-9) Duncan responds with one of the many portentous remarks that he and others will utter in this scene. 

DUNCAN. There’s no art

To find the mind’s construction in the face… (1.4.13-14) 

Duncan seems to be reprimanding himself for not being a very good judge of the Thane of Cawdor’s character. Macbeth, who is significantly more treacherous than he appears, makes a timely entrance just as Duncan finishes this line.

In the scene just before this one, the audience heard one of the witches prophecy that Macbeth would be king, and they heard Macbeth’s unsettling reaction:

MACBETH. [W]hy 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? (1.3.145-148)

The prophecy aroused frightening ambitions in Macbeth about being king (which he had apparently already considered), but he’s not yet sure how he’s going to achieve that goal.

Duncan praises Macbeth for his victories in battle and says that he regrets that he couldn’t reward Macbeth with more than just the Thane of Cawdor’s title and property.

Macbeth then oversells his loyalty to Duncan compensating for the treachery in his heart and Duncan responds by embracing Macbeth and telling him that he’s setting the stage for bigger and better things for him. 

DUNCAN. Welcome hither.

I have begun to plant thee, and will labor 

To make thee full of growing. (1.4.31-33) 

Little does Duncan realize that the seeds of Macbeth’s ambitions are already growing and will come to fruition in a very short time. 

Duncan likewise embraces Banquo and tells him that he is no less deserving of praise than Macbeth. Banquo responds with a reference to Duncan’s words to Macbeth.

BANQUO. There, if I grow, The harvest is your own. (1.4.37-38)

In essence, what Banquo is unknowingly and ironically saying to Duncan is, “as you sow, so shall you reap.” This has a much more significant meaning with regard to Macbeth than to Banquo, who, along with Duncan, will cease to “grow” in a very short time. Duncan announces to his sons, generals, and thanks that he has chosen his son Malcolm to succeed him as king.

This announcement somewhat thwarts Macbeth’s ambitions, but he doesn’t seem to be particularly concerned about it.

MACBETH. That is a step On which I must fall down, or else o’erleap, For in my way it lies. (1.4.55-57)

It’s Malcolm who should be concerned. Macbeth considers overleaping Malcolm as simply another step along the way to fulfilling his ambition to become king. 

MACBETH. 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. (1.4.57-60) 

Macbeth exits the scene, leaving his thoughts with the audience, who are left to wonder whether Macbeth will actually pursue his ambitions, and, if so, how he’ll go about it.

Duncan and Banquo have been talking off to the side while Shakespeare had Macbeth think out loud for the audience. Duncan has a few more portentous remarks to make.

DUNCAN. True, worthy Banquo! He is full so valiant, And in his commendations I am fed;

It is a banquet to me. Let’s after him, Whose care is gone before to bid us welcome:

It is a peerless kinsman. (1.4.61-65)

Duncan is completely misled by the extravagant promises of duty and loyalty that Macbeth “fed” him earlier in the scene.

The mention of “a banquet” foreshadows the banquet which the ghost of Banquo will attend, to Macbeth’s dismay.

Macbeth has gone ahead to prepare Duncan’s “welcome,” but Duncan has no idea that it will be the last welcome he ever gets from anyone on this earth.

Finally, Macbeth truly is a “peerless kinsman,” unrivaled and unequaled in what will be shown to be his murderous ambition.

82. What type of character is Duncan in act 1, scene 4 of Macbeth?

Ans: Duncan is a relatively flat character in Macbeth, largely because he gets murdered early on. In Act I, we are introduced to Duncan as the noble king of Scotland. Duncan if the Thane of Cawdor has been executed yet, on the fact that it’s hard to know how to trust. begins by asking and reminiscing on the fact that it’s hard to know how to trust.

There’s no art

To find the mind’s construction in the face: He was a gentleman on whom I built(15)

An absolute trust. (lines 13-16)

This foreshadows Duncan’s problems with the second Thane of Cawdor, Macbeth, a man who also betrays Duncan. Duncan trusts Macbeth, and actually feels bad that he was not promoted sooner.

O worthiest cousin!

The sin of my ingratitude even now

Was heavy on me. Thou art so far before, That swiftest wing of recompense is slow(20)

To overtake thee. (lines 17-21)

Therefore Duncan is a little overly trusting. He also comments on how he will further Macbeth and Banquo’s careers.

Duncan seems very caring also.

Noble Banquo,

That hast no less deserved, nor must be known

No less to have done so; let me enfold thee(35)

And hold thee to my heart. (lines 33-36)

Clearly, Duncan is a nice guy who is full of affection and takes care of those whom he sees as friends and loyal servants, but he is a little too trusting.

83. What is an example of dramatic irony in Act 1, Scene 3 or 4 of Macbeth?

Ans: Dramatic irony is irony inherent in the speeches or situations in which the characters find themselves and the irony is understood by the audience, but the characters themselves are unaware thereof. Simply put, the audience knows things which the characters do not, and they act or say things without realising the irony of what they say or do.

A good example of this is when the second witch greets Macbeth thus:

All hail, Macbeth, hail to thee, thane of Cawdor!

Macbeth’s response is:

Stay, you imperfect speakers, tell me more: By By Sinel’s death I know I am thane of Glamis;

But how about 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.

Macbeth expresses doubt about the fact that the witches greet him by such a noble title. He knows that he is Thane of Glamis, but how could he possibly be Thane of Cawdor when he is still alive, a wealthy gentleman? To be the Thane of Cawdor is just as much beyond belief as to believe that he would be king.

The dramatic irony lies in the fact that we, the audience already know that in Act 1 Scene 2, king Duncan has ordered the execution of the thane of Cawdor for his betrayal and that he has bestowed this title on Macbeth, as indicated below:

DUNCAN

No more that thane of Cawdor shall deceive

Our bosom interest: go pronounce his present death, And with his former title greet Macbeth.

Neither Macbeth or Banquo is aware of this yet, so Macbeth’s reaction is quite ironic. Macbeth soon learns, however, that the witches’ prediction is true when Ross informs him about king Duncan’s generosity:

And, for an earnest of a greater honour,

He bade me, from him, call thee thane of Cawdor: In which addition, hail, most worthy thane!

For it is thine.

This can be deemed as one of the pivotal moments in the play, for this is when Macbeth convinces himself that it is his destiny to be king, whether by fair means or foul, and this sets him off on the path to destruction.

84. Find three examples of dramatic irony in Act 3, Scene 4, and explain their purpose.

Ans: The first example of dramatic irony occurs when Macbeth, on being invited to take his seat at the banquet table by Lennox, declares that ‘The table’s full.’ At this point, he does not seem to have fully identified the one who is occupying his seat and when, once again, he is told that there is a place reserved for him, asks, ‘Where?’

Lennox points at his seat and it is at this point that Macbeth recognizes the specter occupying his seat as Banquo’s ghost. The others cannot see what he sees. He is visibly shaken, which provokes Lennox into asking what it is that is affecting him. Macbeth, who is now clearly upset by the appearance of Banquo’s ghost, demands to know who it is that is playing a trick on him. The lords’ reply is a clear indication that they do not know what he is talking about.

Macbeth then proceeds to address the ghost directly. The dramatic irony lies in the fact that only we, the audience, and Macbeth know that Banquo has been murdered and that his ghost is there to haunt his assassin (Macbeth). None of the others at the banquet table have any idea about Banquo’s fate and believe him to be still alive.

Ross believes that his king is ill and asks the other lords to rise so that he might be excused. Lady Macbeth intervenes and asks them to sit. She explains that her husband is having a momentary fit and that if they react to his condition, it will worsen. She addresses him directly and questions his manliness. Macbeth replies that he is man enough to face any challenge, fit enough to face anything that might frighten even the devil.

Lady Macbeth accuses her husband of being a fearful coward who sees things which are not there, just as he had previously seen a nonexistent dagger. The dramatic irony finds emphasis in the fact that she, unlike her husband and the audience, cannot see the ghost.

When the ghost disappears, Macbeth regains some of his composure and goes to take his seat at the table. He then states, in part, the following:

…I drink to the general joy of the whole table, And to our dear friend Banquo, whom we miss; Would he be here! to all, and him, we thirst,

And all to all.

It is dramatically ironic that he should drink a toast to Banquo, when he and the audience know that Banquo has been murdered, since one of the assassins he had hired to kill Banquo had reported on the success of their malicious venture. When Banquo’s ghost reappears, Macbeth loses all civility and shouts at the spirit, commanding it to leave. The lords are obviously confused and concerned about their king’s uncharacteristic behavior. Lady Macbeth, however, tries to set their minds at ease by explaining that Macbeth’s condition is a customary affliction and that they should not be too concerned. This statement adds to the irony since the audience knows the real reason for Macbeth’s reaction: the gory sight of Banquo’s blood drenched spirit.

Macbeth addresses the ghost once more and the lords, who do not know what he is about, can only stare and wonder at his craziness. When the ghost finally vanishes, Macbeth declares that he is a man again. Lady Macbeth intervenes and asks the gentlemen to leave, which they do. Macbeth then declares that it seems as if the ghost was there to have its revenge. 

It will have blood; they say, blood will have blood:

85. What is the dramatic effect of Macbeth act 3, scene 4? Could you tell me what the dramatic irony is of this scene and what is the purpose of this scene?

Ans: When acted well, this scene is the highlight of the play.. We know that Banquo’s ghost is sitting in the chair reserved for Macbeth, but only Macbeth and the audience see the ghost thus, we have dramatic irony. The scene is eerily humorous. Macbeth cannot control his reaction upon seeing the ghost and even shakes off Lady Macbeth’s chiding that he is acting cowardly:

The times has been

That when the brains were out, the man would die, And there is an end; but now they rise again With twenty mortal murders on their crowns, And push us from our stools.

When he attempts to pull himself together and lament Banquo’s absence at the banquet, the ghost appears again. The audience sees the ghost before Macbeth does, and the anticipation of his reaction is enormous. Shakespeare does not fail to deliver. Macbeth is clearly shaken:

Avaunt! and quit my sight! Let the earth hide thee! 

Thy bones are marrowless, thy blood is cold..

This scene shows us the enormous changes that Macbeth has undergone. With Duncan’s murder, Macbeth instantly felt remorse and guilt. He knew he would never sleep well again and wished that the murder could be undone. However, with Banquo’s murder, Macbeth’s guilt becomes more subconscious. He has suppressed his scruples over murdering his friend Banquo, even jovially praising the murderers who killed him. Yet, we see that Macbeth is not an entirely evil man. He is still wrack wracked by his conscience, albeit suppressed. The ghost is Shakespeare’s dramatic way of showing Macbeth’s inability to murder without suffering pangs of conscience.

It is after this scene that Macbeth completely distances himself from Lady Macbeth and turns toward the witches for help

86. Is there dramatic irony in Act 3, Scene 2 of Macbeth?

Ans: Dramatic irony takes place when the audience is informed about something that a character or characters in the play are not aware of. In act three, scene one, Macbeth hires two murderers to kill Banquo and Fleance in order to prevent the witches’ prophecy and cement his legacy. In act three, scene two, Lady Macbeth questions her husband about what is on his mind that is making him seem depressed and lonely. Macbeth then laments about his tortured soul and expresses his anxiety regarding Banquo and Fleance. The dramatic irony occurs when Lady Macbeth asks her husband what he is going to do. The audience is aware that Macbeth has already hired two murderers to kill Banquo and Fleance but Lady Macbeth is unaware of her husband’s plan. Instead of elaborating on his plan to murder Banquo and Fleance, Macbeth tells his wife, 

“Be innocent of the knowledge, dearest chuck” (Shakespeare, 3.2.47).

Overall, the dramatic irony occurs because Lady Macbeth is not aware that her husband has ordered the murders of Banquo and Fleance while the audience already knows his bloody plans.

87. Why do the witches in Macbeth speak in rhyme?

Ans: In Macbeth, the witches speak in rhymed couplets most of the time:

The weird sisters, hand in hand,

Posters of the sea and land,

Other times, they speak in unrhymed iambic tetrameter. Thou shalt get kings, though thou be none:

So all hail, Macbeth and Banquo!

OR prose:

A sailor’s wife had chestnuts in her lap, And munch’d, and munch’d, and munch’d:

‘Give me,’ quoth 1:

‘Aroint thee, witch!’ the rump fed ronyon cries.

This is an inversion of how Macbeth and Lady Macbeth speak: they speak in blank verse most of the time, and in prose and rhymed verse rarely. Not only that, but Macbeth gets the best lines, then Lady Macbeth, then the witches.

The differences in verse meter shows the divisions in rank and status according to the Great Chain of Being. Here’s the hierarchy of language: 

1 Poetry (Blank Verse):

Macbeth: thoughtful, poetic iambic pentameter (elevates him above rest)

Lady Macbeth: plain, unimaginative iambic pentameter

2 Poetry (Rhyming Couplets)

Witches: short, choppy iambic tetrameter

3 Prose:

Porter (servant): dark, bawdy common language; paragraphs So, even though the witches are at the bottom of the social hierarchy, they outrank only the drunken Porter in terms of language and importance in the play. Their shortened lines show that they speak in a different tongue than nobility. Their rhymes show that their riddles are meant to be remembered, as they resonate and echo throughout the play, both in Macbeth’s and the audience’s memories.

88. Why do the witches repeat things three times in Macbeth?

Ans: The witches repeat things three times to bring attention to it, and to make their information seem supernatural and otherworldly.

Repetition, the act of repeating information, is often used to bring attention to important information. The witches use the rule of three by repeating things three times. The rule of three refers to the idea that there is magic in things happening three times. So there are lots of trees. There are three witches, and they meet three times, and they talk about three a lot, or thrice, and they repeat things three times! Here’s an example: 

The weird sisters, hand in hand, Posters of the sea and land, Thus do go about, about:(35) Thrice to thine, and thrice to mine,

And thrice again, to make up nine. Peace! The charm’s wound up. (Act 1, Scene 3)

By repeating things three times, meeting three times, having three witches, making three prophecies, and so on, Shakespeare reinforces the rule of three. He uses the repetition and the audiences association of three with power and magic to his advantage. He knows that the audience will understand the meaning of three and appreciate it. Just by saying something three times, or saying something happened three times, he has cemented it in the audience’s mind. We know that this is important. This is why there are THREE prophecies. 

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! (Act 1, Scene 3)

The first witch, second witch, and THIRD witch all share THREE prophecies. Of course, the THIRD witch shares the most important one, that Macbeth will be king.

Macbeth, being the superstitious man that he will be, takes the three witches’ prophecies seriously and so does his wife. Shakespeare’s audience will enjoy it all in good fun, but of course they will also appreciate the aspects of superstition, being superstitious themselves. Either way, they will remember what has been said because it has been repeated so many times. 

89. Why are there three witches in “Macbeth”?

Ans: ‘Witches’ is ambiguous. Confusion has largely arisen because the Folio text refers to them in stage directions and speech prefixes as ‘witches’. They call themselves the ‘Weird Sisters’ and Banquo and Macbeth refer to them as such. The only time the word ‘witch’ is actually heard in the theatre is in line 6 of I,iii when the First Witch quotes the words of the sailor’s wife as the supreme insult for which her husband must be tortured.

‘Weirddid not come into its modern usage before the 19th Century; it meant Destiny or Fate, and foreknowledge is clearly the Sisters’ chief function. But their powers remain ambiguous; they are actively malicious to the ‘master of’ the Tyger’ but don’t have the power to destroy him. They appear to Macbeth at will theirs and his but confine their interference to prediction. These powers to hex and predict were attributed to village witches, but the Weird Sisters are more decisively supernatural, and the ambiguity (of nature, and of power) is fundamental to the ambiguities of experience and knowledge (does Banquo’s ghost ‘exist for any but Macbeth, for instance? And what about the Dagger?) as the play develops. 

90. What events take place as the witches are meeting?

Ans: As the three witches who meet Macbeth and Banquo are prophesying to the two men, Duncan is hearing a report of Macbeth’s great bravery in battle. Macbeth cleaved in half the traitor Macdonwald. Beyond that, he fought so bravely that he turned the tide of battle.

Duncan is very pleased with this report, and he decides he will reward Macbeth and name him Thane of Cawdor.

Macbeth does not know of the king’s decision as he and Banquo encounter the witches. The witches greet Macbeth as Thane of Cawdor, which doesn’t make any sense to him. They tell him, too, that he will be King of Scotland. They inform Banquo that his descendants will be kings of Scotland.

Although Macbeth would dearly love to be king, he dismisses the witches’ words. Then he hears he has been named Thane of Cawdor. Suddenly, the witches seem to know what they are talking about, and Macbeth’s desire to be king rises to a new pitch.

91. Assess the importance of Macbeth’s second meeting with the witches.

Ans: By the time Macbeth has his second encounter with the witches in act 4, scene 1, he is in a much more desperate state than during his first encounter. In act 1, everything was going swimmingly in Macbeth’s world. He was the courageous and loyal hero who had just stopped the rebel Macdonwald from usurping the throne. Everyone is impressed with his valor and Duncan makes him the Thane of Cawdor. When the witches prophecy that he will become king, he has the choice to take it or leave it. He doesn’t need the witches: his world is quite fine.

By act 4, scene 1, Macbeth’s world, however, is collapsing and his back is up against the wall. Being king, to put it mildly, is not what he expected. It has caused him nothing but stress, grief, and pain, and now Malcolm is marching into Scotland with an army to take the throne. His own troops are deserting him in scores, and he needs help badly.

Ironically, this time when he goes to the witches to seek information, they have been ordered by Hecate, the head witch, to play around with him and deceive him so as to lead him to his doom. Their intentions weren’t malevolent the first time he met with them, but now they are. They speak to him in misleading riddles with prophecies that sound hopeful, such as that he can’t be killed by a man born of a woman, but they hold secret “zingers” that will be his undoing.

At this point, because he has nowhere else to turn, Macbeth puts his full faith in these prophecies. He’s got nothing else. He has, as the saying goes, gone from hero to zero. He was a great warrior and follower of Duncan, but he has been a terrible, treacherous king, and nobody (for good reason) trusts him. However, although the prophecies are all he has, they are meant to betray him and they do.

92. How does Macbeth meet the witches?

Ans: Macbeth meets twice with the witches; for the first time in Act 1, Scene 3, and the second in Act 4, Scene 1.

In Act 1, Scene 1, the witches confer and decide when and how to meet Macbeth; they settle upon “the heath”, which is a common environment to find in Scotland, translated as a place with grass and shrubs, characterized by poor soil and somewhat marshy conditions. Sometimes translated as a “wasteland”, it simply means a place that isn’t especially vibrant and full of life,, and it might also be a reference to the way the battlefield will look once the fighting is done. Later, when Ma Macbeth meets them at the expected place, the meeting is characterized mostly by Macbeth reacting in curiosity and surprise, with the witches leading the conversation through their riddles and prophecies.

The second time Macbeth meets the witches is in a cave (although, if you consider Hecate to be a legitimate aspect of the play, she mentions the “pit of Acheron” as the intended meeting place at the end of Act 3, Scene 5, which might indicate either that Macbeth has actually descended into hell, or that the cave is a sort of meeting point between earth and hell). In this meeting, Macbeth is much more confident and dictating, but also anxious and indebted to the witches’ favor and assistance. Here they act more as counselors and guides as Macbeth receives further prophecies, although they do nothing to actually explain their dubious meaning. 

93. In Macbeth, how does Shakespeare characterize the witches and what is their thematic significance?

Ans: The memorable Three Weird Sisters in Shakespeare’s Macbeth perform a significant role throughout the play by manipulating Macbeth to make rash decisions which lead to his tragic downfall. In the opening scene of the play, Shakespeare introduces the audience to the Three Weird Sisters, who discuss meeting Macbeth when the battle is over before delivering their famous line “Fair is foul, and foul is fair” (Act I, Scene 1, line 12).

Thematically, this statement introduces the concept that nothing is what it seems, which is significant to the plot of the play. Continually, Macbeth and other characters will be fooled into believing that things are opposite of their true nature. In Act I, Scene 3, the Three Weird Sisters discuss how they will avenge a woman who refused to share her chestnuts. They mention that they will influence the winds to make her husband’s journey across the sea difficult Throughout this conversation, Shakespeare indirectly characterizes the witches as being petty and vengeful. The fact that they have the power to influence the weather, yet lack the ability to directly harm or kill the woman’s husband suggests that their control over people’s fates is limited and ambiguous. 

Later in the scene, Macbeth and Banquo meet the Weird Sisters and are repulsed by their appearance. Banquo comments,

What are these 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 aware 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 (Act I, Scene 3, lines 39-48). 

The witches proceed to prophesy about Macbeth’s eventual kingship and Banquo’s descendants before disappearing into thin air. During their encounter, Shakespeare characterizes the Three Weird Sisters as grotesque, evil characters who use their knowledge of the future to ruin Macbeth.

In Act IV, Scene 1, the Three Weird Sisters concoct a charm that will negatively affect Macbeth’s ability to interpret their prophesy accurately by using various animal parts and crude ingredients as they chant, “Double, double toil and trouble, Fire burn and cauldron bubble” (Act IV, Scene 1, lines 20-21).

When Macbeth enters the scene and demands to know his future, the witches conjure three apparitions that give Macbeth a false sense of confidence. The nature of the witches is nefarious, and their prophecies are ominous. Their function is to set the tone of the play and confuse Macbeth into making terrible decisions that will result in his demise. Overall, Shakespeare characterizes the Three Weird Sisters as wicked, vengeful, grotesque witches whose sole purpose is to cause chaos and trouble. 

94. What do the witches represent thematically in Shakespeare’s Macbeth?

Ans: In the first scene of the play, when the Weird Sisters discuss their plan to meet with and deceive Macbeth, they initiate one of the play’s most important motifs. Together, they chant, “Fair is foul and foul is fair/ Hover through the fog and filthy air” (1.1.12-13). We see this motif resurface many times throughout the play, such as when Lady Macbeth tells her husband to look like a flower but be the serpent under it, or when Duncan admires the look of the Macbeths’ home not realizing that he will be killed there that night. This motif leads to the theme that appearances can be deceiving.

Also, we know the Weird Sisters to be vindictive and malicious (especially from the one witch’s dealings with the woman who would not share her nuts), and they as much as admit to the fact that they seek to deliberately manipulate Macbeth with the statement quoted above. Such manipulation is only possible when Macbeth is free to make his own choices and is not the pawn of fate, as some might have it. Therefore, the Weird Sisters also help to illuminate the theme that we are responsible for the choices we make because they are not governed by fate.

95. How did the witches contribute to Macbeth’s downfall in William Shakespeare’s Macbeth?

Ans: It is clear the witches in William Shakespeare’s Macbeth do have some power; however, it is also clear that Macbeth hears what he wants to hear and acts of his own free will (well, except for his wife’s pressuring him).

The witches make some predictions to Macbeth and Banquo, and of course the two soldiers are amazed at what they hear. When Banquo hears that he will be “lesser than Macbeth, and greater,” “not so happy, yet much happier,” and “thou shalt get kings, though thou be none,” he is surprised and puzzled. When Macbeth hears the witches hail him as Thane of Glamis, Thane of Cowdor, and “Macbeth, thou shalt be king hereafter,” he is surprised but enthralled. When Macbeth is suddenly pronounced Thane of Glamis (by King Duncan), he believes. From that point on, Macbeth acts as if he is going to be king.

He is relatively humble at first, saying:

[Aside] If chance will have me king, why, chance may crown me,

Without my stir.

Macbeth is moved by his ambition, however, and he changes his behavior and thinking based on that. In the very next scene, Macbeth has already changed his mind and intentions when he learns Duncan has named his son, Malcolm, as his heír, next in line to the throne:

[Aside] The Prince of Cumberland! that is a step On which I must fall down, or else o’erleap.

For in my way it lies.

The witches did nothing to make him change; Macbeth’s ambition has already begun to work on him. The witches do not force him to listen to his wife’s goading, nor do they compel him to commit any of the murders he will commit.

On the other hand, the witches do have some power. We know that one of them was irked at a sailor’s wife for not sharing her chestnuts and took some revenge on the woman’s husband at sea:

I will drain him dry as hay:

Sleep shall neither night nor day Hang upon his penthouse lid; He shall live a man forbid: Weary sennights nine times nine Shall he dwindle, peak and pine: Though his bark cannot be lost,

Yet it shall be tempestuous. Look what I have.

It is clear that she can do some things, such as keep the man up with foul weather. She also reveals the truth that she does not have the power to kill him: “Though his bark cannot be lost.” WHile they clearly have some powers (because some of their predictions come true and they do impact others’ lives), they have no power to turn Macbeth into a murderer. That is something he does himself.

One of the central questions of the play is whether the witches knew what Macbeth would do and just appeared to predict it or whether they were deliberately trying to goad Macbeth into acting on his secret ambitions by promising him he would be king. The witches are a factor in Macbeth’s choices, but in the end he makes his own decisions.

96. How does Shakespeare use animal imagery to trace the downfall of Macbeth?

Ans: Shakespeare begins in Act I with Lady Macbeth’s quote to her husband, “Look like the innocent flower, but be the serpent under it.” She is calling him the serpent…a creature that from the beginning of time has been associated with fear, fangs, and death.

In Act II, all the earth rebels against the death of Duncan. Owls scream, crickets cry, horses break out of their stalls and eat each other.

In Act III, Macbeth also tells his wife, “Full of scorpions is my mind.” Scorpions, like snakes, are not warm, fuzzy sorts of animals. You wouldn’t want to cuddle with these creatures for their potential to do harm. It shows Macbeth’s state of mind and his downward spiral. He also references Banquo and Fleance in terms of snakes “We have scorched the snake but not killed it” since they pose a threat to him and his throne.

In Act V Macbeth goes to his death “bearlike”…he makes references to being tied to the stake (bear baiting, a popular public entertainment in Elizabethan times)…giving an otherwise honorable animal a more fierce and defensive backed up into a corner attitude.

Unlike Macbeth, other characters are spoken of in terms of more honorable and admirable animals: hens, chicks, monkeys, cats, etc. As Macbeth falls further and further into irreparable spiritual damage, the animal imagery he uses and that used to describe him is increasingly more threatening and dangerous.

97. How did Lady Macbeth contribute to Macbeth’s downfall in William Shakespeare’s Macbeth?

Ans: It is clear that Macbeth is responsible for the things he does in the course of Macbeth, by William Shakespeare; however, it is also clear that Lady Macbeth has just as much ambition as her husband and she does contribute to his downfall as well as her own.

Macbeth is ambitious. He wants to be king; he must have wanted to be king even before the witches’ predictions or their naming him king would not have had such an immediate effect. While he doubts the witches at first, it does not take long for him to believe they were speaking the truth because it suited his own wishes so well.

Everything happens pretty quickly, but one of the first things he does is write to his wife to tell her that she will one day be queen and that Duncan is coming to their house for a visit. Her immediate response is to remark that Duncan will die under her roof; her next lines are chilling in their intensity:

…Come, you spirits That tend on mortal thoughts, unsex me here, And fill me from the crown to the toe top full Of direst cruelty! make thick my blood; Stop up the access and passage to remorse, That no compunctious visitings of nature Shake my fell purpose, nor keep peace between The effect and it! Come to my woman’s breasts, And take my milk for gall, you murdering ministers,

Wherever in your sightless substances

You wait on nature’s mischief!

When Macbeth appears, she immediately wants to plan Duncan’s murder, but now it is Macbeth who demurs and is uncertain that this is a wise thing to do. 

We will proceed no further in this business:

He hath honour’d me of late; and I have bought

Golden opinions from all sorts of people,

His wife taunts and scorns him, saying:

When you durst do it, then you were a man;

And, to be more than what you were, you would Be so much more than the man. 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.

Finally the plan is hatched Lady Macbeth’s plan and she is the one who commits to killing Duncan; however, she cannot do it because he reminds her of her father. This is the moment when Macbeth has to take responsibility for his own actions without blaming anyone else, and he goes and does the deed. Everything that happens to Macbeth from this point on, including his death, is his own fault.

While Lady Macbeth goaded and shamed her husband into the plan, he is the one who voluntarily carried it out. They may have been partners in this crime, but they were not equal partners.

98. Discuss three factors which contribute to the downfall of Lady Macbeth.

Ans: There are more than three factors which contribute to Lady Macbeth’s downfall but I will discuss three which, I believe, are the most pertinent:

1. Lady Macbeth’s avarice, which is an excessive greed for wealth and material gain. The Macbeths were already wealthy since they were titled landowners. Even though her husband had been generously bestowed another title, Thane of Cawdor, to add to his existing one, Thane of Glamis, it was not enough for Lady Macbeth. Their prosperity and stature had been doubled but she still wanted more. She sought the ‘golden round’ and wanted to be queen of Scotland.

Instead of being satisfied with her husband’s new reward, she saw it as an opportunity to bring them closer to becoming king and queen of Scotland, as she states in Act 2, scene 5, after receiving the good news:

Glamis thou art, and Cawdor; and shalt be What thou art promised:

The witches had promised her husband that he ‘shall be king hereafter but Lady Macbeth fears that he does not possess the ruthlessness to achieve that ambition by taking the shortest route, i.e. assassinating the king and probably his sons as well. She, however, is driven by ambition and wants to encourage him to execute Duncan. She wishes that he should rush home so that she can do so:

Hie thee hither,

That I may pour my spirits in thine ear; And chastise with the valour of my tongue All that impedes thee from the golden round, Which fate and metaphysical aid doth seem To have thee crown’d withal.

It is Lady Macbeth’s excessive greed that drives her to commit, with her husband, the most heinous of all crimes, the murder of her king. She carefully plots his assassination by getting Duncan’s guards drunk and creating the perfect situation in which he can be killed. He would be asleep and, therefore, at his most vulnerable. It then becomes easy for Macbeth to kill him, unchallenged, without leaving any witnesses.

This malice is what later eats away at Lady Macbeth’s conscience. She then cannot sleep and is tortured by images of blood on her hands. She slowly loses her sanity and seeks reprieve from her torment by eventually committing suicide.

2. Lady Macbeth’s relentlessly ruthless nature. Added to the fact that she was overwhelmed by greed, Lady Macbeth was also ruthless. She maliciously plotted her king’s murder. She showed no remorse and found her husband’s reticence to continue with their plot a weakness. She criticised him for being a coward and for making empty promises. She uses a shocking illustration to depict her determination when she tells Macbeth in Act 1, scene 7:

…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 pluck’d my nipple from his boneless gums, And dash’d the brains out, had I so sworn as you Have done to this.

She uses this terrifying image to encourage her husband to be relentless. She also blackmails him into furthering their purpose by threatening that she would, henceforth, use his timidity as a measure of his love and commitment to her. When he expresses doubt about their malicious venture, she guarantees that they will not fail.

It is this relentless pursuit of her ambition that eventually awakens the monster in her husband. Once Macbeth has killed Duncan, his thirst for blood becomes an overwhelming factor in their lives. He becomes ever more merciless and coldbloodedly executes whomever he deems a threat. His bloodlust spares no one. He has Banquo killed and wipes out Macduff’s entire family.

Macbeth becomes so obsessed with killing that he starts neglecting his wife and his callous enterprise later becomes too much for her to bear which eventually drives her over the edge. She imagines terrible visions of death, blood and murder as she walks in her sleep. Her anguish is most prominently displayed in Act 5, scene 1:

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.

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 nightgown; look not so pale. I tell you yet again, Banquo’s buried; he cannot come out on’s grave.

It is this deep despair which eventually drives her to her death.

3. The depth of Macbeth’s brutality As already mentioned, Lady Macbeth’s persistence awakens a malicious monster in her husband. Once he descends into the depths of evil, he becomes the epitome of a cruel, heartless tyrant. It is ironic that he believes the witches’ lies about his invulnerability and his charmed existence, yet is still insecure and suspicious. He becomes paranoid and seeks to destroy everyone he deems a threat.

Macbeth’s unrelenting malice and bloodlust become ruling elements of his and, therefore, also his wife’s lives. He admits that he is so steeped in blood that there is no turning back. He says as much in Act 3, scene 4:

…I am in blood

Stepp’d 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 scann’d.

This suggests an even deeper descent into perfidy. Lady Macbeth realizes that her husband has become unstoppable and she is distraught by guilt and regret for having been a part of it all. Ultimately, she has no choice but to take her own life in order to relieve her from torment.

99. Was Lady Macbeth to blame for Macbeth’s downfall? 

Ans: In Shakespeare’s Macbeth, Lady Macbeth is partly to blame for Macbeth’s downfall.

They both react to the predictions that Macbeth will be king in the same way, even though separated: they both instantly jump to the conclusion that killing Duncan is what will be necessary for the prediction to be fulfilled.

When they do meet, they suggest in their conversation that they should assassinate Duncan that night while he is sleeping in their castle. Macbeth is still deciding, but Lady Macbeth is already certain.

Macbeth decides not to kill Duncan, but Lady Macbeth talks him into it by using manipulation and questioning his manhood.

But when Lady Macbeth has an opportunity to kill Duncan herself, she cannot go through with it.

Macbeth can, and does, kill Duncan himself.

Lady Macbeth just does a lot of talking and planning, but Macbeth does the killing. Furthermore, Lady Macbeth has nothing to do with the rest of the killings that occur; those are all Macbeth. She is shocked when he kills the grooms, and is unaware when he orders the killings of Banquo and Macduff’s family.

Ironically, if Lady Macbeth would have had more to do with the later killings, Macbeth might have gotten away with them. It is only when Macbeth varies from his wife’s plans or acts without her knowledge that he makes mistakes and creates suspicion.

100. Why is Lady Macbeth to be blamed for King Duncan’s murder?

Ans: Lady Macbeth is an accessory to murder, but she is not the murderer, and cannot, therefore, be more culpable than Macbeth, who did the deed with his own hand. That she is an accessory goes without argument: it was she who drugged the guards and who laid the daggers out in readiness; it was she, also, who rang the bell to alert Macbeth that the preparations had been made.

But she was no murderer. As evil as Lady Macbeth is, she couldn’t actually bring herself to commit the act (she said she might have done it, had Duncan not looked like her father as he was sleeping). So the Lady is all talk, no action.

Where people would argue that her culpability lies is in her talk. She is brutal in her manipulation of Macbeth, drawing on every possible strategy available to women. The argument for finding Lady Macbeth blameworthy hinges on the fact that her “motivational speech” changes Macbeth’s mind. Completely.

Just prior to this speech, Macbeth has decided that he has no good reason to kill Duncan (he hasn’t), and he has just informed her of his decision to “proceed no further”. She responds to this by saying that if he can lose his ambition so readily, his love for her must also change. Then she insults his masculinity, saying he must be a coward (afraid to be the same in thine own act as in thine desire).

He tries to tell her that he dares all that a man should dare, to which she replies that only if he dared to do it would he be one. At each stage in her argument, she increases the brutality of her verbal attack until (my favorite) she says if she had made a promise to her husband like the one he made to her she would rather rip her baby’s smiling face from her nipple and bash its brains out than break that promise. At which point, he’s right back in the game.

So her words do definitely move him back to murder.

But is she guilty of murder? I would argue no. Macbeth has a mind. He simply doesn’t use it. He follows Lady Macbeth’s direction, certainly, but has he no choice? I would argue that he does, that as powerful and emotional her argument is, that Macbeth has always had free will and has made his decision (albeit a bad one). The fact that Macbeth seems to perpetually follow bad advice does not make him any less responsible for his actions. Of course, others would argue that Lady Macbeth’s manipulation is so complete that he has no choice, that the threat of spending a night, nay, a lifetime on the couch is simply too much for a man to bear.

101. Whom do Macbeth and Lady Macbeth plan to blame for Duncan’s murder?

Ans: In Act 1, scene 7, it is Lady Macbeth who recommends that the blame for Duncan’s murder should be pinned on his two chamberlains who will be in his bedchamber with him in order to protect him as he sleeps. She does this because her husband has expressed doubt that their malicious venture will succeed. He is obviously concerned that they will become the prime suspects and Lady Macbeth’s plan evidently comforts him. She tells Macbeth:

…What cannot you and I perform upon The unguarded Duncan? what not put upon His spongy officers, who shall bear the guilt Of our great quell?

She refers to Duncan’s two guards as ‘spongy’ for they would have soaked up all the wine and all sorts of alcoholic beverages that she would have plied them with. They would be in a stupor and would, therefore, be unable to perform the task of protecting their liege. Furthermore, they would be so inebriated that they would, as a consequence, obviously be fast asleep during the assassination and she and her husband would be able to easily plant evidence on them to implicate them.

Macbeth is impressed with his wife’s plan and comments on her daring, stating that she should bear male children only, for they would supposedly be born with that same quality. He then further suggests, by asking a rhetorical question, that they should smear the sleeping guards with Duncan’s blood and use their daggers to commit their foul act. Suspicion would then immediately fall upon the guards since the circumstantial evidence would point out their guilt.

Lady Macbeth comments that no one would dare think differently, for she and her husband would loudly express their grief and create a huge uproar about the king’s untimely and callous death. Macbeth then expresses his satisfaction with the plan and wholly commits himself to the commission of their pernicious deed.

One must agree that the plan seems sound on the surface, but there are many loose ends. The guards would, firstly, definitely be questioned and deny any wrongdoing. Secondly, they might implicate Lady Macbeth by mentioning how she urged them to drink and provided them with copious quantities of alcohol. Thirdly, they would lack motivation. Furthermore, if they were so drunk, how would they even have had the ability to commit the deed? And, lastly, it would not make sense that they would, after committing such a terrible and treasonable act, go back to sleep.

Macbeth must have realized later, in Act 2, scene 3, after the assassination, that their plan would not completely work and so, to avoid any doubt, he decides to murder guards in their sleep as well. When Macduff questions his motive for doing so, he mentions that he acted out of impulsive passion borne from his love and loyalty to his king. He states that after he had seen the murderers covered in Duncan’s blood:

…who could refrain,

That had a heart to love, and in that heart Courage to make ‘s love known?

Macduff, however, is not entirely convinced, and later refuses to attend Macbeth’s coronation at Scone. He wishes Ross well on his journey there and cryptically states that he hopes his comrade sees that things are done well at Scone since he fears that their old robes might sit easier than their new. The implication is clear: Life under Macbeth’s rule might be more uncomfortable than when Duncan was king.

102. In Macbeth, whom do Macbeth and his wife plan to take the blame for Duncan’s murder?

Ans: Lady Macbeth plans Duncan’s murder so that the suspicion will fall on his servants, the chamberlains sleeping outside his room. Macbeth is so impressed with the plan that he leaves aside his qualms and hesitations and decides to go forth with it boldly.

Lady Macbeth’s plan is that she will get Duncan’s servants so drunk that they pass out and leave Duncan unguarded. Duncan, she says, should be fast asleep after the exertions of his day traveling to the castle. Then, once the guards have passed out as if dead, she and Macbeth can do whatever they want to Duncan.

Lady Macbeth says:

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 drenched natures lie as in a death, What cannot you and I perform upon The unguarded Duncan? What not put upon His spongy officers, who shall bear the guilt Of our great quell?

She proposes that Macbeth kill Duncan with the servants’ daggers, spread Duncan’s blood on their sleeping bodies, and drop the daggers beside them. This way, the servants will take the blame for the murders.

Lady Macbeth does not stop to think that the servants have no plausible reason to kill Duncan. Luckily for her, however, Duncan’s sons run away when they hear of the murder, fearing that they too will be targets. They are blamed for their father’s death.

103. What is Macbeth’s reaction to Duncan’s murder? How does Macbeth feel after Duncan’s death?

Ans: I completely agree with the above posts and would add that Macbeth actually has two reactions to Duncan’s murder: his genuine reaction, which the above posts discussed, and also his phony reaction to the king’s death, staged for the benefit of the public. When MacDuff announces the king has been murdered, Macbeth feigns ignorance to the deed and asks confusedly, “What is’t you say? the life?” (II.iii.74). After he pretends to be shocked by the recent turn of events, Macbeth takes on the role of wounded host, deeply bitter that such a travesty would occur in his household; he claims to have killed the servants, the very ones that he intended to frame with the bloody daggers, in a fit of rage:

“Who can be wise, amazed, temperate and furious, (120) Loyal and neutral, in a moment? No man: The expedition of my violent love

Outrun the pauser reason” (Il.iii. 120-123).

Macbeth constructs an elaborate show of emotion for his guests, hoping that his elaborate ruse will avert their suspicion

104. How does Macbeth change after the murder Duncan?

Ans: After the murder of Duncan, Macbeth struggles terribly with his guilt. He worries that he could not pronounce the holy word, “Amen,” when one of Duncan’s chamberlains said, “God bless us” (2.2.39, 2.2.40). Macbeth fears that this means that he is damned. Further, he hears a voice cry out that he will never be able to sleep peacefully again because he murdered Duncan while he was asleep and powerless. In fact, Macbeth is so guilt ridden that he mistakenly brings the murder weapons with him from the room, and when Lady Macbeth orders him to return them, he cannot. He says, “I’ll go no more. /1 am afraid to think about what I have done” (2.2.65-66). Macbeth feels that there is so much blood on his hands that, if he plunged them into the ocean, the blood would turn the whole sea red. Obviously, this cannot be true, but the exaggeration works in the service of another truth: Macbeth’s guilt is overwhelming him.

However, Macbeth’s guilt fades away quickly. Though he’d felt a great deal of ambivalence regarding the murder of Duncan, he seems to experience no hesitation whatsoever when ordering his next murders: his former best friend, Banquo, and Banquo’s son, Fleance. Then, after Banquo’s murder, instead of guilt, Macbeth feels only anger that Fleance is still alive. No more worrying about the state of his soul; now he worries only about the security of his throne.

He grows more vicious, certainly, and more ruthless. And in his desperation to maintain his power, Macbeth does become paranoid. After the dinner party at which he sees Banquo’s ghost, he tells Lady Macbeth of the lords, “There’s not one of them but in his house / I keep a servant fee’d” (3.4.163-164). In other words, despite their apparent loyalty to him, Macbeth pays a spy in each of the noble’s homes to report back to him.

In Macbeth’s most brutal act yet, he orders the deaths of Macduff’s innocent wife, children, and even servants to punish Macduff for his disloyalty. Macbeth’s growing brutality is actually conveyed by the way the murder scenes are portrayed. Duncan’s murder takes place off stage; we only see Macbeth’s reaction to it. Macbeth becomes more ruthless, and Banquo’s murder takes place on stage, but at least his child gets away. Finally, at his most tyrannical and evil, the audience witnesses the murder of a woman and her children on the stage, preventing us from maintaining any form of sympathy with him; at this point, Macbeth is a monster. 

105. In Macbeth Act III, what are the changes in Macbeth and Lady Macbeth’s relationship and characters after Duncan’s murder?

Ans: Macbeth murders Duncan in an act of cowardice by stabbing the sleeping king. After that, even as he ascends in his desired path to become king, things otherwise go downhill for Macbeth and for his wife. While Lady Macbeth has reservations about his abilities, judging his character to be too mild, it turns out that she is not quite as bold as she imagined herself to be. Ultimately, they both die. They not only feel guilty and worry about being found out, but Lady Macbeth suffers a complete mental collapse and kills herself, while Macbeth survives until the end when he is killed in combat.

When Macbeth first returns to his wife after committing the assassination, Lady Macbeth is concerned about his behavior (Act II, Scene 1). He admits that he thought he heard shouting about murder, and afterward in his haste he carried the bloody daggers in plain sight in his hands. She chastises him: 

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

You don’t bend your noble strength, to think So brainsickly of things. Go get some water, And wash this filthy witness from your hand.

Why did you bring these daggers from the place?

After she takes the daggers and goes out to clean up after him, Macbeth wonders if all the water in the ocean could “wash this blood / Clean from my hand?”

The blood issue goes on to dominate both of their concerns and the change in their relationship. While they all too easily thought of killing in the abstract as a way to gain power, they had not actually considered the physical and emotional aspects of the blood and their actions. When they meet up, after Macbeth has ordered Banquo’s murder, Lady Macbeth chides him again for indulging in the “sorriest fancies” and tells him to get over it because “what’s done is done” (Act III, Scene 2). When Macbeth’s remorse starts to look like suicidal thoughts, however, she insists: 

“You must leave this.” Complaining of having “terrible dreams” every night, he says: 

…better be with the dead,

Whom we, to gain our peace, have sent to peace, Than on the torture of the mind to lie

In restless ecstasy.

As events advance, Lady Macbeth becomes afflicted, but rather than having terrible dreams, she sleepwalks (Act V, Scene 1). Trying continually to rub out the “damned spot” of blood, she talks to her husband in her sleep, still chastising him: “Fie, my /lord, fie! a soldier, and afraid?” Her last lines echo what she had told him before, “What’s / done cannot be undone. To bed, to bed, to bed!”

When the messenger comes to tell Macbeth that his wife has died, he first wishes she had lived to see another victory. Then he realizes that looking ahead is futile and says “tomorrow…” soliloquy, concluding with the nihilistic thought that in the end, life is just a “walking shadow… signifying nothing.

106. How is Macbeth a tragedy of the imagination? Consider his wild imagination throughout the play.

Ans: When Macbeth hears the Witch’s prophecy, “All hail, Macbeth, that shalt be King hereafter!” (1.3.53), the prophecy arouses and fuels his ambition, and excites his imagination.

This isn’t the first time, however, that Macbeth has thought about being King, but he never thought it could really happen. 

MACBETH. …to be King

Stands not within the prospect of belief. (1.3.76-77)

The Witch’s prophecy changes all that. The prophecy goes to work in Macbeth’s imagination, and it frightens him, precisely because he’s thought about being King before, and he’s even thought about how to acquire the throne.

MACBETH. [W]hy 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? Present fears Are less than horrible imaginings … (1.3.145-149)

Macbeth’s thoughts about becoming King are the result of his creative or strategic imagination, which involves Macbeth consciously thinking about and imagining opportunities for the future, and visualizing those opportunities coming true for him.

A hallucination is the perception of a nonexistent object or event that happens to a person, rather than being initiated, or actively imagined, by that person. Visual hallucinations (such as seeing things that don’t exist) and auditory hallucinations (such as hearing voices) are two of the most common types of hallucinations.

Macbeth’s imaginings about killing Duncan and becoming King move into his subconscious, and manifest themselves as the visual hallucination of the dagger in act 2, scene 1.

MACBETH. 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 oppressed brain? (2.1.41-47)

Macbeth himself defines the dagger as a hallucination, “a false creation,” and the result of his troubled mind, his “heat oppressed brain.”

The same is true in act 2, scene 2, directly after Macbeth kills Duncan. Macbeth hears “a noise” as he comes down from Duncan’s bedroom. Macbeth also tells Lady Macbeth that he’s heard voices.

MACBETH. I thought I heard a voice cry “Sleep no more!

Macbeth doth Murder sleep” the innocent sleep… 

…. 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.”. (2.2.46-47, 53-55)

Lady Macbeth recognizes the “brainsickly” hallucinations, and tries to calm Macbeth’s mind.

Equally hallucinatory, and equally a product of Macbeth’s “brainsickly” mind, is the appearance of Banquo’s ghost at Macbeth’s coronation banquet in act 3, scene 4. Lady Macbeth once again reminds Macbeth that he’s hallucinating.

MACBETH. [N]ever shake

They gory locks at me. (3.4.62-63) 

LADY MACBETH…. This is the very painting of your fear, This is the air drawn dagger which, you said, Led you to Duncan. ….

Why do you make such faces? When all’s done, You look but on a stool. (3.4.74-81) Hallucinations can also occur when a person is under the influence of drugs or alcohol.

In some productions of Macbeth, Macbeth is given a potion (often the same thing that the Witches were cooking up in the bubbling cauldron) which causes Macbeth to “see” and “hear” the Apparitions in act 4, scene 1.

These Apparitions (hallucinations) encourage Macbeth’s self-delusions (imaginings, which Macbeth has come to believe are true) about being invincible and unconquerable.

SECOND APPARITION. Be bloody, bold, and resolute; laugh to scorn. The power of man, for none of women born Shall harm Macbeth. (4.1.87-89) THIRD APPARITION. Macbeth shall never vanquished until Great Birnam Wood to high Dunsinane Hill Shall come against him. (4.1.103-105)

Much of what happens in Macbeth is a manifestation of Macbeth’s ambitious mind, his imaginings, his hallucinations, and his self-delusions all of which lead to his tragic end at the hands of the all too real Macduff.

107. Who did Macbeth kill throughout the play Macbeth? 

Ans: The first person Macbeth kills is Macdonwald. This was a righteous kill in battle. For this honor and duty, he was rewarded with Macdonwald’s title, Thane of Cawdor.

Then Macbeth kills King Duncan. Macbeth is greeted by three witches who tell him that he will become king. He believes them, and when Duncan names his son Malcolm successor instead of Macbeth, Macbeth gets angry and kills Duncan despite having no right to the title.

Macbeth is not safe though. He killed Duncan’s servants in order to frame them (though he also framed Malcolm and Donalbain, the king’s sons, for good measure). He claims to have done it in a bloody rage.

Who can be wise, amazed, temperate and furious, (120) Loyal and neutral, in a moment? No man: The expedition of my violent love Outrun the pauser reason. (Act 2, Scene 3) 

Macbeth does not stop there. He has safely framed Malcolm and Donalbain, and they flee. The next threat to Macbeth is Banquo.

Macbeth hires three murderers to kill Banquo and his son Fleance. Unfortunately, Fleance gets away. Macbeth is furious, and Banquo’s ghost visits him at the ball.

Next comes Macduff’s family. Macbeth is angry and suspicious when Macduff leaves the country, and decides to have his entire household killed. Lady Macduff, Macduff’s son, and the entire household of servants are slaughtered. Macduff is not there.

Chances are there are various other minions that Macduff killed along the way before the battle. As the battle draws near, Lady Macbeth kills herself out of guilt. Consider her a casualty of association.

Finally, the battle begins. Macbeth first kills Young Siward. Young Siward calls Macbeth out before he is killed in their fight.

Thou liest, abhorred tyrant; with my sword I’ll prove the lie thou speak’st. (Act 5, Scene 7)

At this point, Macbeth continues fighting until he comes toe to toe with Macduff, who informs him that he was born by caesarian. Macbeth is annoyed that he was deceived, and basically commits suicide in giving himself up to Macduff.

Accursed be that tongue that tells me so, For it hath cowed my better part of man! I’ll not fight with thee. (Act 5, Scene 8)

Macbeth says he will not yield to Malcolm, but his heart’s basically not in it. Macduff beheads him, and the bloody tyrant’s rule is over.

108. How does Macbeth’s character change throughout the course of the play?

Ans: believe that Macbeth’s character change is too extreme. From being a loyal subject and essentially a good man, he becomes a terrible tyrant, and in the end he is behaving like a madman. It was not logically necessary for Macbeth to turn into such a hateful tyrant just because he committed a murder to become king. Shakespeare made him a tyrant to justify the military intervention of the English monarch. As Ross describes Scotland in Act 4, Scene 3:

Alas, poor country,

Almost afraid to know itself! It cannot

Be call’d our mother, but our grave. Where nothing, But who knows nothing, is once seen to smile; Where sighs and groans and shrieks that rend the air, Are made, not mark’d; where violent sorrow seems A modern ecstasy. The dead man’s knell Is there scarce ask’d for who, and good men’s lives Expire before the flowers in their caps, Dying or ere they sicken.

The English king cannot tolerate this state of affairs. He is not interested in Scottish politics and would not raise an army to place Malcolm on the throne unless there was a more urgent reason for the expense and danger. For all the English king knows, Malcolm might indeed have been responsible for his father’s murder. But if Scotland is in chaos, it will have a negative impact on England in many ways, including commerce, and an influx of refugees who might be a drain on resources and even behave like hostile invaders.

So Shakespeare has to make Macbeth a consummate tyrant in order to justify the English invasion and the success of Malcolm and Macduff.

109. How does Shakespeare make the scene from “a great perturbation in the nature” to “but dare not speak” so disturbing in Macbeth, act 5, scene 1?

Ans: The famous Lady Macbeth “sleepwalking scene” in act 5, scene 1 of Shakespeare’s Macbeth is eerily eer reminiscent of the first scene in Hamlet, which Shakespeare wrote just a few years before he wrote Macbeth.

In Hamlet, Bernardo and Marcellus are waiting with Horatio for the ghost of Hamlet’s father to appear, as it has for the past two nights, but Horatio is skeptical.

HORATIO. Tush, tush, ’twill not appear. (1.1.35)

A minute later, the ghost appears.

In Macbeth, the Doctor has been waiting for two nights with the Gentlewoman, but Lady Macbeth has failed to sleepwalk, as the Gentlewoman told the Doctor that she does.

DOCTOR. I have two nights watched with you, but can perceive

no truth in your report. (5.1.1-2)

A minute later, Lady Macbeth appears.

The appearance and behavior of the Ghost of Hamlet’s father is more disturbing to the audience than Bernardo told Horatio it would be, because the Ghost does and says nothing. Horatio tries to interact with it, but the Ghost simply stands there, a brooding, unsettling presence. Then it walks away, sending a chill through Bernardo, Marcellus, Horatio, and the audience.

The appearance and behavior of Lady Macbeth is disturbing to the audience because it far exceeds what the Gentlewoman told the Doctor to expect. Lady Macbeth doesn’t simply fold and refold pieces of paper as she’s done for the past several nights. Tonight, she exposes her soul, sending a chill through the Gentlewoman, the Doctor, and the audience.

As an exercise, read only Lady Macbeth’s lines in the scene. Then read the entire scene.

It’s disturbing enough to listen to Lady Macbeth talking to herself about the blood on her hands and the murkiness of hell, but it’s even more disturbing to have other characters observe and comment on her words and behavior as they occur. The remarks of the Doctor and the Gentlewoman serve to heighten the emotional effect of Lady Macbeth’s already unsettling behavior.

Another reason that the “sleepwalking scene” is so disturbing is that it directly follows the scene in which Macduff is told about the murder of his wife and children. In act 4, scene 2, the audience watched the horrific murders, and then in act 4, scene 3, they watched and empathized with Macduff’s reaction to the murders.

Rather than give the audience a moment of quiet repose, or a comic scene like the “Porter scene” after Macbeth kills Duncan, Shakespeare puts the audience in the same room with Lady Macbeth, one of the two people most responsible for the horror and heartache that they’ve just experienced.

Not only that, but after all the evil that Lady Macbeth has caused, Shakespeare compels the audience to empathize with her!

There’s a “great perturbation” not only in nature, as the Doctor says, but also in the minds and emotions of the audience. The audience shares the Doctor’s feelings in his last speech in the scene. 

DOCTOR. My mind she has mated, and amazed my sight:

I think, but dare not speak. (5.1.72-73). 

110. What are Macbeth’s beth’s feelings in Act 5 Scene 5 of Shakespeare’s Macbeth?

Ans: In act 5, scene 3 of Shakespeare’s Macbeth the scene in which Macbeth appears prior to scene 5 Macbeth is in full warrior mode, determined and unafraid, issuing orders, and calling for his armor.

MACBETH: Bring me no more reports; let them fly all! Till Birnam Wood remove to Dunsinane

I cannot taint with fear…. The spirits that know All mortal consequences have pronounced me thus:(5)

“Fear not, Macbeth; no man that’s born of woman Shall e’er have power upon thee.” (5.3.1-7)

Macbeth is defiant and unconcerned about any reports from the field of battle. A servant reports that ten thousand soldiers are advancing on Macbeth’s castle, but Macbeth is unfazed. There’s nothing for him to fear, he says, since his army can’t be defeated “Till Birnam Wood remove to Dunsinane” and “no man that’s born of woman” can harm him, as the Witches foretold to him.

Despite the assurances that Macbeth received from the Witches, he’s resigned to his fate.

MACBETH: This push

Will cheer me ever or disseat me now. I have lived long enough. (5.3.23-25)

Macbeth knows who he is and what he’s done, and that his people, and history, will not look kindly on him. Nevertheless, Macbeth is determined to fight on.

MACBETH: I’ll fight, ’till from my bones my flesh be hacked.

Give me my armor.

..I will not be afraid of death and bane Till Birnam Forest come to Dunsinane. (5.3.36-37, 68-69)

In scene 5, Macbeth is again issuing orders, hoping to inspire his soldiers.

MACBETH: Hang out our banners on the outward walls…

Our castle’s strength

Will laugh a siege to scorn. (5.5.1-3)

Macbeth hears a cry of women from inside the castle, and he remarks that he’s no longer afraid of shrieks in the night or of any dire circumstances that might befall him. His life is already so full of horror and slaughter that nothing can frighten him.

Macbeth learns from Seyton that Lady Macbeth is dead. Remarkably, Macbeth doesn’t ask for any details about her death. Perhaps he knows, or suspects, how she died, even though there’s no mention of her death again until Malcolm refers to her in the last speech of the play. 

MALCOLM: and his fiend like queen,

Who, as ’tis thought, by self and violent hands

Took off her life… (5.8.79-81)

Stunned and overwhelmingly grief stricken or simply numbed to all of the death around him, even the death of his own wife, Macbeth takes a brief moment to think about the meaning of life.

Macbeth’s “Tomorrow, and tomorrow, and tomorrow” speech isn’t despairing, but rather reflects the resignation he voiced in scene 3, “I have lived long enough” (5.3.25).

It’s generally assumed that Macbeth is talking about his own life, and how meaningless it’s become.

MACBETH: And all our yesterdays have lighted fools 

The way to dusty death. (5.5.24-25)

However, Macbeth doesn’t personalize the speech. He seems to consider his life in a broader frame of reference. He says “all our yesterdays.” Not “all my yesterdays.” He says, “Life’s but a walking shadow,” not “My life’s but a walking shadow,” and “It is a tale/Told by an idiot,” not “Mine is a tale/Told by an idiot.”

Macbeth doesn’t shy away from referring directly to himself in the rest of the play, but at this moment, he chooses to distance himself from himself.

A messenger arrives to tell Macbeth that Birnam Wood is, indeed, coming to Dunsinane. At first, Macbeth is disbelieving and threatens the messenger with death if he’s not telling the truth.

Macbeth’s world is falling apart around him. In the face of the death of Lady Macbeth and the coming to fruition of one of the Witches’ prophecies that were supposed to protect him from defeat and death, it appears that Macbeth might be giving in to despair.

MACBETH: I ‘gin to be aweary of the sun And wish the estate of’ the world were now undone. (5.5.54-55)

At that moment, however, Macbeth’s warrior spirit once again comes to the fore. 

MACBETH: Ring the alarm bell! Blow, wind! Come, wrack!

At least we’ll die with a harness on our back. (5.5.56-57) Macbeth’s last speech in the play reinforces this determination to fight like a warrior to the end.

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!”

(5.8.32-39) 

111. In Act 5, Scene 4 of Shakespeare’s Macbeth, what is Malcolm’s plan?

Ans: In Act 5, scene 4, of Shakespeare’s Macbeth, Malcolm (Duncan’s eldest son, named to be the dead king’s successor) has decided to attack Macbeth at Inverness. Upon defeating the tyrant who murdered his father, Malcolm plans to take back the throne and rid Scotland of its murderous king. In order to accomplish this, Malcolm gives strategic instructions to his men.

As they approach the castle, Malcolm and his army come to a wooded area that Menteith identifies as Birnam Wood. In order to camouflage their numbers and surprise Macbeth (covering the sizable force moving to engage him), Malcolm tells his soldiers to cut branches from the trees and use them to shield themselves. (It is in this way that Birnam Wood appears to move.)

MALCOLM:

Let every soldier hew him down a bough, And bear’t before him: thereby shall we shadow The numbers of our host, and make discovery

Err in our report of us. (V.iv.6-9)

Malcolm’s plan is to show Macbeth’s lookouts a false front so they will be unable to ascertain the true number of soldiers preparing to attack. The lookouts will provide Macbeth with a number smaller than the actual army advancing on Inverness. By the time Macbeth realizes the mistake, it will be too late for him to defend against such vast numbers, especially because (as Malcolm reports) aristocrats and commoners (everyone with a heart) have fled, abandoning Macbeth to his fate, (15-18) 

112. What suspicion of Macduff does Malcolm voice in Act 4, Scene 3 of Macbeth?

Ans: In Act Four scene three of “Macbeth,” MacDuff has arrived in England to try to convince Malcolm to join forces with him against Macbeth. Malcolm has been hiding in England ever since his father was killed, for fear that he would be the next victim. Malcolm has clearly now learned the lesson of the play, that things are not always as they seem. So, he does not trust MacDuff right away. He is not sure that MacDuff is there for pure reasons. He may only want to dethrone Macbeth for selfish reasons, not for a pure love of Scotland. This is why Malcolm tests MacDuff by telling him that he, Malcolm, will be a far worse king than Macbeth. Once MacDuff finally admits that he would not want Malcolm to rule if this were the case, Malcolm confesses he’s only been testing MacDuff’s motives, and Macduff has passed the test. They then join forces.

113. How is the relationship of Malcolm and Macduff presented in Act 4, Scene 3 of Macbeth?

Ans: Malcolm tests Macduff’s loyalty in Act 4, Scene 3, and Macduff passes the test and proves he is a loyal supporter.

When Macbeth kills Duncan, Malcolm flees to England. He knows he will be suspected if he stays, and instead he can use England as a staging area to develop an army of supporters still loyal to him. Macduff follows, suspecting that Macbeth might have killed Duncan.

Malcolm is suspicious of everyone. He feels like he can trust Macduff, but he needs to make sure.

Be not offended;

I speak not as in absolute fear of you.

I think our country sinks beneath the yoke;(45)

It weeps, it bleeds, and each new day a gash

It added to her wounds. (Act 4, Scene 3)

Malcolm gives Macduff all of the reasons why he would not be a good king, including his age and inexperience. He would be lustful and violent, and generally untrustworthy. Macduff does not take the bait. He stays staunch and true, weeping over Scotland’s fate with the bloody tyrant Macbeth. Malcolm relents.

Macduff, this noble passion,

Child of integrity, hath from my soul(130) Wiped the black scruples, reconciled my thoughts To thy good truth and honor. (Act 4, Scene 3)

In the end, Malcolm realizes that he will make an excellent king. He is intelligent and honest, and his love of country speaks for itself. While his brother Donalbain flees and does not bother to help, Malcolm puts all of his efforts into returning his family to the throne and freeing the kingdom from Macbeth’s cruelty and ambition.

This scene marks a turning point in the Macbeth centered script. We see that Macbeth is doomed, because there is someone else ready to take him out. Macduff and Malcolm have both been wronged, but they are not revenge focused. Each of them is more interested in returning the beloved homeland to a noble and honest king.

114. How does Shakespeare present the relationship between Macbeth and Banquo in Act 3 Scene 1 of Macbeth?

Ans: In the beginning of the play, Macbeth and Banquo seem to be good friends. However, by Act 3 they are just keeping up. Each is suspicious of the other.

Banquo is suspicious of Macbeth.

Banquo used to respect Macbeth, but he is a clever man. He was there when the witches told both of them that Macbeth would be king. He worries that Macbeth wanted to be king so badly that he did something terrible and killed Duncan when he didn’t get what he wanted.

Thou hast it now: King, Cawdor, Glamis, all, As the weird women promised, and I fear Thou play’dst most foully for’t: (Act 3, Scene 1, notes etext p. 40)

Banquo goes on to comment that everybody is speaking highly of Macbeth and “their speeches shine” (p. 40), but they are in for a surprise because what they think is not really true,

Banquo begins to wonder if Macbeth is out to get him. After all, he was told by the witches that his sons would be kings. This makes him a threat.

Let your Highness

Command upon me, to the which my duties

Are with a most indissoluble tie

Forever knit.(20) (Act 3, Scene 1, notes etext p. 40)

Banquo goes out of his way to demonstrate that he is still a friend, and a faithful subject.

Macbeth is worried about Banquo.

Banquo has every right to wonder about Macbeth, because while he is acting like a friend he is plotting to kill Banquo.

To be thus is nothing,

But to be safe thus. Our fears in Banquo Stick deep, and in his royalty of nature

Reigns that which would be fear’d. (Act 2, Scene 1, p. 42)

Macbeth is basically saying that it is all fine and good to be king, but you have to be safe. Banquo, since his sons will be king, is a threat. Macbeth no longer cares about their friendship. He arranges to have Banquo and his son murdered. He is actually only asking what Banquo will be doing not to be friendly, but to know where to send the murderers.

115. What are the connotations of the noun ‘king’, and why would this prophecy be appealing to Macbeth?

Ans: In Act 1, Scene 3, the three witches deliver quite a prophecy to Macbeth:

All hail, Macbeth, that shalt be king hereafter! (L.iii.53)

That’s quite a promising future, but Macbeth hesitates to believe in its truth. He replies that his becoming king “stands not within the prospect of belief,” yet almost in spite of his sense of good reason, he begins seeking a way that the words could prove true,

After all, the word king connotes ultimate power and authority. It demands complete respect (a courtesy he is not commonly given by his wife) and invokes feelings of honor and awe. To become king in this particular setting is to arrive at the pinnacle of success.

Macbeth has been noted as a fearless warrior in battle, and he dreams of more. Duncan calls him “valiant” and “noble.” His captain calls him a “cannon” in battle. All around him, people fuel his sense of pride, and Macbeth begins to have greater ambitions than simply being a great warrior.

He wants to rule it all. The connotations delivered via prophecy that he will become king feed his increasingly ambitious goals.

116. Why does Macbeth kill King Duncan?

Ans: Macbeth first thinks about killing King Duncan after the three witches prophesied that he will one day be king himself. After he hears this, he asks himself why he contemplates “that suggestion / Whose horrid image doth unfix my hair / And make my seated heart knock at my ribs, / Against the use of nature?” The “suggestion” he is tempted by is the idea that he should kill Duncan, which, as he says, is a sinful thought to have, and unnatural, or “Against the use of nature.”

He subsequently says in act 1, scene 3, that, “If chance will have me king, why chance may crown me, Without my stir.” In other words, if it is his fate to be king, then he should simply let fate take its course and does not need to “stir,” or help it all along. This implies firstly that he was previously thinking about intervening and helping fate along by killing the king, and secondly that he has now decided that he will not kill the king, but let fate unwind as it will.

Macbeth does not find it easy to simply sit back and let fate take its course, without his help. He is, after all, a proud man of action, used to determining his own fate. In act 1, scene 5, he implores the heavens to “hide (its) fires” and “Let not light see (his) black and deep desires.” Here then we can see that Macbeth still has strong and “dark desires” to kill the king, but we can also see that he tries to fight against those desires.

Macbeth’s subsequent decision to succumb to his “dark desires” and kill the king can be largely credited to his wife. She decides that when King Duncan comes to their home the next day, he will not leave alive. However, in act 1, scene 7, Macbath acknowledges that he has only one reason to kill Duncan, and that is to satisfy his own ambitions.

Indeed, he says that he has no motivation, or “spur / To prick the sides of (his) intent, but only / Vaulting ambition, which o’erleaps itself.” Realizing this, he tells his wife that they “shall proceed no further in this business,” meaning that they will not kill Duncan. Lady Macbeth nonetheless persists and accuses Macbeth of cowardice, asking him if he is going to “live a coward in (his) own esteem,” and telling him to “screw (his) courage to the sticking place.” This proves to be all the persuasion Macbeth needs. He decides to kill Duncan aner all and tells his wife that he is now “settled” upon that course.

In summary then, Macbeth’s decision to kill King Duncan has ambition,” which two main causes. The first is his own “vaulting ambition,” first gives rise to his “dark desires.” The second is his determination always to be the courageous man of action, which his wife exploits. His own ambition is the driving force behind the decision, but he needs his wife to give it a nudge in the right direction. In this way, his ambition is like a boulder teetering on the edge of a cliff, and his wife is the force which tips the boulder over the edge and starts the avalanche.

117. In Macbeth, why does Macbeth hesitate to kill Duncan?

Ans: Macbeth considers all the virtues Duncan has and the favors that the king has bestowed upon him, as well as the fact that he is related to the king and that Duncan is a guest in his castle. He also thinks about the repercussions his ghastly deeds would have if he should follow through, such as the general outcry that will arise from such a malevolent act. He will be committing regicide and will be responsible for the death of a much loved cousin and liege. There will be an outcry for justice and revenge.

Furthermore, a host is also responsible for taking care of the safety of his guests, not bringing them to harm! All these considerations are questions of morality and are disturbing to him. As such, they dwell on his mind and torment him. In his soliloquy in Act I, Scene 5, he provides all the reasons for not committing the act:

But in these cases

We still have judgment here; that we but teach Bloody instructions, which, being taught, return To plague the inventor: this even handed justice Commends the ingredients of our poison’d 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 the other.

Not only does he hesitate, but he goes so far as to tell Lady Macbeth that “we will proceed no further in this business,” meaning he has decided not to go through with their pernicious plot. She, however, persuades him not to be a coward and pushes through and, in the end, Macbeth is persuaded by her emotive language.

118. Find three lines in act 3 where you think Macbeth is losing confidence and control.

Ans: In act 3, scene 4, Macbeth receives word that Banquo has been murdered but Fleance has escaped. Macbeth reveals that he is losing confidence and control by saying,

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.

Macbeth realizes that the witches’ prophecy regarding Banquo’s descendants is still a possibility and that his legacy is in jeopardy. He is no longer “founded as the rock” and currently feels “cribbed” with fear and uncertainty.

During the banquet, Macbeth once again becomes unnerved after witnessing Banquo’s ghost. Macbeth cannot believe his eyes and criticizes the ghost for disturbing him. Macbeth is steadily losing control of the situation and cannot contain his anxiety.

Macbeth tells Banquo’s ghost,

The time has been

That, when the brains were out, the man would die, And there is 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.

No matter how hard Macbeth tries, he cannot make Banquo’s ghost leave the banquet and is forced to endure the terrifying apparition.

After Macbeth is startled by Banquo’s ghost, the Scottish lords leave the banquet, and Macbeth reveals his lack of confidence and numerous concerns by mentioning that he will visit the witches to learn more about his fate. Macbeth then expresses his anxiety and stress by saying,

I am in blood

Stepped in so far that, should I wade no more,

Returning was as tedious as going o’er.

Strange things I have in my head, that will to hand, Which must be acted here they may be scanned.

Macbeth realizes that he cannot return to a peaceful, tranquil life and must continue killing people in order to cement his legacy and protect his title.

119. Do you think the witches control Macbeth’s fate? Or does he control his own future?

Ans: As I understand it, the three witches do not have any control over Macbeth’s fate. What they can do is predict the future and the future is unchangeable. As far as Macbeth controlling his own fate, that is impossible, although that is exactly what he tries to do. It was inevitable that he would murder Duncan. Shakespeare’s message in this play is fatalistic. Whatever is going to happen to Macbeth or to us is already predetermined.

There are some scientists and philosophers and others who believe that everything that happened and will ever happen after the Big Bang was predetermined because every effect has to have a preceding cause, and there is an unbreakable chain of cause and effect leading from the Big Bang throughout eternity. Whether or not this is true, it is implicit in Shakespeare’sMacbeth. Macbeth tries to prevent Banquo’s heirs from becoming kings instead of his own children and their heirs. It cannot be done. Fleance escapes. There is a significant passage in Act 4 when Macbeth is consulting the three witches and is warned against Macduff but assured that “none of the women born / Shall harm Macbeth.” He says: 

Then live, Macduff; what need I fear of thee? But yet I’ll make assurance double sure And take a bond of fate.

Here we see Macbeth at his most ambitious, arrogant, headstrong, belligerent, and unreasonable. Imagine demanding a bond from Fate itself. None of us can even be sure of what is going to happen to us tomorrow. But according to the philosophy implicit in Shakespeare’s play, whatever happens is already predetermined and inevitable.

120. Is Macbeth responsible for his own actions, or do the witches control him? William Shakespeare’s Macbeth.

Ans: In response to this question, the reader must keep in mind that Elizabethans felt that the supernatural world was in direct competition with the natural world, Ghosts, especially, were thought to have a profound effect upon the natural order of events. Taking advantage of these Elizabethan beliefs, Shakespeare employed elements of the supernatural world in order to create dramatic emphasis rather than direct effect upon the actions of characters,

That Macbeth wishes to make use of the supernatural as cause for his actions is apparent in the first act:

If chance will have me King, why, chance may crown me, Without my stir. (1.3.155-156)

But, he does not deceive himself long about the influence of the supernatural being all that effects events. For. in his ambivalence regarding murdering Duncan, he admits to is tragic flaw:

…I have no spur

To prick the sides of my intent, but only Vaulting ambition, which o’erleaps itself

And falls on the other (1.7.25-28)

In subsequent acts, also, Macbeth does not deceive himself. In Act II, for instance, he tells Lady Macbeth,

I’ll go no more

I am afraid to think about what I have done. (2.2.50-51)

And, in this same scene, Macbeth regrets his actions without any blame attributed to fate:

Had I but died an hour before this chance,

I had lived a blessed time; for from this instant

There’s nothing serious about mortality. (2.3.99-101)

As his paranoia increases, Macbeth does consult the witches, but his actions in response to their predictions are more in defiance of the supernatural rather than in accord with it, thus providing the dramatic effect mentioned earlier. In Act V, Macbeth acknowledges the evil he has committed:

…My way of life

Is fall’n into the sear, the yellow leaf,

And that which should accompany old age,

As honor, love, obedience, troops of friends,

I must not look to have, but, in their stead, Curses not loud but deep, mouth honor, breath,

Which the poor heart would deny, and dare not. (5.3.25-31)

Thus, in his “vaulting ambition which o’er leaps itself,” Macbeth chooses to allow the predictions of the three witches to motivate his own actions to be king.

Notes of B.A First Semester English Unit 4 | B.A 1st Sem English Solutions In this post we will explain to you B.A 1st Sem English Chapter 4 Question Answer | BA 1st Sem English Question Answer Unit 4 If you are a Student of English Medium then it will be very helpfull for you.

Note- If you find any mistakes in this UNIT, please let us know or correct them yourself. Thank you.