MACBETH | Episode 33 - Malice Domestic

TEXT:

SCENE II. The palace.

Enter LADY MACBETH and a Servant

LADY MACBETH

Is Banquo gone from court?

Servant
Ay, madam, but returns again to-night.

LADY MACBETH
Say to the king, I would attend his leisure
For a few words.

Servant
Madam, I will.

Exit

LADY MACBETH
Nought's had, all's spent,
Where our desire is got without content:
'Tis safer to be that which we destroy
Than by destruction dwell in doubtful joy.

Enter MACBETH

How now, my lord! why do you keep alone,
Of sorriest fancies your companions making,
Using those thoughts which should indeed have died
With them they think on? Things without all remedy
Should be without regard: what's done is done.

MACBETH
We have scorched the snake, not killed it:
She'll close and be herself, whilst our poor malice
Remains in danger of her former tooth.
But let the frame of things disjoint, both the worlds suffer,
Ere we will eat our meal in fear and sleep
In the affliction of these terrible dreams
That shake us nightly: 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. Duncan is in his grave;
After life's fitful fever he sleeps well;
Treason has done his worst: nor steel, nor poison,
Malice domestic, foreign levy, nothing,
Can touch him further.

LADY MACBETH
Come on;
Gentle my lord, sleek o'er your rugged looks;
Be bright and jovial among your guests to-night.

NOTES:

Lewis Theobald
Lewis Theobald (pronounced ‘Tibbald’) was among the earliest editors to revise and rehabilitate Shakespeare’s texts. Many of the emendations he made have haunted the texts ever since. Theobald had something of a rivalry with Alexander Pope, another poet and editor, and the two published competing opinions and scholarship.

MACBETH | Episode 32 - Masking The Business

TEXT:

Second Murderer
I am one, my liege,
Whom the vile blows and buffets of the world
Have so incensed that I am reckless what
I do to spite the world.

First Murderer
And I another
So weary with disasters, tugged with fortune,
That I would set my lie on any chance,
To mend it, or be rid on't.

MACBETH
Both of you
Know Banquo was your enemy.

Both Murderers
True, my lord.

MACBETH
So is he mine; and in such bloody distance,
That every minute of his being thrusts
Against my near'st of life: 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 thence it is,
That I to your assistance do make love,
Masking the business from the common eye
For sundry weighty reasons.

Second Murderer
We shall, my lord,
Perform what you command us.

First Murderer
Though our lives…

MACBETH
Your spirits shine through you. Within this hour at most
I will advise you where to plant yourselves;
Acquaint you with the perfect spy o' the time,
The moment on't; for't must be done tonight,
And something from the palace; always thought
That I require a clearness: and with him -
To leave no rubs nor botches in the work -
Fleance his son, that keeps him company,
Whose absence is no less material to me
Than is his father's, must embrace the fate
Of that dark hour. Resolve yourselves apart:
I'll come to you anon.

Both Murderers
We are resolved, my lord.

MACBETH
I'll call upon you straight: abide within.

Exeunt Murderers

It is concluded. Banquo, thy soul's flight,
If it find heaven, must find it out to-night.

Exit

NOTES
Buffets
To buffet means to beat or pound, and has little to do with the differently-accented buffet that we take to mean a display of dishes or an all-you-can-eat self-service setup. (The latter buffet comes from the French bufet, meaning ‘sideboard’.)

Hendiadys
Hendiadys (Greek for 'one through two') is a figure of speech whereby two ideas are combined to form a single image. A very simple example is a describing a cup of tea as "nice and hot". It features a great deal in the Bible, and as mentioned elsewhere indeed there are over sixty examples of it in Hamlet alone.

Euphemism
Shakespeare uses various forms of euphemism in the play - there aren’t many jokes in Macbeth but one big laugh relies on it. Very often murder is described as “the great business”, and here Macbeth calls the planned murders of Banquo and Fleance their “fate”.

MACBETH | Episode 31 - All By The Name of Dogs

TEXT:

MACBETH (continued)
Was it not yesterday we spoke together?

First Murderer
It was, so please your highness.

MACBETH
Well then, now
Have you considered of my speeches? Know
That it was he in the times past which held you
So under fortune, which you thought had been
Our innocent self: this I made good to you
In our last conference, passed in probation with you,
How you were borne in hand, how crossed,
The instruments, who wrought with them,
And all things else that might to half a soul
And to a notion crazed say 'Thus did Banquo.'

First Murderer
You made it known to us.

MACBETH
I did so, and went further, which is now
Our point of second meeting. Do you find
Your patience so predominant in your nature
That you can let this go? Are you so gospelled
To pray for this good man and for his issue,
Whose heavy hand hath bowed you to the grave
And beggared yours for ever?

First Murderer
We are men, my liege.

MACBETH
Ay, in the catalogue ye go for men;
As hounds and greyhounds, mongrels, spaniels, curs,
Shoughs, water-rugs and demi-wolves, are clept
All by the name of dogs: the valued file
Distinguishes the swift, the slow, the subtle,
The housekeeper, the hunter, every one
According to the gift which bounteous nature
Hath in him closed; whereby he does receive
Particular addition. from the bill
That writes them all alike: and so of men.
Now, if you have a station in the file,
Not i' the worst rank of manhood, say 't;
And I will put that business in your bosoms,
Whose execution takes your enemy off,
Grapples you to the heart and love of us,
Who wear our health but sickly in his life,
Which in his death were perfect.

NOTES:

Laurence Olivier
Considered one of the greatest Shakespearean interpreters of the 20th century, Laurence Olivier (1907-1989) played Macbeth in a landmark production at the Royal Shakespeare Company in 1955. It was long rumoured that Olivier planned to make a film of the play - following his enormous successes with Henry V, Hamlet and Richard III - but the film never got made. In 2013, an article in the Guardian described the discovery of an extensive screenplay for Olivier’s adaptation, which included some rather drastic and exciting revisions to the play. Read here for more details!

John Caius
John Kays (1510-1573), also known as John or Johannes Caius, was an English physician. He was very well-travelled, and received his medical degree in Padua, having already graduated from Gonville Hall in Cambridge. After time spent in Italy, France and Germany, he returned to England, where he was admitted to the College of Physicians. Evidently a very dynamic and popular man, he served as its president for several years. He was physician to several monarchs - Edward VI, Mary Tudor and Elizabeth I, although the latter dismissed him because he was a steadfast Catholic. With the money he made from his royal appointment, he invested in his Cambridge alma mater, and thanks to his generous expansion, it was renamed Gonville and Caius College. (I must apologise sincerely - I think I said that the college was in Oxford within the podcast. I know that it is in Cambridge!) Caius was something of an early zoologist, with a great interest in the natural world. The book mentioned in the podcast, De Canibus Britannicis, was just one of many volumes Caius published about animals and nature. Some have argued that he was also the inspiration for the character of Dr. Caius in Shakespeare’s Merry Wives of Windsor. Perhaps we’ll discuss that if and when this becomes The Falstaff Podcast…!

Edward Topsell
Edward Topsell (1572-1625) was a cleric and author. He was curate of the church of St. Botolph’s in Aldersgate in London, very close to Silver Street, where we know that Shakespeare lived as a lodger in the 1600s. Topsell is most famous for his two books, The History of Four-Footed Beasts and The History of Serpents. Unlike Caius, Topsell was not a scientiest or an expert - only a valiant enthusiast. As such, his books have perhaps a less-than-scientific acumen, but they are filled with juicy nuggets of random information and even some mythical beasts. Topsell would have us know, for example, that apes are terrified of snails, and that weasels give birth through their ears. He also gives details of unicorns, sphinxes, manticores and even gorgons. He draws the line, perhaps disappointingly, at the existence of the hydra.

St. Botolphs, Aldersgate
I had never heard of St. Botolph until this episode, but he was an English saint who lived during the 7th century. Rather gloriously, he is the patron saint of boundaries, and so by extension of trade and travel. There are various churches and parishes dedicated to him besides the pretty church in Aldersgatel; my favourite is in Buttsbury, Essex. Apparently Buttsbury derives from Botolfvespirie, meaning Botolph’s Pear Tree. How lovely is that?!

Shakespeare on Silver Street
Before you go anywhere else, I must direct you immediately to Charles Nicholl’s terrific book The Lodger - Shakespeare on Silver Street which unpacks what little information we have of Shakespeare’s life during the time that he lived at this address in London. It is a great read, and gives a super insight into daily life in the city at that time.

King James and Dogs
The only breed of dog mentioned in the King James Bible is the greyhound, at Proverbs 30:29-31. It is fairly unlikely that greyhounds existed in ancient Palestine, so why might this have been the chosen canine for the translation? We do know that James adored hunting, and wreaked havoc when and wherever he chose to visit with the Royal Hunt. He imported dogs from France, and commandeered them from all over England, too. The whole affair was a bit of a nightmare for the farmers and landowners who would have to house and feed (and then clean up after) the royal party when it elected to appear.

Mongrels
A mongrel is a dog of mixed-breed, also known in contemporary English by the slang term mutt. Unlike fashionable mixed-breeds (like cockapoos or labradoodles, etc), a mongrel is an unintential mix of dog breeds.

Spaniels
Spaniels are a kind of hunting dog - in the 16th century there were land spaniels and water spaniels, although the latter is now extinct. The Stuart royal family were huge fans of hunting and hunting dogs - King James’ son Charles even gives his name to the Cavalier King Charles Spaniel!

Curs
Nowadays we use the word cur to refer to an aggressive dog, often a mongrel. It’s a very pejorative term for any “bad dog”. But in fact it used to be a specific breed of drover’s dog. Sadly, they were extinct by the mid-19th century. As a breed they were said to be smart, clever, active and a bit restless. They had the reputation of being able to separate the cattle of their master’s herd from any others!

Shoughs
Having checked this passage in about 10 filmed performances, all of which pronounced it to rhyme with “rough”, I’ve found in written sources that it was also known as a Shock-dog. So perhaps it should be shock rather than shuff? Regardless, here’s a rather acerbic description of the now-extinct breed from The Dog, a full catalogue of canines by William Youatt in 1852. He writes that the shough is “…traced by Buffon, but somewhat erroneously, to a mixture of the small Danish dog and the pug. The head is round, the eyes large, but somewhat concealed by its long and curly hair, the tail curved and bent forward. The muzzle resembles that of the pug. It is of small size, and is used in this country and on the Continent as a lap-dog. It is very properly described by the author of The Field Book as a useless little animal, seeming to possess no other quality than that of a faithful attachment to his mistress.”

Water-Rugs
We aren’t quite sure what Shakespeare means here, but perhaps it’s a nod to water dogs, or water spaniels, the kinds of breed that were good at hunting and loved to swim. They were excellent at catching game from the water. Perhaps “rug” refers to their rough, characteristically long hair. There are still several long-haired water dogs that are popular around the world.

Demi-Wolves
A demi-wolf is a dog that is half-wolf. (It’s not a werewolf, which would be half-wolf and half-human!)

MACBETH | Episode 30 - A Fruitless Crown

TEXT:

MACBETH (continued)
Sirrah, a word with you: attend those men
Our pleasure?

ATTENDANT
They are, my lord, without the palace gate.

MACBETH
Bring them before us.

Exit Attendant

To be thus is nothing;
But to be safely thus. Our fears in Banquo
Stick deep; and in his royalty of nature
Reigns that which would be feared: 'tis much he dares;
And, to that dauntless temper of his mind,
He hath a wisdom that doth guide his valour
To act in safety. There is none but he
Whose being I do fear: and, under him,
My Genius is rebuked; as, it is said,
Mark Antony's was by Caesar. He chid the sisters
When first they put the name of king upon me,
And bade them speak to him: then prophet-like
They hailed him father to a line of kings:
Upon my head they placed a fruitless crown,
And put a barren sceptre in my gripe,
Thence to be wrenched with an unlineal hand,
No son of mine succeeding. If 't be so,
For Banquo's issue have I filed my mind;
For them the gracious Duncan have I murdered;
Put rancours in the vessel of my peace
Only for them; and mine eternal jewel
Given to the common enemy of man,
To make them kings, the seed of Banquo kings!
Rather than so, come fate into the list.
And champion me to the utterance! Who's there!

Re-enter Attendant, with two Murderers

Now go to the door, and stay there till we call.

Exit Attendant

NOTES:

Sirrah
Sirrah is an address for a man or a boy, usually said by a social superior. So, Macbeth speaking to his attendant here. Or Orsino speaking to Viola in Twelfth Night. It isn’t always contemptuous, but it invariably reminds us of a difference in status between two characters.

Without
The word comes to us from the Old English wiðutan "outside of, from outside," literally "against the outside”. It is the opposite of “within”.

Antony and Cleopatra
This extraordinary play was written during the same year that Shakespeare wrote Macbeth AND King Lear. All three plays navigate very turbulent political currents - for a rollicking read about the context in which Shakespeare wrote them, I cannot recommend highly enough James Shapiro’s book 1606 - The Year of Lear. Utterly remarkable reading.

Caesar
In this. context, Caesar refers to Octavian, who would eventually become the emperor Caesar Augustus.

Genius
In this context genius is something like an “animating spirit” - not quite as defined as, say, in His Dark Materials wherein it is expressed as an actual animal. But one’s daemon, or genius, or better angel… that kind of thing. The sense of one’s soul and one’s genius being almost physical entities - and therefore in need of care and protection - looms very large over the play.

Gripe
There’s a terrific etymological lineage for this word, meaning something like grasp, or clutch. In Old English it was grīpan, which became grijpen (Dutch), greifen (German) and then in English we wind up with grip and grope. And somewhere in the past we also had gripe.

Succession
In Scotland’s distant past, kings were named by acclamation rather than by automatic succession. It was very common for a king’s son to take the throne on the death of his father, but it wasn’t absolutely guaranteed. Thus Malcolm is not automatically crowned king; after the murder and the flight of the princes, Macbeth is chosen instead.

Chalice
A chalice is a goblet, a kind of footed cup. Invariably ceremonial, they are most often associated with the sacrament of communion in the Christian church, in which the wine is converted into Christ’s blood. We also associate it with the idea of a “poisoned chalice” - which is a gift or reward that may seem good but turns out to have a negative effect. The phrase is first used here in Macbeth!

Satan
Here Macbeth refers to “the common enemy of man”: he means Satan, who is the enemy of all mankind and therefore their “common enemy”. Macbeth believes he has sold his soul to Satan by killing Duncan.

Lulach
Poor Lulach, Macbeth’s stepson, has a series of rather miserable epithets. In Gaelic he’s nicknamed Tairbith, “the unfortunate”, and elsewhere as Lulach the Fatuus (or foolish). He reigned Scotland between August 1057 and March 1058. Not a reign for the ages, but Lulach mac Gille Coemgáin deserves to be remembered despite his absence from Holinshed and, indeed, from Shakespeare.

Trial by Combat
At the beginning of Richard II, Thomas Mowbray and Henry Bolingbroke (who will be Henry IV by the end of the play) are at each other’s throats and so King Richard decrees that they should settle their grievances via a trial by combat. Macbeth here is seeming to call on Fate for a comparable match.

Randle Cotgrave
We don’t know a great deal about Randle - or Randal - Cotgrave. Most likely from Cheshire, he was educated at Cambridge and was a secretary to William Cecil, Lord Burghley. His great work - dedicated to Lord Burghley - was his Dictionarie of the French and English Tongues in 1611. Conveniently this includes a definition of outrance, as described in the episode.

Murderers
What does a murderer’s costume look like? You tell me…

MACBETH | Episode 29 - Thou Hast It Now

TEXT:

ACT III - SCENE I. Forres. The palace.

Enter BANQUO

BANQUO
Thou hast it now: king, Cawdor, Glamis, all,
As the weird women promised, and, I fear,
Thou play'dst most foully for't: yet it was said
It should not stand in thy posterity,
But that myself should be the root and father
Of many kings. If there come truth from them--
As upon thee, Macbeth, their speeches shine--
Why, by the verities on thee made good,
May they not be my oracles as well,
And set me up in hope? But hush! no more.

Sennet sounded. Enter MACBETH, as king, LADY MACBETH, as queen,
LENNOX, ROSS, Lords, Ladies, and Attendants

MACBETH
Here's our chief guest.

LADY MACBETH
If he had been forgotten,
It had been as a gap in our great feast,
And all-thing unbecoming.

MACBETH
To-night we hold a solemn supper sir,
And I'll request your presence.

BANQUO
Let your highness
Command upon me; to the which my duties
Are with a most indissoluble tie
For ever knit.

MACBETH
Ride you this afternoon?

BANQUO
Ay, my good lord.

MACBETH
We should have else desired your good advice,
Which still hath been both grave and prosperous,
In this day's council; but we'll take to-morrow.
Is't far you ride?

BANQUO
As far, my lord, as will fill up the time
'Twixt this and supper. Go not my horse the better,
I must become a borrower of the night
For a dark hour or twain.

MACBETH
Fail not our feast.

BANQUO
My lord, I will not.

MACBETH
We hear, our bloody cousins are bestowed
In England and in Ireland, not confessing
Their cruel parricide, filling their hearers
With strange invention: but of that to-morrow,
When therewithal we shall have cause of state
Craving us jointly. Hie you to horse: adieu,
Till you return at night. Goes Fleance with you?

BANQUO
Ay, my good lord: our time does call upon 's.

MACBETH
I wish your horses swift and sure of foot;
And so I do commend you to their backs. Farewell.

Exit BANQUO

Let every man be master of his time
Till seven at night: to make society
The sweeter welcome, we will keep ourself
Till supper-time alone: while then, God be with you!

Exeunt all but MACBETH, and an attendant

NOTES:

Banquo
Banquo - Thane of Lochabar - was not a historical figure. He appears in Holinshed as if he were one, but this is a fiction cooked up by another ‘historian’ Hector Boece. Boece wrote A History of Scotland in 1526, and fabricated Banquo’s importance as a means of legitimising the claim of his patron, King James the Fifth (grandfather of James the Sixth, the First of England.) Shakespeare likewise seems eager to flatter his patron, King James VI of Scotland and James I of England.

Sennets
The sennet seems to have come from Italian trumpet signal called a sarasinetta. We often hear of sennets and tuckets together, although they were different calls. It seems likely that trumpet calls and announcements were so familiar in Shakespeare’s England that he could manipulate them for dramatic effect. So here, for example - Macbeth’s entrance is heralded by the most extravagantly formal trumpet, for only the most powerful kings. Has Macbeth earned this accolade just yet?

The Arden Dictionary of Music in Shakespeare has a long description of the exciting tale of stage - and musical - directions in the quartos and folios of Shakespeare plays. It attempts to chart the history of when sennets start appearing in the texts - primarily in the Folio - and whether this was a reflection of fashions in the 1620s or Shakespeare’s own stage directions.

Parricide
Not to be confused with homicide (killing a person), regicide (killing a monarch) or patricide (killing a father) - here parricide is the killing of a parent. It can also be used for the murder of any close relative. In some instances, it can also be the noun for the perpetrator of the crime.

Scottish Accents
This is something that hasn’t much crossed my mind but perhaps bears thinking about. I’ve seen at least thirty productions of Macbeth (in several languages!) but I don’t think I’ve ever seen a version performed in Scottish accents. Given that Shakespeare’s Italian plays are not performed with Italian accents - although somehow a tradition of Shylock speaking with a kind of Fiddler-on-the-Roof Eastern-European accent seems hard to avoid - it makes sense that Macbeth isn’t performed in faux-Scottish brogues. And that’s surely a good thing.

MACBETH | Episode 28 - Suspicion of the Deed

TEXT:

Enter MACDUFF

ROSS (continued)
How goes the world, sir, now?

MACDUFF
Why, see you not?

ROSS
Is't known who did this more than bloody deed?

MACDUFF
Those that Macbeth hath slain.

ROSS
Alas, the day!
What good could they pretend?

MACDUFF
They were suborned:
Malcolm and Donalbain, the king's two sons,
Are stolen away and fled; which puts upon them
Suspicion of the deed.

ROSS
'Gainst nature still!
Thriftless ambition, that wilt ravin up
Thine own life's means! Then 'tis most like
The sovereignty will fall upon Macbeth.

MACDUFF
He is already named, and gone to Scone
To be invested.

ROSS
Where is Duncan's body?

MACDUFF
Carried to Colmekill,
The sacred storehouse of his predecessors,
And guardian of their bones.

ROSS
Will you to Scone?

MACDUFF
No, cousin, I'll to Fife.

ROSS
Well, I will thither.

MACDUFF
Well, may you see things well done there: adieu!
Lest our old robes sit easier than our new!

ROSS
Farewell, father.

Old Man
God's benison go with you; and with those
That would make good of bad, and friends of foes!

Exeunt

NOTES:

Hyperbole
A hyperbole is a huge exaggeration for dramatic or literary effect. From Greek roots that combine to mean something like “throwing beyond”, the implication is like a javelin thrown far beyond its target.

Succession
In Scotland’s distant past, kings were named by acclamation rather than by automatic succession. It was very common for a king’s son to take the throne on the death of his father, but it wasn’t absolutely guaranteed. Thus Malcolm is not automatically crowned king; after the murder and the flight of the princes, Macbeth is chosen instead.

Raven
Earlier in the play Lady Macbeth felt as though the ravens circling her castle were announcing Duncan’s arrival - a very grim omen indeed. Here the word is converted to a noun - a horribly aggressive image.

Scone
Scone was the ancient capital of Scotland. It was traditionally the site where Scottish kings were crowned, which is why our characters discuss going there to see it happen for Macbeth. The Stone of Scone is an integral part of the coronation ceremony, and indeed it is now almost equally central to the coronation of an English monarch. The British government, after many centuries, sent the stone back to Scotland - when not in use - and it now lives in Edinburgh castle. You may have spotted that the Stone of Scone is the logo image for this whole series of the podcast.

Colmkill
Colmkill, also known as Columba or Colmcille, is one of the three major patron saints of Ireland. He is also very much associated with Scotland, and with his monastery on the island of Iona. Colmkill and Iona are virtually synonymous - but for clarity’s sake, Iona is the island and Columba is its founding father.

Iona
Iona is a small island in the inner Hebrides in western Scotland. It is the site of Iona Abbey, founded by St. Columba (aka Colmcille), a major Christian saint responsible for spreading the faith in early Scotland. Iona is also the traditional resting place of Scottish kings. Both Duncan and Macbeth were buried there.

Fife
Fife has for many centuries been an important administrative county, fiefdom and earldom in eastern Scotland. Its importance is reflected in the historical fact that the Earl (or Thane) of Fife was usually accorded the honour of crowning Scotland’s kings. It’s therefore quite significant to the drama of our play that Macduff - the Thane of Fife - refuses to go to Macbeth’s coronation!

Benison
This is a very old word for a blessing. It’s comparable to benediction. It comes from the Latin benedicere - to speak well of - but has the religious context of being blessed.

MACBETH | Episode 27 - Turned Wild In Nature

TEXT:

ACT II - SCENE IV. Outside Macbeth's castle.

Enter ROSS and an old Man

OLD MAN
Threescore and ten I can remember well:
Within the volume of which time I have seen
Hours dreadful and things strange; but this sore night
Hath trifled former knowings.

ROSS
Ah, good father,
Thou seest, the heavens, as troubled with man's act,
Threaten his bloody stage: by the clock, 'tis day,
And yet dark night strangles the travelling lamp:
Is't night's predominance, or the day's shame,
That darkness does the face of earth entomb,
When living light should kiss it?

OLD MAN
'Tis unnatural,
Even like the deed that's done. On Tuesday last,
A falcon, towering in her pride of place,
Was by a mousing owl hawked at and killed.

ROSS
And Duncan's horses - a thing most strange and certain -
Beauteous and swift, the minions of their race,
Turned wild in nature, broke their stalls, flung out,
Contending 'gainst obedience, as they would make
War with mankind.

OLD MAN
'Tis said they eat each other.

ROSS
They did so, to the amazement of mine eyes
That looked upon’t. Here comes the good Macduff.

NOTES:

Book of Psalms
The Book of Psalms is among the more mysterious books of the Bible, featuring as it does a compendium of prayers and hymns with less of a concrete narrative. It contains some of the good book’s most beautiful poetry, and so it is a lovely gentle touch that Shakespeare has the old man describe his lifespan with an echo of Psalms 90:10.

The Globe Theatre
Even the name of the theatre that Shakespeare and his colleagues built for themselves was The Globe - the whole world. No surprise then that different parts of it had nicknames linked to heaven, and hell, and that the language in this scene talks of the bloody stage that man acts upon. (Remember As You Like It, wherein Shakespeare insists that “all the world’s a stage”…!
For a lovely description of how the theatre space worked at the original Globe, via the workings of the new Globe Theatre in London, you can read an excellent article by Prof. Farah Karim-Cooper here.

Horses in Shakespeare
Horses were an essential part of everyday life in Shakespeare’s world, and there are equestrian references and metaphors in just about every play. It’s all the more shocking that, as a portent in Macbeth, he describes horses attacking and eating each other - this is an almost unimaginable image. For a very thorough breakdown of Shakespeare and Horses (and Queen Elizabeth I for good measure), there’s a splendid article from Horse and Rider Living here.

Pathetic Fallacy
Pathetic fallacy is a literary device, wherein human responses and feelings are attributed to animals, inanimate objects or (particularly) the weather. This portion of Macbeth is a very good example - we heard in the previous scene that the weather was appalling during the night, and now we’re hearing that animals from owls (already very ominous creatures) to horses (reliable, domestic and decent animals) have been behaving very strangely. The natural world and the weather appears to be responding to the chaos of Duncan’s murder.

Théâtre du Soleil
If I hadn’t gone off to Japan to study Ninagawa, I very possibly might have gone to France to write about the work of Ariane Mnouchkine and Théâtre du Soleil. (I still might!) For the company’s 50th anniversary in 2014, she translated and directed a production of Macbeth with a cast of 42 performers - the largest the company ever staged. It was monumental and quite extraordinary. Every scene had a meticulous, fascinating setting, effortlessly choreographed into existence by this extraordinary company. Lady Macbeth read her husband’s letter in a conservatory full of plants. The banquet scene was unimaginably grand. And the scene mentioned in this episode - the murder - took place in the stables, made all the more fractious by the nervous whinnying of the horses. It was unforgettable.

The horse and the acting company of Macbeth by Théâtre du Soleil.

MACBETH | Episode 26 - To Ireland, I

TEXT:

BANQUO (continued)

And when we have our naked frailties hid,
That suffer in exposure, let us meet,
And question this most bloody piece of work,
To know it further. Fears and scruples shake us:
In the great hand of God I stand; and thence
Against the undivulged pretence I fight
Of treasonous malice.

MACDUFF
And so do I.

ALL
So all.

MACBETH
Let's briefly put on manly readiness,
And meet i' the hall together.

ALL
Well contented.

Exeunt all but Malcolm and Donalbain.

MALCOLM

What will you do? Let's not consort with them:
To show an unfelt sorrow is an office
Which the false man does easy. I'll to England.

DONALBAIN
To Ireland, I; our separated fortune
Shall keep us both the safer: where we are,
There's daggers in men's smiles: the near in blood,
The nearer bloody.

MALCOLM
This murderous shaft that's shot
Hath not yet lighted, and our safest way
Is to avoid the aim. Therefore, to horse;
And let us not be dainty of leave-taking,
But shift away: there's warrant in that theft
Which steals itself, when there's no mercy left.

Exeunt

NOTES:

Bloody
The word bloody has a rather confusing history. In many of Shakespeare’s plays we encounter the word “sblood” - a minced oath. One could not actually say “God’s blood” or “Christ’s blood” because this was a sin and a profanity, and so the shortened version was acceptable for dramatic purposes. By the 1670s or so, bloody - barely connected to the minced oath - had come into fairly common use as an intensifier. “Bloody good job” and so on. It lasted for the guts of a century, but by the 1750s it became terribly taboo, and was ranked among the foulest possible language in English. It stayed that way for nearly two centuries - so, for instance, when Eliza Doolittle uses it in Shaw’s original play Pygmalion, it was considered truly scandalous (and extremely funny). The tamed down version in the stage musical My Fair Lady isn’t nearly as shocking. By the 1920s, that period of Anything Goes, anything went. And bloody came back to a more moderate place - intense, but no longer outrageous. Macbeth’s reputation as a dark and appalling play could only have been compounded by the number of times the word bloody appears in it, even though, in this instance, it’s invariably a adjective describing actual blood! But I think we can all agree - it’s a bloody good play regardless.

Ireland
If Macbeth had been an Elizabethan rather than a Jacobean play, Donalbain’s departure for Ireland would have been a far more significant moment, laden with a very different contemporary resonance. Throughout Elizabeth’s reign, Ireland had been a thorn in her side, and various rebellions and disasters plagued her political and personal life. However, by the time of Macbeth in 1606, Ireland was less of a political hot topic, and so it’s only a footnote - and an accurate piece of history - that Donalbain went into hiding in Ireland after Duncan’s death.

Donalbain
I’ve always had a soft spot for Donalbain, or Donald III, or Domhnall Bán (literally Daniel the Fair, or Daniel the White) in Gaelic. He really did go to Ireland, for about seventeen years - but what we get NO sense of in the play is that he actually became King of Scots himself! The lineage of the period is rather difficult to follow, thanks to an improbable number of men all called Duncan or Malcolm, but during the 1090s Donalbain became king not once but twice.

MACBETH | Episode 25 - Look To The Lady

TEXT:

MACDUFF
Wherefore did you so?

MACBETH
Who can be wise, amazed, temperate and furious,
Loyal and neutral, in a moment? No man.
The expedition my violent love
Outrun the pauser, reason. Here lay Duncan,
His silver skin laced with his golden blood;
And his gashed stabs looked like a breach in nature
For ruin's wasteful entrance: there, the murderers,
Steeped in the colours of their trade, their daggers
Unmannerly breeched with gore: who could refrain,
That had a heart to love, and in that heart
Courage to make’s love known?

LADY MACBETH
Help me hence, ho!

MACDUFF
Look to the lady.

MALCOLM [Aside to DONALBAIN]
Why do we hold our tongues, that most may claim
This argument for ours?

DONALBAIN [Aside to MALCOLM]
What should be spoken
Here, where our fate, hid in an auger-hole,
May rush, and seize us? Let’s away;
Our tears are not yet brewed.

MALCOLM [Aside to DONALBAIN]
Nor our strong sorrow
Upon the foot of motion.

BANQUO
Look to the lady!

LADY MACBETH is carried out

NOTES

Antithesis
Antithesis is one of the central keys to unlocking Shakespeare’s language. Simply put, it’s a word or group of words set against its opposite. The contrast between the two juxtaposed ideas - the antithesis - enriches the imagery and depth of thought. The actor must play the antithesis in order to highlight the meaning of the text. Some recognisable examples of antithesis in Shakespeare are:

To be, or not to be. . .
Fair is foul, and foul is fair. . .
What he has lost, noble Macbeth has won. . .

For more information on antithesis, click here to visit The Basics, and scroll down to Episode 04.

Messenger

Most particularly a feature of Greek tragedy, and some Roman remixes of the genre by the likes of Seneca, Messenger speeches were a major element of classical drama. So many grisly or shocking things take place offstage that it became a key element of any performance to have a Messenger come on and report what had happened. Here Macbeth himself is assuming the role, giving the on-stage audience (and the theatrical audience) an account of Duncan’s murder scene. The play with how theatre works within Macbeth is quite fascinating - as it tends to be in so many of Shakespeare’s plays.

Funeral Oration (Julius Caesar)
As mentioned within the episode, Shakespeare was quite an expert in describing stab wounds and assassination victims. The most extraordinary of these is the funeral speech given by Mark Antony in Julius Caesar. It begins with “Friends, Romans, Countrymen…” and contains several justly famous phrases. Antony is shown to be a spectacularly clever orator, and ends his speech by showing the dead Caesar’s mutilated corpse to the crowd and effectively fomenting a civil war in Rome. He describes the wound left by Brutus as “the unkindest cut of all”.

Discoverie of Witchcraft
Reginald Scot wrote The Discoverie of Witchcraft in the early 1580s. This fascinating volume was written in part to try to stop the continued persecution, torture and execution of women who were declared witches. Scot held that such prosecutions were thoroughly un-Christian. Less than a century earlier, Europe had been utterly taken in by Heinrich Kramer’s Malleus Maleficarum - aka The Hammer of Witches - which caused massive prejudice and hysteria against women across the continent. THAT book spread in no small part thanks to the invention of the printing press, making publishing a remarkably more accessible medium.
Scot’s book is also a significant compilation of contemporary beliefs and superstitions about witchcraft, magic and the occult, and remains the basis for many studies today. When James became king of England, the rumour has it that all accessible copies of it were destroyed. James himself would eventually write his own attack on witches in Daemonologie, a three-book screed written in 1597.

Auger
An auger is a kind of drill-bit, used to make small and precise holes. The image works because Donalbain is suggesting that trouble could sneak in and lurk even via a hole that small.

An auger - it’s a very precise kind of drill.

MACBETH | Episode 24 - All Is But Toys

TEXT:

Enter LADY MACBETH

LADY MACBETH

What’s the business,
That such a hideous trumpet calls to parley
The sleepers of the house? Speak, speak!

MACDUFF
O gentle lady,
'Tis not for you to hear what I can speak:
The repetition, in a woman's ear,
Would murder as it fell.

Enter BANQUO

O Banquo, Banquo,
Our royal master’s murdered.

LADY MACBETH
Woe, alas!
What, in our house?

BANQUO
Too cruel any where.
Dear Duff, I prithee, contradict thyself,
And say it is not so.

Re-enter MACBETH and LENNOX, with ROSS

MACBETH
Had I but died an hour before this chance,
I had lived a blessed time; for, from this instant,
There’s nothing serious in mortality:
All is but toys: renown and grace is dead;
The wine of life is drawn, and the mere lees
Is left this vault to brag of.

Enter MALCOLM and DONALBAIN

DONALBAIN
What is amiss?

MACBETH
You are, and do not know't:
The spring, the head, the fountain of your blood
Is stopped; the very source of it is stopped.

MACDUFF
Your royal father’s murdered.

MALCOLM
O, by whom?

LENNOX
Those of his chamber, as it seemed, had done’t:
Their hands and faces were an badged with blood;
So were their daggers, which unwiped we found
Upon their pillows:
They stared, and were distracted; no man’s life
Was to be trusted with them.

MACBETH
O, yet I do repent me of my fury,
That I did kill them.

NOTES:

Euphemism
Shakespeare uses various forms of euphemism in the play - there aren’t many jokes in Macbeth but one big laugh relies on it. Here, we see Lady Macbeth in particular using calculated language to describe her murderous plan. She never describes it plainly, but instead it becomes their “great business”. Their plan is that King Duncan be “provided for” - it’s all euphemism.

Apocalypse
One of the signs of the apocalypse, according to various biblical accounts, will be the sounding of a great - or hideous - trumpet. Lady Macbeth is using it as a hyperbole here, to hide her own knowledge of what is going on.

Parley
A parley is a kind of formal meeting between opposing sides in a conflict - usually military. A formal delegation from each side would meet to talk - hence “parley”, from the French parler, to speak - before battle was engaged. Again, Lady Macbeth is exaggerating, to heighten her surprise at this ungodly noise waking up all her houseguests.

Lees
The lees are the dregs left at the bottom of a bottle - or barrel - of wine. Ironically, after the Porter has conjured up a whole vision of hell here in the vaults of Castle Macbeth, the lord himself reduces the image to a wine-cellar, left empty now that all that is precious (King Duncan) has been put to waste.

Sir Thomas More - Utopia
It was the commentator Braunmuller who spotted the nod to More’s Utopia in this passage. “From the monarch, as from a never-failing spring, flows a stream of all that is good or evil over the whole nation”. Macbeth’s language is of abundance and of nourishment - wine and water both - all associated with Duncan, now dried up and barren with his death. Shakespeare himself knew the works of More enough to have contributed to a play about him. We don’t know an awful lot about who wrote which specific parts of Sir Thomas More, but what’s very interesting is that we have an apparent piece of text in Shakespeare’s own handwriting. “Hand D” in the manuscript is widely believed to be Shakespeare’s own. For more details of this, click here.

Succession
In Scotland’s distant past, kings were named by acclamation rather than by automatic succession. It was very common for a king’s son to take the throne on the death of his father, but it wasn’t absolutely guaranteed. Thus we have it that Malcolm is not automatically crowned king here: in fact this is the most tense moment of the play, because Malcolm seems to intuit that he’ll be suspected of his father’s murder. For the Macbeths, this will be an enormously helpful turn of events.

MACBETH | EPISODE 23 - TWAS A ROUGH NIGHT

TEXT:

LENNOX
Goes the king hence to-day?

MACBETH
He does: he did appoint so.

LENNOX
The night has been unruly: where we lay,
Our chimneys were blown down; and, as they say,
Lamentings heard i' the air; strange screams of death,
And prophesying with accents terrible
Of dire combustion and confused events
New hatched to the woeful time: the obscure bird
Clamoured the livelong night: some say, the earth
Was feverous and did shake.

MACBETH
'Twas a rough night.

LENNOX
My young remembrance cannot parallel
A fellow to it.

Re-enter MACDUFF

MACDUFF
O horror, horror, horror! Tongue nor heart
Cannot conceive nor name thee!

MACBETH & LENNOX
What's the matter.

MACDUFF

Confusion now hath made his masterpiece!
Most sacrilegious murder hath broke ope
The Lord's anointed temple, and stole thence
The life o' the building!

MACBETH
What is 't you say? The life?

LENNOX
Mean you his majesty?

MACDUFF
Approach the chamber, and destroy your sight
With a new Gorgon: do not bid me speak;
See, and then speak yourselves.

Exeunt MACBETH and LENNOX

Awake, awake!
Ring the alarum-bell. Murder and treason!
Banquo and Donalbain! Malcolm! awake!
Shake off this downy sleep, death's counterfeit,
And look on death itself! up, up, and see
The great doom's image! Malcolm! Banquo!
As from your graves rise up, and walk like sprites,
To countenance this horror! Ring the bell.

Bell rings

NOTES:

Lamentings
If Macbeth were set in Ireland, there might be a case to be made for this being a reference to a banshee, whose wailing cries were a traditional harbinger of death. But we’re in Scotland, so perhaps not.

The Obscure Bird
As we’ve discussed earlier, the owl was a bad omen, and its cry was never a good thing to hear. Lennox has heard it howling all night - nothing good can come of this. If you’re interested to read more about owls and their lore throughout Shakespeare, click here.

Julius Caesar
Shakespeare's play about the conspirators who assassinate Julius Caesar can be reasonably assumed to have been first performed in 1599. The likelihood is that it appeared just before Hamlet, and so the references to ancient Rome in its first scene are hardly surprising - Rome was probably still on Shakespeare's mind. 

Antimetabole
The word is derived from the Ancient Greek ἀντιμεταβολή (antimetabolḗ), from ἀντί (antí - opposite, or against) and μεταβολή (metabolḗ - changing, turning about; also the root of the word metabolism). It is a rhetorical device that uses careful repetition; words are repeated in successive clauses but their order is changed. As mentioned in the episode, a very simple example is “fair is foul and foul is fair”.
Some other examples:
All for one, and one for all. (Dumas, The Three Musketeers)
One should eat to live, not live to eat. (Socrates)
The great object of his life is defeated by continually resolving to do, yet doing nothing but resolve. (Samuel Taylor Coleridge, discussing Hamlet)

Sacrilege
Sacrilege is the violation or abuse/misuse of something that is considered sacred.

The Lord’s Anointed
This quotation is from the First Book of Samuel in the Old Testament; Samuel 24:6 reads He said to his men, “The Lord forbid that I should do this thing to my lord, the Lord's anointed, to put out my hand against him, seeing he is the Lord's anointed.”
The Temple
From the Second Letter to the Corinthians: And what agreement hath the temple of God with idols? for ye are the temple of the living God; as God hath said, I will dwell in them, and walk in them; and I will be their God, and they shall be my people.

Gorgons
The Gorgons were Ancient Greek mythological monsters. Like the witches, they are usually imagined as a group of three very weird sisters: Euryale, Sthenno and Medusa, the most famous. The Gorgons were notorious for having snakes instead of hair. They were so frightening to look at that anyone who gazed directly upon them would be turned to stone. Shakespeare’s construction in Macbeth is so intricate and carefully-woven, it’s surely no accident that we get a nod to a group of dangerous and powerful women right here in the description of the king’s murder.

Alarum
Amid the various bells that ring in this play, the alarum-bell would have been the noisiest. The name comes from the Italian phrase “all’armi” - to arms! - and so this is the sound of preparation when an army, or a castle, is under attack. It would have been loud enough to wake everyone and put the whole community on alert.

The Great Doom
I was very excited to find a book entitled The Apocalypse in English Renaissance Thought and Literature online, but then almost immediately came upon several very negative reviews, lamenting the fact that the book’s contents have almost nothing to do with its promising title. The Apocalypse was a very popular subject in Renaissance England, and hovers frequently at the edges of Shakespeare’s imagination. Macduff here likens the sight of the murdered Duncan to the chaos anticipated at the end of time; it’s a very powerful image to invoke.


MACBETH | Episode 22 - An Equivocator with Lechery

TEXT:

MACDUFF
Was it so late, friend, ere you went to bed,
That you do lie so late?

Porter
'Faith sir, we were carousing till the second cock:
and drink, sir, is a great provoker of three things.

MACDUFF
What three things does drink especially provoke?

Porter
Marry, sir, nose-painting, sleep, and urine.
Lechery, sir, it provokes, and unprovokes;
it provokes the desire, but it takes away the performance:
therefore, much drink may be said to be
an equivocator with lechery:
it makes him, and it mars him;
it sets him on, and it takes him off;
it persuades him, and disheartens him;
makes him stand to, and not stand to;
in conclusion, equivocates him in a sleep,
and, giving him the lie, leaves him.

MACDUFF
I believe drink gave thee the lie last night.

Porter
That it did, sir, i' the very throat on me:
but I requited him for his lie; and, I think,
being too strong for him,
though he took up my legs sometime,
yet I made a shift to cast him.

MACDUFF
Is thy master stirring?

Enter MACBETH

Our knocking has awaked him; here he comes.

LENNOX
Good morrow, noble sir.

MACBETH
Good morrow, both.

MACDUFF
Is the king stirring, worthy thane?

MACBETH
Not yet.

MACDUFF
He did command me to call timely on him:
I have almost slipped the hour.

MACBETH
I'll bring you to him.

MACDUFF
I know this is a joyful trouble to you;
But yet 'tis one.

MACBETH
The labour we delight in physics pain.
This is the door.

MACDUFF
I'll make so bold to call,
For 'tis my limited service.

Exit

NOTES:

John Davies of Hereford
John Davies of Hereford (1565—1618) was a writer and poet. The work mentioned in this episode, Microcosmos, was a work filled with details and maxims about everyday, little things. The academic Brian Vickers has discussed Davies at length, and in a 2007 book even made a case for him being the author of the poem A Lover’s Complaint, more usually ascribed to Shakespeare.

Nose-painting
Shakespeare here is echoing a contemporary belief that prolonged exposure to alcohol can lead to the condition of rhinophyma, which gives the nose a red, bumpy appearance. This condition is primarily caused by rosacea, and nowadays it has been proven that alcohol is not the only cause. So it is not immediately to be assumed that a sufferer with this condition is a drinker.

MACBETH | Episode 21 - Remember The Porter

TEXT:

ACT II - SCENE III. The same.

Knocking within. Enter a Porter

Porter

Here's a knocking indeed! If a
man were porter of hell-gate,
he should have old turning the key.

Knocking within

Knock,knock, knock!
Who's there, i' the name of Beelzebub?
Here's a farmer, that hanged himself
on the expectation of plenty: come in time;
have napkins enow about you; here you'll sweat for't.

Knocking within

Knock,knock!
Who's there, in the other devil's name?
Faith, here's an equivocator, that could swear
in both the scales against either scale;
who committed treason enough for God's sake,
yet could not equivocate to heaven:
O, come in, equivocator.

Knocking within

Knock,knock, knock! Who's there?
Faith, here's an English tailor come hither,
for stealing out of a French hose: come in, tailor;
here you may roast your goose.

Knocking within

Knock, knock; never at quiet! What are you?
But this place is too cold for hell.
I'll devil-porter it no further:
I had thought to have let in some of all professions
that go the primrose way to the everlasting bonfire.

Knocking within

Anon, anon! I pray you, remember the porter.

Enter MACDUFF and LENNOX

NOTES:

Cuts
From the middle of the 17th century, for almost 200 years, the Porter’s scene was cut from the play. It was considered an anomaly that did not belong in such a dark tragedy. (Despite the fact that it very meaningfully ties the play to its historical context AND gives a sense of why Shakespeare wrote it in the first place…) Happily it has regained its standing and its justified place within the text, and is seldom cut any more.

Mystery Plays
Mystery plays - and Morality plays - were among the earliest dramatic performances in medieval Europe. Mysteries dealt with stories from the Bible, and were presented by a town’s various guilds. Very often a guild might take responsibility for a story connected to their trade - so shipwrights might present Noah’s Ark, or vintners might perform the miracle of the wine at the Wedding at Cana.

The Harrowing of Hell
This was a popular mystery play, depicting the apocryphal story of Christ’s descent into hell between the Crucifixion and the Resurrection. The entrance to hell was often depicted as a demonic mouth, but in this story Christ’s arrival was preceded by a very loud knocking. Hell is often depicted as a castle, or a prison, or a dungeon - the Porter has all of these echoes to play with as he imagines what it would be like to be an employee there. In various versions of The Harrowing of Hell, there is a porter, called Ribald, and he is a servant of Beelzebub. So the references in Macbeth are entirely appropriate to this.

Beelzebub
Beelzebub, or Belzebub, is a major demon of hell. He is associated with Baal, the false idol of the Canaanites, and is sometimes referred to as the Lord of the Flies. He’s one of the seven princes of Hell, and one of the most notorious. The very name is fun to say because it has no echoes elsewhere in English - it sticks out as an ancient, distinct and dangerous word.

The Other Devil’s Name
Shakespeare refers to Satan and Lucifer on several occasions elsewhere in his plays - comedies, more often than not. It’s always a lighthearted thing to invoke these dangerous names; to do so in earnest would be unthinkable. Even Lady Macbeth doesn’t put a name on the spirits she summons, since it would be far too dangerous to do so. Whatever about Beelzebub, that chewy and strange-sounding word, the Porter, in his hung-over state, is taking no further chances.

Time
As I mentioned in the episode, I found a very helpful article about this scene that has a really interesting conception of how Time is invoked here. It’s by John B. Harcourt, from Shakespeare Quarterly in 1961. Like this episode itself, it’s called “I Pray You, Remember The Porter”. You can find the full piece on JSTOR or other academic resources, but the bit worth mentioning is: “As critics are wont to observe, the play of Macbeth is dominated by an obsession with time - characters rush about in frantic haste, the action strains forward, the present is only a stepping stone to the future. It is precisely here that Macbeth encounters his real defeat, for though he may compel the present by sheer force, the future belongs to Malcolm and to Banquo’s seed. It seems to me, therefore, to be doubly appropriate that the Porter’s words be read as “Come in, Time”, for that relentless figure presides over the action of the play. As Shakespeare observed in Sonnet XII:
And nothing ‘gainst Time’s scythe can make defense
Save breed, to brave him when he takes thee hence.

Equivocation
As a formal definition, equivocation is to call two things by the same name. Within an argument, it is a means of using multiple meanings of a word to stretch and inflate the truth. It relies on ambiguity and interpretation, with the speaker able to retract and insist that they only meant one thing rather than all possible meanings. It was heavily relied upon by Catholic - particularly Jesuit - dissidents when they were interrogated in the Protestant England of Shakespeare’s time.

Henry Garnet
Henry Garnet was a Jesuit priest, executed for his association with the Gunpowder Plot of 1605. Robert Catesby, who was at the heart of the plot, explained its details to Garnet under the seal of confession, and so Garnet felt bound not to reveal the information. Eventually he was caught and arrested, and after a trial in which he relied very heavily on equivocation, he was found guilty and hanged, drawn and quartered on May 03, 1606. Among Garnet’s known aliases were Farmer, Darcy, Roberts and Philips.

Tailor
There is a suggestion that “tailor” was a slang term for the penis. So, an English tailor busying himself with French hose could have a great many double meanings. Some have suggested that “stealing” should be read as “staling” - ie urinating - and thereby the the description gets even dirtier.

Primroses
Shakespeare is very fond of the primrose, and this flower appears in several plays. Its name, loosely dervied from Latin, means the first flower of spring. When he mentions the primrose path - both here and in Hamlet - he’s imagining a path of luxury, strewn with flowers. Nothing good leads in that direction!

MACBETH | Episode 20 - I Hear A Knocking

TEXT:

LADY MACBETH
Who was it that thus cried? Why, worthy thane,
You do unbend 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?
They must lie there: go carry them; and smear
The sleepy grooms with blood.

MACBETH
I'll go no more:
I am afraid to think what I have done;
Look on't again I dare not.

LADY MACBETH
Infirm of purpose!
Give me the daggers: the sleeping and the dead
Are but as pictures: 'tis the eye of childhood
That fears a painted devil. If he do bleed,
I'll gild the faces of the grooms withal;
For it must seem their guilt.

Exit. Knocking within

MACBETH
Whence is that knocking?
How is't with me, when every noise appals me?
What hands are here? ha! they pluck out mine eyes.
Will all great Neptune's ocean wash this blood
Clean from my hand? No, this my hand will rather
The multitudinous seas in incarnadine,
Making the green one red.

Re-enter LADY MACBETH

LADY MACBETH

My hands are of your colour; but I shame
To wear a heart so white.

Knocking within

I hear a knocking
At the south entry: retire we to our chamber;
A little water clears us of this deed:
How easy is it, then! Your constancy
Hath left you unattended.

Knocking within

Hark! more knocking.
Get on your nightgown, lest occasion call us,
And show us to be watchers. Be not lost
So poorly in your thoughts.

MACBETH
To know my deed, 'twere best not know myself.

Knocking within

Wake Duncan with thy knocking! I would thou couldst!

Exeunt

NOTES:

Asterix
Honestly, Asterix and his Gaulish friends have absolutely nothing to do with the play, but it’s one of the best Shakespeare puns I’ve ever heard. Back when I began work on Hamlet, I toyed with the idea of tracking every piece of art or literature that used a line from the play - but of course there are far too many to count! Asterix was my favourite comic when I was a child, and so I hope you’ll indulge the reference here…!

Painted Devils
Lady Macbeth chastises her husband for being afraid of things that cannot harm him. She says it is the eye of childhood that fears a painted devil; children were often scared by the threat of a bugbear, a kind of bogeyman that would frighten them into obedience. (Our modern sense of bugbear, as a pet peeve or a nuisance, has little to do with it.) A painted devil is one that has been constructed, one that is artificial. And therefore it is childish to be afraid of it.

Cruentation
One of the stranger beliefs of the medieval world, cruentation was a process by which a murderer might be identified. It was believed that the body of a murder victim would start to bleed anew in the presence of its murderer. This form of “proof” was used in Germany as late as the 18th century!

Incarnadine
Shakespeare is at his most fantastically poetic here, creating a verb for how the blood on Macbeth’s hands could turn a whole ocean red. He uses the word nowhere else.

MACBETH | Episode 19 - Sleep No More

TEXT:

MACBETH
There’s one did laugh in’s sleep,
And one cried 'Murder!', that they did wake each other:
I stood and heard them: But they did say their prayers,
And addressed them Again to sleep.

LADY MACBETH
There are two lodged together.

MACBETH
One cried 'God bless us!' and 'Amen' the other;
As they had seen me with these hangman’s hands.
Listening their fear, I could not say 'Amen,'
When they did say 'God bless us!'

LADY MACBETH
Consider it not so deeply.

MACBETH
But wherefore could not I pronounce 'Amen'?
I had most need of blessing, and 'Amen'
Stuck in my throat.

LADY MACBETH
These deeds must not be thought
After these ways; so, it will make us mad.

MACBETH
Methought I heard a voice cry “Sleep no more!
Macbeth does murder sleep!”, the innocent sleep,
Sleep that knits up the ravelled sleeve of care,
The death of each day’s life, sore labour’s bath,
Balm of hurt minds, great nature’s second course,
Chief nourisher in life’s feast…

LADY MACBETH
What do you mean?

MACBETH
Still it cried 'Sleep no more!' to all the house:
'Glamis hath murdered sleep, and therefore Cawdor
Shall sleep no more; Macbeth shall sleep no more.'

NOTES:

Hangmen
Public execution was very much a part of life in Shakespeare’s London. On a walk through the city, even if you didn’t see an actual execution in process, you would probably see severed heads - or other body parts - on public display. The executioner’s job was a grim one. Those lucky enough to have their heads cut off were spared the agony of other forms; the most grisly death was to be hanged, drawn and quartered. The victim would be hanged until they were almost dead, then emasculated, and then have their midsection cut open and their entrails pulled out. (Hence “drawn” - they were quite literally drawn out of the body.) Thereafter they were decapitated and the body was cut into four pieces. It is quite the nastiest form of execution possible. While one might think that hanging would be a bloodless death, the full details of this form of execution - usually reserved for high treason - explain why Macbeth looks so horrified at the blood on his “hangman’s hands”.

Hercules Furens
“The Mad Hercules” - Hercules Furens - is a play by Seneca. At its conclusion, the title character comes to his senses after an outburst of madness in which he murders his wife and children. It is only when he sees the blood on his hands that he realises what he has done. Although tempted to commit suicide, he instead moves to atone for his crimes. The echo here in Macbeth is interesting, since by contrast Macbeth takes no steps towards remorse or redress for what he has done.

Prayer
A significant amount of resesarch has been emerging in recent years about the function of prayer in Shakespeare’s plays - whether in its depiction on stage, or in moments like this wherein a character panics at being unable to pray at all. (See also Claudius in Hamlet, when his “thoughts remain below”.)

Insomnia
This portion of the play contains some of Shakespeare’s most famous descriptions of sleep - and lack thereof. For a piece of literary curiosity - utterly fictitious, but entertaining! - you can check out the fanciful “Shakespeare’s Insomnia - and The Causes Thereof”. It’s an 1886 piece written by Franklin H. Head. It’s available in full here.

Sleep No More
Punchdrunk, an English theatre company specialising in extraordinary immersive theatre events, created a version of Macbeth called Sleep No More at the McKittrick Hotel in New York. It premiered in 2011 and, at time of writing, is still running - it is an immensely successful theatrical event.

MACBETH | Episode 18 - Did Not You Speak?

TEXT:

ACT II - SCENE II. The same.

Enter LADY MACBETH

LADY MACBETH

That which hath made them drunk hath made me bold;
What hath quenched them hath given me fire.
Hark! Peace!
It was the owl that shrieked, the fatal bellman,
Which gives the stern'st good-night. He is about it:
The doors are open; and the surfeited grooms
Do mock their charge with snores: I have drugged their possets,
That death and nature do contend about them,
Whether they live or die.

MACBETH (within)
Who's there? what, ho!

LADY MACBETH

Alack, I am afraid they have awaked,
And 'tis not done. The attempt and not the deed
Confounds us. Hark! I laid their daggers ready;
He could not miss 'em. Had he not resembled
My father as he slept, I had done't.

Enter MACBETH

My husband!

MACBETH

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

LADY MACBETH

I heard the owl scream and the crickets cry.
Did not you speak?
MACBETH
When?

LADY MACBETH

Now.

MACBETH

As I descended?

LADY MACBETH

Ay.

MACBETH
Hark!
Who lies i' the second chamber?

LADY MACBETH
Donalbain.

MACBETH
This is a sorry sight.

LADY MACBETH

A foolish thought, to say a sorry sight.

NOTES:

Antithesis
Antithesis is one of the central keys to unlocking Shakespeare’s language. Simply put, it’s a word or group of words set against its opposite. The contrast between the two juxtaposed ideas - the antithesis - enriches the imagery and depth of thought. The actor must play the antithesis in order to highlight the meaning of the text. Some recognisable examples of antithesis in Shakespeare are:

To be, or not to be. . .
Fair is foul, and foul is fair. . .
What he has lost, noble Macbeth has won. . .

For more information on antithesis, click here to visit The Basics, and scroll down to Episode 04.

Owls
In my excitement to get the podcast out and recorded this week, I overlooked the full text of The Rape of Lucrece. During that awful night, the full line says that there was “no noise but owls, and wolves”…! So it’s even more ominous that Macbeth has already made us think of Murder and his wolves as sentinels, howling, and now Lady Macbeth is hearing owls. It paints a very scary picture.
As promised, here’s a link to the extended survey of owls in Shakespeare: click here.

Crickets
If you want a REALLY obscure piece of reading, may I direct you to the work of Harry B. Weiss, of New Brunswick, NJ. In the June 1930 issue of the Journal of the New York Entomological Society, he published a short essay on “Insects and Witchcraft”. You can find it on JSTOR, or perhaps in the annals of your local library.

Caesura
A caesura is a pause or break in a metrical line of poetry. It is frequently suggested by a punctuation mark or the end of a phrase. The caesura is a longstanding feature of rhythmic poetry, very common across multiple languages. They appear throughout Shakespeare, Beowulf, and as far back as Latin and even Ancient Greek. The first lines of two of the greatest classics, The Iliad and The Aeneid, both have notable caesurae in their opening lines. (Indeed, Virgil’s opening line echoes Homer’s - and there’s every chance Shakespeare was emulating both in the opening line of HIS war epic, Henry V…!)

Homer: The Iliad
μῆνιν ἄειδε θεὰ <caesura> Πηληϊάδεω Ἀχιλῆος
(Sing, Goddess, of the rage of Achilles, son of Peleus…)

Virgil: The Aeneid
Arma virumque cano <caesura> Troiae qui primus ab oris
(Of arms and the man, I sing. || Who first from the shores of Troy...)

Shakespeare: Henry V
O for a muse of fire, <caesura> that would ascend

Possets
Lady Macbeth’s possets - second only to whatever poison Claudius prepared for his brother in Hamlet - are among the most notorious poisons in Shakespeare. Nowadays we associate possets with dessert - and perhaps rightly, since they are a mixture of eggs, cream and sugar. But in Shakespeare’s time they were also made with alcohol, and were believed to have medicinal as well as nutritional properties. No accident, then, that Lady M could find a way to slip a little something into the mix as she prepared them. If you’d like to read more about possets, and indeed find a workable recipe for one (albeit without poison or drugs) click here for a fabulously detailed history from the Folger Shakespeare Library.

MACBETH | Episode 17 - A Dagger of the Mind

TEXT:

MACBETH
Go bid thy mistress, when my drink is ready,
She strike upon the bell. Get thee to bed.

Exit Servant

Is this a dagger which I see before me,
The handle toward my hand? Come, let me clutch thee.
I have thee not, and yet I see thee still.
Art thou not, fatal vision, sensible
To feeling as to sight? Or art thou but
A dagger of the mind, a false creation,
Proceeding from the heat-oppressèd brain?
I see thee yet, in form as palpable
As this which now I draw.
Thou marshall'st me the way that I was going;
And such an instrument I was to use.
Mine eyes are made the fools o' the other senses,
Or else worth all the rest; I see thee still,
And on thy blade and dudgeon gouts of blood,
Which was not so before. There's no such thing:
It is the bloody business which informs
Thus to mine eyes. Now o'er the one halfworld
Nature seems dead, and wicked dreams abuse
The curtained sleep; witchcraft celebrates
Pale Hecate's offerings, and withered murder,
Alarumed by his sentinel, the wolf,
Whose howl's his watch, thus with his stealthy pace.
With Tarquin's ravishing strides, towards his design
Moves like a ghost. Thou sure and firm-set earth,
Hear not my steps, which way they walk, for fear
Thy very stones prate of my whereabout,
And take the present horror from the time,
Which now suits with it. Whiles I threat, he lives:
Words to the heat of deeds too cold breath gives.

A bell rings

I go, and it is done; the bell invites me.
Hear it not, Duncan; for it is a knell
That summons thee to heaven or to hell.

Exit


NOTES:

Bells
Bells make something like seventy-two appearances in Shakespeare’s plays. They are always an effective device, and always mean something significant. This particular soliloquy is book-ended by the bell. Macbeth asks for it at the beginning, and then it is sounded at the end.

Daggers
I spoke in the episode about how prevalent daggers are in Shakespeare’s plays. There are probably more daggers than there are swords. (As I mentioned, everyone from Juliet to Julius Caesar dies at the point of a dagger…) The dagger is a matter-of-fact weapon. It’s a personal, almost intimate weapon to use to murder one’s houseguest - certainly it’s not at all the kind of ceremonial or formal sword one might use to execute or assassinate a king. As the text mentioned, it would have consisted of a blade and dudgeon - the metal blade, and the wooden dudgeon of the handle.

Regicide on Stage
Violence on stage was a tricky issue for Shakespeare. It was not acceptable to kill the king on stage, certainly, and this is why Duncan’s murder takes place offstage.

Hecate
Hecate was an ancient Greek goddess associated with witchcraft and the blackest hours of the night.

Tarquin
Sextus Tarquinius, Tarquin, is the awful villain of The Rape of Lucrece. He is notorious as the man who raped Lucretia (Lucrece), the wife of his political enemy Collatinus. The historical Tarquin was the son of Tarquinius Superbus, the last king of Rome. Indeed, Tarquin Junior’s disgraceful acts were among the key events that led to the end of the monarchy and the rise of the Roman Republic. It’s worth bearing in mind that Macbeth is here making reference to Hecate, the goddess of witches, Murder, personified as a nighttime monster with wolves as his sentinels, and Tarquin, the most notorious rapist. These are the main agitators at this time of night, and Macbeth is starting to feel like he should be counted among them.

Curtained Sleep
Shakespeare’s own experience would have been in beds curtained off to keep them warm. Here’s a picture of a bed in Anne Hathaway’s cottage to give you a sense of it.

MACBETH | Episode 16 - Husbandry in Heaven

TEXT:

ACT II

SCENE I. Court of Macbeth's castle.

Enter BANQUO, and FLEANCE bearing a torch before him

BANQUO
How goes the night, boy?

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

BANQUO
And she goes down at twelve.

FLEANCE
I take't, 'tis later, sir.

BANQUO
Hold, take my sword. There's husbandry in heaven;
Their candles are all out. Take thee that too.
A heavy summons lies like lead upon me,
And yet I would not sleep: merciful powers,
Restrain in me the cursed thoughts that nature
Gives way to in repose!

Enter MACBETH, and a Servant with a torch

Give me my sword.
Who's there?

MACBETH
A friend.

BANQUO
What, sir, not yet at rest? The king's a-bed:
He hath been in unusual pleasure, and
Sent forth great largess to your offices.
This diamond he greets your wife withal,
By the name of most kind hostess; and shut up
In measureless content.

MACBETH
Being unprepared,
Our will became the servant to defect;
Which else should free have wrought.

BANQUO
All's well.
I dreamt last night of the three weird sisters:
To you they have showed some truth.

MACBETH
I think not of them:
Yet, when we can entreat an hour to serve,
We would spend it in some words upon that business,
If you would grant the time.

BANQUO
At your kind'st leisure.

MACBETH
If you shall cleave to my consent, when 'tis,
It shall make honour for you.

BANQUO
So I lose none
In seeking to augment it, but still keep
My bosom franchised and allegiance clear,
I shall be counselled.

MACBETH
Good repose the while!

BANQUO
Thanks, sir: the like to you.

Exeunt BANQUO and FLEANCE

NOTES:

Banquo
Banquo’s position in history is a little dubious. At best we might call him a semi-historical figure - since he really only came into the spotlight in Holinshed’s Chronicles, published in the 1580s. It was another historian, Frederic von Bossen, who further expanded his history, and that of his son, Fleance. The claim of King James to being his descendant - which Shakespeare certainly plays on in the way he write this play - is perhaps more romantic than factual.

Clocks
Shakespeare was the first to coin the phrase “watch the clock” - in Sonnet 57 - and his plays make frequent (and often anachronistic) references to time. If you’d like a deep dive into the various ways that time was measured in his day, click here for a lovely page from the BBC.

Largesse
Duncan has clearly been generous to Macbeth’s household. It’s not quite a tip, so much as a generous recognition of the hosts’ (and their employees’) generosity.

Diamonds
I mentioned in this episode that diamonds had a slightly different cultural significance in Shakespeare’s time than they do today - that of warding off evil, like an amulet, or something precious. It wasn’t a religious thing, but their brightness and purity were considered powerful as a means of protection. So, there is a looming irony in Duncan giving Lady Macbeth a diamond. For a father more in-depth look at this, see “Shakespeare and the Lore of Precious Stones” by Abby Jane Dubman Hansen, in the 1977 Shakespeare Issue of College Literature.

MACBETH | Episode 15 - Screw Your Courage To The Sticking Place

TEXT:

LADY MACBETH (continued)
When you durst do it, then you were a man;
And, to be more than what you were, you would
Be so much more the man. 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
How tender 'tis to love the babe that milks me:
I would, while it was smiling in my face,
Have plucked my nipple from his boneless gums,
And dashed the brains out, had I so sworn as you
Have done to this.

MACBETH
If we should fail?

LADY MACBETH
We fail!
But screw your courage to the sticking-place,
And we'll not fail. 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?

MACBETH
Bring forth men-children only;
For thy undaunted mettle should compose
Nothing but males. Will it not be received,
When we have marked with blood those sleepy two
Of his own chamber and used their very daggers,
That they have done’t?

LADY MACBETH
Who dares receive it other,
As we shall make our griefs and clamour roar
Upon his death?

MACBETH
I am settled, and bend up
Each corporal agent to this terrible feat.
Away, and mock the time with fairest show:
False face must hide what the false heart doth know.

Exeunt

MACBETH | Episode 14 - The Poor Cat i'the Adage

TEXT:

Enter LADY MACBETH

How now! what news?

LADY MACBETH
He has almost supped: why have you left the chamber?

MACBETH
Hath he asked for me?

LADY MACBETH
Know you not he has?

MACBETH
We will proceed no further in this business:
He hath honoured me of late; and I have bought
Golden opinions from all sorts of people,
Which would be worn now in their newest gloss,
Not cast aside so soon.

LADY MACBETH
Was the hope drunk
Wherein you dressed yourself? Hath it slept since?
And wakes it now, to look so green and pale
At what it did so freely? From this time
Such I account thy love. Art thou afeard
To be the same in thine own act and valour
As thou art in desire? Wouldst thou have that
Which thou esteem'st the ornament of life,
And live a coward in thine own esteem,
Letting 'I dare not' wait upon 'I would,'
Like the poor cat i' the adage?

MACBETH
Prithee, peace:
I dare do all that may become a man;
Who dares do more is none.

LADY MACBETH
What beast was't, then,
That made you break this enterprise to me?

NOTES:

The Adage
The famous feline adage is “the cat wanted to catch the fish, but she didn’t want to get her paws wet.”