Macbeth
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Cover
Contents
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Contents
Contents
Introduction ......................................................................................... 3
Specification summaries ....................................................................... 4
Act 1 .............................................................................................. 8
Lesson 1 ................................................................................................ 8
Lesson 2 ................................................................................................ 12
Lesson 3 ................................................................................................ 17
Lesson 4 ................................................................................................ 27
Lesson 5 ................................................................................................ 31
Exam style questions ................................................................................. 42
Act 2 .............................................................................................. 48
Lesson 6 ................................................................................................ 48
Lesson 7 ................................................................................................ 57
Lesson 8 ................................................................................................ 64
Lesson 9 ................................................................................................ 66
Lesson 10 ............................................................................................... 68
Exam style questions ................................................................................. 78
Act 3 .............................................................................................. 85
Lesson 11 ............................................................................................... 85
Lesson 12 ............................................................................................... 90
Lesson 13 ............................................................................................... 92
Lesson 14 ................................................................................................ 109
Lesson 15 ................................................................................................ 111
Exam style questions .................................................................................. 120
Act 4 .............................................................................................. 128
Lesson 16 ................................................................................................ 128
Lesson 17 ................................................................................................ 135
Lesson 18 ................................................................................................ 137
Lesson 19 ................................................................................................ 147
Lesson 20 ................................................................................................ 152
Exam style questions .................................................................................. 154
Act 5 .............................................................................................. 162
Lesson 21 ................................................................................................ 162
Lesson 22 ................................................................................................ 167
Lesson 23 ................................................................................................ 174
Lesson 24 ................................................................................................ 179
Lesson 25 ................................................................................................ 183
Exam style questions .................................................................................. 187
Introduction
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Introduction
Introduction
This GCSE pack is designed as a ‘route through’ Macbeth, with teaching ideas,
accompanying resources and suggestions for differentiation. The pack is based on core
assessment objectives for GCSE English Literature (2015) and is designed to be flexible,
creative and engaging. It contains all of the resources you need for teaching this unit of
work, most of which were written specifically for this pack.
The pack has been devised for use with the AQA, Edexcel, OCR and WJEC Eduqas
specifications for GCSE English Literature. The activities and ideas will help students to
develop a close understanding of the text, explore its social, cultural and historical
contexts, consider Shakespeare’s intentions and staging options, and analyse his use of
language and structure.
The pack has five lessons per act, with a selection of starter, main and plenary activities
(that you can mix and match), as well as exam practice questions specific for each exam
board.
Throughout the pack you’ll find activities which directly address the various assessment
objectives for the GCSE English Literature exam. To help you select activities relevant to
the outcomes for which you’re teaching, we’ve included specification grids and matched
the activities outlined in the route through to the appropriate assessment objectives.
Accessing the resources in this pack
We’ve included links to resources and interactive resources on the Teachit English site
where applicable.
Our thanks go to contributor Angela Topping who has written this pack and the
accompanying resources.
If you have any questions about the pack, please get in touch: email
[email protected] or call us on 01225 788850. Alternatively, you might like to give
some feedback for other Teachit members – you can do this by adding a comment on the Macbeth teaching pack page on Teachit English.
Specification summaries
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Specification summaries
AQA GCSE English Literature
Specification: English Literature (exam in 2017) (8702)
Example papers and mark scheme: English Literature (exam in 2017) (8702)
Paper 1: Shakespeare and the 19th-century novel
Section A: Shakespeare (20% of GCSE mark)
External examination
Whole examination: 1 hour 45 minutes
50% of time should be devoted to responding to each question, therefore there are
approximately 50 minutes for Macbeth.
Students will answer one question. They will be required to write in detail about an
extract from the play and about the novel as a whole.
Students are not permitted to take copies of the text into the exam.
AO1 and AO2 are the dominant assessment objectives (12 marks each), AO3 is 6
marks, AO4 is 4 marks.
AO1
Read, understand and respond to texts.
Students should be able to:
maintain a critical style and develop an informed personal response
use textual references, including quotations, to support and illustrate
interpretations.
AO2 Analyse the language, form and structure used by a writer to create meanings
and effects, using relevant subject terminology where appropriate.
AO3 Show understanding of the relationships between texts and the contexts in which
they were written.
AO4 Use a range of vocabulary and sentence structures for clarity, purpose and
effect, with accurate spelling and punctuation.
Specification summaries
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Edexcel GCSE English Literature
Specification: English Literature (exam in 2017) (1ET0)
Example papers and mark scheme: English Literature (exam in 2017) (1ET0)
Paper 1: Shakespeare and Post-1914 Literature
Section A: Shakespeare (25% of GCSE mark)
External examination
Whole examination: 1 hours 45 minutes
55 minutes advised for Macbeth question, divided equally between parts
(a) and (b).
Part a) is focused on the close language analysis of an extract (AO2: 20 marks). The
extract will be approximately 30 lines in length.
Part b) is focused on how a theme from the extract is explored elsewhere in the play
(AO1: 15 marks and AO3: 5 marks). The focus will be on maintaining a critical style
and demonstrating an understanding of the relationship between the text and the
context in which it was written.
Students are not permitted to take copies of the text into the exam.
AO1
Read, understand and respond to texts.
Students should be able to:
maintain a critical style and develop an informed personal response
use textual references, including quotations, to support and illustrate
interpretations.
AO2 Analyse the language, form and structure used by a writer to create meanings
and effects, using relevant subject terminology where appropriate.
AO3 Show understanding of the relationships between texts and the contexts in which
they were written.
Specification summaries
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OCR GCSE English Literature
Specification: English Literature (exam in 2017) (J352)
Example papers and mark scheme: English Literature (exam in 2017) (J352/02)
Paper 2: Exploring poetry and Shakespeare
Section B: Shakespeare (25% of GCSE mark)
External examination
Whole examination: 2 hours
Students are advised to spend about 45 minutes on Macbeth: one question from a
choice of two.
A choice of questions: one extract-based question, making links to the whole text or
one discursive question.
Students are not permitted to take copies of the text into the exam.
AO1 and AO2 are the dominant assessment objectives (8.75% of GCSE), AO3 is 5% of
GCSE and AO4 is 2.5% of GCSE in this paper.
AO1
Read, understand and respond to texts.
Students should be able to:
maintain a critical style and develop an informed personal response
use textual references, including quotations, to support and illustrate
interpretations.
AO2 Analyse the language, form and structure used by a writer to create meanings
and effects, using relevant subject terminology where appropriate.
AO3 Show understanding of the relationships between texts and the contexts in which
they were written.
AO4 Use a range of vocabulary and sentence structures for clarity, purpose and
effect, with accurate spelling and punctuation.
Specification summaries
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WJEC Eduqas GCSE English Literature
Specification: English Literature (exam in 2017)
Example papers and mark scheme: English Literature (exam in 2017)
Paper 1: Shakespeare and Poetry
Section A: Shakespeare (20% of GCSE mark)
External examination
Whole examination: 2 hours
One hour advised for Macbeth question.
Students answer two questions: one extract based question (15 marks) and one
discursive essay question (25 marks).
Part a) is an extract-based question (AO1 and AO2: equally weighted, 15 marks).
Part b) is an essay question (AO1 and AO2: equally weighted, 20 marks, AO4: 5
marks).
Students are not permitted to take copies of the text into the exam.
AO1
Read, understand and respond to texts.
Students should be able to:
maintain a critical style and develop an informed personal response
use textual references, including quotations, to support and illustrate
interpretations.
AO2 Analyse the language, form and structure used by a writer to create meanings
and effects, using relevant subject terminology where appropriate.
AO4 Use a range of vocabulary and sentence structures for clarity, purpose and
effect, with accurate spelling and punctuation.
Act 1
Lesson 1
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Act 1
Act 1
Lesson 1 – The battle in the background (Act 1 Scenes 1–2)
Starter activities
Prior knowledge: In pairs, students share what comes to mind when they hear the
word ‘Macbeth’, then feed back to the whole class. Alternatively, or to follow this,
you could show them Michael Rosen’s potted synopsis and explanation of the play:
www.bbc.co.uk/newsround/36099745. (AO1)
Poetic inspiration: This poem gives an overview of the plot.
Macbeth was a soldier, brave and bold
until he had his fortune told.
Those three strange women messed up his head
and pretty soon the king was dead.
His wife was keen to be a queen;
horrors followed, Banquo’s ghost was seen.
Macduff’s family were cruelly killed
until the tyrant’s blood was spilled.
As for Macbeth, his head was chopped
the only way he could be stopped.
As your class arrive, give each student a line of the poem, and ask them to find
others with the same line. Get each of the groups to create a still image based on
their line. Call each group out to the front in order and give each group a minute
to read their line and form a still image.
If you’d like to follow up on this, you could set a homework task to create a ten
frame cartoon strip using these ten lines. (AO1)
Act 1
Lesson 1
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Main activities
Captain’s speech: Using the resource Captain’s speech (Resource 1), look at the
Captain’s speech in Act 1 Scene 2 with your students. Pairs look at the initial themes
and language of the play. When investigating the sounds of the language in the
second task, students might notice ‘p’, ‘b’, ‘f’ and lots of ‘s’ sounds – indicative of
the violent nature of the language. (AO2)
Report from the battlefield: Write a short report of the events in Act 1 Scene 2,
using modern language, for a newspaper or TV report. As an extension activity, you
could ask students to write it as though from the rebels’ side. They would feel very
differently about Macbeth and what he has done to their leader. (AO1)
Plenary activities
Reporting back: Pair up some contrasting news reports and invite students to share
them. (AO1)
Acrostics: Students could create their own acrostic poems of the play, based on their
prior knowledge and informed by their understanding of Macbeth in the second
scene. (AO1)
Lesson 1
Resource 1
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Captain’s speech
At the start of the play, a battle is going
on. Macbeth is fighting on King Duncan’s
side against an army of rebels.
An injured captain is brought back behind
the lines to have his wounds treated. He
gives the following report of Macbeth and
his bravery in killing the rebel leader,
MacDonald:
By M. and B. Skelt (publishers) [CC BY-SA 4.0
(http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons
Captain: Doubtful it stood;
As two spent swimmers, that do cling together
And choke their art. The merciless Macdonald –
Worthy to be a rebel, for to that
The multiplying villanies of nature
Do swarm upon him – from the Western Isles
Of kerns and gallowglasses is supplied,
And Fortune on his damnèd quarrel smiling,
Showed like a rebel’s whore. 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 Valour’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’chaps
And fixed his head upon our battlements.
Lesson 1
Resource 1
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At first you might find Shakespeare’s language takes some getting used to, so here is a
small glossary to help you:
kern foot soldier armed with sword and shield
gallowglass a soldier fighting just for the money
Fortune fate (Shakespeare’s imagery sees fate as a woman who is only flirting with the rebels)
brandished steel Macbeth is waving his sword threateningly
‘smoked with bloody execution’
it is so cold that the blood on the sword is creating steam just as breath does in cold weather
Valour bravery (again Shakespeare has used personification)
minion servant
unseamed split open
nave navel
chaps jaw
Task one In pairs or small groups, read this speech a few times, experimenting with how it might be said.
Consider how he might be talking before you read it:
Is the captain in pain and struggling to speak?
Is he faint and breathless?
Is he excited and saying the speech quickly?
Is he laughing about the death of the rebel, which means the rebels will be crushed and the battle over?
Task two Underline every word in this speech which is violent.
Next pick out the consonant sounds with a highlighter. What are the dominant ones?
As an experiment, ask one person in the group to read the speech and watch their facial expressions when they make these sounds. Why do you think Shakespeare includes these sounds?
Act 1
Lesson 2
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Lesson 2 – The weird sisters (Act 1 Scenes 1-3)
Starter activities
Witch we know: What do we know about witches? Pairs discuss and feed back
elements to the whole group. (AO3)
Mind maps: Working independently, students create a mind map of all the things
that occur to them when they hear the word ‘witch’. (AO2)
Witches in art: Look at some representations of the weird sisters in art using the
PowerPoint resource Witches in art (Resource 2). Why do your students think these
artists have portrayed them this way? Which are their favourites? (AO3)
Main activities
Evidence of witchcraft: Using the resource The weird sisters (Resource 3) ask
students to work through Act 1 Scene 1 and part of Act 1 Scene 3, to examine the
extent to which the three women could be charged with practising witchcraft. (AO3)
Discussion: How does Shakespeare make the audience fear the weird sisters? As well
as the evidence students collected above, ask them to find features of their language
which differ from other characters. They could identify:
1. They speak in rhyme.
2. Their lines are shorter than the other characters’ lines.
3. They never speak in prose, only verse.
4. They use words like ‘charm’ and old-fashioned language even for
Shakespeare’s time, like ‘aroint’.
5. The number three is important in magic and they use it several times.
(AO2)
Act 1
Lesson 2
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Plenary activities
Modern witches: Shakespeare’s audience would have been terrified of the weird
sisters but for modern audiences they can seem silly. Challenge students: How could
you show them on stage to be frightening in a modern theatre? Share ideas. You
could show your students the short clip of the opening scene from the 2015 version of
the film and discuss how frightening they are:
www.youtube.com/watch?v=K5TpecxZL88. (AO3)
Guilty verdict? On the evidence gathered, would your students convict these women
of witchcraft and send them to be hanged, or do they think they are innocent of
doing harm? Get your class to vote with their feet on one side of the classroom or the
other. (AO1)
Lesson 2
Resource 2
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Witches in art
We’ve included a screenshot of this PowerPoint here so you can see
the resource. To access this resource please log in to the Teachit
English website and type ‘26810’ into the search bar.
Lesson 2
Resource 3
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The weird sisters
In Shakespeare’s time, people believed that witches
could cause them harm. James I, who was on the throne
at the time Macbeth was written was convinced a witch
was plotting to kill him. Characters refer to the three
women who tell Macbeth he is going to be king one day
as ‘the weird sisters’. So what is the evidence which
would convict them in court for practising witchcraft?
In groups of three, read Act 1 Scene 1 and Act 1 Scene 3
up to the entrance of Banquo and Macbeth, then
complete the following activity.
Task one
Imagine you’re the local constable and looking for evidence to arrest these weird women
for witchcraft. Find evidence in the text to support these charges. The first one has
been done for you.
Charges Evidence
Keeping familiars. These were pets which people thought could speak to the devil, such as cats and toads.
I come, Greymalkin. (sinister name for a cat – malkin means evil doer) Paddock calls. (a name for a toad)
Speaking in riddles
Meeting in strange places away from other people
Damaging or killing livestock
Making bad things happen to people
Lesson 2
Resource 3
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Charges Evidence
Uttering spells
Doing strange rituals/dancing
Task two
Join with another group and continue reading the scene, from the conversation between
Macbeth and Banquo, up to the entrance of Ross and Angus. What else do we learn
about the weird sisters?
Charge Evidence
Oddly dressed
Old women
Telling the future
Speaking in threes
Able to vanish
Extension task
The women would have been charged as guilty if they were found to cause harm or
death by witchcraft. Would you find them guilty or innocent?
Act 1
Lesson 3
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Lesson 3 – The world of men (Act 1 Scenes 2-4)
Starter activities
Medieval warfare: Ask students to consider why Shakespeare avoids showing the
battle scenes on stage. Instead we only hear people talking about it. What sounds
would they use to suggest a battle happening close by? (AO1)
How fair? Give students the following scenario:
Imagine that you and your friend had both played in a football match, both
played brilliantly, but your friend scored the winning goal. How would you
feel if your friend was given a try out for a professional team, but you just
had a pat on the back from the coach? And another friend, who was playing
a different match, was given a place on a professional team, because his
father was the manager of it. What would you feel and do?
Ask students to make the connection between this scenario and the situation in Act
1 Scene 4. Elicit the three rewards given by Duncan: Malcolm is made Duncan’s heir
and will inherit the throne, Macbeth has already been made Thane of Cawdor and
Duncan is thinking of promoting him further and Banquo is given a hug.
Banquo offers his loyalty to Duncan. What does this suggest about him? (AO1)
Main activities
Comprehension Act 1 Scene 2: Organise your students into groups of five, and ask
them to read the scene. They should then consider the questions below.
1. Why is the Thane of Cawdor being executed?
2. How does he reward Macbeth for killing the rebel Macdonald? What about
Banquo?
3. Make a list of quotations which show how Macbeth is seen by others.
4. What impression do we get of King Duncan? Is he a good king or not?
Consider how fair he has been in giving Macbeth his new title. (AO1)
Act 1
Lesson 3
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Prophecies for Macbeth and Banquo: Act 1 Scene 3 (Resource 4) Ask your students to
read the scene, then sort the prophecies for Macbeth and Banquo and their responses
using the sorting task in the resource. (AO1)
‘Stars, hide your fires’ freeze frame: Act 1 Scene 4 (Resource 5) Explore Macbeth’s
aside in Act 1 Scene 4 by asking your students to work in groups of between three
and five, to prepare a still image of the scene. When prompted, each character
speaks his thoughts of Duncan’s awards. (AO1)
‘Stars, hide your fires’ reward certificates: Act 1 Scene 4 (Resource 6) As an
alternative task, get students to create certificates explaining what Malcolm,
Macbeth and Banquo have done to receive these rewards. You could use the template
in the resource. (AO1)
Plenary activities
Tweet the news: Students write a tweet to announce Cawdor’s execution. Tweets
cannot be more than 140 characters.
Ask students to show their knowledge of the text by referring to the information
about him at the start of Act 1 Scene 4. (AO1)
Award ceremony: Following up on the activities based on Act 1 Scene 4, you could
hold a mini award ceremony for small groups or volunteers acting as Macbeth,
Banquo and Malcolm, who receive their awards from King Duncan. (AO1)
Lesson 3
Resource 4
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Prophecies for Macbeth and Banquo: Act 1 Scene 3
Task one
Which of these prophecies are for Macbeth and which for Banquo? Complete the table.
Prophecy Macbeth or Banquo?
You will be king.
Your title is Thane of Glamis.
Your children will be kings, but you won’t.
You are not going to be as happy as your friend in one way, but in another way you will be much happier.
You are getting a new title, Thane of Cawdor.
You’re not as important as your friend but in another way you are more important.
Whose fortune do you think is the best? Why?
..........................................................................................................
..........................................................................................................
How do Macbeth and Banquo react to the prophecies?
..........................................................................................................
..........................................................................................................
Lesson 3
Resource 4
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Task two
Cut up the quotations and their modern meanings, then match pairs together.
Banquo
Good sir, why do you start and seem to fear
Things that do sound so fair?
You have given my friend such
a brilliant prediction that he is
now taking his time to think it
over.
My noble partner
You greet with present grace and great prediction
Of noble having and of royal hope,
That he seems rapt withal.
Can we believe what wicked
people tell us?
To me you speak not.
If you can look into the seeds of time
And say which grain will grow and which will not,
Speak then to me, who neither beg nor fear
Your favours nor your hate.
Sometimes the devil tempts us
to do wicked things by telling
us something true.
Were such things here as we do speak about?
Or have we eaten on the insane root,
That takes the reason prisoner?
Macbeth is lost in thought.
What, can the devil speak true? He needs time to get used to
what just happened.
But ’tis strange,
And oftentimes, to win us to our harm,
The instruments of darkness tell us truths;
Win us with honest trifles, to betray’s
In deepest consequence.
If you really can tell the
future, tell me mine? I am not
afraid of you and won’t worry
too much what you say.
Look how our partner’s rapt. It’s good news, so why do you
seem so afraid?
New honours come upon him,
Like our strange garments, cleave not to their
mould,
But with the aid of use.
Did that really happen or have
we gone crazy?
Lesson 3
Resource 4
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Macbeth
Stay, you imperfect speakers. Tell me more.
If the first two prophecies are
true, then the best one is still
to come, so yes! I am going to
be king!
By Sinel’s death I know I am Thane of Glamis,
But how of Cawdor? The Thane of Cawdor lives
A prosperous gentleman,
Perhaps we can believe them
now, because they were right
about me being Thane of
Cawdor. Aren’t you excited
that your children could be
kings?
to be king
Stands not within the prospect of belief,
Hang on a minute, where did
you get that idea from? And
why have you come to tell us
these things?
Say from whence
You owe this strange intelligence, or why
Upon this blasted heath you stop our way
With such prophetic greeting? Speak, I charge you.
Well yes, I am already Thane
of Glamis, that part is true,
but someone else is Thane of
Cawdor and I can’t inherit
from someone who isn’t dead.
The Thane of Cawdor lives. Why do you dress me
In borrowed robes?
Wait, don’t go. I want to hear
more.
Glamis, and Thane of Cawdor:
The greatest is behind.
I can’t believe you say I am
going to be king!
Do you not hope your children shall be kings,
When those that gave the Thane of Cawdor to me
Promised no less to them?
The Thane of Cawdor is alive
and well. What are you talking
about? That’s not my title.
This supernatural soliciting
Cannot be ill, cannot be good. If ill,
Why hath it given me earnest of success,
Commencing in a truth? I am Thane of Cawdor.
If good, why 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?
Maybe I don’t need to do
anything? Just let being king
happen to me like being Thane
of Cawdor did.
Lesson 3
Resource 4
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Present fears
Are less than horrible imaginings.
My thought, whose murder yet is but fantastical,
Shakes so my single state of man that function
Is smothered in surmise, and nothing is,
But what is not.
I am confused. If all this is
good news, which it is, why do
I feel so scared?
If chance will have me king, why chance may crown
me
Without my stir.
Oh well, let’s see how I feel
tomorrow; what will happen
will happen.
Come what come may,
Time and the hour runs through the roughest day.
What if I have to do something
terrible to become king, like a
murder?
Lesson 3
Resource 4
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Teacher’s answer sheet
Banquo
Good sir, why do you start and seem to fear Things that do sound so fair?
It’s good news, so why do you seem so afraid?
My noble partner
You greet with present grace and great prediction
Of noble having and of royal hope,
That he seems rapt withal.
He needs time to get used to what just happened.
To me you speak not. If you can look into the seeds of time And say which grain will grow and which will not, Speak then to me, who neither beg nor fear Your favours nor your hate.
If you really can tell the future, tell me mine. I am not afraid of you and won’t worry too much what you say.
Were such things here as we do speak about?
Or have we eaten on the insane root,
That takes the reason prisoner?
Did that really happen or have we gone crazy?
What, can the devil speak true? Can we believe what wicked people tell us?
But ’tis strange, And oftentimes, to win us to our harm, The instruments of darkness tell us truths; Win us with honest trifles, to betray’s In deepest consequence.
Sometimes the devil tempts us to do wicked things by telling us something true.
Look how our partner’s rapt. Macbeth is lost in thought.
New honours come upon him,
Like our strange garments, cleave not to their mould,
But with the aid of use.
You have given my friend such a brilliant prediction that he is now taking his time to think it over.
Lesson 3
Resource 4
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Teacher’s answer sheet
Macbeth
Stay, you imperfect speakers. Tell me more. Wait, don’t go. I want to hear more.
By Sinel’s death I know I am Thane of Glamis,
But how of Cawdor? The Thane of Cawdor lives A prosperous gentleman,
Well yes, I am already Thane of Glamis, that part is true, but someone else is Thane of Cawdor and I can’t inherit from someone who isn’t dead.
to be king Stands not within the prospect of belief,
I can’t believe you say I am going to be king!
Say from whence
You owe this strange intelligence, or why
Upon this blasted heath you stop our way
With such prophetic greeting? Speak, I charge you.
Hang on a minute, where did you get that idea from? And why have you come to tell us these things?
The Thane of Cawdor lives. Why do you dress me
In borrowed robes?
The Thane of Cawdor is alive and well. What are you talking about? That’s not my title.
Glamis, and Thane of Cawdor:
The greatest is behind.
If the first two prophecies are true, then the best one is still to come, so yes! I am going to be king!
Do you not hope your children shall be kings,
When those that gave the Thane of Cawdor to me
Promised no less to them?
Perhaps we can believe them now,
because they were right about me
being Thane of Cawdor. Aren’t you
excited that your children could be
kings?
This supernatural soliciting
Cannot be ill, cannot be good. If ill,
Why hath it given me earnest of success,
Commencing in a truth? I am Thane of Cawdor.
If good, why 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?
What if I have to do something
terrible to become king, like a
murder?
Present fears
Are less than horrible imaginings.
My thought, whose murder yet is but fantastical,
Shakes so my single state of man that function
Is smothered in surmise, and nothing is,
But what is not.
I am confused. If all this is good
news, which it is, why do I feel so
scared?
If chance will have me king, why chance may crown me
Without my stir.
Maybe I don’t need to do anything. Just let being king happen to me like being Thane of Cawdor did.
Come what come may,
Time and the hour runs through the roughest day.
Oh well, let’s see how I feel tomorrow; what will happen will happen.
Lesson 3
Resource 5
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‘Stars, hide your fires’ freeze frame
Macbeth tells the audience in an aside (where he speaks to us but the other characters
cannot hear him):
Macbeth: The Prince of Cumberland: 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,
The eye wink at the hand. Yet let that be,
Which the eye fears when it is done to see.
Now that Duncan has given
Malcolm the title of the Duke of
Cumberland, Macbeth has realised
that he is not going to be King
without taking action. Malcolm is
in his way. He tells the stars not to
shine so no one can see what he is
thinking – his thoughts are evil.
However, we are not told what Malcolm or Banquo are thinking. The other lords too may
have some private thoughts.
In a small group, prepare a freeze frame (still picture) of the scene where Duncan is
giving out his rewards. One of you should play Duncan, one should play Macbeth, one
should play Banquo and any other group members should play the other lords who
attend. On an agreed signal, each character unfreezes to speak his thoughts. Perform
your scene for the rest of the class.
Extension task
Macbeth has been given a new title, land and a second castle. But he is still not happy.
He wants more. What advice would you give Duncan at this point? Each character can
answer this in role.
Lesson 3
Resource 6
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‘Stars, hide your fires’ reward certificates
King Duncan’s Awards
The noble King of Scotland, Duncan,
is pleased to award
.................................................................
To his loyal subject
.................................................................
To show his gratitude for
.................................................................
.................................................................
.................................................................
.................................................................
In the field of battle
Signed .........................
King of Scotland
Act 1
Lesson 4
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Lesson 4 – Lady Macbeth (Act 1 Scene 5)
Starter activities
Who would marry Macbeth? Students consider: from what we know of Macbeth,
what might his wife be like as a character? (AO1)
Send the message: Macbeth writes his wife a letter about what has happened to
him. Before your students read Act 1 Scene 5, ask them to write a text message from
Macbeth to his wife with the news he needs to tell her. (AO1)
Main activities
First impressions: Support your students in reading the first part of Act 1 Scene 5
using the resource Impressions of Lady Macbeth (Resource 7) which compares our
earlier understanding of Macbeth with her opinions of him. (AO1)
The evil within: Explore Lady Macbeth’s second soliloquy (which begins ‘The raven
himself is hoarse’) in Act 1 Scene 5 with the resource Lady Macbeth: the evil within
(Resource 8). The first task is to display her speech and type in evil words; you could
instead give students a paper copy of the speech to annotate and use the PowerPoint
slide to consolidate your class’s ideas. (AO2)
Exploring the imagery: Pair up your students and ask them to read from Macbeth’s
entrance in Act 1 Scene 5 to the end of the scene. Use the resource O, never shall
sun that morrow see! (Resource 9) to examine the language used by Lady Macbeth
and the relationship between the pair. (AO1, AO2)
Plenary activities
Illustrate the imagery: In Lady Macbeth’s speech beginning ‘Oh never / shall sun
that morrow see’ (explored in the activity above), students choose one of the
following images to illustrate, discussing the relevance and impact of the imagery:
1. Your face, my thane, is as a book where men
May read strange matters
2. Look like th’innocent flower
But be the serpent under’t. (AO2)
Who is the most dangerous? Students consider who is the most dangerous: Macbeth
or Lady Macbeth? (AO1)
Lesson 4
Resource 7
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Impressions of Lady Macbeth
1. Read from the start of Act 1 Scene 5 to ‘To have thee crown’d withal.’
Lady Macbeth reads aloud Macbeth’s letter, then she comments on it. How does
Shakespeare make the letter and the comments different?
2. What impression do we gain from Lady Macbeth about her husband, compared to the
idea we have of him so far? Add your ideas around the images below.
Macbeth before
Macbeth now
3. Work with a partner and jot down your responses to these questions:
Would she know him best?
Why does she intend to ‘chastise’ him?
Does she want him to be king? Can you find any evidence for her wanting Macbeth to kill the king?
4. Read the conversation with the attendant. Why does she think the servant is ‘mad’ to say the king is coming to the Macbeths’ castle that very night?
Lesson 4
Resource 8
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The evil within
We’ve included a screenshot of this PowerPoint here so you can see
the resource. To access this resource please log in to the Teachit
English website and type ‘26809’ into the search bar.
Lesson 4
Resource 9
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‘O, never shall sun that morrow see!’
Task one
Read the duologue from the entrance of Macbeth to the end of the scene, then answer
the questions below.
1. What advice is she giving Macbeth in her speech
beginning ‘O, never shall sun that morrow see!’
and why? Does the way she expresse it help the
audience remember what she said? Why has she
used this imagery?
2. How does Lady Macbeth indicate she wants
Duncan to be killed?
3. How does Macbeth reveal his reluctance to
comply with her wishes?
4. Who do you think has the upper hand in this
relationship? Back up your idea with evidence
from the play.
Task two
Consider the different moods Lady Macbeth shows in the whole of Act 1 Scene 5 and
answer the following question:
How does Lady Macbeth’s mood change as the scene progresses?
You could use some of the words below to help you answer.
excited evil vindictive manipulative
calm controlled business-like determined
persuasive calculating optimistic spiritual
valiant cowardly scheming selfish
Act 1
Lesson 5
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Lesson 5 – To kill a king (Act 1 Scenes 6-7)
Starter activities
Advertise the castle: Ask students to look at the conversation between Duncan and
Banquo at the start of Act 1 Scene 6 (ten lines). Translate their words into an estate
agent’s or cottage holiday advert for a castle. You could start by looking at the
language used by Airbnb hosts for castles: www.airbnb.co.uk/wishlists/stay-in-a-
castle or one of the promotional videos (e.g. ‘Belong anywhere’ on their website
homepage) as inspiration. NB These links are correct at the time of publication.
(AO2)
Dramatic irony: Display the opening ten lines of the scene on the whiteboard and ask
students to consider the following questions:
1. How does this quotation link with Lady Macbeth’s previous advice: ‘look
like th’innocent flower, / But be the serpent under’t’?
2. Why is this conversation full of dramatic irony (when the audience knows
something the characters do not)? Find examples. (AO2)
Equivocation quiz: To prepare students for analysing Lady Macbeth’s language in Act
1 Scene 6, give students the resource Equivocation quiz (Resource 10) to determine
to what extent they are an equivocator. (AO2)
Main activities
Conspiracy to kill a king: Explain to students the context for the Macbeths’ plot:
Killing a king was the worst crime possible, because the king was believed to
rule by divine right. To plot to kill a king was therefore a plot against God.
People of this time thought that they would go to hell for this crime, even if
they got away with it in real life. Lady Macbeth and Macbeth risk their souls
for earthly ambition. People in Shakespeare’s time had seen traitors executed
for plotting against royalty. They would be fascinated and terrified by what
the Macbeths are plotting to do.
Act 1
Lesson 5
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With this in mind, ask students to read Act 1 Scene 6 from Lady Macbeth’s entrance,
and then find quotations to show how Duncan flatters Lady Macbeth:
1. You are my honoured hostess.
2. Thank you for going to the trouble of providing beds and food for me and
my men – I know it must be a lot of work.
3. Your husband rode very fast to get home before us because he loves you so
much.
4. I am going to continue to favour you and Macbeth. (AO1, AO3)
Lady Macbeth’s equivocation: Following on from the ‘Equivocation quiz’ starter,
students could use the resource Lady Macbeth’s equivocation (Resource 11) to
explore her language and behaviour in Act 1 Scene 6. (AO1, AO2)
Euphemism and persuasion: Explore Macbeth’s soliloquy in Act 1 Scene 7 with your
students, using the resource Macbeth’s soliloquy (Resource 12) to consider his use of
euphemistic language. Continue reading to the end of the scene with your class,
asking students to identify Lady Macbeth’s persuasive language. You could also use
the resource Act 1 Scene 7 Persuasion (Resource 13) to explore this further. (AO2)
Plenary activities
Summary of the scenes: Looking back on Act 1, ask students to produce a one line
summary of each scene. For example for Scene 1: Away from the battlefield, three
witches arrange a meeting. (AO1)
Characters: Students sum up the main characters by using three adjectives for each
one: Banquo, Macbeth, Lady Macbeth, King Duncan. For example: Banquo – loyal,
wary, happy-go-lucky. (AO1)
Persuasion: Recap Lady Macbeth’s persuasive techniques using the resource
Persuasive techniques in Act 1 Scene 7 (Resource 14), where students rate the
effectiveness of the techniques and explain the technique they feel is most
effective. (AO2)
Lesson 5
Resource 10
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Equivocation quiz
Answer these questions to find out whether you are an equivocator.
Select the best fit answer from the options, ticking your preference.
1. An elderly relative has given you a really horrible hand-knitted jumper. Your response is:
a. ‘That’s a really vile jumper. If I wore that my friends would laugh at me.’
b. ‘What an interesting colour and pattern! No one I know has anything like that.’
c. ‘Oh I love it. I will treasure it and wear it every day.’
d. ‘Thank you, it might come in handy.’
2. A small child gives you a very poor scribbly drawing they have done. Do you …?
a. Laugh and ask the child what it is meant to be.
b. Pin it up on the fridge saying it’s marvellous and you are going to keep it forever but intend to throw it away when the child isn’t looking.
c. Tell the child it is a wonderful drawing and they are going to be a famous artist when they grow up.
d. Give the child some pointers on how to improve their work.
Lesson 5
Resource 10
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3. Your best friend is telling you about someone he or she really fancies. You know there is no chance they will get a date. Do you say:
a. ‘What? Don’t make me laugh. You have no chance with him/her.’
b. ‘Maybe they are not as nice as you think. I’ve heard some nasty gossip.’
c. ‘You are far too good for him/her.’
d. ‘Never mind him/her. I can get us a double date with someone nicer. Let’s meet up at the weekend and try the new coffee shop in town.’
4. You’ve been invited to a party but you really don’t want to go, because the person who invited you is a bully. Do you …?
a. Tell them you wouldn’t go if they paid you to.
b. Accept the invitation with apparent pleasure but then make up an excuse on the night and pretend you are really upset you can’t go.
c. Go, and buy them a really good present. Boast to everyone you have been invited and hope it gets back to the bully, because you need to stay in their good books.
d. Say you are really sorry but you won’t be able to come because you already have plans.
If you answered …
mostly a: you are far too straightforward and could do with developing some tact but at least people know where they stand with you.
mostly b: you are an equivocator. This power can be used to good or ill; be careful when you use it!
mostly c: you could come across as insincere, so curb a tendency to flatter people.
mostly d: you are a kind person who knows how to be tactful, but be careful you don’t become an equivocator.
Lesson 5
Resource 11
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Lady Macbeth’s equivocation
Lady Macbeth uses equivocation (where you use language to hide the truth).
Equivocation is one of the sins the Porter mentions later in the play. Here’s how Lady
Macbeth’s equivocation works:
What Lady Macbeth says
What Duncan thinks she means
What the audience suspect she means
‘All our service in every point twice and done and then done double’
We have gone to a lot of care and double checked things to make sure your stay is comfortable.
I have checked my plans to murder you over several times to make sure it happens.
‘Those honours deep and broad with which your majesty loads our house’
Thank you for all you have done for us.
You have not done enough for us; you could have named Macbeth your heir.
‘Your servants ever have theirs [spurs]’
Your servants are keen to give you all they have because they love you – us included.
You spur us on to kill you.
Discuss these questions below and agree your answers before jotting them down.
1. Remember Lady Macbeth’s advice to her husband:
Your face, my thane, is as a book where men
May read strange matters
Look like th’innocent flower
But be the serpent under’t.
How well does she show the audience that she is following this advice here?
2. Dramatic irony happens in plays when the audience knows something not all the
characters do. If this play was a pantomime, you would want to shout out a warning to
Duncan here that Lady Macbeth plans to kill him, but because it is a tragedy, you are
not supposed to shout out. So how does this dramatic irony make you feel, as an
audience member?
3. At this point in the play, which character do you like the most and why? Is that the
same thing as enjoying watching the character on stage? Which character do you prefer
watching? Share why with a partner.
Lesson 5
Resource 12
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Macbeth’s soliloquy
A soliloquy is where one character has a solo speech on
stage. Shakespeare uses them to show the audience what
the character is thinking.
Macbeth’s soliloquy at the start of this scene shows he is
unsure about their planned murder. Macbeth is talking to
himself on stage. He does not really want to kill King
Duncan but he knows he has to if he wants to become
King. He will not use the word ‘kill’ as he cannot face it.
Task one
1. Read through this modern version of the speech and highlight or underline the words
or phrases used instead of ‘kill’ or ‘murder’.
2. Now read it out loud substituting the words you’ve highlighted or underlined with the
words ‘kill’ or ‘murder’.
If I am going to do it, I’d better do it quickly. I wouldn’t worry about it if I thought I
could get away with it and become king without anyone suspecting me. I know it is wrong
to do this thing, and if I do wrong to the king, someone might do the same to me. I might
even be done away with myself by someone else who wants to be king instead. Evil deeds
have a way of coming back to the person who did them. Perhaps I shouldn’t do this deed.
I mean, he is a member of my family and he is my king. I’m supposed to be his most loyal
knight. And even worse, he’s staying at my house. To do this thing is no way to treat a
guest! In fact, I ought to be protecting him from anyone who might want to hurt him.
He is such a good person too. Everyone loves him. People will hate anyone who treats
him cruelly. The whole country would cry and mourn at his passing. And I would only be
doing it so I could be king. That seems very selfish. Besides, he’s just been really good to
me, making me Thane of Cawdor. To take away his life seems such a mean thing to do!
I’d like to feel good for a while before I do something so dreadful.
Lady Macbeth, my wife, tells me I must do as I promised. She always keeps her promises,
even when they are cruel. She’s just told me she would kill her own baby if she’d
promised. Sometimes she frightens me. I don’t want her to think I am a coward. I
promised her I would do this, so I will.
Lesson 5
Resource 12
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Task two
Now read Shakespeare’s version:
Macbeth
If it were done when ’tis done, then ’twere well
It were done quickly. If th’assassination
Could trammel up the consequence and catch
With his surcease, success, that but this blow
Might be the be-all and the end-all — here,
But here, upon this bank and shoal of time,
We’d jump the life to come. But in these cases,
We still have judgment here that we but teach
Bloody instructions, which, being taught, return
To plague th’inventor. This even-handed justice
Commends th’ingredience of our poisoned 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 th’other —
1. Repeat task one with the original version above.
2. Why does Macbeth avoid the words kill and murder? Instead he uses euphemism, a
technique people use when they want to avoid speaking openly, for example, we use
‘pass away’ instead of die.
3. List the reasons he gives for not wanting to go ahead. Use the modern version to help
you if you need to. Do you think these are valid reasons?
Lesson 5
Resource 13
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Act 1 Scene 7: persuasion
1. In pairs or groups of three, role play a scene in which one or two
people are persuading another person to do something wrong. You
could choose one of the following examples:
shop lifting
going to a party your parents don’t want you to go to
taking drugs.
The person or people doing the persuading should develop at least five arguments why the
other person should go ahead with the act and the person being persuaded should use at
least five reasons why he or she shouldn’t.
2. When you have finished the role play think about the kinds of strategies which you used both
to persuade someone to do something and to argue against doing it.
For example:
Did the person doing the persuading use bribery or did he or she accuse the other person of
being a wimp?
Why do you think this is such a powerful tool of persuasion?
How difficult did the person being persuaded find it to argue back?
3. Discuss the strategies your group used with a group who chose another issue. Were the
strategies the same? Which strategies would only work with a specific issue?
Persuading Macbeth to kill Duncan
4. When you have read to the end of Act 1 Scene 7 discuss the tactics Lady Macbeth uses to
persuade Macbeth to carry out the murder of Duncan.
Does she use any of the strategies you used in your role play?
Lady Macbeth’s persuasiveness
5. Lady Macbeth is skilful in persuading Macbeth to murder the king and so make the weird
sisters’ prophecy come true.
What do you think her success at persuading Macbeth suggests about her character and her
relationship with her husband?
6. Find quotations to show how Lady Macbeth uses the tactics listed in the following chart to
persuade Macbeth to go through with the murder.
Comment on how effective each quotation is as a means of persuasion.
Does Lady Macbeth use any ways of persuading Macbeth to kill Duncan which haven’t been
listed below?
Lesson 5
Resource 13
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Table Quotation Effectiveness
Flattery
Accusing Macbeth of cowardice
And live a coward in thine own esteem, Letting I dare not wait upon I would, Like the poor cat i’th’adage? (lines 43-5)
Here Lady Macbeth is referring to a proverb in which a cat wanted to catch fish but didn’t want to get its feet wet. It is effective because Lady Macbeth is suggesting Macbeth won’t be able to have self-respect if he doesn’t commit the murder.
Questioning Macbeth’s manhood
Reassurance
Emphasising her own determination
Lesson 5
Resource 14
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Persuasive techniques in Act 1 Scene 7
1. Read from Lady Macbeth’s entrance to the end of Act 1 Scene 7.
2. Lady Macbeth uses a number of persuasive techniques in Act 1 Scene 7. Rate each
part of her argument, giving up to five stars.
3. Choose the one you rated most highly and write a full paragraph to explain why it is
an effective persuasive technique.
Quotation What she is doing Your star
rating
Was the hope drunk
Wherein you dress’d yourself? Hath it slept
since?
And wakes it now to look so green and pale
At what it did so freely?
Using rhetorical questions to
mock him and make him
feel small. Reminding him
he already said he would do
it.
From this time
Such I account thy love.
Moral blackmail, saying she
won’t love him anymore if
he doesn’t kill Duncan.
Art thou afeard
To be the same in thine own act and
valour,
As thou art in desire?
Rhetorical question implying
he is a coward.
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’th’adage?
Rhetorical question implying
he wants to be king but
won’t take any risks to get
what he wants.
What beast was’t then
That made you break this enterprise to me?
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.
In Jacobean times, there
were accepted qualities
which made a man
respected. Here, she uses a
rhetorical question to make
him feel he would be a man
if he kills Duncan, in her
eyes, but as low as an
animal if he does not.
Lesson 5
Resource 14
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Quotation What she is doing Your star
rating
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.
She builds his confidence
here by saying that they will
never have a better chance
to get what they want. But
maybe he thinks it’s too
perfect?
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.
She does two things here.
1. Gives an extreme
example of a murder which
makes this one seem less
bad.
2. Says she would keep her
promise, and women were
believed to be naturally soft
and kind by Shakespeare’s
audience, so she would be
going against nature to kill
her own baby.
But screw your courage to the sticking-
place,
And we’ll not fail.
She uses flattery: it can’t go
wrong if you are brave.
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 drenchèd natures lies as in a death,
What cannot you and I perform upon
Th’unguarded Duncan? What not put upon
His spongy officers, who shall bear the guilt
Of our great quell?
She lays out what seems a
foolproof plan: she will drug
Duncan’s guards at the
feast, so they will sleep
through the murder. They
can then put the blame on
them – the guards won’t
remember whether they did
it or not.
Who dares receive it other,
As we shall make our griefs and clamour
roar
Upon his death?
She reassures him by telling
him to make a great show of
his sorrow when the murder
is discovered.
Act 1
Exam style questions
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Act 1: Exam style questions
AQA
Section A: Shakespeare
Answer one question from this section on your chosen text.
Macbeth
Read the following extract from Act 1 Scene 3 of Macbeth, and then answer the question that
follows it.
At this point in the play, Macbeth has just been told that he has been made Thane of Cawdor,
shortly after hearing the witches make their prophecies.
MACBETH
[Aside] Two truths are told,
As happy prologues to the swelling act
Of the imperial theme.— I thank you, gentlemen. —
This supernatural soliciting
Cannot be ill, cannot be good. If ill,
Why hath it given me earnest of success,
Commencing in a truth? I am Thane of Cawdor.
If good, why 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.
My thought, whose murder yet is but fantastical,
Shakes so my single state of man that function
Is smother’d in surmise, and nothing is,
But what is not.
BANQUO
Look how our partner’s rapt.
MACBETH
If chance will have me king, why chance may crown me
Without my stir.
5
10
15
01 Starting with this moment in the play, explore how Shakespeare presents Macbeth’s ambition.
Write about:
how Shakespeare presents Macbeth at this point in the play
how Shakespeare presents Macbeth in the play as a whole.
[30 marks]
A04 [4 marks]
Act 1
Exam style questions
© www.teachit.co.uk 2016 26802 Page 43 of 195
Edexcel
SECTION A – Shakespeare
Answer the question on ONE text from this section.
You should spend about 55 minutes on this section.
You should divide your time equally between question parts (a) and (b)
Macbeth – from Act 1 Scene 3, lines 36 to 76
In this extract, Macbeth and Banquo encounter the witches.
MACBETH
So foul and fair a day I have not seen.
BANQUO
How far is’t call’d to Forres? What are these,
So 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 aught
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.
MACBETH
Speak if you can: what are you?
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.
BANQUO
Good sir, why do you start and seem to fear
Things that do sound so fair? — I’th’name of truth
Are ye fantastical, or that indeed
Which outwardly ye show? My noble partner
You greet with present grace and great prediction
Of noble having and of royal hope
That he seems rapt withal. To me you speak not.
If you can look into the seeds of time
And say which grain will grow and which will not,
Speak then to me, who neither beg nor fear
Your favours nor your hate.
FIRST WITCH
Hail.
5
10
15
20
25
Act 1
Exam style questions
© www.teachit.co.uk 2016 26802 Page 44 of 195
SECOND WITCH
Hail.
THIRD WITCH
Hail.
FIRST WITCH
Lesser than Macbeth, and greater.
SECOND WITCH
Not so happy, yet much happier.
THIRD WITCH
Thou shalt get kings, though thou be none.
So all hail Macbeth and Banquo.
FIRST WITCH
Banquo and Macbeth, all hail.
MACBETH
Stay, you imperfect speakers. Tell me more.
By Sinel’s death, I know I am Thane of Glamis,
But how of 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. Say from whence
You owe this strange intelligence, or why
Upon this blasted heath you stop our way
With such prophetic greeting? Speak, I charge you.
Witches vanish
30
35
40
1. (a) Explore how Shakespeare presents the characters of Macbeth and Banquo being
manipulated by the witches in this extract.
Refer closely to the extract in your answer.
(20)
1. (b) In this extract, the supernatural element is shaping the plot. Explain the importance of
the supernatural elsewhere in the play.
In your answer you must consider:
• how the supernatural is presented
• why the supernatural is important.
You must refer to the context of the play in your answer.
(20)
(Total for Question 1 = 40 marks)
Act 1
Exam style questions
© www.teachit.co.uk 2016 26802 Page 45 of 195
OCR
Section B
Shakespeare
Macbeth
Choose ONE question.
You are advised to spend about 45 minutes on this section.
EITHER
8 Explore the idea that Shakespeare contrasts the characters of Macbeth and Banquo. Refer to
this extract from Act 1 Scene 3 and elsewhere in the play.
[40]*
In this extract Macbeth and Banquo have just heard the witches’ prophecies. Macbeth has just
found out he has been made Thane of Cawdor.
BANQUO
What, can the devil speak true?
MACBETH
The Thane of Cawdor lives. Why do you dress me
In borrowed robes?
ANGUS
Who was the thane, lives yet,
But under heavy judgement bears that life
Which he deserves to lose.
Whether he was combined with those of Norway,
Or did line the rebel with hidden help
And vantage, or that with both he laboured
In his country’s wrack, I know not,
But treasons capital, confessed and proved,
Have overthrown him.
MACBETH
[Aside] Glamis, and Thane of Cawdor:
The greatest is behind. — Thanks for your pains. —
[To BANQUO] Do you not hope your children shall be kings,
When those that gave the Thane of Cawdor to me
Promised no less to them?
BANQUO
That trusted home,
Might yet enkindle you unto the crown,
Besides the Thane of Cawdor. But ’tis strange,
And oftentimes, to win us to our harm,
The instruments of darkness tell us truths;
Win us with honest trifles, to betray’s
In deepest consequence.
Act 1
Exam style questions
© www.teachit.co.uk 2016 26802 Page 46 of 195
OR
9 In what ways is Macbeth an important character in the play? Explore at least two moments
from the play to support your ideas.
[40]*
Quality of extended responses will be assessed in questions marked with an asterisk (*).
Act 1
Exam style questions
© www.teachit.co.uk 2016 26802 Page 47 of 195
WJEC Eduqas
2. Macbeth
Answer both part (a) and part (b).
You are advised to spend about 20 minutes on part (a), and about 40 minutes on part (b).
(a) Read the extract below.
What does this extract show an audience about Macbeth’s state of mind at this point in the play?
Refer closely to details from the extract to support your answer.
[15]
MACBETH
If it were done when ’tis done, then ’twere well
It were done quickly. If th’assassination
Could trammel up the consequence and catch
With his surcease, success, that but this blow
Might be the be-all and the end-all — here,
But here, upon this bank and shoal of time,
We’d jump the life to come. But in these cases,
We still have judgement here that we but teach
Bloody instructions, which being taught, return
To plague th’inventor. This even-handed justice
Commends th’ingredience of our poisoned 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 th’other —
*(b) Write about Lady Macbeth and the way she is presented in Macbeth.
[25]
*5 of this question’s marks are allocated for accuracy in spelling, punctuation and the use of
vocabulary and sentence structures.
Act 2
Lesson 6
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Act 2
Act 2
Lesson 6 – Preparing to murder a king (Act 2 Scene 1)
Starter activities
Whatever the weather: Discuss the effects of the weather on our mood. Ask your
class to rate how much they are affected by: sunshine, rain, storms, darkness, the
cold. You could ask them to stand in a continuum line across the room. (AO1)
Why murder Duncan? At the end of Act 1, the Macbeths had resolved to kill Duncan.
What factors went into the making of this decision? Brainstorm ideas as a class.
Possible responses are: their ambition, their impatience, the prophecies of the
witches, Malcolm being made Duncan’s heir instead of Macbeth, the circumstances of
Duncan coming to stay with them so the murder is easier, Macbeth wanting to prove
to his wife that he is no coward. (AO1)
Main activities
Macbeth and Banquo: The two men are presented in contrasting ways in this scene.
Read through the first part of the scene up to Macbeth’s soliloquy (‘Who’s there?’)
and ask pairs to consider their responses to the following questions:
1. What do you think the relationship between Banquo and his son is like?
2. ‘There’s husbandry in heaven / Their candles are all out’: What is the
effect of the darkness on the mood in this scene?
3. How does Banquo feel about his encounter with the witches and why is he
having to resist temptation? How does Macbeth feel about their encounter?
4. How does Banquo’s behaviour change when Macbeth arrives?
5. What lies does Macbeth tell his friend? (AO1)
Act 2
Lesson 6
© www.teachit.co.uk 2016 26802 Page 49 of 195
Is this a dagger? Using the resource Is this a dagger? (Resource 15) explore Macbeth’s
soliloquy. You could show your class a YouTube clip of the soliloquy as preparation
for the activities:
www.youtube.com/watch?v=pusU90ov8pQ (Patrick Stewart)
www.youtube.com/watch?v=cA0NyeFpCY8 (Ian McKellen) (AO2)
Plenary activities
Conscience alley: Choose one student to take the role of Macbeth. Divide the rest of
the class roughly into two. The students form two lines, facing inwards. Macbeth
walks down the middle slowly. Each student acts as his conscience, with the students
on his right each giving a reason not to kill Duncan and the students on the left
spurring him on with their comments. Macbeth listens in silence and makes a decision
at the end of the alley. If a wooden dagger can be used, they can surrender it or
point it as they reveal their decision. The same effect could be achieved by dividing
the class and having them write a Post-it note of what they would say to Macbeth,
and adding these to the whiteboard. (AO1)
Pictionary: Choose some of the imagery from the scene (the moon, stars, dagger,
eyes, blood, dreams, sleep, a ghost) and play Pictionary in whichever form you like:
eyes open, eyes closed, as a whole class or in pairs. Ask students to explain how
these images fit with the emerging themes of appearance and reality, and truth and
deception. (AO2)
Lesson 6
Resource 15
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Is this a dagger?
Task one
Read Macbeth’s soliloquy from Act 2 Scene 1, below.
Choose one colour to highlight or underline words or
phrases that show Macbeth’s madness, and another
colour to show his sanity.
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’th’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 half-world
Nature seems dead, and wicked dreams abuse
The curtained sleep. Witchcraft celebrates
Lesson 6
Resource 15
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Pale Hecate’s off’rings, 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.
Key
Madness
Sanity
Task two
Working in a pair, take it in turns to perform the soliloquy.
One partner reads it as though Macbeth’s mind is disturbed and the other as though he is
of sound mind.
Why does Shakespeare make Macbeth’s feelings ambiguous here?
Lesson 6
Resource 15
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Task three
Earlier Macbeth was against killing the king, until his wife persuaded him. Reread his
soliloquy from Act 1 and compare it with the soliloquy you have read in Act 2, using the
table below. One comparison has been done for you as an example.
Act 1 Scene 7
Macbeth: If it were done when ’tis done, then ’twere well
It were done quickly. If th’assassination
Could trammel up the consequence and catch
With his surcease, success, that but this blow
Might be the be-all and the end-all – here,
But here, upon this bank and shoal of time,
We’d jump the life to come. But in these cases
We still have judgment here that we but teach
Bloody instructions, which, being taught, return
To plague th’inventor. This even-handed justice
Commends th’ingredience of our poisoned 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 th’other —
Lesson 6
Resource 15
© www.teachit.co.uk 2016 26802 Page 53 of 195
Act 2 Scene 1
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’th’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 half-world
Nature seems dead, and wicked dreams abuse
The curtained sleep. Witchcraft celebrates
Pale Hecate’s off’rings, 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.
Lesson 6
Resource 15
© www.teachit.co.uk 2016 26802 Page 54 of 195
What has changed? Macbeth:
‘If it were done when ’tis done’
Macbeth:
‘Is this a dagger which I see
before me’
Attitude towards
killing the king
Attitude towards
Duncan
His mental state
The words he uses
He avoids the word ‘murder’
and talks about angels and
newborn babies.
He talks about hell,
wickedness, blood, ghosts,
witches, nightmares. He can
now say ‘murder’.
How evil he is
How afraid he is
Extension task
When you have finished the table, use it to write a paragraph on how Macbeth’s
character has developed from Act 1 to Act 2, including brief quotations.
Lesson 6
Resource 15
© www.teachit.co.uk 2016 26802 Page 55 of 195
Teacher’s answer sheet
In this example, words which show a disturbed mind are highlighted in red, and sane
ones in purple. Of course your students will give different interpretations which can also
be rewarded.
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. 1
Art thou not, fatal vision, sensible
To feeling as to sight? 2 Or art thou but
A dagger of the mind, a false creation,
Proceeding from the heat-oppressèd brain? 3
I see thee yet, in form as palpable
As this which now I draw. 4
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’th’other senses,
Or else worth all the rest. 5 I see thee still
And on thy blade and dudgeon gouts of blood,
Which was not so before. 6 There’s no such thing:
It is the bloody business which informs
Thus to mine eyes. 7 Now o’er the one half-world
Nature seems dead, and wicked dreams abuse
The curtained sleep. Witchcraft celebrates
Pale Hecate’s off’rings, 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 8
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, 9
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. 10
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.
1. Seeing visions is the product of a disturbed mind.
2. He tests to see if it is real or not.
3. He questions his sanity.
4. But he still sees the vision.
5. He suspects he is seeing things.
6. The vision changes, gets worse.
7. Realises there is nothing there.
8. Obsesses about ghosts and nightmares.
9. Personifies the stones (shows his paranoia).
10. Sane, knows what he is doing but determined to kill the king.
Lesson 6
Resource 15
© www.teachit.co.uk 2016 26802 Page 56 of 195
What has changed? Macbeth: ‘If it were done when ’tis done’
Macbeth:
‘Is this a dagger which I see before me’
Attitude towards killing the king
Thinking of lots of reasons against killing Duncan.
Now determined to kill Duncan.
Attitude towards Duncan
As Duncan is both family and his king, he should be protecting him. Also Duncan is a good person and king.
Wants to kill him and does not care whether he goes to heaven or hell.
His mental state Sane and logical, but afraid to admit to himself what he is planning to do.
Unstable, seeing visions.
The words he uses He avoids the word ‘murder’ and talks about angels and newborn babies.
He talks about hell, wickedness, blood, ghosts, witches, nightmares. He can now say ‘murder’.
How evil he is Wants people to think well of him, is still at heart a good person.
Seems to have become completely evil.
How afraid he is
Afraid of being caught, or of being assassinated in his turn; he is worried about his soul, if he commits this dreadful sin.
Still afraid but not as scared as he was before. He fears being heard before he can commit the murder.
Act 2
Lesson 7
© www.teachit.co.uk 2016 26802 Page 57 of 195
Lesson 7 – The aftermath of the murder (Act 2 Scene 2)
Starter activities
Lady Macbeth: Students independently read Lady Macbeth’s speech at the start of
Scene 2, up to ‘live or die’. What is her mood here? Ask for evidence to support
ideas. (AO1)
Murder offstage: Ask students to consider why Shakespeare didn’t show the murder
on stage. They could work in pairs to come up with up to five reasons, and rank these
from the most to least likely. (AO1)
Main activities
Who’s to blame? Read through Act 2 Scene 2. The class decides whether the
following responsibilities for the murder plan belong to Lady Macbeth or Macbeth.
The list could be displayed on the board for class discussion. From this activity, they
should realise that all Macbeth has to do is the actual murder. There is an interactive
activity (Resource 16) for this task.
1. Drugs the guards who sleep in Duncan’s room and places their daggers
ready to implicate them.
2. Rings the bell to signal it’s time to kill Duncan.
3. Encourages the other one not to worry.
4. Kills the king.
5. Makes a personal reminder to wash the blood off their hands.
6. Takes the guards’ daggers back into the room when they have been brought
out by mistake.
7. Reminds them to change into their night clothes to look like they have
been to bed. (AO1)
Act 2
Lesson 7
© www.teachit.co.uk 2016 26802 Page 58 of 195
The trial for murder: Based on the evidence in the Who’s to blame? task, students
decide who is the most guilty. In groups, students imagine that Macbeth and Lady
Macbeth are being tried for their crimes. Allocate roles to groups of five using the
resource 'The trial for murder' role cards (Resource 17). (AO1)
Speech: Using the evidence in the Who’s to blame? task, you could instead ask your
students to write a case for the prosecution or defence for either Macbeth, Lady
Macbeth or the supernatural. You could use the resource Who is responsible for the
death of King Duncan? (Resource 18) to prompt students’ thinking. You could ask
more able students to write two cases: one for prosecution and one for the defence
of either character. This would be good for critical thinking skills and argument
writing skills. (AO1, AO4)
Plenary activities
Staging the trial: You could get some or all of the groups to perform their trials and
cast the rest of the class as jury. After the speeches, the jury can take a vote on
innocent or guilty for each one, and the judge can invent a suitable sentence. (AO1)
Emotion tennis: Students work in pairs. One person says an emotion felt by Lady
Macbeth or Macbeth in this scene (e.g. afraid). They take it in turns to ‘bat’ back and
forth emotions from the scene. You could ask them to use tennis scoring, and to
complete a single ‘match’. Share responses as a class and discuss which character is
most afraid, confident, proud etc. Alternatively, list the emotions on the board and
ask students to find supporting evidence for each. (AO1)
Lesson 7
Resource 16
© www.teachit.co.uk 2016 26802 Page 59 of 195
Who's to blame?
We’ve included a screenshot of the interactive version here so you
can see the resource. To access this resource please log in to the
Teachit English website and type ‘26803’ into the search bar.
Lesson 7
Resource 17
© www.teachit.co.uk 2016 26802 Page 60 of 195
‘The trial for murder’ role cards
Macbeth’s prosecution lawyer
You need to prove that Macbeth is guiltier of murdering King Duncan than his wife. What
has he done? What evidence is there? Who are the witnesses? What did Macbeth say or do
to suggest he was most guilty? How would you counter arguments that he was mentally
unstable?
Macbeth’s defence lawyer
You need to prove that Macbeth is less guilty of murdering King Duncan than his wife.
What has he done? What evidence is there? Who are the witnesses? What did Macbeth say
or do to suggest he was less guilty? Could you argue that Lady Macbeth forced him into
doing it? How does he feel about it? Could you argue that he was mentally unstable?
Lady Macbeth’s prosecution lawyer
You need to prove that Lady Macbeth is guiltier of murdering King Duncan than her
husband. What has she done? What evidence is there? Who are the witnesses? What did
Lady Macbeth say or do to suggest she was most guilty? Did she use emotional blackmail?
How does she feel about it?
Lady Macbeth’s defence lawyer
You need to prove that Lady Macbeth is less guilty of murdering King Duncan than her
husband. What has she done? What evidence is there? Who are the witnesses? What did
Lady Macbeth say or do to suggest she was less guilty? Could you argue that without action,
emotional pressure counts for nothing?
Judge
You need to sum up the points raised and make the final
decision on who is guiltier: Macbeth or Lady Macbeth?
Extension
Unfortunately, such a trial would not have happened at the time the play is set. In the
beliefs of the day, the Macbeths would face trial in heaven when they died. To kill a
king was a crime against God, since kings were felt to rule by divine right. If God were
the judge of the Macbeths’ behaviour, who would be guiltier: Macbeth or Lady Macbeth?
Lesson 7
Resource 18
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Who is responsible for the death of King Duncan?
Group 1 – Lady Macbeth is guilty!
You must build a case to show the murder of Duncan is the fault of Lady Macbeth. Answer the
following questions, finding evidence from the text to develop and support your answer.
1. Is Lady Macbeth more power hungry than Macbeth?
Clue: Read through her reaction to Macbeth’s account in the letter he has sent her. What
is her reaction?
Development: What does this tell us about her character?
2. Is Lady Macbeth an unnatural woman?
Clue: What does she ask the ‘spirits’ to do to her body, spirit and mind?
Development: What is the difference between her public and private persona and what
does this tell us about what she is capable of?
3. Does Lady Macbeth have supernatural powers or is she perhaps a witch?
Clue: Read her speech in Act 1 Scene 5.
Development: What were the 17th century thoughts and perspectives on witchcraft that
are particularly reflected in the play?
4. Does Lady Macbeth have the power in the marriage?
Clue: Read her exchange with Macbeth in Act 1 Scene 7.
Development: Whose idea is it to kill Duncan? Is Lady Macbeth cleverer than Macbeth?
Lady Macbeth / Credit: Gordon
Anthony / Getty Images / Universal
Images Group / Copyright © Getty
Images / For Education Use Only.
This and millions of other
educational images are available
through Britannica Image Quest.
For a free trial, please
visit www.britannica.co.uk/trial
Lesson 7
Resource 18
© www.teachit.co.uk 2016 26802 Page 62 of 195
Group 2 – Macbeth is guilty!
You must build a case to show the murder of Duncan is the fault of Macbeth. Answer the
following questions, finding evidence from the text to develop and support your answer.
1. Is Macbeth capable of murder?
Clue: What has he done at the beginning of the play?
Development: What does Macbeth’s success as a soldier tell us about what sort of man
he is and what he is capable of?
2. Is Macbeth vain and ambitious?
Clue: What is his reaction to the witches’ prophecy?
Development: Compare his reaction to Banquo’s. What is the difference?
3. Is Macbeth a jealous man?
Clue: What is his reaction to Malcolm’s promotion?
Development: How do jealous people act to the success of others and what might they
be tempted to do?
4. Is Macbeth an insecure man?
Clue: Look at the exchange between Macbeth and Lady Macbeth in Act 1 Scene 7. How
does she persuade him to kill the king?
Development: What sort of marriage do Macbeth and Lady Macbeth seem to have?
MACBETH (1948) - WELLES,
ORSON / Credit: REPUBLIC
PICTURES / Album /
Universal Images Group /
Copyright © Album / For
Education Use Only. This
and millions of other
educational images are
available through
Britannica Image Quest.
For a free trial, please
visit www.britannica.co.uk
/trial
Lesson 7
Resource 18
© www.teachit.co.uk 2016 26802 Page 63 of 195
Group 3 – The supernatural is guilty!
Three Sisters / Credit: Hulton Archive / Hulton Archive / Getty Images / Universal Images Group / Copyright © Getty Images / For
Education Use Only. This and millions of other educational images are available through Britannica Image Quest. For a free trial,
please visit www.britannica.co.uk/trial
You must build a case to show the murder of Duncan is the fault of the supernatural. Answer the
following questions, finding evidence from the text to develop and support your answer.
1. Do the three witches cast a spell so powerful that it is beyond the control of any of the
characters?
Clue: Read the opening of the play with the three witches.
Development: Does the beginning of the play already indicate the future is set? How
important are the supernatural and fate in the play?
2. Do you think Macbeth would have started killing if it wasn’t for the witches’ prophecy?
Clue: Read Act 1 Scene 3, the exchange between Macbeth, Banquo and the witches.
Development: Macbeth was a decent man and a decorated soldier. Why would he
suddenly become a cold-blooded killer? Does it indicate the presence of supernatural
forces?
3. Do you think Lady Macbeth was under the influence of supernatural forces?
Clue: Read Lady Macbeth’s speech in Act 1 Scene 5.
Development: Some say Lady Macbeth is a witch and she seems to be casting a spell
here. Explore this idea.
Act 2
Lesson 8
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Lesson 8 – Hell’s Gate (Act 2 Scene 3)
Starter activities
The Porter’s speech: Let students hear an audio version or watch a clip of the
Porter’s speech, and discuss why Shakespeare has included it. Shakespeare’s Porter
imagines someone who has committed suicide, an equivocator and a thief. Ask
students to imagine they are in hell and sinners are knocking on the door. What
modern day criminals would they include instead? You could share the audio version
of this scene to discuss:
www.youtube.com/watch?v=Yr4jULsh9Lg (David Tennant) (AO1)
Blood on their hands: Macbeth and Lady Macbeth are covered with blood after
killing their guest, King Duncan. They have gone to their rooms to wash the blood off
and change into their night clothes. In pairs, students role play the conversation they
have offstage when they hear the knocking at the door. (AO1)
Main activities
The alarm is raised: In groups of four, students read from the start of Act 2 Scene 3
up to the entrance of Lady Macbeth (ending with the line ‘To countenance this
horror’). Guide students with the following questions and discuss together:
1. What were Duncan’s plans for the next day?
2. How well is Macbeth concealing his thoughts?
3. Why is the weather important?
4. Why is the owl mentioned here (‘the obscure bird’)?
5. Why does Macduff describe the king as ‘the Lord’s anointed temple’?
6. A Gorgon is a snake-haired woman from Greek mythology who could turn
her victims into stone if they looked at her. How effective is Macduff’s
metaphor here?
7. When Macduff raises the alarm, Shakespeare uses short sentences and
people’s names. What effect does that have on stage and how could it be
performed for maximum effect? (AO1, AO2)
Act 2
Lesson 8
© www.teachit.co.uk 2016 26802 Page 65 of 195
News of the death: Groups read the rest of the scene, up to the exit of Lady
Macbeth after Macduff’s line ‘Look to the lady’. Ask students to identify the speakers
of these reactions to the death: ‘O horror, horror, horror, / Tongue nor heart cannot
conceive, nor name thee.’ (Macduff) ‘What, in our house?’ (Lady Macbeth), ‘Too
cruel, anywhere … say it is not so.’ (Banquo) ‘O, by whom?’ (Malcolm). They should
then explore what each reaction shows about each of those characters (the contrast
of Lady Macbeth’s and Banquo’s reactions is interesting here). They could also select
examples of dramatic irony in this scene. (AO1, AO2)
‘O gentle lady’: Discuss with students how in Shakespeare’s time, people believed
women were naturally softer and kinder than men. With this in mind, ask students to
look at the presentation of Lady Macbeth in this scene, by creating a mind map of
her character here (her behaviours, her language, the contrast with the male
characters). As an extension, you could ask students to develop their mind map to
cover the presentation of Lady Macbeth in the play so far. (AO1, AO3)
Plenary activities
Did she faint? Whether Lady Macbeth faints or pretends to faint in this scene is up to
the interpretation of the reader/audience. Take a class vote on which is more likely
and discuss why. (AO1)
Hypocrites: Who is the biggest hypocrite in this scene? Macbeth or Lady Macbeth?
Pairs find evidence and put forward their case, for a whole class decision. (AO1)
Act 2
Lesson 9
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Lesson 9 – The loss of the king (Act 2 Scenes 3-4)
Starter activities
What next? Since Duncan named his son Malcolm as his heir, by law he should now be
proclaimed king. Ask your students what they think is going to happen next. (AO1)
What’s the question? Display the names of the characters who now discuss the
aftermath of Duncan’s death (Macduff, Banquo, Malcolm, Donaldbain and Macbeth).
If each name is the answer to a question, what is the question? This could prompt
students to revise their knowledge of the characters and their involvement in events
so far. (AO1)
Main activities
Malcolm and Donaldbain: Students should read Act 2 Scene 3 from Lady Macbeth’s
exit to the end of the scene and discuss the following questions:
Why do Malcolm and Donaldbain decide to escape Scotland?
Banquo suggests that they hold an enquiry into Duncan’s death. Based on
what they know, what evidence would he and Macduff use, and who would
they blame? (AO1)
Act 2 Scene 4: Read through the scene. The dialogue between Ross and the Old Man
is quite different to the previous scene. Ask students why it has been included, and
to explore what their topic of conversation and imagery suggests about events to
come.
Possible answers: the Old Man could represent ordinary people’s understanding of
events, pathetic fallacy creates foreboding, there are omens indicated by the
unnatural darkness, the owl and falcon could symbolise Duncan’s murder and the
fighting horses could foreshadow Macbeth killing Banquo. (AO1)
Act 2
Lesson 9
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Tweeting the news: In Act 2 Scene 4, Macduff and Ross give us information about
what has happened as a result of the murder and where suspicion falls. Students
compose four tweets to summarise the news.
Tweet 1: who falls under suspicion of the murder?
Tweet 2: who has been announced king and where will he be crowned?
Tweet 3: what has happened to Duncan’s body?
Tweet 4: what does Macduff think about it all and is he going to the
coronation? (AO1)
Plenary activities
Hot-seating: Cast students in role as Macduff, Banquo, Malcolm, Donaldbain and
Macbeth after reading the end of Act 2 Scene 3. Get students to work in groups to
prepare responses to the following questions: Who do you think is to blame for King
Duncan’s death? Why do you think he was killed? Where will you go and why? (AO1)
Tweets: Ask students to share their chosen tweet on a Post-it on the board, or use
iPads to actually tweet the news to a school Twitter account. (AO1)
Act 2
Lesson 10
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Lesson 10 – Shakespeare’s language (Act 2 Scenes 1-3)
Starter activities
Language adaptation: Ask students to answer the following questions in response to
being asked by a) a close friend or b) the head teacher:
1. What did you do at the weekend?
2. What plans do you have for the next school holiday?
They should think about how their topic and language choices varied according to
their audience. Shakespeare considers his audience using word choices too. Display
the following quotation on the whiteboard, and ask students to consider the question
that follows. When Macbeth’s hands are covered with blood after the murder, he
says:
‘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.
‘Incarnadine’ means to make red, so why does the next line say the same thing in
simpler words? You could suggest that Shakespeare was writing for a wide audience
and he has included both for clarity of meaning. (AO2)
‘Look like th’innocent flower, / But be the serpent under’t’: Using the interactive
Matching activity Look like the innocent flower (Resource 19), students should match
up Macbeth’s words throughout Act 2 with the truth he hides beneath them. You
could ask students to find further examples and explain the connection with the
theme of appearance and reality in the play. (AO1, AO2)
Main activities
Levels of language: Using Levels of language (Resource 20), explore the contrasts
between prose and poetry in the play so far. In task three, students may well think
that Macbeth and Lady Macbeth speak in prose, but in fact Shakespeare splits an
iambic pentameter between his two speakers. (AO2)
Act 2
Lesson 10
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Themes: Ask students to mind map the development of the key themes in the play so
far. You could use Themes in the play (Resource 21) to help students begin, as well
as providing quotations for students who need support. More able students could be
given fewer quotations as a starting point, and include their own quotations or key
events as evidence. You could return to this activity at a later point in the play, or
complete it as a revision activity. (AO1, AO2)
Theme sorting: As an alternative to creating mind maps for themes, students could
sort the quotations in the resource Themes in the play (Resource 21) into relevant
themes, and consider the context of some of the quotations to discuss their
importance and how they contribute to the relevant theme’s development. (AO1,
AO2)
Plenary activities
Recap on language levels: More able students could look back over the two acts they
have studied and identify examples of different types of language levels used in
specific sections. They suggest ideas about why this level was chosen at that point.
(AO2)
Just a Minute: In pairs, students talk about their understanding of each theme from
either of the theme tasks. Based on the rules of the popular Radio 4 show, give them
a one minute time limit per person, and remind them that they can’t repeat,
hesitate or deviate! Their partner should take over if they don’t manage it. (AO1)
Lesson 10
Resource 19
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Like the innocent flower
We’ve included a screenshot of the interactive version here so you
can see the resource. To access this resource please log in to the
Teachit English website and type ‘26804’ into the search bar.
Lesson 10
Resource 20
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Levels of language
Shakespeare’s plays were written to be
played in daylight on an open air stage.
To give a range of intensity and focus,
whereas in modern times a director might
use lighting, and a film director would
use different shots, such as close up and
long shots, Shakespeare uses different
styles of language.
Auditorium of the Garden Theatre at Herrenhausen, Hanover / Credit: Lebrecht / Universal Images Group / Universal Images Group / Copyright © Lebrecht Music & Arts/ For Education Use Only. This and millions of other educational images are available through Britannica Image Quest. For a free trial, please visit www.britannica.co.uk/trial The levels are (in increasing levels of intensity):
Prose – most like normal speech, it is often used for comedy characters and
moments of relaxed talk.
Blank verse – iambic pentameter without rhyme, used for the bulk of a play and
lines are easier to remember.
Rhymed verse – also iambic pentameter, but with the addition of rhyme.
Song – used to give texture and variety, rhymed but not usually iambic. Mostly
used by the witches in Macbeth.
Task one
Prose
The Porter’s speeches in Act 2 Scene 3 are in prose. Read the reasons for this below, and
decide on which is the strongest argument for the Porter speaking in prose. Rank these
from 1-4 (1 being the strongest reason, 4 being the weakest).
Low born character
Relief of tension
Comedy
Contrast from how noble characters speak
Lesson 10
Resource 20
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Task two
Blank verse
Look at Macbeth’s soliloquy ‘Is this a dagger which I see before me’. Macbeth is under
the spotlight here. Why is this written in blank verse? List some reasons.
..................................................................................................
..................................................................................................
..................................................................................................
..................................................................................................
Rhymed verse
At the end of this speech some rhymes appear. Find them.
Why do you think they are used?
..........................................................................................................
..........................................................................................................
Task three
Look back at the dialogue between Lady Macbeth and Macbeth after he has killed
Duncan. Using your knowledge, what level of language you do think Shakespeare is using
here?
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’th’second chamber?
Lady Macbeth: Donaldbain.
Macbeth: This is a sorry sight.
Why do you think he does this? How would you deliver these lines on stage?
.........................................................................................................
.........................................................................................................
.........................................................................................................
Lesson 10
Resource 21
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Themes in the play
Shakespeare introduces and develops themes throughout the play.
Here are some of the themes introduced in Act 1 and Act 2:
Appearance and reality what is real and what only seems real, what lies
are told, who is fooled
Order and disorder how stable the government is, the weather,
people’s minds
Ambition how the desire to be rich or important affects
people
Evil and the
supernatural how someone can be corrupted by wickedness
Violence threats, emotions and actual violence
Guilt and conscience Macbeth is a focus for this theme, along with Lady
Macbeth
What makes a king? this question is asked throughout the play
Loyalty Banquo and Macduff are important for this theme
Create a mind map of the themes.
Use a different colour for each theme, and add characters and quotations or events on
the branches.
Lesson 10
Resource 21
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Quotation cards
In every point twice done and then done
double,
Were poor and single business to contend
Against those honours deep and broad
wherewith
Your majesty loads our house.
I have no spur
To prick the sides of my intent, but only
Vaulting ambition, which o’erleaps itself
And falls on th’other –
Your face, my thane, is as a book where men
May read strange matters. To beguile the
time,
Look like the time, bear welcome in your eye,
Your hand, your tongue; look like th’innocent
flower,
But be the serpent under’t.
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.
Fair is foul, and foul is fair: Glamis, and Thane of Cawdor:
The greatest is behind.
Were such things here as we do speak about?
Or have we eaten on the insane root,
That takes the reason prisoner?
Nature seems dead, and wicked dreams abuse
The curtained sleep. Witchcraft celebrates
Pale Hecate’s off’rings, 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.
Lesson 10
Resource 21
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Why, worthy thane,
You do unbend your noble strength to think
So brain-sickly of things.
Come to my woman’s breasts
And take my milk for gall, you murd’ring
ministers,
Wherever in your sightless substances
You wait on nature’s mischief.
By th’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?
But ’tis strange,
And oftentimes, to win us to our harm,
The instruments of darkness tell us truths;
Win us with honest trifles, to betray’s
In deepest consequence.
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.
Our eldest, Malcolm, whom we name
hereafter
The Prince of Cumberland, which honour
must
Not unaccompanied invest him only,
But signs of nobleness like stars shall shine
On all deservers.
Come, thick night,
And pall thee in the dunnest smoke of hell,
That my keen knife see not the wound it
makes,
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.
Lesson 10
Resource 21
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with his brandished steel
Which smoked with bloody execution,
Like Valour’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’chaps
And fixed his head upon our battlements.
A little water clears us of this deed.
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.
There’s no art
To find the mind’s construction in the face.
He was a gentleman on whom I built
An absolute trust.
merciful powers,
Restrain in me the cursèd thoughts that
nature
Gives way to in repose.
Knock, knock, knock. Who’s there, i’th’name
of
Beelzebub? Here’s a farmer, that hanged
himself on th’expectation of plenty. Come in
time – have napkins enough about you, here
you’ll sweat for’t.
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.
still keep
My bosom franchised and allegiance clear,
Lesson 10
Resource 21
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Teacher’s answer sheet
These are the suggested themes for the quotations, although of course there is not an exact fit
with a single theme.
Appearance and reality
‘In every point twice done and then done double …’
‘Your face, my thane, is as a book …’
‘Fair is foul, and foul is fair:’
‘There’s no art …’
Order and disorder
‘Were such things here as we do speak about? …’
‘Why, worthy thane …’
‘By th’clock, ‘tis day …’
Ambition
‘I have no spur …’
‘Stars, hide your fires …’
‘Glamis, and Thane of Cawdor …’
Evil and the supernatural
‘Nature seems dead …’
‘Come to my woman’s breasts …’
‘But ‘tis strange …’
‘Knock, knock, knock. Who’s there, i’th’name of Beelzebub? …’
Violence
‘I have given suck and know …’
‘Come, thick night, …’
‘with his brandished steel …’
Guilt and conscience
‘A little water clears us of this deed.’
‘He’s here in double trust:…’
‘merciful powers,…’
‘Still it cried ‘Sleep no more’ to all the house;…’
What makes a king?
‘Our eldest, Malcolm, whom we name hereafter …’
‘Duncan / Hath borne his faculties so meek …’
Loyalty
‘still keep
My bosom franchised and allegiance clear,’
Act 2
Exam style questions
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Act 2: Exam style questions
AQA
Section A: Shakespeare
Answer one question from this section on your chosen text.
Macbeth
Read the following extract from Macbeth Act 2 Scene 2, and answer the question that follows it.
At this point in the play, Macbeth has just murdered King Duncan.
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.
LADY MACBETH
Who was it, that thus cried? Why, worthy thane,
You do unbend your noble strength to think
So brain-sickly 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.
5
10
15
20
25
01 Starting with this moment in the play, explore how Shakespeare presents Lady Macbeth as an unstable
character.
Write about:
how Shakespeare presents Lady Macbeth at this point in the play
how Shakespeare presents Lady Macbeth in the play as a whole.
[30 marks]
A04 [4 marks]
Act 2
Exam style questions
© www.teachit.co.uk 2016 26802 Page 79 of 195
Edexcel
SECTION A – Shakespeare
Answer the question on ONE text from this section.
You should spend about 55 minutes on this section.
You should divide your time equally between question parts (a) and (b)
Macbeth – from Act 2 Scene 1, lines 31 to 64.
In this extract, Macbeth is on his way to murder King Duncan.
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’th’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 half-world
Nature seems dead, and wicked dreams abuse
The curtained sleep. Witchcraft celebrates
Pale Hecate’s off’rings, 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.
5
10
15
20
25
30
Act 2
Exam style questions
© www.teachit.co.uk 2016 26802 Page 80 of 195
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
1. (a) Explore how Shakespeare presents the character of Macbeth. Refer closely to the extract
in your answer.
(20)
1. (b) In this extract, Macbeth is showing signs of madness. Explain the importance of madness
elsewhere in the play.
In your answer you must consider:
• how madness affects Macbeth and other characters
• why madness is important in the play.
You must refer to the context of the play in your answer.
(20)
(Total for Question 1 = 40 marks)
Act 2
Exam style questions
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OCR
Section B
Shakespeare
Macbeth
Choose ONE question.
You are advised to spend about 45 minutes on this section.
EITHER
8 Explore how Shakespeare creates horror in the play. Refer to this extract from Act 2 Scene 3
and elsewhere in the play.
[40]*
In this extract Macduff has just discovered the body of King Duncan.
MACDUFF
O horror, horror, horror,
Tongue nor heart cannot conceive, nor name thee.
MACBETH and 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’th’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 Donaldbain! 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.
Act 2
Exam style questions
© www.teachit.co.uk 2016 26802 Page 82 of 195
Bell rings
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, anywhere.
Dear Duff, I prithee contradict thyself
And say it is not so.
OR
9 How and why is ambition important in the play? Explore at least two moments from the play to
support your ideas.
[40]*
Quality of extended responses will be assessed in questions marked with an asterisk (*).
Act 2
Exam style questions
© www.teachit.co.uk 2016 26802 Page 83 of 195
WJEC Eduqas
2. Macbeth
Answer both part (a) and part (b). You are advised to spend about 20 minutes on part (a), and
about 40 minutes on part (b).
(a) Read the extract below.
What does this extract show an audience about Macbeth and Banquo’s consciences at this point
in the play? Refer closely to details from the extract to support your answer.
[15]
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 cursèd 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 abed.
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.
Act 2
Exam style questions
© www.teachit.co.uk 2016 26802 Page 84 of 195
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.
*(b) Write about the theme of appearance and reality and its importance in Macbeth.
[25]
*5 of this question’s marks are allocated for accuracy in spelling, punctuation and the use of
vocabulary and sentence structures.
Act 3
Lesson 11
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Act 3
Act 3
Lesson 11 – King Macbeth (Act 3 Scene 1)
Starter activities
A changed man: Get your students to imagine this scenario: Imagine something great
happened for your best friend. However, you have a feeling they did something
wrong to make this happen. You have noticed they are not as friendly as they used to
be. What would you say to them about their behaviour and its impact on your
changed relationship? Explain the connection with Macbeth and Banquo’s current
situation. (AO1)
Election of the king: Give students a paired role play task based on an imagined
scene. One student plays one of the thanes who went to Macbeth’s coronation, the
other plays Macduff. Presume that Macduff did not go. What is Macduff told about
the event? (AO1)
The role of men: In Shakespeare’s time, manly qualities were courage, honour,
physical strength, success fighting in battles and being in control of their emotions.
Ask students to consider what character traits would be considered ‘manly’ in
modern times. As you work through the activities on this scene, consider Macbeth in
this light. (AO3)
Main activities
Losing a friend: Macbeth is now king, but is he happy? Ask students to read
Macbeth’s soliloquy from Act 3 Scene 1 and complete the tasks on the resource
Losing a friend (Resource 22) to consider why Macbeth should fear Banquo. There is
an interactive version of the ranking task available (Resource 23), with suggested
reasons. Follow up the activities with a class vote on task two, to discuss what
Macbeth should do. (AO1)
Act 3
Lesson 11
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Macbeth’s plan: Display Banquo’s soliloquy on the whiteboard and ask students to
discuss whether Macbeth is right to worry about Banquo.
Banquo: Thou hast it now: King, Cawdor, Glamis, all,
As the weird women promised, and I fear
Thou played’st most foully for’t; yet it was said
It should not stand in thy posterity,
But that myself should be the root and father
Of many kings. If there come truth from them —
As upon thee, Macbeth, their speeches shine —
Why by the verities on thee made good,
May they not be my oracles as well
And set me up in hope? But hush, no more. (AO1)
Reading: In groups of six (or five if easier and someone can double as the servant
who only has one line), pupils read the whole scene (Act 3 Scene 1). Ask students to
discuss the following:
1. Banquo is invited to a special supper tonight. Do you think he will get
there? If not, why not?
2. Why is Macbeth so keen to know if Fleance will be with Banquo, who has to
ride out on an errand?
3. How does Macbeth continue to make himself look innocent of the murder?
4. You can tell a person by the company they keep. Who is Macbeth friendly
with now instead of Banquo? What does this show about him?
5. How does Macbeth make these men want to kill Banquo?
6. What is the plan? (AO1)
Plenary activities
Prose and poetry: Macbeth and the murderers begin speaking in prose but switch to
poetry. Suggest why Shakespeare has written the conversation this way. (AO2)
What is a man? Macbeth’s speech starting ‘Ay, in the catalogue ye go for men’ raises
the question of ‘What is a man?’, a debate which Lady Macbeth started in Act 2,
when she suggested Macbeth is only a ‘man’ if he kills Duncan. Ask students to look
at this speech and identify how Macbeth persuades the murderers to murder Banquo,
and what he considers distinctive of real men. (AO2, AO3)
Lesson 11
Resource 22
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Losing a friend
Task one
With a partner, read Macbeth’s soliloquy below. Underline or highlight parts of the speech that give reasons why Macbeth is dissatisfied with his friend, Banquo.
When you have identified the reasons, number them from most to least important (1 being the reason that makes Macbeth most dissatisfied with Banquo).
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 seeds of Banquo kings.
Rather than so, come Fate into the list.
And champion me to th’utterance.
Lesson 11
Resource 22
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Task two
Now discuss with your partner what you think Macbeth should do about Banquo.
Should he …
a. try to talk to him?
b. bribe him by giving him lands and power to gain his loyalty?
c. kill him?
d. have someone else kill him?
e. make Fleance (Banquo’s son) his heir?
Lesson 11
Resource 23
© www.teachit.co.uk 2016 26802 Page 89 of 195
Losing a friend interactive
We’ve included a screenshot of the interactive version here so you
can see the resource. To access this resource please log in to the
Teachit English website and type ‘26805’ into the search bar.
Act 3
Lesson 12
© www.teachit.co.uk 2016 26802 Page 90 of 195
Lesson 12 – The murder of Banquo (Act 3 Scenes 2-3)
Starter activities
Macbeth’s character: You could ask students to populate a ‘role on the wall’
template to consider Macbeth’s character development. How do you think Macbeth
might be feeling now he has set a plan in motion to kill his best friend? Macbeth has
not shared his plan with his wife. ‘Be innocent of the knowledge, dearest chuck, /
Till thou applaud the deed.’ What do you think this shows about their relationship
since the murder of Duncan? (AO1)
Dusk: Display the word ‘dusk’ or ‘twilight’ on the board and ask students to add
ideas of the connotations of this time of day using Post-its, or writing on ideas. Why
might this time of day be chosen for a murder scene? How could this be staged? (AO2)
Main activities
Ambush! Use the PowerPoint resource Ambush! (Resource 24) to explore Macbeth’s
relationship with Lady Macbeth and his intentions to kill Banquo and Fleance in Act 3
Scene 2. (AO1, AO2)
Banquo’s murder: Ask students to read Act 3 Scene 3 in groups of four. The scene
takes place in the dark. How could this scene be shown on stage? There are supposed
to be two murderers but three have turned up. Some say it is Macbeth, others
suggest the devil. Ask students for their ideas. Banquo’s first thought is to save his
son. How will Macbeth react to the news Fleance has escaped? (AO1)
Plenary activities
Imagery of darkness: Using slides 5-7 of the PowerPoint presentation Ambush!
(Resource 24), model, then ask students to annotate an extract demonstrating the
darkness within Macbeth’s mind. (AO2)
Witnessing the murder: We have just seen a murder on stage. Students imagine they
were nearby in the woods when Banquo was being killed and Fleance was running
away. In pairs, they role play the conversation they would have to report what they
witnessed. (AO1)
Lesson 12
Resource 24
© www.teachit.co.uk 2016 26802 Page 91 of 195
Ambush!
We’ve included a screenshot of this PowerPoint here so you can see
the resource. To access this resource please log in to the Teachit
English website and type ‘26811’ into the search bar.
Act 3
Lesson 13
© www.teachit.co.uk 2016 26802 Page 92 of 195
Lesson 13 – The banquet and Banquo’s ghost (Act 3 Scene 4)
Starter activities
A party to remember: Ask students to think about the following questions: What is
the worst party you have ever been to, or seen on film or TV? Why might a party end
up in disaster? (AO1)
Jigsaw puzzles: Photocopy the resource Banquet jigsaw (Resource 25) and enlarge
the pictures. Cut up each of the images into smaller pieces and distribute the pieces
so that students have one piece each. Get them to find others with a piece of their
puzzle, and assemble the full picture. What do they find interesting about that
image? How is Macbeth portrayed? How is the ghost dressed? Discuss the images on
the whiteboard. (AO1, AO3)
Main activities
Comparing productions: Show students three different versions of the banquet
scene, to compare – links are given below. The banquet scene on screen (Resource
26) includes a table for comparison.
1. Macbeth (Polanski, 1971):
www.youtube.com/watch?v=7U0DwUC0BuE
2. William Shakespeare’s Macbeth (Casson, 1978):
www.youtube.com/watch?v=gCFjpr3Ehm4
3. Macbeth (Goold, 2010) :
www.youtube.com/watch?v=AaIfPfZ7C5s (AO1, AO3)
Performing the scene: The banquet scene in performance (Resource 27) gives a
dramatic structure for your class to perform the scene. The activities include using a
defining space, freeze frame, re-enactment and thought-tracking. The drama is very
structured, with support and guidance alongside the scene.(AO1)
Act 3
Lesson 13
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Plenary activities
Thought-tracking: The drama task comes with its own plenary activity in the
teaching notes, to thought-track the characters in a freeze frame at the end of the
performance. The alternative plenary is to write a witness statement, referring to
the play script for details. (AO1)
Alternative production: Students design their own setting for the scene, working
individually or in groups. They should describe the setting and write a brief
explanation. (AO1)
Lesson 13
Resource 25
© www.teachit.co.uk 2016 26802 Page 94 of 195
Banquet jigsaw
Jigsaw 1
SHAKESPEARE: MACBETH. - The ghost of Banquo appears before Macbeth (Act III, scene 4) / Credit: The Granger Collection / Universal Images Group / Copyright © The Granger Collection / For Education Use Only. This and millions of other educational images are available through Britannica Image Quest. For a free trial, please visit www.britannica.co.uk/trial
Lesson 13
Resource 25
© www.teachit.co.uk 2016 26802 Page 95 of 195
Jigsaw 2
Banquo’s ghost appearing in front of Macbeth / Credit: De Agostini Picture Library / Universal Images Group / Copyright © DeAgostini Editore / For Education Use Only. This and millions of other educational images are available through Britannica Image Quest. For a free trial, please visit www.britannica.co.uk/trial
Lesson 13
Resource 25
© www.teachit.co.uk 2016 26802 Page 96 of 195
Jigsaw 3
Parnell as Macbeth and Dr. Cronin as Banquo’s ghost. Plate to: St. Stephen’s Review / Credit: Wellcome Trust Library\UIG /
Copyright © Wellcome Trust Library / For Education Use Only. This and millions of other educational images are available through
Britannica Image Quest. For a free trial, please visit www.britannica.co.uk/trial
Lesson 13
Resource 25
© www.teachit.co.uk 2016 26802 Page 97 of 195
Jigsaw 4
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Lesson 13
Resource 26
© www.teachit.co.uk 2016 26802 Page 98 of 195
The banquet scene on screen
Watch the three different versions of the banquet scene, and make notes to compare
the presentation of the main characters and different production choices.
Polanski (1971) Casson (1978) Goold (2010)
Setting and
its effect
How the
ghost was
presented (or
not)
How Lady
Macbeth
behaves
How Macbeth
behaves
Others’
behaviour
and reactions
to Macbeth
Which was
the most
effective?
Do you think it was more effective and terrifying to include the ghost or not?
Explain why / why not.
..........................................................................................................
..........................................................................................................
..........................................................................................................
Lesson 13
Resource 27
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The banquet scene in performance
Teaching notes
This is a very structured drama activity, so you could make use of a school drama space
to allow students to take the drama more seriously. Everyone will need a role for the
performance, so you could split your class into groups of seven, or have one central
group, with the rest of the class playing unnamed lords, the wives of all the lords, the
second murderer and servants.
To set the scene, add as many suitable props as you can (e.g. candelabra, goblets, a
table cloth) and simple costumes (e.g. a piece of fabric as a cloak or crowns for the
royals).
Casting:
Students will need to take on the following named roles:
Macbeth
Lady Macbeth
The first murderer
Ross
Lennox
Banquo’s ghost
Narrator (to announce the guests)
Allow the class some time to read over their roles and check they understand, and allow
some time for inventing personas. If not playing a named role, they should make a few
character notes to help them stay consistent, including giving themselves a name.
Setting:
You will need a central banqueting table (groups of desks) as a defining space. It helps
students imagine the set. The table for the banquet needs enough seats for the cast, as
well as an extra empty chair which should be labelled ‘Reserved’.
Lesson 13
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Possible layout:
Follow up:
At the end of the dramatic performance, all the players return to their positions, with
the guests seated, Lady Macbeth and Macbeth on their thrones and the ghost of Banquo
in the corner. Prepare students to freeze in role on the count of three. If possible, take
photos to display on the whiteboard later as a reminder.
Go round and touch random pupils on the shoulder to prompt them to state in role what
their character is thinking about the scene they just witnessed. For example, one of the
servants might say ‘That was so embarrassing. Our master often seems a bit strange but
he made a show of us in front of all the lords, and after we worked so hard in the
kitchen to make the food really good. Look at it, not even touched!’
Alternatively (or additionally) students write a statement of what happened in their
character role, or as a servant, as a witness statement.
Banqueting table with
odd number of seats
Door
Queen
Macbeth’s
throne
King
Macbeth’s
throne
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Resource 27
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Read through the script below, and prepare your role by making notes around the suggested performance notes.
You could highlight your lines, and add stage directions, gestures or facial expressions for your character. You
could also adapt the suggestions, if you have different ideas about how you would like to stage the scene.
Lady Macbeth and Macbeth sit on the seats (thrones) at the front. Servants are setting out the table, straightening chairs,
generally being busy. The two murderers stand apart near the door. Lords and their wives, including Lennox and Ross, line up
ready to be announced. They should stand in procession in pairs, well away from the murderers.
When they are in position, the characters are announced. Macbeth and his wife stand up and shake hands with the announcer.
Guests stand behind their chairs (remember the reserved one is left empty).
MACBETH: You know your own degrees; sit down;
at first and last, the hearty welcome.
LORDS: Thanks to your majesty.
MACBETH: Our self will mingle with society and play the humble
host; our hostess keeps her state, but in best
time we will require her welcome.
LADY MACBETH: Pronounce it for me, sir, to all our friends for my heart
speaks, they are welcome.
First Murderer appears at the door
The lords and their wives speak their line together and sit
down round the table.
Lady Macbeth sits down, then speaks her line to her
husband.
Macbeth moves towards the door.
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Resource 27
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MACBETH: See, they encounter thee with their hearts’ thanks.
Both sides are even: here I’ll sit i’th’midst.
Be large in mirth, anon we’ll drink a measure
The table round.
To First Murderer
There’s blood on thy face.
FIRST MURDERER: ’Tis Banquo’s then.
MACBETH: ’Tis better thee without, than he within.
Is he dispatched?
FIRST MURDERER: My lord, his throat is cut; that I did for him.
MACBETH: Thou art the best o’th’cut-throats,
Yet he’s good that did the like for Fleance;
If thou didst it, thou art the nonpareil.
FIRST MURDERER: Most royal sir, Fleance is ’scaped.
MACBETH: 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. But Banquo’s safe?
FIRST MURDERER: Ay, my good lord: safe in a ditch he bides,
With twenty trenchèd gashes on his head,
The least a death to nature.
MACBETH: Thanks for that.
There the grown serpent lies; the worm that’s fled
Hath nature that in time will venom breed,
He turns his face towards the table and speaks these four
lines to the lords at the table.
Macbeth turns away to speak to the murderers. This
conversation should be whispered.
Macbeth seems pleased until he hears this news.
This speech should be read in an angry, slightly louder
voice.
The second murderer can be given these lines or some
others if needed.
When the murderers leave, they can take the roles of
servants if they wish to stay in the drama.
Lesson 13
Resource 27
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No teeth for th’present. Get thee gone; tomorrow
We’ll hear ourselves again.
Exit Murderer
LADY MACBETH: My royal lord,
You do not give the cheer; the feast is sold
That is not often vouched while ’tis a-making,
’Tis given with welcome. To feed were best at home:
From thence, the sauce to meat is ceremony,
Meeting were bare without it.
Enter the Ghost of Banquo and sits in
Macbeth’s place
MACBETH: Sweet remembrancer!
Now, good digestion wait on appetite,
And health on both!
LENNOX: May’t please your highness, sit.
MACBETH: Here had we now our country’s honour roofed,
Were the graced person of our Banquo present,
Who may I rather challenge for unkindness
Than pity for mischance.
ROSS: His absence, sir,
Lays blame upon his promise. Please’t your highness
To grace us with your royal company?
MACBETH: The table’s full.
LENNOX: Here is a place reserved, sir.
MACBETH: Where?
Macbeth is standing deep in thought, so Lady Macbeth
reminds him he is hosting a party. She could get up to
speak to him, and offer him a goblet of wine.
He toasts his wife and then the guests.
Lennox points to the empty seat.
The person playing Banquo enters silently and sits in the
empty chair. No one except Macbeth can see the ghost so
no one else must react.
Macbeth has not seen the ghost yet, so he sounds rather
grand and formal in this speech.
A further request to sit down.
Macbeth sees that there is no room but not who is sitting
there.
Lennox points to the empty seat.
Lesson 13
Resource 27
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LENNOX: Here, my good lord. What is’t that moves your highness?
MACBETH: Which of you have done this?
LORDS: What, my good lord?
MACBETH: Thou canst not say I did it; never shake
Thy gory locks at me!
ROSS: Gentlemen, rise, his highness is not well.
Lady Macbeth joins the Lords
LADY MACBETH: Sit, worthy friends. My lord is often thus,
And hath been from his youth. Pray you, keep seat.
The fit is momentary; upon a thought
He will again be well. If much you note him
You shall offend him and extend his passion.
Feed, and regard him not. [To Macbeth] Are you a man?
MACBETH: Ay, and a bold one, that dare look on that
Which might appal the devil.
LADY MACBETH: O proper stuff!
This is the very painting of your fear;
This is the air-drawn dagger which, you said
Led you to Duncan. O, these flaws and starts,
Impostors to true fear, would well become
A woman’s story at a winter’s fire
Authorised by her grandam. Shame itself!
Why do you make such faces? When all’s done
You look but on a stool.
At this point Macbeth realises what is sitting in the seat.
His face looks horrified. The ghost stares at him.
He appears to think it is a trick at first.
The ghost shakes his head.
At Ross’s words, the guests begin to get up from their
seats.
Lady Macbeth stands up. She tries to rescue the party.
‘Are you a man?’ is said privately to Macbeth, in a
whisper. She could also touch his arm.
The rest of this conversation is a row between Macbeth
and his wife.
She cannot see the ghost and is not sympathetic to him.
He did not tell her he was having Banquo killed.
Macbeth is agitated and tries to prove to his wife there is
something there.
Lesson 13
Resource 27
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MACBETH: Prithee, see there! Behold, look, lo! How say you?
[To Ghost] Why, what care I? If thou canst nod, speak
too.
If charnel houses and our graves must send
Those that we bury back, our monuments
Shall be the maws of kites.
Exit Ghost
LADY MACBETH: What, quite unmanned in folly?
MACBETH: If I stand here, I saw him.
LADY MACBETH: Fie, for shame.
MACBETH: Blood hath been shed ere now, i’th’olden time,
Ere humane statute purged the gentle weal;
Ay, and since too, murders have been performed
Too terrible for the ear. The time has been
That when the brains were out, the man would die,
And there 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.
LADY MACBETH: My worthy lord,
Your noble friends do lack you.
MACBETH: I do forget —
Do not muse at me, my most worthy friends.
I have a strange infirmity which is nothing
To those that know me. Come, love and health to all,
Then I’ll sit down. Give me some wine; fill full!
He becomes braver and challenges the ghost to speak – he
could point at it.
The person playing the ghost gets up from their chair and
stands in the corner with their face to the wall.
Lady Macbeth is scornful. Another row between them
follows.
Lady Macbeth tries again to save the occasion.
Macbeth rallies and makes an excuse.
A servant refills the goblets, and Macbeth drinks a toast;
the others join in by raising their goblets.
Macbeth toasts Banquo and this is the actor’s cue to
return to the seat.
Lesson 13
Resource 27
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Enter Ghost
I drink to th’general joy o’th’whole table,
And to our dear friend Banquo, whom we miss.
Would he were here! To all, and him we thirst,
And all to all.
LORDS: Our duties, and the pledge.
MACBETH: Avaunt and quit my sight! Let the earth hide thee!
Thy bones are marrowless, thy blood is cold;
Thou hast no speculation in those eyes
Which thou dost glare with.
LADY MACBETH: Think of this, good peers,
But as a thing of custom. ’Tis no other,
Only it spoils the pleasure of the time.
MACBETH: What man dare, I dare;
Approach thou like the rugged Russian bear,
The armed rhinoceros, or th’Hyrcan tiger,
Take any shape but that, and my firm nerves
Shall never tremble. Or be alive again,
And dare me to the desert with thy sword;
If trembling I inhabit then, protest me
The baby of a girl. Hence horrible shadow,
Unreal mock’ry, hence.
Exit Ghost
Why, so: being gone,
I am a man again. Pray you, sit still.
Macbeth tries bravery. ‘Avaunt’ is an instruction for a
ghost to leave. He points at the ghost and speaks aloud.
Lady Macbeth is embarrassed, and tries to make excuses
for him.
This speech could be delivered as though Macbeth is
panicking.
The person playing Banquo’s ghost returns to the offstage
position.
Macbeth recovers himself. But the guests have had
enough and are rising from their seats, putting on their
cloaks.
Lady Macbeth is very angry because he has ruined her
party.
Lesson 13
Resource 27
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LADY MACBETH: You have displaced the mirth, broke the good meeting
With most admired disorder.
MACBETH: Can such things be,
And overcome us like a summer’s cloud,
Without our special wonder? You make me strange
Even to the disposition that I owe,
When now I think you can behold such sights
And keep the natural ruby of your cheeks,
When mine is blanched with fear.
ROSS: What sights, my lord?
LADY MACBETH: I pray you speak not; he grows worse and worse.
Question enrages him. At once, good night.
Stand not upon the order of your going,
But go at once.
LENNOX: Good night, and better health
Attend his majesty.
LADY MACBETH: A kind good night to all.
Exeunt Lords. Macbeth and Lady Macbeth remain
MACBETH: It will have blood they say: blood will have blood.
Stones have been known to move and trees to speak.
Augurs, and understood relations, have
By maggot-pies, and choughs, and rooks brought forth
The secret’st man of blood. What is the night?
LADY MACBETH: Almost at odds with morning, which is which.
Macbeth is now thoughtful, and amazed his wife was not
afraid. He speaks this aloud.
Ross has heard him and questions him. Others are leaving
the party. Ross lingers behind.
Lady M does not want Ross and Lennox to question her
husband, She ushers them to follow the others.
Lady Macbeth tries to preserve the formal occasion with a
formal good night.
The tone changes to just a conversation between the two
of them. The servants are clearing away. The lords and
ladies are lined up in procession to leave.
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MACBETH: How say’st thou that Macduff denies his person
At our great bidding?
LADY MACBETH: Did you send to him, sir?
MACBETH: I hear it by the way, but I will send.
There’s not a one of them but in his house
I keep a servant fee’d. I will tomorrow —
And betimes I will — to the weird sisters:
More shall they speak. For now I am bent to know
By the worst means, the worst. For mine own good,
All causes shall give way. I am in blood
Stepped 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 scanned.
LADY MACBETH: You lack the season of all natures, sleep.
MACBETH: Come, we’ll to sleep. My strange and self-abuse
Is the initiate fear that wants hard use;
We are yet but young in deed.
Exeunt
Future plans are calmly made and the pair seems
reconciled.
The couple leaves the stage arm in arm.
Act 3
Lesson 14
© www.teachit.co.uk 2016 26802 Page 109 of 195
Lesson 14 – Plots against Macbeth (Act 3 Scenes 5-6)
Starter activities
Changing characters: Pair up students, and ask them to perform a conversation in
role as someone who knows Macbeth and Lady Macbeth. Discuss their recent
behaviour. (AO1)
Main activities
Act 3 Scene 5: Organise students in groups to read Hecate’s speech round the group,
each person reading a rhyming couplet. They should experiment with different ways
of reading the scene, for example in an angry tone, a mocking tone, laughing or
whispering. They could also plan movements, for example, a dance round a cauldron,
and some gestures, and you could ask groups to perform it. What is the plot against
Macbeth? They will need to explain this to the class, which can be done in role or out
of role. How do the other witches react when Hecate has gone? Are they
afraid/relieved/rude behind her back? (AO1, AO2)
Act 3 Scene 6: Here Lennox and another lord discuss the situation; they are deeply
suspicious of Macbeth. Lennox has to check he can speak freely to the other lord, so
he tries him out first. Ask groups of students to prepare a performance of the scene
by dividing up the speeches for more speakers and adding movements where
appropriate (slapping backs, stamping feet etc.). They should read the scene a few
times, experimenting with changes of tone. What is the plot against Macbeth and
who mistrusts him? Ask them to explain this to the class, using examples of language
which show Macbeth is no longer trusted, e.g. ‘tyrant’, ‘accursed’ etc. (AO1)
Plenary activities
Choosing the plot: Compare the plots against Macbeth:
1. The witches’ plot
Bring Macbeth down by telling him his future using strange visions, to make
him over-confident. This will confuse him and trick him.
Act 3
Lesson 14
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2. The lords’ plot
Bring Macbeth down by encouraging Malcolm, Duncan’s son, who is in
England at the court of Edward the Confessor, to raise an army to take
Scotland back. Macduff has already gone to ask Malcolm. However, they
need to be very careful because those who oppose Macbeth don’t seem to
survive long.
Which plot seems to be the best way of getting rid of Macbeth? Take a class vote.
(AO1)
Advising the plotters: Get students to make advice notes for the plotters. What
visions could the witches show Macbeth? They already told his fortune once before.
What might they tell him this time? Would he believe them? How might the plotters
be in danger from Macbeth? How can they keep their disloyalty secret when Macbeth
has spies everywhere? (AO1)
Act 3
Lesson 15
© www.teachit.co.uk 2016 26802 Page 111 of 195
Lesson 15: Imagery (Act 3)
Starter activities
Poetic techniques: Recap on students’ knowledge of poetic techniques by using the
interactive task Poetic techniques (Resource 28) to match the quotations with the
techniques. (AO2)
The catalogue of beasts: Referring to Macbeth’s ‘catalogue’ of living creatures (‘ay,
in the catalogue ye go for men’), explain to students the great chain of being where
God is at the top, then kings, and so on to the lowliest animal. Macbeth implies that
the murderers could rise on the list if they kill Banquo. You could ask students to
make a list of the beasts referred to in the play so far, ranking them from highest to
lowest on the chain of being:
sparrows (1.2), eagles (1.2), hare (1.2), lion (1.2), rat (1.3), serpent/snake (1.5,
3.2, 3.4), wolf (2.1), owl (2.2), crickets (2.2), horses (2.4), scorpions (3.2), bat
(3.2), beetle (3.2), worm (3.4), bear (3.4), rhinoceros (3.4), tiger (3.4).
(AO1, AO2)
Main activities
Imagery treasure hunt: The resource Imagery treasure hunt (Resource 29) includes
two tasks for students to explore some of the imagery in the first three acts. The
second task on the sheet is a class treasure hunt. This works by splitting your class
into three (one team per act), and getting them to find as many quotations as they
can within a given time frame. You might like to get students to tear up some paper
to make numbered bookmarks on which they could write the line numbers of their
located quotations. Alternatively, students could just list these in their books. Make
it competitive by stopping the clock and praising the student(s) with the most
quotations.
To follow up on this task, you could get students to write out the quotations onto
Post-its and sort them into appropriate imagery categories on large sheets of paper
displayed around the classroom, copying these for revision. (AO1, AO2)
Act 3
Lesson 15
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Bird spotting: Use the resource Bird spotting (Resource 30) to find references to
birds in the play, and analyse the significance of these. (AO1, AO2)
Analysing imagery: Using the traditional PEE structure, the resource Analysing
imagery (Resource 31) helps students to explain the effectiveness of the imagery in
the play. (AO1, AO2)
Plenary activities:
Imagery impressions: Ask students to choose a quotation from the imagery activities
and get pairs or small groups to devise a freeze frame. Alternatively, individuals
could draw a picture to represent it. The rest of the class should guess the quotation
the freeze frame or image represents.(AO1, AO2)
Peer assessment: Part of the Analysing imagery (Resource 31) worksheet includes
peer assessment of written analyses of the imagery in the play so far. You could use
this activity following the Bird spotting activities too. (AO1, AO2, AO4)
Lesson 15
Resource 28
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Poetic techniques
We’ve included a screenshot of the interactive version here so you
can see the resource. To access this resource please log in to the
Teachit English website and type ‘26806’ into the search bar.
Lesson 15
Resource 29
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Imagery treasure hunt
Macbeth has some central themes such as
ambition, evil, appearance versus reality. These
are sometimes shown through imagery as well as
events and characters. Imagery is also used to
create atmosphere, setting and revealing
characters’ inner thoughts. Shakespeare uses
imagery because our brains think in pictures.
Also, the sets used at the Globe Theatre were
very simple, so the imagery helps the audience
imagine the scene and remember things. Look
back through the imagery in the three acts
studied so far with the activities below.
Macbeth / Credit: Private Collection / Look and Learn / Bridgeman Images / Copyright © Bridgeman Images / For Education Use Only. This and millions of other educational images are available through Britannica Image Quest. For a free trial, please visit www.britannica.co.uk/trial
Some of the imagery which is central to Macbeth:
Darkness
and light Clothing Sleep
Motherhood
and birth
Animals, birds
and insects
Feasting and
banquets Blood
Disease, madness
and medicine Hunting Children
Task one
Read through the quotations below and decide which form of imagery they fit best. Cut
them out and write the appropriate category on the back of each quotation.
come Fate into the list*,
And champion me to
th’utterance*.
(Act 3 Scene 1)
list = jousting
tournament, battlefield
Utterance = death
Give me some wine; fill
full!
I drink to th’general joy
o’th’whole table,
And to our dear friend
Banquo, whom we miss.
Would he were here! To
all, and him we thirst,
And all to all.
(Act 3 Scene 4)
Was the hope drunk
Wherein you dressed
yourself?
(Act 1 Scene 7)
Lesson 15
Resource 29
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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.
(Act 1 Scene 7)
Come, seeling night,
Scarf up the tender eye of
pitiful day
And with thy bloody and
invisible hand
Cancel and tear to pieces
that great bond
Which keeps me pale.
(Act 3 Scene 2)
Augurs, and understood
relations, have
By maggot-pies, and
choughs, and rooks
brought forth
The secret’st man of
blood.
(Act 3 Scene 4)
This is the very painting
of your fear;
This is the air-drawn
dagger which, you said
Led you to Duncan.
(Act 3 Scene 4)
Had he not resembled
My father as he slept, I
had done’t.
(Act 2 Scene 2)
I am in blood
Stepped in so far that,
should I wade no more,
Returning were as tedious
as go o’er.
(Act 3 Scene 4)
Task two
Your teacher will split you into class teams. You will work against the clock to read back
through one of the first three acts, finding quotations rich in imagery. Either note these
down with line references or mark them with bookmarks.
Next, sort the quotations you have found into the appropriate imagery category/ies.
Write out each quotation on an individual Post-it and stick all of these onto large sheets
of paper around the room. You can use the quotations from the first task to save you
writing these out.
Lesson 15
Resource 30
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Bird spotting
Cut up the cards below, and match the bird with the
relevant quotation. When you have done this, choose three
birds and analyse why they have been used at that point in
the play and their significance.
You will need your copy of the play.
Birds Quotations
Owl
The cry of a screech owl was thought to announce a death. The owl is the ‘obscure bird’, because it flies in the night and can’t be seen.
This guest of summer, The temple-haunting martlet, does approve, By his loved mansionry that the heaven’s breath Smells wooingly here. No jutty, frieze, Buttress, nor coign of vantage but this bird Hath made his pendent bed and procreant cradle; Where they most breed and haunt, I have observed The air is delicate.
(Act 1 Scene 6 lines 3-10)
Wren
The smallest of British native birds.
Augures, and understood relations, have By maggot-pies, and choughs, and rooks brought forth The secret’st man of blood.
(Act 3 Scene 4 lines 124-126)
Eagle
A bird of prey which often symbolises spiritual protection and wisdom.
Sparrow
Small, common bird often associated with loyalty.
It was the owl that shrieked, the fatal bellman Which gives the stern’st good-night.
(Act 2 Scene 2 lines 3-4)
Raven
A bird of ill omen.
Why, what care I? If thou canst nod, speak too. If charnel houses and our graves must send Those that we bury back, our monuments Shall be the maws of kites.
(Act 3 Scene 4 lines 70-73)
Lesson 15
Resource 30
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Birds Quotations
Crow
A bird of ill omen.
Rook
A bird of ill omen. They would attack and kill a lone crow.
Light thickens, And the crow makes wing to th’rooky wood; Good things of day begin to droop and drowse, Whiles night’s black agents to their preys do rouse
(Act 3 Scene 2 lines 50-53)
Falcon
A noble bird of prey, a royal companion, active in the daytime.
as sparrows eagles, or the hare, the lion.
(Act 1 Scene 2 line 35)
Martlet
A kind of swallow (a martin) who is ‘temple-haunting’ because it likes to build its nests high on the walls of tall buildings.
He loves us not; He wants the natural touch, for the poor wren, The most diminutive of birds, will fight, Her young ones in her nest, against the owl. All is the fear, and nothing is the love;
(Act 4 Scene 2 lines 8-12)
Kite
Another bird of prey.
A falcon tow’ring in her pride of place Was by a mousing owl hawked at and killed.
(Act 2 Scene 4 liens 12-13)
Magpie
Another bird of ill omen, also associated with this rhyme: One for sorrow, two for joy, three for a girl, and four for a boy …
Chough
A bird of the crow family.
The raven himself is hoarse That croaks the fatal entrance of Duncan Under my battlements.
(Act 1 Scene 7 lines 36-38)
Lesson 15
Resource 31
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Analysing imagery
Analysing imagery means writing about its effectiveness. To understand that, you need
to consider how the image connects with the object, as well as considering the context.
For example, when Macbeth says ‘Oh, full of scorpions is my mind, dear wife’ in Act 3
Scene 2, including the information that he is driven mad by the thought that Banquo and
Fleance are still alive helps to explain why he feels as though venomous arachnids are
running round in his head.
Shakespeare shows the mental state Macbeth is in
very effectively in Act 3 Scene 2, when Macbeth says:
‘Oh, full of scorpions is my mind, dear wife’
Macbeth says this privately to his wife. To everyone
else he must appear as king and in charge. This
metaphor shows his private hell, because the witches
have told him Banquo’s line will inherit his throne.
Evil thoughts are running through his mind.
Shakespeare uses scorpions because they are
terrifying and capable of killing a human with their
sting.
This kind of comment will help you achieve a good grade. Avoid making weak comments
like ‘has a good effect’.
Task one
Choose an example of imagery from anywhere in the play. It might be one you have
found doing other activities on imagery in the play.
Point
Quotation
Lesson 15
Resource 31
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Explanation
Lesson 15
Resource 31
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Task two
Swap with a partner and assess each other’s work using this checklist:
Does it have a clear point?
Has the correct terminology been used?
Does the quotation fit the point?
Has context been included?
Does the quotation prove the point?
Is the comment specific?
Does the analysis add to your understanding of the play?
What could be improved?
..........................................................................................................
..........................................................................................................
..........................................................................................................
..........................................................................................................
..........................................................................................................
..........................................................................................................
Act 3
Exam style questions
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Act 3: Exam style questions
AQA
Section A: Shakespeare
Answer one question from this section on your chosen text.
Macbeth
Read the following extract from Macbeth Act 3 Scene 1, and answer the question that follows it.
At this point in the play, Macbeth has been crowned king but Banquo suspects Macbeth killed
Duncan.
BANQUO
Thou hast it now: king, Cawdor, Glamis, all
As the weird women promised, and I fear
Thou played’st most foully for’t. Yet it was said
It should not stand in thy posterity.
But that myself should be the root and father
Of many kings. If there come truth from them —
As upon thee, Macbeth, their speeches shine —
Why by the verities on thee made good,
May they not be my oracles as well
And set me up in hope? But hush, no more.
Sennet sounded. Enter Macbeth, as King, Lady Macbeth as Queen,
Lennox, Ross, Lords, 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
Tonight 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
Forever knit.
MACBETH
Ride you this afternoon?
BANQUO
Ay, my good lord.
5
10
15
20
Act 3
Exam style questions
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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 tomorrow.
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.
25
30
01 Starting with this moment in the play, explore how Shakespeare presents the relationship
between Macbeth and Banquo.
Write about:
how Shakespeare presents Macbeth and Banquo at this point in the play
how Shakespeare presents Macbeth and Banquo’s relationship in the play as a whole.
[30 marks]
A04 [4 marks]
Act 3
Exam style questions
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Edexcel
SECTION A – Shakespeare
Answer the question on ONE text from this section.
You should spend about 55 minutes on this section.
You should divide your time equally between question parts (a) and (b)
Macbeth – from Act 3 Scene 2, lines 29 to 61.
In this extract, Macbeth is plotting to have Banquo killed.
LADY MACBETH
Come on,
Gentle my lord, sleek o’er your rugged looks:
Be bright and jovial among your guests tonight.
MACBETH
So shall I, love, and so I pray, be you.
Let your remembrance apply to Banquo:
Present him eminence, both with eye and tongue:
Unsafe the while, that we
Must lave our honours in these flattering streams
And make our faces vizards to our hearts,
Disguising what they are.
LADY MACBETH
You must leave this.
MACBETH
O, full of scorpions is my mind, dear wife!
Thou know’st that Banquo and his Fleance lives.
LADY MACBETH
But in them Nature’s copy’s not eterne.
MACBETH
There’s comfort yet, they are assailable;
Then be thou jocund: ere the bat hath flown
His cloistered flight, ere to black Hecate’s summons
The shard-borne beetle with his drowsy hums
Hath rung night’s yawning peal, there shall be done
A deed of dreadful note.
LADY MACBETH
What’s to be done?
MACBETH
Be innocent of the knowledge, dearest chuck,
Till thou applaud the deed. — Come, seeling night,
Scarf up the tender eye of pitiful day,
And with thy bloody and invisible hand
5
10
15
20
25
Act 3
Exam style questions
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Cancel and tear to pieces that great bond
Which keeps me pale. Light thickens,
And the crow makes wing to the rooky wood:
Good things of day begin to droop and drowse,
Whiles night’s black agents to their preys do rouse. —
Thou marvell’st at my words: but hold thee still.
Things bad begun make strong themselves by ill.
So prithee, go with me.
30
1. (a) Explore how Shakespeare presents the relationship between Macbeth and his wife at this
point in the play.
Refer closely to the extract in your answer.
(20)
1. (b) In this extract, Macbeth is becoming increasingly wicked. Explain the importance of evil
and the supernatural elsewhere in the play.
In your answer you must consider:
• how evil has taken over Macbeth’s mind
• why evil and the supernatural are important.
You must refer to the context of the play in your answer.
(20)
(Total for Question 1 = 40 marks)
Act 3
Exam style questions
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OCR
Section B
Shakespeare
Macbeth
Choose ONE question.
You are advised to spend about 45 minutes on this section.
EITHER
8 Explore how Shakespeare shows that a guilty conscience affects Macbeth’s behaviour. Refer to
this extract from Act 3 Scene 4 and elsewhere in the play.
[40]*
In this extract Macbeth and Lady Macbeth are holding a supper party, shortly after Banquo has
been murdered.
LADY MACBETH
My worthy lord,
Your noble friends do lack you.
MACBETH
I do forget —
Do not muse at me, my most worthy friends,
I have a strange infirmity which is nothing
To those that know me. Come, love and health to all,
Then I’ll sit down. Give me some wine; fill full!
[Enter Ghost]
I drink to the general joy o’th’whole table,
And to our dear friend Banquo, whom we miss.
Would he were here! To all, and him we thirst,
And all to all.
LORDS
Our duties, and the pledge.
MACBETH
Avaunt and quit my sight! Let the earth hide thee!
Thy bones are marrowless, thy blood is cold;
Thou hast no speculation in those eyes
Which thou dost glare with.
LADY MACBETH
Think of this, good peers,
But as a thing of custom. ’Tis no other,
Only it spoils the pleasure of the time.
Act 3
Exam style questions
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MACBETH
What man dare, I dare;
Approach thou like the rugged Russian bear,
The armed rhinoceros, or th’Hyrcan tiger,
Take any shape but that, and my firm nerves
Shall never tremble. Or be alive again,
And dare me to the desert with thy sword;
If trembling I inhabit then, protest me
The baby of a girl. Hence, horrible shadow,
Unreal mock’ry, hence.
[Exit Ghost]
Why, so: being gone,
I am a man again. Pray you, sit still.
OR
9 How important is the theme of appearance and reality in the play? Explore at least two
moments from the play to support your ideas.
[40]*
Quality of extended responses will be assessed in questions marked with an asterisk (*).
Act 3
Exam style questions
© www.teachit.co.uk 2016 26802 Page 127 of 195
WJEC Eduqas
2. Macbeth
Answer both part (a) and part (b). You are advised to spend about 20 minutes on part (a), and
about 40 minutes on part (b).
(a) Read the extract below.
How does this extract show differences between Macbeth and Lady Macbeth’s consciences and
behaviours at this point? Refer closely to details from the extract to support your answer.
[15]
LADY MACBETH
My worthy lord,
Your noble friends do lack you.
MACBETH
I do forget —
Do not muse at me, my most worthy friends,
I have a strange infirmity which is nothing
To those that know me. Come, love and health to all,
Then I’ll sit down. Give me some wine; fill full!
[Enter Ghost]
I drink to the general joy o’th’whole table,
And to our dear friend Banquo, whom we miss.
Would he were here! To all, and him we thirst,
And all to all.
LORDS
Our duties, and the pledge.
MACBETH
Avaunt and quit my sight! Let the earth hide thee!
Thy bones are marrowless, thy blood is cold;
Thou hast no speculation in those eyes
Which thou dost glare with.
LADY MACBETH
Think of this, good peers,
But as a thing of custom. ’Tis no other,
Only it spoils the pleasure of the time.
Act 3
Exam style questions
© www.teachit.co.uk 2016 26802 Page 128 of 195
MACBETH
What man dare, I dare;
Approach thou like the rugged Russian bear,
The armed rhinoceros, or th’Hyrcan tiger,
Take any shape but that, and my firm nerves
Shall never tremble. Or be alive again,
And dare me to the desert with thy sword;
If trembling I inhabit then, protest me
The baby of a girl. Hence, horrible shadow,
Unreal mock’ry, hence.
[Exit Ghost]
Why, so: being gone,
I am a man again. Pray you, sit still.
*(b) Write about the theme of the supernatural and its importance in Macbeth.
[25]
*5 of this question’s marks are allocated for accuracy in spelling, punctuation and the use of
vocabulary and sentence structures.
Act 4
Lesson 16
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Act 4
Act 4
Lesson 16 – Macbeth returns to the weird sisters (Act 4 Scene 1)
Starter activities
Hubble bubble / Double, double: Ask students to continue this spell to see how
much of it they already know. It is one of the most famous speeches in any
Shakespeare play, and is often misquoted. Explain that the witches are making a
spell full of nasty ingredients. If you were writing a modern version of this play, what
might you have them throw into their cauldron? Go for a ‘Room 101’ take on the
activity if you like, allowing more than just concrete items to go in (but pre-warn
that no students/teachers are allowed to go in!). (AO1)
Cast a spell on Macbeth: Hecate tells the witches to trick Macbeth with some
fortune telling. Ask students to make some predictions: what do they think is going
to happen to him? (AO1)
Main activities
Double, double toil and trouble: Using the activities on Double, double toil and
trouble (Resource 32) students study the first part of the scene. They consider other
‘doubles’ in the play, complete a cloze activity for the spell, and perform their own
version of the spell. You could show them a conventional portrayal of the scene as a
starting point: www.youtube.com/watch?v=VXQoFm8hbI4.
Some suggested responses to task one: the two-facedness of Macbeth and Lady
Macbeth, Duncan’s two sons, the way Macbeth is contrasted with Banquo and then
Macduff. (AO1, AO2, AO3)
Act 4
Lesson 16
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Macbeth: a changed man: Using the tasks on Macbeth: a changed man (Resource
33), students should read the rest of the scene, and work through tasks to compare
the presentation of Macbeth with earlier impressions in the play. For task two, you
could split your class so that one group focuses on close analysis of this scene to
complete the first column, and more able students could range more widely through
the play to complete the second column, both of which are valuable preparation for
the exam. (AO1, AO2)
The prophecies: Using the PowerPoint resource The prophecies (Resource 34)
students consider each of the prophecies, and Macbeth’s responses to them. (AO1)
Plenary activities
The line of kings: Ask eight students to act out the line of kings shown in the last
prophecy, reading the last part of the scene together from line 111 ‘Thou art too like
the spirit of Banquo. Down!’ Discuss whether the witches should be pleased with
their work, and then consider whether Lennox is loyal to Macbeth or not (refer back
to Act 3 Scene 6). (AO1)
The witches in control: Ask students to imagine that the three witches gather for a
gossip when Macbeth has gone, and improvise their conversation. Draw students’
attention to the additional ingredients that have now gone into the cauldron: the
blood of a pig which has eaten her young, and the grease from the forehead of a
murderer about to be hanged for his crimes. (AO1)
Lesson 16
Resource 32
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Double, double toil and trouble
Task one
The word ‘double’ in the witches’ spell ‘Double, double toil and trouble …’ reminds the
audience of some doubles in the play, for instance the two captains, Macbeth and Banquo.
Which other ‘doubles’ can you think of?
Task two
The witches’ spell in Act 4 Scene 1 is written in rhythm and rhyme. With this in mind, fit in the
missing words where they sound best and make most sense.
Turk blind-worm dragon shark babe
baboon newt tiger howlet’s wing Lizard’s leg
yew Toad tongue of dog tooth of wolf hemlock
FIRST WITCH: Round about the cauldron go;
In the poisoned entrails throw.
.................... , that under cold stone
Days and nights has thirty-one
Sweltered venom sleeping got,
Boil thou first i’the charmed pot.
ALL: Double, double toil and trouble;
Fire burn, and cauldron bubble.
SECOND WITCH: Fillet of a fenny snake
In the cauldron boil and bake:
Eye of .................. , and toe of frog,
Wool of bat, and ................... ,
Adder’s fork, and .................. ’s sting
.................. and ................... ,
For a charm of powerful trouble,
Like a hell-broth, boil and bubble.
ALL: Double, double toil and trouble,
Fire burn, and cauldron bubble.
THIRD WITCH: Scale of ................ , ................
Witches’ mummy, maw and gulf
Lesson 16
Resource 32
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Of the ravined salt-sea ................... ,
Root of ................... , digged i’th’dark;
Liver of blaspheming Jew,
Gall of goat, and slips of .................... ,
Slivered in the moon’s eclipse;
Nose of .................... , and Tartar’s lips,
Finger of birth-strangled .................... ,
Ditch-delivered by a drab,
Make the gruel thick and slab.
And thereto a ................... ’s chawdron
For th’ingredience of our cauldron.
ALL: Double, double toil and trouble,
Fire burn, and cauldron bubble.
SECOND WITCH: Cool it with a ................ ’s blood,
Then the charm is firm and good.
Task three
After the ghost of Act 3, the audience is already terrified. In Shakespeare’s time, there
was no interval in the performance, so they have had very little time to calm down.
Given that they believed in witches and their powers to
communicate with the devil, they would have been terrified to
hear what sounded like a real spell performed on stage.
However, modern audiences would be more dubious about
witches’ abilities to curse people or tell the future. The terror is
more diluted.
In groups of four prepare a version of this scene, including some
movement. One member acts as a director, and also plays the
part of Hecate. You can include more witches if you wish.
Here are a few ideas to start you off:
masks puppets dolls
a cookery programme talking Hallowe’en lanterns a fortune teller / tarot card readers
three grandmothers children voices on the radio
Lesson 16
Resource 33
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Macbeth: a changed man
Macbeth’s entrance is sensed by the witches:
By the pricking of my thumbs
Something wicked this way comes
Open locks, whoever knocks
This is his second meeting with the witches, but the first time he has sought them out.
Task one
How has Macbeth changed since that first meeting in Act 1 Scene 3? Complete this
comparison chart:
Macbeth at the start of the play … Macbeth at the end of Act 3 or
start of Act 4 …
1 is loyal to King Duncan
2 is a brave fighter
3 is a good husband
4 is a good friend to Banquo and others
5 is well respected
6 has a promising career
7 has a clear conscience
Lesson 16
Resource 33
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Task two
Find a quotation for each point in the table. Here’s an example:
Macbeth has a promising career:
Duncan tells Macbeth in Act 1 Scene 4:
I have begun to plant thee, and will labour
To make thee full of growing
However, in Act 3, he is regarded as a tyrant by his lords and they are arranging to bring
an army against him. His career as king will be over if they succeed, as Lennox says (Act
3 Scene 6):
Some holy angel
Fly to the court of England and unfold
His message ere he come, that a swift blessing
May soon return to this our suffering country
Under a hand accursed.
Extension task
The first time Macbeth had his fortune told by
the witches, he did not seek it, but now he has
gone to them to ask for more hints about his
future. The witches use particular language,
for example words to do with magic,
wickedness and evil. They also speak in
riddles, use rhyme and speak in threes. What
do you notice about Macbeth’s speech in Act 4
Scene 1 lines 48-60?
Lesson 16
Resource 34
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The prophecies
We’ve included a screenshot of this PowerPoint here so you can see
the resource. To access this resource please log in to the Teachit
English website and type ‘26812’ into the search bar.
Act 4
Lesson 17
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Lesson 17 – Macbeth’s crimes worsen (Act 4 Scene 2)
Starter activities
Danger!: Ask students to consider what they would do if a friend was in danger. Give
them options of scenarios to imagine:
1. their friend has been asked to meet in person by someone they have met
online
2. their friend has been threatened by someone with a history of physical
violence
3. their friend is about to talk to someone who they argue with constantly
4. their friend is thinking of doing something dangerous.
Link these ideas with Act 4 Scene 2, where Lady Macduff is warned of nearby danger,
but ignores the warnings. (AO1)
Dramatic irony: Display the last lines of the previous scene on the board:
The castle of Macduff I will surprise;
Seize upon Fife; give to th’edge o’th’sword
His wife, his babes, and all unfortunate souls
That trace him in his line. No boasting like a fool;
This deed I’ll do before this purpose cool,
Ask students to predict what is about to happen and who will be in the next scene.
Do they think Macbeth will do this himself? (AO1)
Main activities
Reading: Read through the scene in small groups, or together, and discuss the
following questions:
1. Why is Lady Macduff angry with her husband? Is she right to be?
2. Why is Ross there? And why is he in such a hurry to leave? Does he know for
sure she is in danger?
3. Why is Macduff’s son introduced here as a new character?
Act 4
Lesson 17
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4. What sort of relationship does Lady Macduff have with her husband and
son?
5. Would you say Lady Macduff is an obedient wife, as women were supposed
to be then?
6. Think about the theme of babies and children in the play. Why would
Shakespeare show us a promising young boy at this stage?
7. Why might this part of the scene be in prose, not poetry?
8. Why does Lady Macduff refuse to go when the messenger warns her? (AO1,
AO2)
Slow motion miming: Reread the last part of the scene, from the entrance of the
murderer, with groups of students performing the action in slow motion. This part of
the scene relies much more on the action than the dialogue, so you could take out
the dialogue once the students have got the gist of the scene. Set a time limit for
students to fill, and stop them to freeze frame at various moments. (AO1)
Plenary activities
Performances: Watch some of the slow motion mimes together, and ask the class to
mark these with two stars and a wish for improvement, according to how well they
represented the scene, and how seriously you could take it on the stage. (AO1)
Rating the killings: Take a class vote by asking students to go to a different part of
the room for each of the killings, choosing the one they think is the worst crime:
killing Duncan, killing Banquo and trying to kill Fleance or killing Macduff’s family.
Ask students why they have chosen the one that they have. (AO1)
Act 4
Lesson 18
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Lesson 18: England (Act 4 Scene 3)
Starter activities
What is a tyrant? Increasingly Macbeth is being called a tyrant. Share a definition
and give out Post-its for students to add ideas to support the idea that Macbeth is a
tyrant.
An extremely oppressive, unjust, or cruel ruler.
An absolute ruler who governs without restrictions, especially one
who seized power illegally.
An oppressive, harsh, arbitrary person. (AO2)
Tyrants: Using the resource Tyrants (Resource 35) students could compare Macbeth
with these historical tyrants, by writing a profile for him and considering how he fits
among these tyrants from history. (AO1, AO3)
Main activities
Malcolm and Macduff: Using the resource Malcolm and Macduff (Resource 36)
students should read the scene up to the doctor’s entrance and compare the
behaviour of these two characters by sorting out statements and finding quotations
to prove the points. For more able students, you could ask them to find the
evidence. As a follow-up, you could discuss whether Macduff would want Malcolm to
be king after all the elaborate lying. (AO1)
A true king: Explore the historical context with the reference to Edward the
Confessor, King of England, made by Malcolm in lines 149-161. Display an image of
Edward such as Edward the Confessor (1003-1066) (Resource 37) and discuss his
reputation as someone whose touch could cure disease. Ask students to analyse the
description of him in this scene from the doctor’s entrance, exploring the contrast he
presents with Macbeth. Ask students to decide whether Malcolm could be a king like
him, using evidence from the scene. (AO1, AO3)
Act 4
Lesson 18
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Plenary activities
Puppets: To consolidate students’ understanding of the two characters in the early
part of the scene, get them to create puppets for Malcolm and Macduff. On one side,
they should write quotations or statements to show their external character traits
and behaviour; on the other side they should show their inner thoughts.(AO1)
Interview: Pairs of students role play a conversation between a journalist and
Malcolm, about Malcolm’s plans to invade Scotland. Questions might include: Why do
you think you would be a good king? What can you offer Scotland? What is your vision
for a new Scotland once you have defeated Macbeth? How will you reward your
supporters? How will you create stability in Scotland? (AO1)
Lesson 17
Resource 35
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Tyrants
Cut out the tyrants with their evil deeds, and rank them according to how evil they
were. Add a short biography to Macbeth’s card, and place him among the tyrants.
Does he deserve the name ‘tyrant’?
Tyrant Evil deeds
Henry VIII
King of England 1509-1547. Ordered friends, relatives and wives to be
executed, showing no mercy. Said he forgave rebels, but later had
them executed. Allowed torture. Dissolved the monasteries.
Persecuted people who would not recognise him as head of the church.
Pinochet
President of Chile 1973-1990. Attacked his people who wanted
democracy using mass arrests, unfair trials, systematic torture, secret
executions and imprisonment. Over 2000 people were killed during his
rule, 31947 tortured, and 1312 exiled.
Hitler
Chancellor of Germany from 1933-1945. Started World War II,
murdered millions of Jews, Roma, disabled people and homosexuals in
death camps. Over seventy million people died because of him.
Genghis Khan
Founder and ruler of the Mongol Empire 1206-1227. He was known for
his cruelty to the areas he conquered, massacring the defeated and
harshly enforcing his empire’s rules.
Stalin
General Secretary of the Soviet Union 1922-1953. Many of his crimes
are still coming to light, including massacres during the war. The
Soviet people suffered during his time in power, from the famine of
the 1930s, the notorious Purges, where many Russian people were
slaughtered, and the creation of the gulag system (corrective labour
camps).
Lesson 17
Resource 35
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Tyrant Evil deeds
Pol Pot
Ruler of Democratic Kampuchea, now Cambodia, from 1975-1979.
Killed a million of his own people (nearly 25% of the population), by
cruel means, after making them dig their own graves (in the Killing
Fields). Abolished education and religion.
Ivan the Terrible
Tsar of Russia from 1533-1584. Gave his first death sentence aged 13.
Killed his own people in cruel ways, without trial, and had several of
his wives and his eldest son murdered.
Robespierre
Ruler of France from 1793-1794. An estimated 16000 to 40,000 people
were killed during his reign of terror following the French Revolution.
Qaddafi
Ruler of Libya from 1969 to 2011. Though his Arab nationalist ideas and
socialist style policies gained him support in the early days, his
corruption, military interference in Africa, and horrific human rights
abuses turned the population against him. He supported terrorism and
was suspected of being behind the Lockerbie bombings and other acts
of terrorism against the west.
Fidel Castro
Prime Minister of Cuba 1959-1976 and President 1976-2008. Opinions
differ on whether he was a hero or a tyrant. Many abuses of human
rights during his time, and approximately one million Cubans went into
voluntary exile for their own safety. There were food shortages and
personal freedom was curtailed.
Macbeth
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By Ministerio de Relaciones Exteriores de Chile. [CC BY 2.0 cl (http://creativecommons.org/licenses/by/2.0/cl/deed.en)], via Wikimedia Commons
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[Attribution], via Wikimedia Commons
All other images within creative commons and require no attribution
Lesson 17
Resource 36
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Malcolm and Macduff
In this scene, Malcolm and Macduff are presented as very contrasting characters.
Task one
Read the statements below and decide whether they are true of Malcolm or Macduff.
Cut them up, and sort them out so that they match the correct character.
1. Speaks softly, with lots of long vowel
sounds.
2. Speaks more assertively, with harsh
consonant sounds.
3. Speaks with language of action.
4. Is distrustful of the other, because
Macbeth used to be his friend and
Macbeth has not harmed him.
5. Talks of appearance versus reality,
showing a lack of trust.
6. Has left behind his wife and children
but won’t talk about it.
7. Personifies Scotland as a bleeding,
dying individual.
8. Has openly accused the other as a
villain.
9. Considers himself capable of more evil
than Macbeth – and is bluffing.
10. Considers Macbeth far more fearsome
than anyone else.
11. Considers himself a danger to women –
and is bluffing.
12. Considers lust a problem that has
caused the downfall of many kings.
13. Considers himself too greedy to be king
– and is bluffing.
14. Thinks that should he be King of
Scotland, he would ruin the country –
and is bluffing.
15. Vows to leave Scotland because being
ruled by the other makes him despair.
16. Reveals that he has been tricking the
other, and says he trusts him now.
17. Uses an oxymoron to show how he is
confused.
Lesson 17
Resource 36
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Task two
Now match the quotations with the statements, to prove the points.
the villain that thou think’st (line 35)
Hold fast the mortal sword, and like
good men
Bestride our down-fall’n birthdom:
(lines 3-4)
each new morn
New widows howl, new orphans cry, new
sorrows
Strike heaven on the face, that it resounds
As if it felt with Scotland and yell’d out
Like syllable of dolour. (lines 4-8)
Bleed, bleed, poor country (line 31)
I think our country sinks beneath the yoke;
It weeps, it bleeds, and each new day a
gash
Is added to her wounds. (lines 39-41)
all things foul would wear the brows of
grace (line 23)
Why in that rawness left you wife and child
…? (line 26)
you have loved him well —
He hath not touched you yet. (lines 13-14)
Let us seek out some desolate shade, and
there
Weep our sad bosoms empty. (lines 1-2)
black Macbeth
Will seem as pure as snow, and the poor
state
Esteem him as a lamb, being compared
With my confineless harms. (lines 52-55)
Boundless intemperance
In nature is a tyranny; it hath been
Th’untimely emptying of the happy throne
And fall of many kings (lines 66-69)
Lesson 17
Resource 36
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Your matrons, and your maids could
not fill up
The cistern of my list (lines 62-63)
were I king,
I should cut off the nobles for their lands,
Desire his jewels … (lines 78-80)
These evils thou repeat’st upon thyself
Hath banished me from Scotland.
(lines 112-113)
Such welcome and unwelcome things
at once (line 138)
Not in the legions
Of horrid hell can come a devil more
damned
In evils to top Macbeth. (lines 55-57)
had I power, I should
Pour the sweet milk of concord into hell,
Uproar the universal peace, confound
All unity on earth. (lines 97-100)
this noble passion,
Child of integrity, hath from my soul
Wiped the black scruples, reconciled
my thoughts
To thy good truth and honour. (lines 114-
117)
Lesson 17
Resource 36
© www.teachit.co.uk 2016 26802 Page 145 of 195
Teacher’s answer sheet
Statement Quotation
1. Speaks softly, with lots of long vowel sounds (Malcolm)
Let us seek out some desolate shade, and there Weep our sad bosoms empty. (lines 1-2)
2. Speaks more assertively, with harsh consonant sounds (Macduff)
Hold fast the mortal sword, and like good men Bestride our down-fall’n birthdom: (lines 3-4)
3. Speaks with language of action (Macduff)
each new morn New widows howl, new orphans cry, new sorrows Strike heaven on the face, that it resounds As if it felt with Scotland and yell’d out Like syllable of dolour. (lines 4-8)
4. Is distrustful of the other, because Macbeth used to be his friend and Macbeth has not harmed him (Malcolm)
you have loved him well — He hath not touched you yet. (lines 13-14)
5. Talks of appearance versus reality, showing a lack of trust (Malcolm)
all things foul would wear the brows of grace (line 23)
6. Has left behind his wife and children but won’t talk about it (Macduff)
Why in that rawness left you wife and child …? (line 26)
7. Personifies Scotland as a bleeding, dying individual (Malcolm and Macduff)
Bleed, bleed, poor country (line 31) I think our country sinks beneath the yoke; It weeps, it bleeds, and each new day a gash Is added to her wounds. (lines 39-41)
8. Has openly accused the other as a villain (Malcolm)
the villain that thou think’st (line 35)
9. Considers himself capable of more evil than Macbeth – and is bluffing (Malcolm)
black Macbeth Will seem as pure as snow, and the poor state Esteem him as a lamb, being compared With my confineless harms. (lines 52-55)
Lesson 17
Resource 36
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Statement Quotation
10. Considers Macbeth far more fearsome than anyone else (Macduff)
Not in the legions Of horrid hell can come a devil more damned In evils to top Macbeth. (lines 55-57)
11. Considers himself a danger to women – and is bluffing (Malcolm)
Your matrons, and your maids could not fill up The cistern of my list (lines 62-63)
12. Considers lust a problem that has caused the downfall of many kings (Macduff)
Boundless intemperance In nature is a tyranny; it hath been Th’untimely emptying of the happy throne And fall of many kings (lines 66-69)
13. Considers himself too greedy to be king – and is bluffing (Malcolm)
were I king, I should cut off the nobles for their lands, Desire his jewels … (lines 78-80)
14. Thinks that should he be King of Scotland, he would ruin the country – and is bluffing (Malcolm)
had I power, I should Pour the sweet milk of concord into hell, Uproar the universal peace, confound All unity on earth. (lines 97-100)
15. Vows to leave Scotland because being ruled by the other makes him despair (Macduff)
These evils thou repeat’st upon thyself Hath banished me from Scotland. (lines 112-113)
16. Reveals that he has been tricking the other, and says he trusts him now (Malcolm)
this noble passion, Child of integrity, hath from my soul Wiped the black scruples, reconciled my thoughts To thy good truth and honour. (lines 114-117)
17. Uses an oxymoron to show how he is confused (Macduff)
Such welcome and unwelcome things at once (line 138)
Lesson 17
Resource 37
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Edward the Confessor (1003-1066)
Edward The Confessor (c1003-66) Anglo-Saxon king of England from 1042. Edward on his throne. / Credit: Universal History Archive/Universal Images Group / Copyright © Universal Images Group / For Education Use Only. This and millions of other educational images are available through Britannica Image Quest. For a free trial, please visit www.britannica.co.uk/trial
Act 4
Lesson 19
© www.teachit.co.uk 2016 26802 Page 148 of 195
Lesson 19: What is a king? (Act 4 Scene 3)
Starter activities
What is a good leader? Students think about the qualities of a good leader and mind
map these qualities. For each quality, they could add why this is an advantage, and
any pitfalls that could occur along the way. For example if a good leader has a vision
and doesn’t sway from it, the vision might not be accepted by the leader’s followers,
and/or could turn out to be a poor choice. (AO1)
Main activities
Malcolm as king: Read through the rest of the scene, so that students know how
Malcolm and Macduff behave towards each other. They should then complete the
activity What is a king? (Resource 38) to assess Malcolm’s qualities as a king. For your
more able learners, you could take out the examples and ask them to complete this
column. (AO1, AO3)
Why does Macduff support Malcolm? Is it better to have an untried, potentially good
king, or a strong tyrant? Macduff is taking a huge chance on Malcolm. Discuss with
your students why he is prepared to follow him. Using the resource Why does Macduff
support Malcolm? (Resource 39), also available as an interactive resource (Resource
40), get students to consider whether they agree or disagree with the statements,
and which are the strongest motivating factors for Macduff to support Malcolm. (AO1)
Plenary activities
Macbeth’s Scotland: Ask students to imagine they are an ordinary person living in
Scotland at the time of Macbeth. His reign has been full of violence, storms and
strange happenings. Get students to write a diary entry recording how they feel and
what they wish for the future. (AO1, AO3)
Lesson 19
Resource 38
© www.teachit.co.uk 2016 26802 Page 149 of 195
What is a king?
Throughout Macbeth, this question is asked, alongside
the question ‘what is a man?’
The Kings of Scotland in the play are Duncan, Macbeth
and King Elect, Malcolm. In England, Edward the
Confessor rules, although we never see him as a
character.
The King of England at the time Shakespeare wrote the
play was James I, who was also James IV of Scotland.
Everything about kingship in the play would have been of
particular interest to him.
In Act 4 Scene 3, Malcolm says that these twelve
qualities are needed to be a good king. Complete this
chart, giving Malcolm a mark out of ten for each quality.
Qualities Malcolm’s known actions Score
Justice
(fairness)
Verity
(truthfulness)
Lies to Macduff about his character, to test him.
(Act 4 Scene 3)
Temperance
(self-control)
Stableness
(even temper)
Changes often when talking to Macduff. (Act 4 Scene
3)
Bounty
(generosity)
Tells Macduff to ‘dispute it like a man’ (pull yourself
together) when he is upset about the murder of his
wife and children. (Act 4 Scene 3)
Lesson 19
Resource 38
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Qualities Malcolm’s known actions Score
Perseverance
Gives up the chance of the throne by running away
instead of seizing the throne when Duncan was
killed. (Act 2 Scene 3)
Mercy
Lowliness
(humility)
Does claim he isn’t worthy to be king when testing
Macduff in Act 4 Scene 3, but is he telling the truth?
Devotion
(to God)
Mentions God when speaking to Macduff in Act 4
Scene 3 (‘God above deal between me and thee’).
Patience Waits in England for it to be safe to return to
Scotland.
Courage Runs away to England when his father Duncan is
murdered (Act 2 Scene 3).
Fortitude
(strength)
Total
/120
Lesson 19
Resource 39
© www.teachit.co.uk 2016 26802 Page 151 of 195
Why does Macduff support Malcolm?
The statements below are all reasons why Macduff
might support Malcolm. Put them in order from the
one you agree with most to the one you agree with
least.
Which one do you agree with the most and why? Discuss.
He’s loyal to Duncan and
he wants to follow his
wishes.
He hopes that if he helps
Malcolm become king, he
will be richly rewarded.
He hates Macbeth so
much he’s prepared to
try anything.
He thinks the ordinary
people of Scotland will
support Duncan’s named
heir.
He thinks Malcolm can
muster the best army.
He doesn’t want to be
king himself.
There is no one else left. He doesn’t know where
Donaldbain is.
He supports Malcolm
because he’s the oldest.
He thinks he can shape
and mould Malcolm into
being a good king.
He looks to rule through
Malcolm by becoming his
close adviser.
He really is a double
agent and he hopes to
deliver Malcolm to
Macbeth for slaughter.
He wants stability for
Scotland by the
continuation of the same
family as kings.
He admires Malcolm and
thinks he is the best
person to rule.
He thinks because
Duncan showed all the
qualities of a king, his
son will take after him.
Lesson 19
Resource 40
© www.teachit.co.uk 2016 26802 Page 152 of 195
Why does Macduff support Malcolm? Interactive
We’ve included a screenshot of the interactive version here so you
can see the resource. To access this resource please log in to the
Teachit English website and type ‘26807’ into the search bar.
Act 4
Lesson 20
© www.teachit.co.uk 2016 26802 Page 153 of 195
Lesson 20: News from Scotland (Act 4 Scene 3)
Starter activities
How do you break bad news? Ask students to imagine that they have some bad news
to tell a friend. How would they time giving the news? How would they behave? What
might they say? Link this with Ross having to tell Macduff that his wife and children
have been killed.
Explore the dramatic irony in Ross’s line: ‘they were well at peace when I did leave
’em.’ (line 181) How will this affect Macduff’s feelings towards Macbeth? (AO1)
Main activities
Reading: Reread the scene from Ross’s entrance and ask students to answer the
following questions:
1. Malcolm seems suspicious of Ross because he does not recognise him. How
could this be shown on stage by an action or gesture?
2. Ross gives us some insight into what life is like in Scotland; it has got worse
all the time Macduff has been away. What does Ross mean when he says
‘[Scotland] cannot / Be called our mother, but our grave’? What are the
sounds most commonly heard in Scotland now?
3. What news does Malcolm give Ross?
4. When Ross finally tells Macduff the news, he is worried that his friend will
hate him for telling him. Macduff is so overcome by grief that at first he
does not respond. How does Macduff express his grief now, and then at the
end of the scene?
5. Why does Macduff say Malcolm has no children? Do you think Malcolm is a
little insensitive here? How does it change our view of Malcolm? (AO1)
Act 4
Lesson 20
© www.teachit.co.uk 2016 26802 Page 154 of 195
Plenary activities
Plot the fear: Ask students to draw graphs to plot the rise and fall of the tension
through Act 4. Get them to plot the events along the x-axis and the level of tension
on the y-axis. (AO1)
What is a man? In response to Macduff’s open expression of grief, Malcolm tells
Macduff to ‘Dispute it like a man’ and Macduff responds by saying ‘But I must also
feel it as a man.’ Take a class vote on whose version of manliness they prefer and
discuss why. (AO1)
Act 4
Exam style questions
© www.teachit.co.uk 2016 26802 Page 155 of 195
Act 4: Exam style questions
AQA
Section A: Shakespeare
Answer one question from this section on your chosen text.
Macbeth
Read the following extract from Macbeth Act 4 Scene 1, and answer the question that follows it.
At this point in the play, Macbeth has sought out the witches to learn his fate, but they have
decided to trick him. They show him visions.
FIRST APPARITION
Macbeth, Macbeth, Macbeth: beware Macduff,
Beware the Thane of Fife. Dismiss me. Enough.
Descends
MACBETH
Whate’er thou art, for thy good caution, thanks;
Thou hast harped my fear aright. But one word more,—
FIRST WITCH
He will not be commanded. Here’s another,
More potent than the first.
Thunder. Second Apparition, a bloody child
SECOND APPARITION
Macbeth, Macbeth, Macbeth!
MACBETH
Had I three ears, I’d hear thee.
SECOND APPARITION
Be bloody, bold, and resolute; laugh to scorn
The power of man, for none of woman born
Shall harm Macbeth.
Descends
MACBETH
Then live, Macduff, what need I fear of thee?
But yet I’ll make assurance double sure
And take a bond of fate: thou shalt not live,
That I may tell pale-hearted fear it lies,
And sleep in spite of thunder.
Thunder. Third Apparition, a child crowned, with a tree in his hand
5
10
15
Act 4
Exam style questions
© www.teachit.co.uk 2016 26802 Page 156 of 195
What is this
That rises like the issue of a king
And wears upon his baby-brow the round
And top of sovereignty?
ALL
Listen, but speak not to’t.
THIRD APPARITION
Be lion-mettled, proud, and take no care
Who chafes, who frets, or where conspirers are.
Macbeth shall never vanquished be until
Great Birnam Wood to high Dunsinane hill
Shall come against him.
Descends
MACBETH
That will never be:
Who can impress the forest, bid the tree
Unfix his earth-bound root? Sweet bodements, good.
Rebellious dead, rise never till the wood
Of Birnam rise, and our high-placed Macbeth
Shall live the lease of nature, pay his breath
To time and mortal custom. Yet my heart
Throbs to know one thing. Tell me, if your art
Can tell so much, shall Banquo’s issue ever
Reign in this kingdom?
ALL
Seek to know no more.
20
25
30
35
01 Starting with this moment in the play, explore how Shakespeare presents Macbeth and his
anxieties.
Write about:
how Shakespeare presents Macbeth and his interactions with the witches at this point in
the play
how Shakespeare presents Macbeth and his interactions with the witches in the play as a
whole.
[30 marks]
A04 [4 marks]
Act 4
Exam style questions
© www.teachit.co.uk 2016 26802 Page 157 of 195
Edexcel
SECTION A – Shakespeare
Answer the question on ONE text from this section.
You should spend about 55 minutes on this section.
You should divide your time equally between question parts (a) and (b)
Macbeth – from Act 4 Scene 3, lines 88 to 139.
In this extract, Macduff has gone to England to persuade Malcolm to claim the throne of Scotland,
but Malcolm does not trust him so tests him.
MACDUFF
Scotland hath foisons to fill up your will
Of your mere own. All these are portable,
With other graces weighed.
MALCOLM
But I have none. The king-becoming graces —
As justice, verity, temp’rance, stableness,
Bounty, perseverance, mercy, lowliness,
Devotion, patience, courage, fortitude,
I have no relish of them, but abound
In the division of each several crime,
Acting it many ways. Nay, had I power, I should
Pour the sweet milk of concord into hell,
Uproar the universal peace, confound
All unity on earth.
MACDUFF
O Scotland, Scotland!
MALCOLM
If such a one be fit to govern, speak.
I am as I have spoken.
MACDUFF
Fit to govern?
No, not to live. O nation miserable,
With an untitled tyrant bloody-sceptred,
When shalt thou see thy wholesome days again,
Since that the truest issue of thy throne
By his own interdiction stands accursed
And does blaspheme his breed? Thy royal father
Was a most sainted king; the queen that bore thee,
Oft’ner upon her knees than on her feet,
Died every day she lived. Fare thee well.
These evils thou repeat’st upon thyself
Have banished me from Scotland. O my breast,
Thy hope ends here.
5
10
15
20
25
Act 4
Exam style questions
© www.teachit.co.uk 2016 26802 Page 158 of 195
MALCOLM
Macduff, this noble passion,
Child of integrity, hath from my soul
Wiped the black scruples, reconciled my thoughts
To thy good truth and honour. Devilish Macbeth
By many of these trains hath sought to win me
Into his power, and modest wisdom plucks me
From over-credulous haste; but God above
Deal between thee and me, for even now
I put myself to thy direction and
Unspeak mine own detraction, here abjure
The taints and blames I laid upon myself,
For strangers to my nature. I am yet
Unknown to woman, never was forsworn,
Scarcely have coveted what was mine own,
At no time broke my faith, would not betray
The devil to his fellow, and delight
No less in truth than life. My first false speaking
Was this upon myself. What I am truly
Is thine and my poor country’s to command:
Whither indeed, before thy here-approach,
Old Siward with ten thousand warlike men
Already at a point, was setting forth.
Now we’ll together, and the chance of goodness
Be like our warranted quarrel. Why are you silent?
MACDUFF
Such welcome and unwelcome things at once
’Tis hard to reconcile.
30
35
40
45
50
55
1. (a) Explore how Shakespeare presents the relationship between Malcolm and Macduff at this
point in the play.
Refer closely to the extract in your answer.
(20)
1. (b) In this extract, Malcolm discusses the qualities of a king. Explain the importance of
kingship elsewhere in the play.
In your answer you must consider:
• what it means to be a king according to the play
• why kingship is important.
You must refer to the context of the play in your answer.
(20)
(Total for Question 1 = 40 marks)
Act 4
Exam style questions
© www.teachit.co.uk 2016 26802 Page 159 of 195
OCR
Section B
Shakespeare
Macbeth
Choose ONE question.
You are advised to spend about 45 minutes on this section.
EITHER
8 Explore how Shakespeare shows Macbeth’s character has changed since killing Duncan. Refer
to this extract from Act 4 Scene 1 and elsewhere in the play.
[40]*
In this extract Macbeth has gone to the witches to find out more about his future.
SECOND WITCH
By the pricking of my thumbs,
Something wicked this way comes;
Open, locks, whoever knocks.
Enter Macbeth
MACBETH
How now, you secret, black and midnight hags?
What is’t you do?
ALL
A deed without a name.
MACBETH
I conjure you by that which you profess,
Howe’er you come to know it, answer me.
Though you untie the winds and let them fight
Against the churches, though the yeasty waves
Confound and swallow navigation up,
Though bladed corn be lodged and trees blown down,
Though castles topple on their warders’ heads,
Though palaces and pyramids do slope
Their heads to their foundations, though the treasure
Of nature’s germen tumble altogether
Even till destruction sicken: answer me
To what I ask you.
Act 4
Exam style questions
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OR
9 How important is the theme of kingship in the play? Explore at least two moments from the
play to support your ideas.
[40]*
Quality of extended responses will be assessed in questions marked with an asterisk (*).
Act 4
Exam style questions
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WJEC Eduqas
2. Macbeth
Answer both part (a) and part (b). You are advised to spend about 20 minutes on part (a), and
about 40 minutes on part (b).
(a) Read the extract below.
How does this extract show Macduff’s grief at the loss of his wife and children? Refer closely to
details from the extract to support your answer.
[15]
ROSS
Your castle is surprised; your wife and babes
Savagely slaughtered. To relate the manner
Were on the quarry of these murdered deer
To add the death of you.
MALCOLM
Merciful heaven!
What, man, ne’er pull your hat upon your brows:
Give sorrow words; the grief that does not speak,
Whispers the o’erfraught heart and bids it break.
MACDUFF
My children too?
ROSS
Wife, children, servants, all
That could be found.
MACDUFF
And I must be from thence?
My wife killed too?
ROSS
I have said.
MALCOLM
Be comforted.
Let’s make us med’cines of our great revenge
To cure this deadly grief.
MACDUFF
He has no children. All my pretty ones?
Did you say all? O hell-kite! All?
What, all my pretty chickens and their dam
At one fell swoop?
MALCOLM
Dispute it like a man.
MACDUFF
I shall do so;
But I must also feel it as a man;
I cannot but remember such things were
Act 4
Exam style questions
© www.teachit.co.uk 2016 26802 Page 162 of 195
That were most precious to me. Did heaven look on,
And would not take their part? Sinful Macduff,
They were all struck for thee. Naught that I am,
Not for their own demerits but for mine,
Fell slaughter on their souls. Heaven rest them now.
MALCOLM
Be this the whetstone of your sword, let grief
Convert to anger. Blunt not the heart, enrage it.
MACDUFF
O, I could play the woman with mine eyes
And braggart with my tongue. But gentle heavens,
Cut short all intermission. Front to front
Bring thou this fiend of Scotland and myself;
Within my sword’s length set him. If he scape,
Heaven forgive him too.
*(b) Write about the theme of children and how it is presented in Macbeth.
[25]
*5 of this question’s marks are allocated for accuracy in spelling, punctuation and the use of
vocabulary and sentence structures.
Act 5
Lesson 21
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Act 5
Act 5
Lesson 21 – Guilt will out (Act 5 Scene 1)
Starter activities
The Macbeths: Get students to consider whether the Macbeths have grown apart.
They should work in pairs to improvise some arguments between them. They could be
based around these topics:
why he didn’t tell her he was having Banquo killed
why he had her friend Lady Macduff and her children killed
why he ruined her party
why he is avoiding her
why she encouraged him to kill Duncan in the first place
why they have no children. (AO1)
Main activities
Watch and read the scene: Use the YouTube clip
www.youtube.com/watch?v=9dgbbtUbgcM and read the scene together. Ask students
to consider why it is in prose and then changes to poetry at the end. (AO1, AO2)
Sleepwalking torment: The resource Sleepwalking torment (Resource 41) includes an
activity exploring what haunts Lady Macbeth. To differentiate, you could set more
able students the challenge of finding the quotations for themselves. For less able
students, you could add the events from earlier in the play for them to match with
the parts of Lady Macbeth’s sleepwalking narrative. (AO1)
Act 5
Lesson 21
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Confessions: Once you have read or watched the scene, ask students to imagine they
are the gentlewoman or doctor, and then write a letter to a friend to say what she or
he has heard from Lady Macbeth.
You could guide more able students to write as the gentlewoman who says ‘I will not
report after her’ (and therefore has heard her say more than the words the doctor
hears). Less able students could write as the doctor, using only the evidence from
this scene. (AO1, AO4)
Plenary activities
Doctor’s report: Get students to write the doctor’s report on Lady Macbeth’s illness.
(AO1)
Peer assessment: If students completed the writing task Confessions above, they
could swap their letter with a partner and give a score to show how many of the
earlier events in the play they had covered. (AO1, AO4)
Lesson 21
Resource 41
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Sleepwalking torment
Task one
Lady Macbeth’s conscience reveals some of the secrets that haunt her.
Complete the second column of the table with the haunting memories she is referencing
when she’s sleepwalking.
Lady Macbeth sleepwalking Event from earlier in the play Quotation
no.
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 night-gown, look not so pale.
I tell you yet again, Banquo’s buried; he cannot come out on’s grave.
To bed, to bed; there’s knocking at the gate.
Task two
Now choose from the following quotations for each of the events, and write the number
of a relevant quotation in the third column of the table above.
1. Get on your nightgown, lest occasion call us,
And show us to be watchers. Be not lost
So poorly in your thoughts. (Lady Macbeth)
2. I hear a knocking
At the south entry: retire we to our chamber; (Lady Macbeth)
Lesson 21
Resource 41
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3. If he do bleed,
I’ll gild the faces of the grooms withal;
For it must seem their guilt. (Lady Macbeth)
4. Whither should I fly?
I have done no harm. But I remember now
I am in this earthly world; where to do harm
Is often laudable, to do good sometime
Accounted dangerous folly: why then, alas,
Do I put up that womanly defence,
To say I have done no harm? (Lady Macduff)
Enter Murderers
5. O proper stuff!
This is the very painting of your fear:
This is the air-drawn dagger which, you said,
Led you to Duncan. O, these flaws and starts,
Impostors to true fear, would well become
A woman’s story at a winter’s fire,
Authorized by her grandam. Shame itself!
Why do you make such faces? When all’s done,
You look but on a stool. (Lady Macbeth)
6. Will all great Neptune’s ocean wash this blood
Clean from my hand? No: this my hand will rather
The multitudinous seas incarnadine,
Making the green one red. (Macbeth)
7. You do unbend your noble strength to think
So brain-sickly of things. (Lady Macbeth)
Lesson 21
Resource 41
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Teacher’s answer sheet
Lady Macbeth sleepwalking Event from earlier in the play Quotation
Yet who would have thought the old man to have had so much blood in him?
She remembers seeing Duncan dead and how she needed to put blood on the guards.
3
The Thane of Fife had a wife. Where is she now?
She thinks about her murdered friend Lady Macduff.
4
What, will these hands ne’er be clean?
She remembers when both she and Macbeth needed to wash the blood from their hands.
6
No more o’ that, my lord, no more o’ that. You mar all with this starting.
She had told Macbeth to stop appearing so nervous.
7
Wash your hands, put on your night-gown, look not so pale.
She had told Macbeth to put his nightclothes back on so they would look innocent.
1
I tell you yet again, Banquo’s buried; he cannot come out on’s grave.
She recalls how Macbeth had seen visions of Banquo at the banquet.
5
To bed, to bed; there’s knocking at the gate.
She is haunted by the knocking sound when she and Macbeth were disturbed after Duncan’s murder.
2
Act 5
Lesson 22
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Lesson 22 – Dunsinane Castle (Act 5 Scenes 2-6)
Starter activities
Insults: Macbeth calls his servant a ‘cream-faced loon’ for bringing him a message he
dislikes. Get students to make new insults and pair up to vent some hot air using the
Insults generator (Resource 42) or Shakespearean insults starter resource (Resource
43). (AO2)
An army on stage: Present students with this problem for Act 5:
How does Shakespeare show an army marching on foot from London to Scotland on
stage?
Discuss Shakespeare’s solutions and whether any students had chosen these solutions:
he alternates scenes between the destination (Macbeth’s castle) and the
marching army
he shows the leaders talking but no ordinary soldiers
he uses Lady Macbeth in Act 5 Scene 1 to show the passage of time. (AO1)
Main activities
Reading: You could split your class into five groups to cover the next set of scenes,
with each group focusing on one of the scenes involving the advancing army and
Macbeth’s castle. The resource The army marches (Resource 44) includes discussion
questions for each group. To differentiate, you could give a group of weaker readers
Act 5 Scene 4 and Act 5 Scene 6 (or combine these scenes if you have an able class),
and more able learners could work on Act 5 Scene 5 where the questions prompt
further thinking. (AO1)
Act 5
Lesson 22
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Plenary activities
Spies: Ask students to look back over Act 5 Scenes 2-6. Get them to imagine they are
a spy for the invading army or for Macbeth. Choose one or two pieces of espionage to
share with the class as a tweet. (AO1)
Feedback: Groups should share their learning from the army’s approach in Scenes 2-
6. Choose whichever format you like: flipchart paper with Post-its for students to
visit by moving around the room, large sheets of sugar paper, collages using iPads, a
formal presentation etc. (AO1)
Lesson 22
Resource 42
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Insult generator
We’ve included a screenshot of the interactive version here so you
can see the resource. To access this resource please log in to the
Teachit English website and type ‘5974’ into the search bar.
Lesson 22
Resource 43
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Shakespearean insults
block pander boggler
drone coxcomb time-pleaser
lubber hilding flibbertigibbet
patch mountebank whoremonger
fancy-monger puke-stocking varlet
shoulder-clapper basilisk bug
fragment ticklebrain candle-maker
varlet bubble double-dealer
popinjay whey-face pantaloon
mag wag horse-drench boil
promise-breaker shrimp
Lesson 22
Resource 44
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The army marches
Act 5 Scene 2
The Scottish lords wait to meet up with the army coming from England.
Read the scene and discuss the following questions:
This dialogue is all written in poetry. Why might Shakespeare have chosen to
do that?
Notice that the lords mention Birnam Woods more than once. Why is this of
interest?
Pick out some words which show the lords’ low opinion of Macbeth.
Act 5 Scene 3
This scene takes place inside Dunsinane Castle.
Read the scene and discuss the following questions:
In his first speech, Macbeth refers to the three prophecies the visions gave
him. What does that show about his attitude towards them?
Why does he speak so nastily to his servant?
List Macbeth’s moods in this scene. What does that show about him?
How does he react to the news about Lady Macbeth and what effect does this
have on the doctor?
Act 5 Scene 4
This short scene is where Malcolm gives the order that every man shall cut a
branch to carry as a disguise for their approach to Macbeth’s castle.
Read the scene and discuss the following questions:
Which of the prophecies comes true in this scene?
Whose idea was it to use the branches as disguise for the approaching army?
Siward comments ‘We learn no other but the confident tyrant / Keeps still in
Dunsinane’ – what does this mean and what are the implications for the
army?
Lesson 22
Resource 44
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Act 5 Scene 5
Macbeth thinks he can survive a siege. He puts his faith in the castle’s high
position. Lady Macbeth dies and her husband has no time to mourn her. Macbeth is
angry with the servant who tells him Birnam Wood is getting closer.
Read the scene and discuss the following questions:
Do you think Macbeth seems confident or is he putting on a brave face in his
opening speech?
Macbeth says he has forgotten what it is to be afraid because he has seen so
many horrors. Do you think he has regrets?
How does Lady Macbeth die? Do you think it was an accident or suicide?
Macbeth is angry with the servant who tells him about Birnam Wood.
Do you think the servant will leave Macbeth or stay?
Act 5 Scene 6
The approaching army shows itself. Malcolm gives the order to throw down the
branches and invade the castle, with Siward and his son leading the attack.
Read the scene and discuss the following question:
Shakespeare alternated scenes to suggest the passage of time and a huge
invading army. To what extent do you think this tactic worked?
Lesson 22
Resource 44
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Teacher’s answer sheet
Here are some possible ‘answers’ for the questions in each scene. Of course, many of
the questions are open to interpretation.
Act 5 Scene 2
Shakespeare has chosen to write the scene in poetry to stress the seriousness of
the situation, to create dramatic tension, to show the army is well disciplined and
because the speakers are lords.
Birnam Woods is important because it is in one of the prophecies. Macbeth is not
to fear until Birnam Woods come to Dunsinane.
Macbeth is mad, distempered, has secret murders sticking on his hands, is sickly,
and his king’s robes are too big for him.
Act 5 Scene 3
Macbeth believes the prophecies and is clinging to them. They make him feel
confident.
Macbeth is angry with his servant because he looks afraid.
Refuses to show fear, anger, sadness, showing that he is ready to die, feels
defiance, impatience, and he is worried people are running away – he is confused.
Macbeth expects the doctor to be able to cure his wife. The doctor vows to leave
and never return.
Act 5 Scene 4
‘Macbeth shall never vanquished be until / Great Birnam Wood to high Dunsinane
hill / Shall come against him.’ (Act 4 Scene 1)
It was Malcolm’s idea.
It means they have found out from their spies that Macbeth has been deserted by
his army and no one will oppose their approach to his castle.
Act 5 Scene 5
Students should choose a quotation to prove some of these opinions.
Act 5 Scene 6
Students should justify their thinking by referring to specific moments in the plot.
Act 5
Lesson 23
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Lesson 23 – Macbeth’s character (Act 5 Scene 7)
Starter activities
Do you like Macbeth? Ask students to identify some moments in the first four acts
where Macbeth has seemed likeable. Do they think his life would have been better
had he never met the witches? (AO1)
Main activities
Plotting Macbeth’s rise and fall: Use the resource Macbeth’s rise and fall (Resource
45) for students to analyse the language Macbeth uses in Act 5 and previously, to
explore the changes in his character. (AO1, AO2)
Reading: Read Act 5 Scene 7. This scene shows the advancing army entering
Dunsinane Castle to dethrone Macbeth. After reading, discuss these questions:
1. Macbeth kills young Siward. Which one of them do you think is the most
courageous and why?
2. Macbeth thinks no one born of woman can harm him. What do you think he
is expecting?
3. Macduff says he only wants to kill Macbeth, not his servants, who have
done him no harm. Do you think he is right to think that way, or should he
be more wary of anyone loyal to Macbeth?
4. Old Siward and Malcolm follow Macduff into the castle. ‘Gently rendered’
means it was easy to gain access as no one is defending the place. Why do
you think this is? (AO1)
Act 5
Lesson 23
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Plenary activities
Metaphors for life: Looking again at Macbeth’s speech in Act 5 Scene 5 ‘Tomorrow,
and tomorrow, and tomorrow …’), get students to come up with their own metaphors
for life. (AO2)
Comparing graphs: Ask students to compare or present their graphs of Macbeth’s rise
and fall, following the activity on Macbeth’s rise and fall (Resource 45). Ask them to
think of other scenes that they could include on the graph. (AO1)
Lesson 23
Resource 45
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Macbeth’s rise and fall
In Act 5 Scene 5, Macbeth expresses a mood of despair in response to his wife’s death.
He accepts his imminent death (or at least the end of his rule).
Task one
Read and annotate his speech, identifying interesting imagery, words that suggest
despair and anything else that interests you about Macbeth’s character and his view of
life and death.
Tomorrow, and tomorrow, and tomorrow
Creeps in this petty pace from day to day
To the last syllable of recorded time;
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle,
Life’s but a walking shadow, a poor player
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.
Task two
Compare Macbeth’s attitude to life and death with his speech in Act 3 Scene 2:
Come, seeling night,
Scarf up the tender eye of pitiful day
And with thy bloody and invisible hand
Cancel and tear to pieces that great bond
Which keeps me pale. Light thickens,
And the crow makes wing to th’rooky wood;
Good things of day begin to droop and drowse,
Whiles night’s black agents to their preys do rouse.
Thou marvell’st at my words, but hold thee still;
Things bad begun, make strong themselves by ill.
Lesson 23
Resource 45
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Task three
Now plot the rise and fall of Macbeth on a graph. Plot the following events to show how
we regard him as a character:
He is introduced as a brave soldier.
He responds to the prophecies.
Malcolm is made Duke of Cumberland.
He tries to resist his wife’s plans to kill the king.
He kills the king.
He starts being dissatisfied and has Banquo killed.
He visits the witches who give him further
prophecies.
He has Macduff’s wife and children killed.
He shouts at his servants.
He sees an end of his reign by violent means.
By Window & Grove (photographer) [CC BY-SA 4.0
(http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons
Extension task
Look back through the play and select quotations for each of the events.
Add these to your graph.
Lesson 23
Resource 45
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Graph
Act 5
Lesson 24
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Lesson 24 – The fall of Macbeth (Act 5 Scenes 8-9)
Starter activities
Advice for Macduff and Macbeth: The next few scenes will see Macduff finally
confront Macbeth. Ask students to suggest one piece of advice for each of them. Who
would they back to win? (AO1)
Macbeth the bear: Display an image of bear baiting and discuss how this makes us
feel about Macbeth when he compares himself to a baited bear. An image and
Macbeth’s comparison are included in the resource Macbeth’s courage (Resource 46).
(AO3)
Main activities
Reading: Read through Act 5 Scenes 8-9 with students. Ask students to summarise
the events, and then discuss their lasting impressions of Macbeth at the end of the
play. (AO1)
Macbeth’s courage: Use the resource Macbeth’s courage (Resource 46) to compare
Macbeth and Macduff’s courage as they fight to the death. (AO1, AO2)
Plenary activities
Epitaphs: Display Malcolm’s last words about Macbeth:
‘this dead butcher and his fiend-like queen’
Ask students to come up with their own epitaphs to go on Macbeth’s and Lady
Macbeth’s gravestones, based on their more complete understanding of their
characters. (AO1)
Lesson 24
Resource 46
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Macbeth’s courage
Bear Baiting’, pub. by Thomas McLean, 1820 / Credit: Henry Thomas Alken / Bridgeman Art Library / Universal Images Group / Copyright © Bridgeman Art Library / For Education Use Only. This and millions of other educational images are available through Britannica Image Quest. For a free trial, please visit www.britannica.co.uk/trial
In Shakespearian times, people used to bait bears. It was a cruel sport. A bear, tied to a
stake, and sometimes blinded and/or with its claws removed, would be set upon by
dogs. The crowd bet on which animal would win the fight.
They have tied me to a stake; I cannot fly,
But bear-like I must fight the course.
Macbeth compares himself to such a bear. How do you feel about Macbeth?
Lesson 24
Resource 46
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Look at the chart below. Use it to judge who is the bravest of Macbeth and Macduff, as
they confront each other in a fight to the death. Mark each speech with your score 1-10,
where 10 is high. There are some footnotes below the chart to help you if you need
them.
Speaker Speech Bravery
Macbeth Why should I play the Roman fool, and die
On mine own sword?1
Macduff Turn, hell-hound, turn.
Macbeth
Of all men else I have avoided thee,
But get thee back, my soul is too much charged
With blood of thine already.2
Macduff I have no words:
My voice is in my sword3
Macbeth
Let fall thy blade on vulnerable crests;
I bear a charmèd life, which must not yield
To one of woman born.4
Macduff
Despair thy charm,
And let the angel whom thou still hast served
Tell thee, Macduff was from his mother’s womb
Untimely ripped.5
1 Macbeth refers to the ancient Roman practice of honour suicide by falling on your own sword when you know you are beaten. He refuses to do this and wants to fight to the death.
2 Macbeth had hoped to avoid Macduff. Maybe he feels guilty for killing his family, or is he afraid of him?
3 Macduff does not want to talk, just to fight. The time for words is over.
4 Is it easy to be brave when you think your enemy cannot hurt you?
5 Macduff tells his enemy that he was not born from a woman, but by Caesarian section. At this time, it was only done to free a baby from a dead mother.
Lesson 24
Resource 46
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Speaker Speech Bravery
Macbeth
Accursèd be that tongue that tells me so,
For it hath cowed my better part of man;
And be these juggling fiends no more believed
That palter with us in a double sense,
That keep the word of promise to our ear,
And break it to our hope. I’ll not fight with thee.6
Macduff
Then yield thee, coward,
And live to be the show and gaze o’ th’time.
We’ll have thee, as our rarer monsters are,
Painted on a pole, and underwrit,
‘Here may you see the tyrant.’
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!’7
Macduff total
Macbeth total
6 When he hears this Macbeth does not want to fight. He’s angry with the witches. Does this show bravery or cowardice?
7 In the end Macbeth fights on, even though he knows he will lose, because at least death is preferable to the humiliation if he lets himself be taken prisoner.
Act 5
Lesson 25
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Lesson 25 – Revising characters
Starter activities
Which character … ? Ask students to choose one character for the following
statements. Which character is the …
1. … bravest?
2. … most evil?
3. … most kinglike?
4. … most worthy?
5. … most trustworthy?
6. … most engaging on stage?
7. … least likeable? (AO1)
Main activities
Top Trumps: Use the resource Character Top Trumps (Resource 47) to revise the
characters and consider how they compare with other characters. For a long version
of the task, each student makes their own pack of cards. For a short version of the
task, you could get students to work in groups of three so that they only make three
cards each, then share the pack of nine cards to play. (AO1)
Secret identities: You could revise the characters of the play by asking students to
choose a particular character to concentrate on, and then reread parts of the play
where they appear. They should then write down five pieces of cryptic information
about their character (choosing less obvious facts, and perhaps including the opinions
of other characters).
Put students in small groups, to reveal one fact at a time about their character, or to
guess the identity of another team member. The winner is the last to be identified.
(AO1)
Act 5
Lesson 25
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Decorate a chair/hat: Get students to work in groups to decorate a chair or hat for a
particular character. You’ll have to provide the hats if you choose this option (or ask
them to bring them in)! Using paper, magazines, craft materials or anything you like,
students decorate a chair for their character. You could follow this up with a hot-
seating activity, making sure that students have prepared probing questions for other
characters. (AO1)
Plenary activities
Quiz: Using students’ Top Trumps cards, make a display of the key quotations. You
could number them around the classroom to create a quick quiz. (AO1)
Guess Who? Have a game of ‘Guess Who?’ choosing a student to pretend to be one of
the characters, and respond with yes/no answers to questions. (AO1)
Lesson 25
Resource 47
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Character Top Trumps
Using the template, make a set of character cards, using the example below as a model.
5 is a high score, while 1 is the lowest score available for each of the character traits.
You will need to make one for each of these main characters:
The three weird sisters (one card for all three)
King Duncan Macbeth
Lady Macbeth Banquo Macduff
Ross Malcolm A murderer
Name The three weird sisters/ witches
Role/character type Supernatural
Any changes during the play
They give Macbeth prophecies which tempt him to kill the king, but later bring about his downfall with further prophecies.
Main events Appear in Act 1 and Act 4, using black magic
Status at the end Vanished, never seen again
Key quotation Double, double, toil and trouble; Fire burn and cauldron bubble.
Character attributes
Power: 5
Wickedness: 5
Honesty: 2
Bravery: 1
Leadership: 1
Lesson 25
Resource 47
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Name
Role/character type
Any changes during the play
Main events
Status at the end
Key quotation
Character attributes
Power:
Wickedness:
Honesty:
Bravery:
Leadership:
To play:
First deal out all the cards face down, then each player puts their cards into a stack and
turns them over, so only one card can be seen, and hidden from other players.
Player one chooses one attribute, for example, power. Player two then reads out the value
of that attribute on their first card, and so on around the team. Whoever has the highest
value wins all the first cards, collects them and places them at the bottom of their stack.
Whoever won the cards then chooses any attribute to read from their next card, and again
whoever has the best value of this attribute on their top card wins the cards and begins
the next turn. This continues until one of the players collects all the cards – they then win
the game!
Act 5
Exam style questions
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Act 5: Exam style questions
AQA
Section A: Shakespeare
Answer one question from this section on your chosen text.
Macbeth
Read the following extract from Macbeth Act 5 Scene 1, and answer the question that follows it.
At this point in the play, Lady Macbeth is beginning to show that the guilt of Duncan’s murder is
affecting her health. She is sleepwalking.
Enter Lady Macbeth, with a taper
GENTLEWOMAN
Lo you, here she comes. This is her very guise and, upon my life, fast asleep.
Observe her, stand close.
DOCTOR
How came she by that light?
GENTLEWOMAN
Why, it stood by her. She has light by her continually, ’tis her command.
DOCTOR
You see, her eyes are open.
GENTLEWOMAN
Ay, but their sense is shut.
DOCTOR
What is it she does now? Look, how she rubs her hands.
GENTLEWOMAN
It is an accustomed action with her, to seem thus washing her hands; I have
known her continue in this a quarter of an hour.
LADY MACBETH
Yet here’s a spot.
DOCTOR
Hark; she speaks. I will set down what comes from her to satisfy my remembrance
the more strongly.
LADY MACBETH
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?
5
10
15
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DOCTOR
Do you mark that?
LADY MACBETH
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.
DOCTOR
Go to, go to; you have known what you should not.
GENTLEWOMAN
She has spoke what she should not, I am sure of that. Heaven knows what she has
known.
LADY MACBETH
Here’s the smell of the blood still; all the perfumes of Arabia will not sweeten this
little hand. O, O, O!
DOCTOR
What a sigh is there! The heart is sorely charged.
GENTLEWOMAN
I would not have such a heart in my bosom for the dignity of the whole body.
DOCTOR
Well, well, well —
GENTLEWOMAN
Pray God it be, sir.
DOCTOR
This disease is beyond my practice; yet I have known those which have walked in
their sleep who have died holily in their beds.
LADY MACBETH
Wash your hands, put on your night-gown, look not so pale. I tell you yet again,
Banquo’s buried; he cannot come out on’s grave.
20
25
30
01 Starting with this moment in the play, explore how Shakespeare presents Lady Macbeth’s
state of mind.
Write about:
how the guilt of past deeds is affecting Lady Macbeth at this point in the play
how Lady Macbeth behaved earlier in the play as a whole.
[30 marks]
A04 [4 marks]
Act 5
Exam style questions
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Edexcel
SECTION A – Shakespeare
Answer the question on ONE text from this section.
You should spend about 55 minutes on this section.
You should divide your time equally between question parts (a) and (b)
Macbeth – from Act 5 Scene 5, lines 7 to 27
In this extract, Macbeth has been given the news his wife is dead, leaving him to face his enemies
alone.
A cry within of women
MACBETH
What is that noise?
SEYTON
It is the cry of women, my good lord.
Exit
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.
Seyton re-enters
Wherefore was that cry?
SEYTON
The queen, my lord, is dead.
MACBETH
She should have died hereafter;
There would have been a time for such a word.
Tomorrow, and tomorrow, and tomorrow
Creeps in this petty pace from day to day
To the last syllable of recorded time;
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle,
Life’s but a walking shadow, a poor player
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.
5
10
15
20
Act 5
Exam style questions
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1. (a) Explore how Shakespeare presents the character of Macbeth in this extract.
Refer closely to the extract in your answer.
(20)
1. (b) In this extract, Macbeth says he has had enough horror in his life. Explore the importance
of horror elsewhere in the play.
In your answer you must consider:
• which events in the play have been horrifying
• the effects of these horrific events on Macbeth.
You must refer to the context of the play in your answer.
(20)
(Total for Question 1 = 40 marks)
Act 5
Exam style questions
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OCR
Section B
Shakespeare
Macbeth
Choose ONE question.
You are advised to spend about 45 minutes on this section.
EITHER
8 Explore how Shakespeare shows Macbeth as a tyrant in his behaviour towards others. Refer to
this extract from Act 5 Scene 3 and elsewhere in the play.
[40]*
In this extract Macbeth is in Dunsinane Castle as Malcolm’s army approaches.
Enter Macbeth, Doctor, and attendants
MACBETH
Bring me no more reports; let them fly all;
Till Birnam Wood remove to Dunsinane,
I cannot taint with fear. What’s the boy Malcolm?
Was he not born of woman? The spirits that know
All mortal consequences have pronounced me thus:
‘Fear not, Macbeth, no man that’s born of woman
Shall e’er have power upon thee.’ Then fly false thanes
And mingle with the English epicures;
The mind I sway by and the heart I bear
Shall never sag with doubt nor shake with fear.
Enter Servant
The devil damn thee black, thou cream-faced loon!
Where got’st thou that goose look?
SERVANT
There is ten thousand —
MACBETH
Geese, villain?
SERVANT
Soldiers, sir.
MACBETH
Go prick thy face, and over-red thy fear,
Thou lily-livered boy. What soldiers, patch?
Death of thy soul, those linen cheeks of thine
Are counsellors to fear. What soldiers, whey-face?
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SERVANT
The English force, so please you.
MACBETH
Take thy face hence!
Exit Servant
Seyton!— I am sick at heart,
When I behold — Seyton, I say! — this push
Will cheer me ever, or disseat me now.
I have lived long enough. My way of life
Is fall’n into the sear, the yellow leaf,
And that which should accompany old age,
As honour, love, obedience, troops of friends,
I must not look to have; but, in their stead,
Curses, not loud but deep, mouth-honour, breath
Which the poor heart would fain deny, and dare not.
Seyton!
OR
9 How important is the theme of children and heredity in the play? Explore at least two
moments from the play to support your ideas.
[40]*
Quality of extended responses will be assessed in questions marked with an asterisk (*).
Act 5
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WJEC Eduqas
2. Macbeth
Answer both part (a) and part (b). You are advised to spend about 20 minutes on part (a), and
about 40 minutes on part (b).
(a) Read the extract below.
What does this extract show an audience about Macbeth’s courage at this point in the play?
Refer closely to details from the extract to support your answer.
[15]
MACBETH
Why should I play the Roman fool, and die
On mine own sword? Whiles I see lives, the gashes
Do better upon them.
Enter Macduff
MACDUFF
Turn, hell-hound, turn!
MACBETH
Of all men else I have avoided thee.
But get thee back: my soul is too much charged
With blood of thine already.
MACDUFF
I have no words:
My voice is in my sword, thou bloodier villain
Than terms can give thee out.
They fight
MACBETH
Thou losest labour.
As easy mayst thou the intrenchant air
With thy keen sword impress as make me bleed.
Let fall thy blade on vulnerable crests;
I bear a charmèd life which must not yield
To one of woman born.
MACDUFF
Despair thy charm,
And let the angel whom thou still hast served
Tell thee, Macduff was from his mother’s womb
Untimely ripped.
MACBETH
Accursèd be that tongue that tells me so,
For it hath cowed my better part of man;
And be these juggling fiends no more believed
That palter with us in a double sense,
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That keep the word of promise to our ear
And break it to our hope. I’ll not fight with thee.
MACDUFF
Then yield thee, coward,
And live to be the show and gaze o’th’time:
We’ll have thee, as our rarer monsters are,
Painted upon a pole, and underwrit,
‘Here may you see the tyrant.’
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 damned be him that first cries, ‘Hold, enough!’
Exeunt, fighting. Alarums
*(b) Write about the theme of violence in Macbeth.
[25]
*5 of this question’s marks are allocated for accuracy in spelling, punctuation and the use of
vocabulary and sentence structures.