HT2 Year 10 English

Macbeth

Homework Booklet

Name……………………………………………………………………..

Set…………………………………………………………

Teacher………Ms Omerji……………………..
Hwk 1- Macbeth

Date set___13/11/2023_____________

Date due___20/11/2023__________________

Peer Assess

Success Criteria

1. Highlight the key information in each paragraph. Two to three sentences

2. Add a title for each section

Section 1:

Shakespeare’s shortest and bloodiest tragedy, Macbeth tells the story of a brave Scottish
general (Macbeth) who receives a prophecy from a trio of sinister witches that one day he
will become King of Scotland. Consumed with ambitious thoughts and spurred to action by his
wife, Macbeth murders King Duncan and seizes the throne for himself. He begins his reign
racked with guilt and fear and soon becomes a tyrannical ruler, as he is forced to commit
more and more murders to protect himself from enmity and suspicion. The bloodbath swiftly
propels Macbeth and Lady Macbeth to arrogance, madness, and death. Macbeth was most
likely written in 1606, early in the reign of James I, who had been James VI of Scotland
before he succeeded to the English throne in 1603. James was a patron of Shakespeare’s
acting company, and of all the plays Shakespeare wrote under James’s reign, Macbeth most
clearly reflects the playwright’s close relationship with the sovereign. In focusing on
Macbeth, a figure from Scottish history, Shakespeare paid homage to his king’s Scottish
lineage. Additionally, the witches’ prophecy that Banquo will found a line of kings is a clear
nod to James’s family’s claim to have descended from the historical Banquo.

Macbeth is not Shakespeare’s most complex play, but it is certainly one of his most powerful
and emotionally intense. Whereas Shakespeare’s other major tragedies, such
as Hamlet and Othello explore the intellectual predicaments faced by their subjects and the
fine nuances of their subjects’ characters, Macbeth tumbles madly from its opening to its
conclusion. It is a sharp, jagged sketch of theme and character; as such, it has shocked and
fascinated audiences for nearly four hundred years.

Section 2:
Elizabethans believed that God set out an order for everything in the universe. This was
known as the Great Chain of Being. On Earth, God created a social order for everybody and
chose where you belonged. In other words, the king or queen was in charge because God put
them there and they were only answerable to God (the Divine Right of Kings). This meant
that disobeying the monarch was a sin, which was handy for keeping people in their place! It
also led to the idea that if the wrong person was monarch everything would go wrong for a
country, including whether the crops would be good, or if animals behaved as they should.
The Elizabethans were very superstitious.

The Great Chain of Being includes everything from God and the angels at the top, to humans,
to animals, to plants, to rocks and minerals at the bottom. It moves from beings of pure
spirit at the top of the Chain to things made entirely of matter at the bottom. Humans are
pretty much in the middle, being mostly mortal, or made of matter, but with a soul made of
spirit. The theory started with the Greek philosophers Aristotle and Plato, but was a basic
assumption of life in Elizabethan England. You were a noble, or a farmer, or a beggar,
because that was the place God had ordained for you.

The Great Chain of Being is a major influence on Shakespeare’s Macbeth. Macbeth disturbs
the natural order of things by murdering the king and stealing the throne. This throws all of
nature into uproar, including a story related by an old man that the horses in their stables
went mad and ate each other, a symbol of unnatural happenings.

Section 3:

Throughout the ages and in all countries there have been people who have believed in witches
and witchcraft. The people of Shakespeare’s day were no different. Shakespeare drew on
the popular traditions of his time and used them for his own purposes. In ‘Macbeth’ he used
popular beliefs about witches and witchcraft. Witches were associated with the dark and
death. In Christian countries they were thought to be the agents of Satan going about their
business at night, and they were believed to gather near graves to conduct their evil rites
and make poisons.

When Shakespeare wrote Macbeth, witchcraft was a topic of considerable interest. The
new king of England, James I, had written a book called Demonology which was published in
1597 - a study of witchcraft and its evils. James I tightened up laws against witchcraft in
1604, passing a statute where anyone exercising witchcraft ‘shall suffer pains of death as a
felon or felons, and shall lose the privilege and benefit of clergy and sanctuary.’ James I was
convinced that a group of witches had raised a storm and tried to drown him and, as a result,
considered the works of the devil. Evidence of a relationship with evil spirits condemned a
suspect to death by hanging, burning or drowning. Whether Shakespeare himself believed in
witches does not matter. He used them for his play, and many of his audience would have
believed in them as thoroughly evil servants of the devil. For the people of Shakespeare’s
time, the devil was very real who they believed spent his time trying to trap men and women
into his power.
Witches were supposed to be capable of doing all the things that the three weird sisters are
said to perform in Macbeth. It was believed that they could see into the future; that they
could create storms, hail, thunder and lightning; that they were able to sink ships; dry up
springs; stop the sun and change night into day and day into night. They could also cause the
death of their enemies, and could make themselves invisible. In order to work their charms
they would open graves and steal parts of the bodies to make potions. For this purpose the
bodies of unbaptised babies were especially prized. And witches could call up the dead. For a
king like Macbeth to visit and have dealings with witches would have seemed both a crime and
a sin. Macbeth is easily captured by their power and by their prophecies. But note that they
never tell him a lie. However, they do allow him to deceive himself. The devil does not
lie...but leads us into temptation.

Section 4:

Elizabethan society was patriarchal, meaning that men were considered to be the leaders and
women their inferiors. Women were regarded as "the weaker sex", not just in terms of
physical strength, but emotionally too. It was believed that women always needed someone
to look after them. If they were married, their husband was expected to look after them. If
they were single, then their father, brother or another male relative was expected to take
care of them. Even though there had been an unmarried woman on the throne in Elizabethan
England, the roles of women in society were very limited. There were very clear expectations
of men and women, and in general men were expected to be the breadwinners and women to
be housewives and mothers. On average, a woman gave birth to a child every two years, but
as a lot of babies and children died from sickness, families were not always large.
Childbearing was considered a great honour to women, as children were seen as blessings
from God.

Women were not allowed to enter the professions i.e law, medicine, politics, but they could
work in domestic service as cooks, maids, etc. Women were also allowed to write works of
literature, providing the subject was suitable for women: mainly translations or religious
works. Women were not allowed to act on the public stage or write for the public stage.
Acting was considered dishonourable for women. In Shakespeare's plays, the roles of women
were often played by young boys. A man was considered to be the head of a marriage, and he
had the legal right to chastise his wife. However, it is important to understand what this
"headship" meant. It did not mean, as if often supposed, that the husband was able to
command his wife to do anything he pleased. He was expected to take care of her, make sure
she had everything she needed, and most importantly to love her and be a good father to any
children they had. If a husband felt the need to chastise his wife, then he was not allowed to
be cruel or inflict bodily harm. If he did abuse his wife, then he could be prosecuted or
prevented from living with her. There was no divorce: marriage generally lasted as long as
the couple both lived.
Hwk 2- Read the summary of Lady Macbeth and Macbeth. Explain how Shakespeare
presents Macbeth and Lady Macbeth’s relationship.

Date set: 20/11/2023

Date Due: 27/11/2023

Peer Assess

Success Criteria:
1. 500 words
2. Refer to words in the question
3. Use the writer’s name/surname
4. Consider what Dickens’ intentions may have been
5. Use analytical verbs (Shakespeare highlights, suggests, emphasises)
6. Use quotations- write the technique
7. Infer in -depth
8. Zoom in on individual words and analyse- write the technique
9. Write about semantic fields or
10. Write about connotations
11. Symbolism (if possible)
12. Use words like ‘perhaps,’ ‘could,’ ‘purposefully,’ ‘intentionally.’
13. Explain how a reader may feel.
14. Develop a link to context in your answer.

Character Analysis: Lady Macbeth

Lady Macbeth is the deuteragonist (second- after the protagonist) in this drama: the wife of Macbeth, she shares his
lust for power. Our initial impressions of Lady Macbeth are that she is, as Malcolm describes her at the close of the
play, indeed “fiend-like” as, when she learns of Duncan’s visit to Dunsinane her thoughts turn immediately to
regicide. Without pause, she summons evil “spirits” and commands them to “make thick my blood” so that “no
compunctious visitings of Nature” shake her wicked intention to murder the King.

Interestingly, in this soliloquy Lady Macbeth imagines committing the regicide herself as she asks to be wrapped in
the blackest smoke of Hell “so that my keen knife sees not the wound it makes.” Later, she privately admits in an
aside: “Had he not looked like my father as he slept, I had done’t,” suggesting that Lady Macbeth is not as “fiend-
like” as is sometimes argued. Certainly, she is not naturally “fiend-like” or she would not have sought assistance
from the “murdering ministers” she conjures when the audience first meet her, even though she willingly submits to
their wicked influence.

It is arguable that Lady Macbeth is subconsciously repelled by the thought of regicide because when she is
pressuring her husband to commit the deed she avoids using the word “murder”; instead she employs a variety of
euphemisms, including: “this enterprise”, Duncan being “provided for” or merely “it”. However, others argue that
Shakespeare’s employment of euphemisms here is quite deliberate and serves subtly to convey Lady Macbeth’s wily,
artful manipulation of her husband and which, therefore, strengthens the audience impression of her as being truly
“fiend-like”.

However, once the regicide is committed and Lady Macbeth becomes Queen, the dynamics of her relationship with
Macbeth undergoes a dramatic transformation. Despite having fulfilled her ambition to become Queen, in an aside
to the audience Lady Macbeth privately admits: “Nought’s had, all’s spent, where our desire is got without
content.” Ironically, when her husband then enters her own face becomes a mask, disguising what is in her heart as
she admonishes Macbeth for entertaining gloomy thoughts which ought to have been buried alongside the body of
the dead King Duncan.
As her ability to influence her husband diminishes – he simply ignores her command to halt his murderous plans for
Banquo when she demands: “You must leave this” – Lady Macbeth becomes an increasingly isolated figure. After
the banquet scene at which Macbeth arouses suspicions by his erratic behaviour, Lady Macbeth tells him: “You lack
the season of all natures – sleep.” Ironically, the audience’s final impressions of her are in Act 5 scene 1 where she is
sleepwalking, burdened by guilt.

The bold figure who instructed evil spirits to “pall thee in the dunnest smoke of Hell” is now a pathetic figure, afraid
of the dark. Lady Macbeth’s gentlewoman tells the Doctor observing her sleepwalk: “She has light by her continually
– ‘tis her command.” The evil she so willingly embraced betrays her – as it betrays Macbeth – and produces only
anguish in place of the rewards she had envisioned. On the night of Duncan’s murder, their hands bathed in
Duncan’s blood, she boldly claimed: “A little water clears us of this deed.” Now, however, she seems unable to rid
herself of the stench and spots of blood she imagines cover her hands still. The Doctor fears she is suicidal and
claims: “more needs she the Divine than the physician.”

Character analysis: Macbeth

Macbeth is the protagonist in this tragedy: a tragic hero whose hamartia – the fatal flaw in his character - is his
ambition, a lust for power shared by his wife. He is aware of the evil his ambition gives rise to but he is unable to
overcome the temptation.

Often, Lady Macbeth is wrongly accused of inviting Macbeth to contemplate regicide. In fact, after his encounter
with the witches in Act 1 scene 3, Macbeth himself considers regicide when he reflects on their prophecy and
admits:
“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?”

He is here acknowledging that the thing he is contemplating – usurping King Duncan’s crown - is “against the use of
nature.”

Wracked by doubts, in Act 1 scene 7 as he contemplates the regicide, Macbeth wavers and informs his wife: “We will
proceed no further in this business.” Unlike his wife’s wily, artful avoidance of the word “murder” during this
conversation, it is clear that Macbeth uses a euphemism here because the very thought of murder frightens him, let
alone the deed. Even when criticised and challenged by Lady Macbeth, he retains the moral sensibility to declare: “I
dare do all may become a man. / Who dares do more is none.”

Having submitted to his wife’s artful persuasion, Macbeth kills Duncan but is immediately plagued by his conscience.
He tells how he “could not say Amen” and of a voice that foretold sleeplessness as punishment for such a heinous
act.

Though Macbeth is influenced by both the witches and his wife, Macbeth is not controlled by them. His story is one
of moral choice and the consequences of that choice. Once Duncan is murdered, Macbeth withdraws from Lady
Macbeth and all subsequent murders in this play are the products of Macbeth’s own paranoia and desperate desire
to cling to power “on this bank and shoal of time” here on Earth, knowing he has been condemned to an eternity in
Hell for killing God’s anointed representative on Earth.

Having murdered Banquo and Macduff’s family, Macbeth’s paranoia gives way to a more fundamental disorder. In
Act 5 we watch as he prepares to defend his kingdom – reduced to his castle at Dunsinane – and he swings violently
between fits of rage and despair. Evidently, he has lost any emotional connection to his fellow men, declares that he
is “sick at heart” and has “lived long enough”. When informed of his wife’s death, he is completely unmoved and
instead reflects on the meaningless of life itself. Macbeth is a tragic hero precisely because he does not accept his
evil callously; he suffers for it. In his own words: “To know my deed, ‘twere best not know myself.”
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Hwk 3- Sequence the plot of Macbeth in the correct order by writing the Act in
occurs in. There are five Acts.

Date set: 27/11/2023

Date due: 4/12/2023

Self Assess

Macbeth confronts the three Weird Sisters and they show him more visions. The visions lead
Macbeth to believe that he cannot be killed by any man, giving him a false sense of security.
He then plans to send murderers to the castle of Macduff (who is in England ) in order to kill
his family.

This Act opens with the three Weird Sisters setting up the entire theme of the play: Fair is
foul and foul is fair. A war is taking place against Scotland (the setting of this play) and
Norway. Scotland is victorious due to the valiant efforts of Macbeth. The traitorous Thane
of Cawdor is captured and executed. King Duncan decides to reward Macbeth with the title
of Thane of Cawdor to show his gratitude.

Lady Macbeth receives the news and immediately plots the death of King Duncan so her
husband will be king. Lady Macbeth manipulates Macbeth into following her plans, and he
reluctantly agrees to murder Duncan. By the end of Act I, Macbeth is determined to follow
through with the plan.

Macbeth again has some doubts (and visions), but he soon talks himself into following through
with the murder. Macbeth freaks out so Lady Macbeth finishes the rest of the plan by
wiping blood on the drunk guards.

Banquo begins to suspect Macbeth for the murder of King Duncan and Macbeth in turn feels
that Banquo will reveal that it was he that killed the King. Therefore, Macbeth sends out
some thugs to murder Banquo and his son, Fleance. Banquo is murdered, but Fleance escapes.

Some of the Scottish lords are discussing Macbeth's state of mind and have come to the
conclusion that they will help Malcolm and Macduff fight against Macbeth. Of course,
Macbeth isn't really concerned because the prophecy, he believes, insures that he cannot be
killed by any man born of woman. Macbeth soon confronts Macduff and learns that Macduff
was ripped from his mother's side and not born naturally. Thus, Macbeth is killed by
Macduff, just as Macbeth had conquered the other Thane of Cawdor. Malcolm then becomes
the rightful King of Scotland

Macbeth, Lady Macbeth, Lennox, Ross, and other lords attend a banquet. The ghost of
Banquo presents itself to Macbeth. Macbeth begins to rant and rave, making the other
guests uneasy. Lady Macbeth tries to cover up the situation by saying Macbeth is prone to
fits. By the end of this Act, we learn that Macduff has not attended the banquet because he
has gone to England, looking for aid because he is suspicious of Macbeth.
The scene shifts to the battleground where the three Weird Sisters confront Macbeth and
Banquo, telling Macbeth that he will become Thane of Cawdor and eventually king. Macbeth
soon learns of his new title, fulfilling the first part of the prophesy, and sends word to his
wife. King Duncan plans on staying the night at Macbeth's home.

The next morning, Macduff and Lennox arrive at Macbeth's, and Macduff discovers the dead
body of King Duncan. All are shocked and Macbeth plays his role to perfection. The guards
are immediately suspect and Macbeth kills them "in a fit of sorrow and rage." Malcolm and
Donalbain, the King's sons, flee the castle because they are afraid that they will be blamed
for the murder of their father. The king is soon buried.

Meanwhile, Macduff is in England begging Malcolm to return to Scotland and seize the
throne from Macbeth who has become a tyrant. Malcolm tests Macduff's loyalty to Scotland
and himself, and after being satisfied with Macduff's responses, he agrees to wage war
against Macbeth. Malcolm's uncle will also aid in the attack.

Lady Macbeth has finally gone mad with guilt over the murders. The once strong and ruthless
woman is now a scared child. Doctors are unable to help her.
Hwk 4 Read the summary of the Witches. Explain the relevance of the witches in
‘Macbeth’

Date set 4/12/2023

Date Due 11/12/2023

Peer Assess

Success Criteria:
1. 300 words
2. Refer to words in the question
3. Use the writer’s name/surname
4. Consider what Dickens’ intentions may have been
5. Use analytical verbs (Shakespeare highlights, suggests, emphasises)
6. Use quotations- write the technique
7. Infer in -depth
8. Zoom in on individual words and analyse- write the technique
9. Write about semantic fields or
10. Write about connotations
11. Symbolism (if possible)
12. Use words like ‘perhaps,’ ‘could,’ ‘purposefully,’ ‘intentionally.’
13. Explain how a reader may feel.
14. Develop a link to context in your answer.
15. Include at least 5 words in your response: prophetic, equivocal, scheming,
sinister, devious, threatening, calculating, mischievous, evil, supernatural, cunning,
withered, wild, mythical, violent, commentators of morality, misleading, ambiguous,
illusory, portentous, corrupt, malevolent, surreal

Character Analysis: The Weird Sisters (Witches)

The weird sisters are an unholy trinity, a trio of malevolent, supernatural characters whose
function in the drama is to encourage Macbeth in his evil inclinations.

Though their appearances in the play are brief, they have an important function. Shakespeare
establishes the supernatural theme via their association with disorder in Nature: they appear amid
thunder and lightning in a grim meeting on a “blasted heath” which contributes greatly to the
tone of mysterious evil which pervades the play.

Likewise, the supernatural world they represent is terrifying to an audience because it is beyond
human control and in the play it is symbolic of the unpredictable force of human desire, such as
Macbeth’s ruthless ambition to become King.
At their first appearance, the weird sisters state an ambiguity that Shakespeare weaves through
the play: “Fair is foul, and foul is fair.” Indeed, the witches’ relationship with Macbeth is so
entwined that the first line he speaks in the play is an echo of this riddle. He says: “So fair and foul
a day I have not seen.”

The deceptive pictures of the future – in their initial prediction of Macbeth becoming King and
later in the riddles given by the Apparitions which rise from the cauldron when Macbeth visits the
witches for a second time – encourage in Macbeth and Lady Macbeth a false sense of what is
desirable and possible. The magic of the witches, then, is their ability to create moral disruption
which, in Macbeth’s case, leads to his death and subsequent damnation.

It is important to remember that while the witches may have “more in them than mortal
knowledge”, they do not control Macbeth. They merely put ideas into his mind on which he then
decides for himself. He is the master of his own destiny and acts out of free will.

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