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SURCEASE, cessation; I. vii. 4. SURVEYING, noticing, perceiving; I. ii. 31.

SWAY BY, am directed by; V. iii.

9.

SWEARS, swears allegiance; IV. ii. 47.

TAINT, be infected; V. iii. 3. TAKING-OFF, murder, death; I. vii. 20.

TEEMS, teems with; IV. iii. 176.
TEMPERANCE, moderation, self-re-
straint; IV. iii. 92.
TENDING, tendance, attendance;
I. v. 39.

TEND ON, wait on; I. v. 43.
THAT, SO that; I. ii. 58.

-; "to th.", to that end, for that purpose; I. ii. 10. THEREWITHAL, therewith; III. i. 34.

THIRST, desire to drink; III. iv. 91.

THOUGHT; "upon a th.", in as small an interval as one can think a thought; III. iv. 55. being borne in mind; III. i. 132. THRALLS, slaves, bondmen; III. vi. 13.

6

THREAT, threaten; II. i. 60.
TILL THAT, till; I. ii. 54.
TIMELY, betimes, early; II. iii.
56.

"to gain the t. inn,” opportune; III. iii. 7. TITLES, possessions; IV. ii. 7. To, in addition to; I. vi. 19. -, according to; III. iii. 4. compared to; III. iv. 64. for, as; IV. iii. 10.

linked with, "prisoner to"; III. iv. 25. Tor, overtop, surpass; IV. iii. 57.

TOP-FULL, full to the top, brimful; I. v. 44.

TOUCH, affection, feeling; IV. ii.

9.

TOUCH'D, injured, hurt; IV. iii. 14.

TOWERING, turning about, soaring, flying high (a term of falconry); II. iv. 12.

TRACE, follow; IV. i. 153. TRAINS, artifices, devices; IV. iii. 118.

TRAMMEL UP, entangle as in a net; I. vii. 3.

TRANSPORT, Convey; IV. iii. 181. TRANSPOSE, change; IV. iii. 21. TREBLE SCEPTERS, Symbolical of the three kingdoms-England, Scotland, and Ireland; IV. i. 121.

TRIFLED, made trifling, made to sink into insignificance; II. iv. 4. TUGG'D; "t. with fortune," pulled about in wrestling with fortune; III. i. 112. TWO-FOLD BALLS, probably referring to the double coronation of James, at Scone and Westminster (Clar. Pr.); according to others the reference is to the union of the two islands; IV. i. 121.

TYRANNY, usurpation; IV. iii. 67. TYRANT, usurper; III. vi. 22.

UNFIX, make to stand on end; I. iii. 135.

UNROUGH, beardless; V. ii. 10. UNSPEAK, recall, withdraw; IV. iii. 123.

UNTITLED, having no title or
claim; IV. iii. 104.
UNTO, to; I. iii. 121.
UPON, to; III. vi. 30.
UPROAR, "stir up to tumult"

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STUDY QUESTIONS

By ANNE THROOP CRAIG

GENERAL

1. What is the historic basis of the action of this drama? 2. What is the dramatic divergence from the Chronicles in the portrayal of Macbeth?

3. What social condition characterized the times in which the scene is laid?

4. Trace the development of Macbeth's course of crimes, from step to step. Analyze the impelling causes.

5. Upon what state of mind in Macbeth do the Weird Sisters react? Of what are they the abiding symbol?

6. Had Macbeth legally, according to record, an equal claim to the throne with Duncan? How would such a preliminary situation for him make the Sisters' prophecy naturally take swift hold upon his fancy?

7. What impression is given of Lady Macbeth's nature? Describe her intellectual processes with regard to the crimes to which she is accessory;-the development of her emotional experiences as they are made to appear, because of them.

8. Describe the influence of these two persons, Macbeth and his wife, upon each other, in instigation and reaction.

9. What are the qualities of the drama, and its marked features in respect of movement, color, and the casting of its plan?

10. What is historically said of the government of Duncan? What is the main feature of it brought forward in the drama? Is there a dramatic purpose in this, and, if so, what, especially by contrast with the dramatic portrayal of his cousin, Macbeth?

ACT I

11. For what does the opening of the play prepare us? 12. In scene ii what is the report of Macbeth?

13. With what people were the Scots at war?

14. What is the significance of the effect of the Weird Sisters' prophecy upon Banquo as compared with that it has upon Macbeth?

15. What does Banquo say that might be construed as a warning to Macbeth against dangerous ambitions,—or his own suspicions of their possibility in Macbeth's mind?

16. What do we infer as to the keynote of Macbeth's nature from Lady Macbeth's words upon reading his letter?

17. What gives the effect of fatality to the messenger's news of Duncan's approach, close upon the receipt by Lady Macbeth of her husband's letter?

18. Trace the development of her idea with regard to Duncan.

19. What is the dramatic effect of her manner of meeting with Duncan, in the midst of her treacherous scheming?

20. What is the distinguishing feature of Lady Macbeth's attitude toward the contemplated deed, by contrast with her husband's?

ACT II

21. What is portentous in the opening lines?

22. What may we suppose has been the drift of the "cursed thoughts" Banquo refers to? Does this make it necessary to judge that he has any definite suspicions of Macbeth or only vague ones, that his nature would try to repudiate? Which is most in keeping with Banquo's character as portrayed?

23. Describe scene ii, especially the effect of the noises of the night upon the two guilty ones after the murder has been done, and the effect of the knocking upon the atmosphere and tension of the scene.

24. Comment upon the interlude of the Porter's entrance
and soliloquy. Describe its relation to the immediately
preceding and succeeding incidents.

25. Why does Lady Macbeth swoon and cry to be taken
out?

26. What is the apparent view of Donalbain and Mal-
colm concerning the murder of their father? What do
they do accordingly?

27. Upon whom is suspicion of the deed placed, through
their flight?

28. Does the Old Man imply anything significant of the
truth of the situation, in any of his lines? What does his
introduction serve?

ACT III

29. How do Macbeth and his queen arrange to get Ban-
quo in their power?

30. What do Banquo's opening lines import? Is there
any significant contrast between him and Macbeth con-
veyed through them?

31. How does Macbeth work upon the minds of the
hired murderers, to stir them against Banquo?

32. What is Macbeth's reflection upon hearing of the
escape of Fleance? In what state of mind does it leave
him? How does this serve the development of the theme?

33. Describe the banquet scene, and the effect of the
apparition of Banquo upon Macbeth.

34. What is Lady Macbeth's counter action during this
scene?

35. Against whom next is Macbeth's suspicion aroused?
36. What does he say to show his means of keeping
himself informed for his protection? What does this
argue of the state of his mind resultant upon his crimes?

37. What is the import of the talk between Lennox and
the other Lord at Forres?

38. What are the Witches to do for Macbeth, at Hecate's
instigation?

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