summit of sovereign power"; IV. i. 87. dance in a circle; IV. i. 130. RUBS, hindrances, impediments; III. i. 134. RUMP-FED, well-fed, pampered; I. iii. 6. SAFE TOWARD, with a sure regard to; I. iv. 27. SAG, droop, sink; V. iii. 10. SAINT COLME'S INCH, the island of Columba, now Inchcolm, in the Firth of Forth; I. ii. 61. SAUCY, insolent, importunate; (?) pungent, sharp, gnawing (Koppel); III. iv. 25. SAY TO, tell; I. ii. 6. 'SCAPED, escaped; III. iv. 20. SCARF UP, blindfold; III. ii. 47. SCONE, the ancient coronation place of the kings of Scotland; II. iv. 31. SCOTCH'D, "cut with shallow in cisions" (Theobald's emenda- SEASON, Seasoning; III. iv. 141. SEATED, fixed firmly; I. iii. 136. ness of security, carelessness; III. v. 32. SEELING, blinding (originally a term of falconry); III. ii. 46. SEEMS; "that s. to speak things strange," i. e. "whose appearance corresponds with the strangeness of his message" (Clar. Pr.); (Johnson conj. "teems"; Collier MS., "comes," etc.); I. ii. 47. SELF-ABUSE, self-delusion; III. iv. 142. SELF-COMPARISONS, measuring himself with the other; I. ii. 55. SELFSAME, very same; I. iii. 88. SENNET, a set of notes on trumpet or cornet; III. i. 10-11. SE'NNIGHTS, seven nights, weeks; I. iii. 22. SENSIBLE, perceptible, tangible; II. i. 36. SERGEANT (trisyllabic); I. ii. 3. SET FORTH, Showed; I. iv. 6. SETTLED, determined; I. vii. 79. SEWER, One who tasted each dish to prove there was no poison in it; I. vii. (direct.). SHAG-EAR'D, having hairy ears; (Steevens conj., adopted by Singer (ed. 2) and Hudson, "shag-hair'd"); IV. ii. 83. SHALL, will; II. i. 29. I shall; IV. ii. 23. SHAME, am ashamed; II. ii. 64. SHARD-BORNE, borne by scaly wingcases; (Davenant, "sharpbrow'd"; Daniel conj. "sharnbode"; Upton conj. “sharnborn"); III. ii. 42. SHIFT, steal, quietly get; II. iii. · 156. SHIPMAN'S CARD, the card of the compass; I. iii. 17. Capell, SHOUGH, a kind of shaggy dog; (Ff., "Showghes"; "shocks"); III. i. 94. SHOULD BE, appear to be; I. iii. 45. SHOW, dumb-show; IV. i. 111112. -, appear; I. iii. 54. SHUT UP, enclosed, enveloped; II. i. 16. SICKEN, be surfeited; IV. i. 60. SIGHTLESS, invisible; I. vii. 23. SIGHTS; Collier MS. and Singer MS. "flights"; Grant White "sprites"; IV. i. 155. SKIRR, SCOur; V. iii. 35. SLAB, thick, glutinous; IV. i. 32. SLEEK O'ER, smooth; III. ii. 27. SLIPP'D, let slip; II. iii. 57. So, like grace, gracious; IV. iii. So WELL, as well; I. ii. 43. SOLICITING, inciting; I. iii. 130. SOMETHING, some distance; III. SOMETIME, Sometimes; I. vi. 11. SPEAK, bespeak, proclaim; IV. SPECULATION, intelligence; III. iv. SPEED; "had the s. of him," has outstripped him; I. v. 37. SPRING, Source; I. ii. 27. STABLENESS, constancy; IV. iii. 92. STAFF, lance; V. iii. 48. STAMP, stamped coin; IV. iii. STANCHLESS, insatiable; IV. iii. 78. STAND, remain; III. i. 4. STAY, wait for; IV. iii. 142. vii. 60. STIR, stirring, moving; I. iii. 144. STRANGE, new; I. iii. 145. ; "s. and self-abuse," i. e. SUBSTANCES, forms; I. v. 51. SUGGESTION, temptation, incite- Johnson, "fume, or seething," &c.); IV. SUNDRY, various; IV. iii. 48. SURCEASE, cessation; I. vii. 4. SWAY BY, am directed by; V. iii. 9. SWEARS, Swears allegiance; IV. ii. TAINT, be infected; V. iii. 3. TEEMS, teems with; IV. iii. 176. TEND ON, wait on; I. v. 43. ; "to th.", to that end, for THIRST, desire to drink; III. iv. THOUGHT; "upon a th.", in as THREAT, threaten; II. i. 60. 56. "to gain the t. inn," oppor- TITLES, possessions; IV. ii. 7. according to; III. iii. 4. linked with, "prisoner to"; Tor, overtop, surpass; IV. iii. 57. TOP-FULL, full to the top, brim- TOUCH, affection, feeling; IV. ii. 9. TOUCH'D, injured, hurt; IV. iii. 14. TOWERING, turning about, soar- TRACE, follow; IV. i. 153. TRAINS, artifices, devices; IV. iii. TRAMMEL UP, entangle as in a TRANSPORT, Convey; IV. iii. 181. TRIFLED, made trifling, made to 4. TUGG'D; "t. with fortune," pulled TYRANNY, Usurpation; IV. iii. 67. UNFIX, make to stand on end; UNROUGH, beardless; V. ii. 10. UNTITLED, having no title or UPROAR, "stir up to tumult” 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? |