Act 5 Macbeth
Scene 1°
Enter a Doctor of Physic and a waiting-
DOCTOR I have two nights watched with you, but
can perceive no truth in your report. When
was it she last walked?
GENTLEWOMAN Since His Majesty went into the
5 field, I have seen her rise from her bed,
throw her nightgown upon her, unlock her
closet,° take forth paper, fold it, write
upon ’t, read it, afterwards seal it, and
again return to bed; yet all this while in a
10 most fast sleep.
DOCTOR A great perturbation in nature, to
receive at once the benefit of sleep and do
the effects of watching!° In this slumbery
agitation,° besides her walking and other
15 actual performances, what, at any time,
have you heard her say?
GENTLEWOMAN That, sir, which I will not report after her.
DOCTOR You may to me, and ’tis most meet° you
20 should.
GENTLEWOMAN Neither to you nor anyone,
having no witness to confirm
my speech.
Enter Lady [Macbeth], with a taper.
Lo you, here she comes! This is her very
25 guise, and, upon my life, fast asleep.
Observe her. Stand close.° [They stand aside.]
DOCTOR How came she by that light?
GENTLEWOMAN Why, it stood by her. She has
light by her continually. ’Tis her command.
30 DOCTOR You see her eyes are open.
GENTLEWOMAN Ay, but their sense are shut.
DOCTOR What is it she does now? Look how she rubs her hands.
GENTLEWOMAN It is an accustomed action with
35 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
40 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,
45 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?
50 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
55 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
60 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
65 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.°
70 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
nightgown; look not so pale! I tell you yet
75 again, Banquo’s buried. He cannot come
out on ’s° grave.
DOCTOR Even so?
LADY MACBETH To bed, to bed! There’s knocking
at the gate. Come, come, come, come, give
80 me your hand. What’s done cannot be
undone. To bed, to bed, to bed! Exit Lady.
DOCTOR Will she go now to bed?
GENTLEWOMAN Directly.
DOCTOR Foul whisperings are abroad. Unnatural deeds
85 Do breed unnatural troubles. Infected minds
To their deaf pillows will discharge their secrets.
More needs she the divine than the physician.
God, God forgive us all! Look after her;
Remove from her the means of all annoyance,°
90 And still° keep eyes upon her. So, good night.
My mind she has mated,° and amazed my sight.
I think, but dare not speak.
GENTLEWOMAN Good night, good Doctor.
Exeunt.
Scene 2°
Drum and colors. Enter Menteith, Caithness, Angus, Lennox, [and] soldiers.
MENTEITH The English power is near, led on by Malcolm,
His uncle Siward, and the good Macduff.
Revenges burn in them, for their dear causes
Would to the bleeding and the grim alarm
Excite the mortified man.°
5 ANGUS Near Birnam Wood
Shall we well° meet them; that way are they coming.
CAITHNESS Who knows if Donalbain be with his brother?
LENNOX For certain, sir, he is not. I have a file°
Of all the gentry. There is Siward’s son,
10 And many unrough° youths that even now
Protest° their first of manhood.
MENTEITH What does the tyrant?
CAITHNESS Great Dunsinane he strongly fortifies.
Some say he’s mad, others that lesser hate him
Do call it valiant fury; but for certain
15 He cannot unbuckle his distempered° cause
Within the belt of rule.
ANGUS Now does he feel
His secret murders sticking on his hands;
Just as the scene in which Macbeth imagines a dagger floating in the air reflects a central psychological struggle for him, this scene in which Lady Macbeth tries to scrub non-
Compare these images from four different versions of this scene, and explain how each actress has made specific choices that represent Lady Macbeth’s struggle.
Now minutely° revolts upbraid° his faith-
Those he commands move only in command,°
20 Nothing in love. Now does he feel his title
Hang loose about him, like a giant’s robe
Upon a dwarfish thief.
MENTEITH Who then shall blame
His pestered° senses to recoil and start,
When all that is within him does condemn
Itself for being there?
25 CAITHNESS Well, march we on
To give obedience where ’tis truly owed.
Meet we the med’cine of the sickly weal,°
And with him pour we in our country’s purge
Each drop of us.°
LENNOX Or so much as it needs
30 To dew° the sovereign° flower and drown the weeds.
Make we our march towards Birnam.
Exeunt, marching.
Scene 3°
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
5 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
10 Shall never sag with doubt nor shake with fear.
Enter Servant.
The devil damn thee black, thou cream-
Where gott’st thou that goose look?
SERVANT There is ten thousand —
MACBETH Geese, villain?
SERVANT Soldiers, sir.
MACBETH Go prick thy face and over-
15 Thou lily-
Death of thy° soul! Those linen cheeks of thine
Are counselors to fear.° What soldiers, whey-
SERVANT The English force, so please you.
MACBETH Take thy face hence. [Exit Servant.] Seyton! — I am sick at heart
20 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 sere,° the yellow leaf,
And that which should accompany old age,
25 As° honor, love, obedience, troops of friends,
I must not look to have, but in their stead
Curses, not loud but deep, mouth-
Which the poor heart would fain deny and dare not.
Seyton!
Enter Seyton.
SEYTON What’s your gracious pleasure?
30 MACBETH What news more?
SEYTON All is confirmed, my lord, which was reported.
MACBETH I’ll fight till from my bones my flesh be hacked.
Give me my armor.
SEYTON ’Tis not needed yet.
35 MACBETH I’ll put it on.
Send out more horses. Skirr° the country round.
Hang those that talk of fear. Give me mine armor.
How does your patient, Doctor?
DOCTOR Not so sick, my lord,
40 As she is troubled with thick-
That keep her from her rest.
MACBETH Cure her of that.
Canst thou not minister to a mind diseased,
Pluck from the memory a rooted sorrow,
Raze° out the written troubles of° the brain,
45 And with some sweet oblivious° antidote
Cleanse the stuffed bosom of that perilous stuff
Which weighs upon the heart?
DOCTOR Therein the patient
Must minister to himself.
MACBETH Throw physic° to the dogs! I’ll none of it.
50 Come, put mine armor on. Give me my staff.° [Attendants arm him.]
Seyton, send out. Doctor, the thanes fly from me. —
Come, sir, dispatch.° — If thou couldst, Doctor, cast
The water° of my land, find her disease,
And purge it to a sound and pristine health,
55 I would applaud thee to the very echo,
That should applaud again. — Pull ’t off,° I say. —
What rhubarb, senna,° or what purgative drug
Would scour° these English hence? Hear’st thou of them?
DOCTOR Ay, my good lord. Your royal preparation
Makes us hear something.
60 MACBETH Bring it° after me. —
I will not be afraid of death and bane,
Till Birnam Forest comes to Dunsinane. Exeunt [all but the Doctor].
DOCTOR Were I from Dunsinane away and clear,
Profit again should hardly draw me here.
[Exit.]
Scene 4°
Drum and colors. Enter Malcolm, Siward, Macduff, Siward’s Son, Menteith, Caithness, Angus, [Lennox, Ross,] and soldiers, marching.
MALCOLM Cousins, I hope the days are near at hand
That chambers will be safe.°
MENTEITH We doubt it nothing.°
SIWARD What wood is this before us?
MENTEITH The wood of Birnam.
MALCOLM Let every soldier hew him down a bough
5 And bear ’t before him. Thereby shall we shadow
The numbers of our host and make discovery°
Err in report of us.
SOLDIERS It shall be done.T
SIWARD We learn no other but° the confident tyrant
Keeps° still in Dunsinane and will endure°
Our setting down before° ’t.
10 MALCOLM ’Tis his main hope;
For where there is advantage° to be given,
Both more and less° have given him the revolt,
And none serve with him but constrainèd things
Whose hearts are absent too.
MACDUFF Let our just censures
15 Attend the true event,° and put we on
Industrious soldiership.
SIWARD The time approaches
That will with due decision make us know
What we shall say we have and what we owe.°°
Thoughts speculative their unsure hopes relate,
20 But certain issue strokes must arbitrate° —
Towards which advance the war.°
Exeunt, marching.
Scene 5°
Enter Macbeth, Seyton, and soldiers, with drum and colors.
MACBETH Hang out our banners on the outward walls.
The cry is still, “They come!” Our castle’s strength
Will laugh a siege to scorn. Here let them lie
Till famine and the ague eat them up.
5 Were they not forced° with those that should be ours,
We might have met them dareful,° beard to beard,
And beat them backward home.
A cry within of women.
What is that noise?
SEYTON It is the cry of women, my good lord. [He goes to the door.]
MACBETH I have almost forgot the taste of fears.
10 The time has been my senses would have cooled°
To hear a night-
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 returns.]
15 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
20 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
25 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.°
Enter a Messenger.
Thou com’st to use thy tongue; thy story quickly.
30 MESSENGER Gracious my lord,
I should report that which I say I saw,
But know not how to do ’t.
MACBETH Well, say, sir.
MESSENGER As I did stand my watch upon the hill,
I looked toward Birnam, and anon, methought,
The wood began to move.
35 MACBETH Liar and slave!
MESSENGER Let me endure your wrath if ’t be not so.
Within this three mile may you see it coming;
I say, a moving grove.
MACBETH If thou speak’st false,
Upon the next tree shall thou hang alive
40 Till famine cling° thee. If thy speech be sooth,°
I care not if thou dost for me as much.
I pull in resolution,° and begin
To doubt th’ equivocation of the fiend
That lies like truth. “Fear not, till Birnam Wood
45 Do come to Dunsinane,” and now a wood
Comes toward Dunsinane. Arm, arm, and out!
If this which he avouches does appear,
There is nor flying hence nor tarrying here.
I ’gin to be aweary of the sun,
50 And wish th’ estate° o’ the world were now undone.
Ring the alarum bell! Blow wind, come wrack,°
At least we’ll die with harness° on our back.
Exeunt.
Scene 6°
Drum and colors. Enter Malcolm, Siward, Macduff, and their army, with boughs.
MALCOLM Now near enough. Your leafy screens throw down,
And show° like those you are. You, worthy uncle,°
Shall with my cousin, your right noble son,
Lead our first battle.° Worthy Macduff and we
5 Shall take upon ’s what else remains to do,
According to our order.°
SIWARD Fare you well.
Do we° but find the tyrant’s power° tonight,
Let us be beaten, if we cannot fight.
MACDUFF Make all our trumpets speak! Give them all breath,
10 Those clamorous harbingers° of blood and death.
Exeunt. Alarums continued.
Scene 7°
Enter Macbeth.
MACBETH They have tied me to a stake. I cannot fly,
But bearlike I must fight the course.° What’s he
That was not born of woman? Such a one
Am I to fear, or none.
Enter young Siward.
5 YOUNG SIWARD What is thy name?
MACBETH Thou’lt be afraid to hear it.
YOUNG SIWARD No, though thou call’st thyself a hotter name
Than any is in hell.
MACBETH My name’s Macbeth.
YOUNG SIWARD The devil himself could not pronounce a title
More hateful to mine ear.
10 MACBETH No, nor more fearful.
YOUNG SIWARD Thou liest, abhorrèd tyrant! With my sword
I’ll prove the lie thou speak’st. Fight, and young Siward slain.°
MACBETH Thou wast born of woman.
But swords I smile at, weapons laugh to scorn,
Brandished by man that’s of a woman born.
Exit.
Alarums. Enter Macduff.
15 MACDUFF That way the noise is. Tyrant, show thy face!
If thou be’st slain, and with no stroke of mine,
My wife and children’s ghosts will haunt me still.
I cannot strike at wretched kerns,° whose arms
Are hired to bear their staves.° Either thou,° Macbeth,
20 Or else my sword with an unbattered edge
I sheathe again undeeded.° There thou shouldst be;°
By this great clatter one of greatest note
Seems bruited.° Let me find him, Fortune,
And more I beg not. Exit. Alarums.
Enter Malcolm and Siward.
25 SIWARD This way, my lord. The castle’s gently rendered:°
The tyrant’s people on both sides do fight,
The noble thanes do bravely in the war,
The day almost itself professes° yours,
And little is to do.
MALCOLM We have met with foes
That strike beside us.°
30 SIWARD Enter, sir, the castle.
Exeunt. Alarum.
Scene 8°
Enter Macbeth.
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, hellhound, turn!
MACBETH Of all men else I have avoided thee.
5 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!° Fight. Alarum.
MACBETH Thou losest labor.
As easy mayst thou the intrenchant° air
10 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
15 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
20 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.
MACDUFF Then yield thee, coward,
And live to be the show and gaze o’ the time!°
25 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.
30 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.
Enter fighting, and Macbeth slain. [Exit Macduff with Macbeth’s body.] Retreat,° and flourish. Enter, with drum and colors,° Malcolm, Siward, Ross, thanes, and soldiers.
35 MALCOLM I would the friends we miss were safe arrived.
SIWARD Some must go off;° and yet, by these° I see
So great a day as this is cheaply bought.
MALCOLM Macduff is missing, and your noble son.
ROSS Your son, my lord, has paid a soldier’s debt.
40 He only lived but till he was a man,
The which no sooner had his prowess confirmed
In the unshrinking station° where he fought,
But like a man he died.
SIWARD Then he is dead?
ROSS Ay, and brought off the field. Your cause of sorrow
45 Must not be measured by his worth, for then
It hath no end.
SIWARD Had he his hurts before?
ROSS Ay, on the front.
SIWARD Why then, God’s soldier be he!
Had I as many sons as I have hairs
I would not wish them to a fairer death.
And so, his knell is knolled.
50 MALCOLM He’s worth more sorrow,
And that I’ll spend for him.
SIWARD He’s worth no more.
They say he parted° well and paid his score,°
And so, God be with him! Here comes newer comfort.
Enter Macduff, with Macbeth’s head.
MACDUFF Hail, King! For so thou art. Behold where stands°
55 Th’ usurper’s cursèd head. The time is free.°
I see thee compassed with thy kingdom’s pearl,°
That speak my salutation in their minds,
Whose voices I desire aloud with mine:
Hail, King of Scotland!
60 ALL Hail, King of Scotland! Flourish.
MALCOLM We shall not spend a large expense of time
Before we reckon° with your several° loves
And make us even with you.° My thanes and kinsmen,
Henceforth be earls, the first that ever Scotland
65 In such an honor named. What’s more to do
Which would be planted newly with the time,°
As calling home our exiled friends abroad
That fled the snares of watchful tyranny,
Producing forth° the cruel ministers°
70 Of this dead butcher and his fiendlike queen —
Who, as ’tis thought, by self and violent° hands
Took off her life — this, and what needful else
That calls upon us, by the grace of Grace
We will perform in measure, time, and place.
75 So, thanks to all at once and to each one,
Whom we invite to see us crowned at Scone.
Flourish. Exeunt omnes.
As she is sleepwalking, Lady Macbeth mentions her desire to clean her hands several times, but is unable to do so (Scene 1, ll. 42, 52–
In Scene 2, the four thanes provide an account of the current state of affairs in Scotland. Summarize the information they provide and explain the growing difficulties that Macbeth faces.
In Scene 4, Malcolm states that “none serve [Macbeth] but constrained things” (l. 13). What does he mean by this and why does this give him greater confidence in victory?
Even after Macbeth has seen the first prophecy fail to protect him, he continues to believe he will not be harmed when facing Macduff in the final scene, telling him that he “bear[s] a charmèd life” (Scene 8, l. 12). Why is Macbeth still unwilling to admit that he may not be invincible given what he has seen transpire so far?
What does Macduff mean when he says that he “was from his mother’s womb / Untimely ripp’d” (Scene 8, ll. 15–
Macduff tells Macbeth that once he is dead, his corpse will be displayed publicly with a sign saying “Here may you see the tyrant” (Scene 8, ll. 23–
Although Lady Macbeth’s comments and actions in Scene 1 seem random and inexplicable to the Doctor and the Gentlewoman, knowledge of her actions in the past provides insight into her “slumbery agitation” (ll. 13–
In Act 2, Scene 2, shortly after he has killed Duncan, Macbeth hears a voice telling him that “Macbeth does murder sleep” (l. 40). In what ways do Lady Macbeth’s actions in Act 5 reinforce that earlier proclamation heard by Macbeth?
Angus compares Macbeth’s title as king to something that “Hang[s] loose about him, like a giant’s robe / Upon a dwarfish thief” (Scene 2, ll. 21–
Macbeth’s response to the news of Lady Macbeth’s death is complex (Scene 5, ll. 17–
Macbeth concludes his response to news of Lady Macbeth’s death with perhaps the most famous soliloquy in all of Shakespeare’s plays (Scene 5, ll. 17–
Look carefully at Macbeth’s final lines (Scene 8, ll. 27–
In one of the most dramatic and intense moments in any of Shakespeare’s plays, Macduff enters holding a spear on which he has mounted Macbeth’s head (Scene 8, ll. 54–
Analyze Malcolm’s final speech, paying attention to the order in which he addresses the issues that the country must now face and the language he uses to demonstrate his readiness to lead as the new king (Scene 8, ll. 61–
At one of the most poignant moments in the play, Macbeth asserts that “Life [. . .] is a tale / Told by an idiot, full of sound and fury, / Signifying nothing” (Act 5, Scene 5, ll. 24–
When the Doctor tells Macbeth that he cannot cure mental disorders, Macbeth decries the limitations of medicine. Conduct research into mental disorders that might be affecting Macbeth and Lady Macbeth. Then, based on your research and evidence taken from the play, offer a diagnosis for both Lady Macbeth and Macbeth.
First, contrast Macbeth’s leadership approach in Scene 3 with Malcolm’s approach in Scene 4 and consider how these two characters view what it means to be a leader, what the differences suggest about each man and his attitude toward the coming battle, and what the contrasts suggest about the nature of true leadership. Then, using current examples from American culture, explain which approach to leadership is most effective when facing the challenges of the twenty-
Staging Act 5 is a particular challenge because of the number of scenes and the numerous battles and fights. Imagine you are a director who has to create a single set in which all eight scenes must take place. Create a visual design of your set and be prepared to explain how you would stage each of the eight scenes in that single set.
Exposition/Analysis
Macbeth is a play that addresses many themes. Select one that you find compelling and, using evidence from the play, write an essay in which you explore how that theme is revealed over the course of the play.
Exposition/Analysis
Imagery is central to Macbeth. Using evidence from the play, write an essay in which you analyze how Shakespeare uses imagery in Macbeth to develop a central theme.
Argument
Although Banquo is murdered long before the end of Macbeth, some literary scholars argue that he is as important to the play after he has died as when he is still alive. Using evidence from the play, write an argument that either supports or refutes this claim.
Argument
English poet Samuel Taylor Coleridge once said that the witches in Macbeth “have the power of tempting those, who have been tempters themselves.” Write an essay in which you analyze and evaluate Coleridge’s comments using evidence from the play.
Exposition/Analysis
Consider Macbeth’s attitude toward Lady Macbeth after the murder of Duncan. Is it true that he does not need her anymore? What impact does her death have on him? Write an essay in which you analyze Macbeth’s attitude toward his wife and how that attitude illuminates a theme in the play as a whole.
Synthesis
In the sonnets “Mezzo Cammin” by Henry Wadsworth Longfellow and “When I Have Fears” by John Keats, both poets express similar ideas about the necessity of achieving one’s goals and aspirations. Find the poems online and examine those ideas in light of Macbeth’s goals and aspirations, and decide how Longfellow and Keats might respond to Macbeth’s behavior in the play. Write a paragraph of advice to Macbeth by each poet, expressing concern and advice regarding Macbeth’s situation.
Exposition/Research
Macbeth has been adapted to film numerous times. Research the film adaptations and select one that you find especially interesting. Then, write a review in which you evaluate how well the adaption captures the major ideas and themes in the original play.
Argument
Many critics over the years have suggested that Lady Macbeth was the real motivation behind Macbeth’s violent rise to power. Examine the play for lines that these critics may have selected to support the claim that Macbeth would not have killed for power without the urging of Lady Macbeth, and then defend or challenge this claim. Read Lady Macbeth’s lines carefully, and then discuss what qualities she exhibits that may have led these critics to see her as the source of Macbeth’s ambition.
Multimodal
Macbeth has been produced for stage and screen countless times over the years. Using the five-
Narrative/Multimodal
Written over five hundred years ago, Macbeth continues to be regularly produced for stage and screen, although many directors choose to set the play in different time periods and locations. For example, Akira Kurosawa’s famous film Throne of Blood is an adaptation of Macbeth set in feudal Japan. Another adaptation was set in the Zulu culture of the early nineteenth century, prompting Nelson Mandela to remark that “[t]he similarities between Shakespeare’s Macbeth and our own Shaka become a glaring reminder that the world is, philosophically, a very small place.”
Prepare to pitch an original adaptation of Macbeth to a hypothetical theater or movie producer. To do so, you will need to write a screenplay for one scene, and using your screenplay as guide, you will need to explain the concept, time period, and location for your adaptation. While your pitch will not necessarily involve costumes or memorizing lines, it is still a performance. You will be taking your instructor and classmates through your scene, positioning the actors, explaining the camera angles, and discussing the stage directions; in other words, you are going to help them “see” your film.
Creative
Create a newspaper that details what you believe are the most significant events in Macbeth. You should include at least five articles that reflect events in the play, as well as accompanying graphics. Include the various sections you would find in a modern newspaper, such as the front section, containing major news; a sports page; an op-
Multimodal
There are a number of classic music compositions inspired by the play Macbeth. These include everything from operas to symphonies. Find an example of a musical composition inspired by the play, and then provide a short presentation with audio examples, making sure to demonstrate the connection between the composition and the play.