key themes: supernatural

Question 1

“So foul and fair a day I have not seen” (Act 1) - Macbeth

Answer 1

• Emulating the Witches’ paradoxes: In Macbeth’s first line within the play, the echoes the paradoxical expression “fair is foul and foul is fair”. This foreshadows that he will become a vessel for their twisted misconduct right from the offset.
• Alternatively, Macbeth’s emulation of the witches’ paradoxical and oxymoronic phrases before encountering them suggests a predestined susceptibility to manipulation and deception. While his overreaching ambition causes his downfall, the supernatural forces exerted influence over him are a catalyst for the inevitability of his tragic fate.
• Visual image on “have not seen”: The phrase “have not seen” evokes a vivid image of blindness, potentially foreshadowing how Macbeth will be metaphorically blinded by the irresistible allure of the supernatural prophecies. This blindness foreshadows how his unchecked hubris becomes a driving force leading him astray.

Question 2

“Tell me” “call em” (act 4) - Macbeth

Answer 2

• Imperative phrases: Macbeth’s hubris is explicit as he enters, he speaks with imperative phrases such as “tell me” and “call em”. Fuelled by insatiable greed and an unbridled hunger for power, this marks Macbeth’s intentional engagement with the witches for the first time.
• This deliberate encounter underscores his abandonment of resistance to evil, signifying a departure from any pretence of morality.
• Personal pronoun “me”: The imperativeness embodied in the command “tell”, coupled with the personal pronoun “me”, implies Macbeth’s authoritative demand for universal respect and obedience, extending even to the supernatural realm. His illegitimate title of King has evidently inflated his sense of self importance and his hubris has made him believe he can supersede the power.

Question 3

“Come you, spirits… unisex me here” (act 1) “pour my spirits” (act 1) - Lady Macbeth

Answer 3

• Imperative “come, you”: By employing imperative phrases like “come you”, she demonstrates a commanding familiarity with the ominous supernatural realm. Unhesitant and determined, she calls upon dark external forces without hesitation, seeking liberation from the societal constraints imposed by her femininity.
• Her androgynous nature would be perceived to be supernatural in the Jacobean era as the gender roles were reigned and any break in this would show she is possessed by a supernatural force.
• Syntax: The syntax of “spirits” preceding “unsex” underscores her conviction that supernatural intervention for her desire to be successfully “unsexed”. The deliberate arrangement of these terms in her speech illuminates the dependence she places on the supernatural, revealing how this is a necessity for transcending societal norms.
• Her recognition on her dependence on the supernatural realm a social awareness that liberation from the societal constraints imposed on her feminists necessitates an engagement with forces beyond the natural order.

Question 4

“Look like th’ innocent flower,but be the serpent under’t” (Lady Macbeth act 1)
“All hail, Macbeth, that shalt be king hereafter!” (Witches Act 1)

Answer 4

• Both personify key theme of appearance vs reality: Lady Macbeth assumes the role of the fourth witch within the play, employing cunning schemes to manipulate Macbeth. Significantly, both the witches and Lady Macbeth embody the central theme of appearance versus reality, skilfully employing deceptive practices to manoeuvre acquiring power over Macbeth.
• Biblical allusions: Lady Macbeth incorporates a biblical allusion by employing the term “serpent”, drawing parallels to the Genesis narrative depicting the fall of mankind. This deliberate choice of diction serves to underscore her belief in the effectiveness of deception, akin to the serpent’s manipulation of Adam and Eve.
• Lady Macbeth adeptly highlights the effectiveness of deception when cloaked in an “innocent” flower-like facade, emphasising the ease with which such deceit can be orchestrated, especially when temptation and pride are at play.
• Short sentences: Similar to Lady Macbeth, the Witches exploit Macbeth’s hubris to help employ their deceptive influence. The short sentence, with commas either side of Macbeth’s name, signifies their targeted approach. Through prophecies tailored to stroke his ego and satisfy his ambitions, the Witches effectively obscure his judgement, making him susceptible to their manipulative schemes.

Question 5

“Instruments of darkness” (Banquo act 1 to describe the witches)

Answer 5

• Auditory imagery on “instruments”: The auditory imagery created by the lexis “instruments” to characterise the witches implies a malevolent musicality. This showcases how their words possess an almost hypnotic trance for Macbeth.
• The choice of “instruments” suggests a deliberate orchestration of their deceit framing their speech as a manipulative melodic composition that enchants its victims.
• Plosive on “darkness”: The ‘d’ plosive sound in the word “darkness” creates a harsh sound foreshadowing the dark, ominous and grim destiny the witches are ready to inflict upon Macbeth.
• Significantly, Banquo’s discernment of this “darkness”, indicates his immunity to the hypnotic and malevolent musicality captivates Macbeth. Banquo’s ability to perceive their looming malevolence distinguishes him as a character not easily swayed by the enchanting allure that Macbeth falls victim to.

Question 6

“eye of newt” “fire, burn and cauldron bubble” and “hell-broth” (Act 4) - witches

Answer 6

• Semantic field of hell: The selection of words such as “fire burn” “hell broth” and “bubble” crafts a semantic field of hell. This strengthens the idea that the witches’ supernatural abilities are intrinsically linked to malevolence and they are agents of the devil.
• Links to content: Moreover, the elements contained in their potion adhere to the archetypal portal of witches outlined in King James I’s “Daemonologie”. This conformity taps into the audience’s pre-existing apprehensions and anticipations related to witchcraft prevalent during that historical era.

Question 7

“look not th’inhabitants o’th’earth” (act 1) - Banquo

Answer 7

• Context: The witches physiognomy exposes them as inhumane and evil. Banquo’s perceptiveness in recognition their depraved demeanour is important, especially considering the historical belief that he was an ancestor of king James I.
• This perceptiveness serves as subtle form of indirect flattery, aligning Banquo with a quality associated with the monarch and subtly reinforcing his sagacity (deep wisdom).
• Image on “earth”: The word “earth” cultivates a natural image, accentuating the Witches’ unnatural essence and their deliberate attempt to subvert the natural order.
• Banquo’s perceptiveness, unaffected by the malevolent allure crafted by the Witches, serves as a testament to his purity and moral integrity- he is immune to the corrupting influence that engulf others like Macbeth.

Question 8

“I dream’d of the three weird sisters last night” (Banquo Act 2)
“I think not of them” (Macbeth Act 2)

Answer 8

• Abstract noun “dream’d”: The abstract noun “dream’d” signifies Banquo’s affliction and guilt, suggesting that he is haunted not only in his waking moments but also in the realm of sleep. This implies the intrusion of superstition into Banquo’s consciousness, trespassing on his unconscious mind.
• Motif of sleep: The motif of sleep in the play becomes synonymous with the loss of innocence. As Macbeth grapples with guilt, he declares he “sleeps no more”, also echoing Lady Macbeth’s somnambulant state.
• Intriguingly, Banquo retains the capacity to sleep but acknowledges his ability to “dream”. This contrast illuminates Banquo’s preservation of innocence, as despite his guilt for being entranced by the supernatural, he truthfully admits to being captivated by the supernatural without succumbing to guilt induced insomnia like Macbeth and Lady Macbeth.
• Foil to Macbeth: Banquo’s sincerity operates as a foil to Macbeth deceit, as Macbeth falsely asserts that he does not “think” of the prophecies. Banquo’s moral characterisation is strategically employed to heighten the contrast with Macbeth’s dishonest and duplicity. This deliberate juxtaposition serves to accentuate the moral divergence between the two characters.