Macbeth quotes Flashcards

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1
Q

brutal rejection of her femininity

envoking power of supernatural bc in PaSoc women deprived of power by other means

A

“Come you spirits that tend on mortal thoughts, unsex me here, and fill me, from the crown to the toe, top full of direst cruelty”

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2
Q

“Come ————–that—- on————me here and——-me from the———of——!”

A

“Come you spirits that tend on mortal, usex me here, and fill me from the crown to the toe, top full of direst cruelty”

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3
Q

“That I———my——in————ear and——-with the———–”

A

“That I may pour my spirits in thine ear and chastise with the valour of my tongue”

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4
Q

Symbolically lady Macbeth assumes role of machiavellian villainess

A

“That I may por my spirits in thine ear and chastise with the valour of my tongue”

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5
Q

”—-is—–and—-is—-“

A

“Fair is foul and foul is fair”

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6
Q

Paradoxical in nature and summary of tale to come, one full of binary opposites, equivocation, subversion of the natural order and consequence of evil.

A

“Fair is foul and foul is fair”

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7
Q

Shows audience from the start what is right can be wrong and wrong can be right, thus blurring the line between good and evil
spoken by witches, foreshadows the havoc their powers of deceit will wreak later on

A

“Fair is foul and foul is fair”

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8
Q

”—–face———what the———know”

A

“False face must hide what the false heart doth know”

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9
Q

Close of act 1 been convinced to murder D
“mock the time with fairest show” M reiterates “mock” with “x” imperative “y”
M urging LM to go out and act the perfect hostess to their esteemed guest
bc @ critical point, must be duplicitous

A

“False face must hide what the false heart doth know”

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10
Q

Shows trust in his wife, willing for her to direct
uncanny resemblance to idiolect of wife in which she echoes the witches
alliteration of fricative “f”

A

“False face must hide what the false heart doth know”

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11
Q

”—, ——–spot; —- I —-. –,— -why then ‘——– to —–”

A

Out, damned spot; out, I say. One, two,—why, then ’tis time to do’t.

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12
Q

Pivotal moment marking degradation LM+M relationship along with mental stability

A

“Out, damned spot; out, I say. One, two,—why, then ’tis time to do’t.”

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13
Q

Contrasts position at start, powerless

A

“Out, damned spot; out, I say. One, two,—why, then ’tis time to do’t.”

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14
Q
Blank verse + iambic pentameter, strong rhythm representing strong grasp on reality, likens her to the other nobles
descent into fragmented and incoherent prose>inability to think, overwhelmed by remorse. Prose aligns her to lower class characters (murderer and porter), signalling her character decay + fall down hierarchy, Sh warning novles in court of consequence of regicide, lose you are status
A

Gentlewoman scene in general but MOSTLY

“Out, damned spot; out, I say. One, two,—why, then ’tis time to do’t.”

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15
Q

“Hell is–”

A

“Hell is murky”

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16
Q

Scared of hell, opposed to earlier desire “pall thee in the dunnest smoke of hell”
along with “out DAMNED spot” obsessed with idea of hell. Hell inspires terror in her. Although already damned, making suicide inconsequential, still scared of idea, aligns with Christian audiences beliefs however they would have seen it as a fitting punishment for a woman who has stepped so far out of natural order

A

“Hell is murky”

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17
Q

And her delusion that there is a bloodstain on her hand furthers the play’s use of blood as a symbol of guilt
blood has dyed her conscience

A

Out, damned spot; out, I say. One, two,—why, then ’tis time to do’t.

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18
Q

Not yet damned yet say “x” implying that she already knows that darkness intimately. The pair, in their destructive power, have created their own hell, where they are tormented by guilt and insanity

A

“Hell is murky”

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19
Q

Sh lavish use Christian imagery with infamous reference to serpent who tempted eve in eden slightly excuses M as plays on idea that he has been tempted by the inherently evil nature of women

A

“Look like the innocent flower but be the serpent under’t”

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20
Q

”—like the———-but be the ——-“

A

“Look like the innocent flower but be the serpent under’t”

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21
Q

“Yet I ———thy————of——-to——-“

A

“Yet I do fear thy nature, tis too full of the milk of human kindness to catch the nearest way”

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22
Q

Shakespeare portrays two contrasting characters between Lady Macbeth and Macbeth through the juxtaposition of Macbeth being “x” and Lady Macbeth being full of “y” – which has connotations of bitterness, suggesting she is greedy for power.
Represents LM twisted view that milk, something synonymous with nurture, love, care, nutrition and innocence, that provides strength and vital nutrition to a newborn, when possessed by a man has the opposing effect and softens/weakens them, and when possessed by her, sours into a bitter poison.

A

“Yet I do fear thy nature tis too full o’th milk of human kindness to catch the nearest way”

“gall”

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23
Q

”———and trouble————-“

A

“Double double toil and trouble fire burn and cauldron bubble”

24
Q

Trochaic tetrameter and rhyming couplet
unnatural + uncomfortable air
just by stress pattern, distinguishes them as unnatural/dangerous, don’t even need to see

A

“Double double toil and trouble Fire burn and cauldron bubble”

25
Q

Sounds like child rhyme,
1. Idea witches are toying with world
OR 2. subtly positing, w/o causing offence to james (patronage) idea that perhaps witches are a “fantastical” , contrary to modern beliefs witches in jacobean society accepted to be real
banquo “are ye fantastical” perhaps these strange women are not witches at all just have the power of sight,
could be seen like oracles in greek tragedy, not seen as evil just telling tragic hero their unavoidable fate

A

“Double double toil and trouble fire burn and cauldron bubble”

26
Q

“And all—–have——-the way to——-out,——–”

A

“And all our yesterdays have lighted fools the way to dusty death, out, out brief candle”

27
Q

Guided by fate/god
but we are “fools” for letting ourselves be led down a shining path that only leads to death
would have been deeply offensive (blasphemous/sacrilegious) to a Christian audience who believed they must “x” and in gods plan

A

“And all our yesterdays have lighted fools the way to dusty death, out, out brief candle”

“and trust in something greater than ourselves. We must walk in his light and in his spirit”

28
Q

Echoes LM

Subverts command to have light by her continually

A

“Out,out brief candle”

“out damned spot out”

29
Q

“I am in ———so——, that——–no——-, ———as———-“

A

“I am in blood stepped in so far, that should I wade no more, returning were as tedious as ge’er”

30
Q

Already king AND safe, infact only provokes mcduff

M decides to keep killing for no reason other than blood lust and ultimate authority

A

“I am in blood stepped in so far, that should I wade no more, returning were as tedious as go’er”

31
Q

“Whats—–is—-“

“whats————be——”

A

“Whats done is done”

“whats done cannot be undone”

32
Q

“Bloody——–, which———–, return———”

A

“Bloody instruction, which being taught, return to plague th’ inventor”

33
Q

“will—————-this———-“

A

“Will great Neptune’s ocean wash this blood clean from my hand”

34
Q

”———seas———”

A

“Multudinous seas incarnadine”

35
Q

“A——–water————”

A

“A little water clears us of this deed”

36
Q

“I have—————-but—————-“

A

“I have no spur to prick the sides of my intent, but only vaulting ambition which o’erleaps itself and falls on th’oer”

37
Q

“By the——–my———–”

A

“By the pricking of my thumbs, something wicked this way comes”

38
Q

”—–not of——-“

A

“One not of woman born”

39
Q

“Is this a——–which———the———–let me——-“

A

“Is this a dagger which I see before me, the handle toward my hand, come let me clutch thee”

40
Q

“It will———–:——will——–”

turning from christianity towards the supernatural

A

“It will have blood they say: blood will have blood”

41
Q

”——— I heard a———-,’————’ macbeth———”

Immediate onset of guilt post regicide

A

“Methout I heard a voice cry, sleep no more! Macbeth does murder sleep”

42
Q

“Poisened ——–”

“——-crown and ——————”

A

“Poisoned chalice”

“fruitless crown and barren sceptre”

43
Q

“I—–do————–; who———–”

A

“I dare do all that may become a man; who dares do more is none”

44
Q

Who says “there’s ——in———”

macduff “I have no—-;my——–”

A

Danalbain- evnen lesser character in play is vocalizing things are not what they seem
“there’s daggers in men’s smiles”
“I have no words; my voice is in my sword.”

45
Q

”——but a———, a—–, that—-and——————-and then is———–”

A

“Life’s but a walking shadow, a poor player that struts and frets his hour upon stage and then is heard no more”

46
Q

“It is a—-told by an——, full of———–,———”

A

“It is a tale told by an idiot, full of sound and fury, signifying nothing”

47
Q

sneaky, cunning, and lacking a moral code.
“Machiavellian” person is a person who lusts after power, uses scheming and deceit to get it, and maintains it ruthlessly and without qualm

A

Machiavellian villain

48
Q

the practice of claiming to have higher standards or more noble beliefs than is the case.

A

hypocrisy

49
Q

the speech habits peculiar to a particular person.

A

idiolect

50
Q

put forward as fact or as a basis for argument.

A

positing

51
Q

permanence, loyalty, durability, fidelity, usefulness, value, and purification

A

Salt in the bible

52
Q

sacrilegious against God or sacred things; profane.

A

blasphemous

53
Q

believing in or practising religious heresy
Heresy is any belief or theory that is strongly at variance with established beliefs or customs, in particular the accepted beliefs of a church or religious organization.

A

heretical

heresy

54
Q

disagreement that leads to discord.

A

dissension

55
Q

Sacrilege is the violation or injurious treatment of a sacred object, site or person. This can take the form of irreverence to sacred persons, places, and things. When the sacrilegious offence is verbal, it is called blasphemy, and when physical, it is often called desecration

A

sacrilegious

56
Q

speak or act in an evasive way

A

prevaricate