Macbeth Grade 8 English Literature PDF

MACBETH CALCUTTA INTERNATIONAL SCHOOL GRADE 8 ENGLISH LITERATURE TRANSLATION OF ACT 1 SCENE 3 BANQUO Good sir, why do you start and seem to fear Things that do sound so fair [to the WITCHES] I’ th’ name of truth, are ye fantastical, or that indeed Which outwardly ye show? My noble partner You...

MACBETH CALCUTTA INTERNATIONAL SCHOOL GRADE 8 ENGLISH LITERATURE TRANSLATION OF ACT 1 SCENE 3 BANQUO Good sir, why do you start and seem to fear Things that do sound so fair [to the WITCHES] I’ th’ name of truth, are ye fantastical, or that indeed Which outwardly ye show? My noble partner You greet with present grace and great prediction Of noble having and of royal hope, That he seems rapt withal. To me you speak not. If you can look into the seeds of time And say which grain will grow and which will not, Speak, then, to me, who neither beg nor fear Your favours nor your hate. BANQUO (Translation) [To MACBETH] Good sir, why do you flinch and seem afraid of these words that predict such good things for you? [To the WITCHES] Be truthful, are you some kind of illusion—or are you, in fact, what you appear to be? You’ve greeted my noble friend by his current title, and predict a future of additional noble titles and the promise of becoming king—all of which has left him astonished. Yet you don’t speak at all to me. If you can look into the future and say what will happen, then speak to me. I neither want your favors nor fear your hatred. FIRST WITCH Hail! SECOND WITCH Hail! THIRD WITCH Hail! FIRST WITCH Lesser than Macbeth and greater. FIRST WITCH (translation) You are lesser than Macbeth but also greater. SECOND WITCH Not so happy, yet much happier. SECOND WITCH (translation) You will not be so fortunate as Macbeth, and yet much more fortunate. THIRD WITCH Thou shalt get kings, though thou be none. So all hail, Macbeth and Banquo! THIRD WITCH (translation) Your descendants will be kings, though you will not be king. So all hail, Macbeth and Banquo! FIRST WITCH Banquo and Macbeth, all hail! MACBETH Stay, you imperfect speakers, tell me more. By Sinel’s death I know I am thane of Glamis. But how of Cawdor? The thane of Cawdor lives, A prosperous gentleman, and to be king Stands not within the prospect of belief, No more than to be Cawdor. Say from whence 80 You owe this strange intelligence, or why Upon this blasted heath you stop our way With such prophetic greeting. Speak, I charge you. MACBETH (translation) Wait! You have not told me everything. Tell me more. I know I am the Thane of Glamis, because the title became mine when my father Sinel died. But how can I be the Thane of Cawdor? The Thane of Cawdor is alive—and he is a rich, strong man too. And for me to become king is beyond belief—just as it’s crazy for me to be Thane of Cawdor. Tell me where you got this unnatural information. And why did you come to us on this bleak and empty field with such a prophecy? I command you to speak. The WITCHES vanish. BANQUO The earth hath bubbles, as the water has, And these are of them. Whither are they vanished? BANQUO (translation) The earth has bubbles, just like as water does. These beings must come from such a bubble. Where did they vanish? MACBETH Into the air, and what seemed corporal Melted, as breath into the wind. Would they had stayed. MACBETH (translation) Into the air. They seemed solid, but then just melted like breath into the wind. I wish that they would have stayed! BANQUO Were such things here as we do speak about? Or have we eaten on the insane root That takes the reason prisoner? BANQUO (translation) Were these creatures that we're discussing ever even here? Or have we both eaten some root that's given us hallucinations? MACBETH Your children shall be kings. MACBETH (translation) Your children will be kings. BANQUO You shall be king. BANQUO (translation) You will be king. MACBETH And thane of Cawdor too: went it not so? MACBETH (translation) And Thane of Cawdor too. Is that what they said? BANQUO To the selfsame tune and words. Who’s here? BANQUO (translation) Those were their exact words. Who’s coming here? ROSS and ANGUS enter. ROSS The king hath happily received, Macbeth, The news of thy success, and when he reads Thy personal venture in the rebels’ fight, His wonders and his praises do contend Which should be thine or his. Silenced with that, In viewing o’er the rest o’ the selfsame day, He finds thee in the stout Norweyan ranks, Nothing afeard of what thyself didst make, Strange images of death. As thick as tale Can post with post, and every one did bear Thy praises in his kingdom’s great defense, And poured them down before him. ROSS (translation) Macbeth, the king was happy to learn of your success. And when he heard the story of your personal heroism in the battle against the rebels, he couldn't decide whether to praise you or just be silently amazed. He was also at a loss for words to find out that on the same day you fought the rebels, you also fought against the army of Norway—and that you weren’t at all afraid of death, even as you killed those around you. A stream of messengers brought news of this to the king, and they gushed with praise for how you defended his country. ANGUS We are sent To give thee from our royal master thanks, Only to herald thee into his sight, Not pay thee. ANGUS (translation) We’ve been sent to give you the king’s thanks and to escort you to him, although we don’t have your reward. ROSS110 And, for an earnest of a greater honor, He bade me, from him, call thee thane of Cawdor: In which addition, hail, most worthy thane, For it is thine. ROSS (translation) But— to give you a hint of the honors coming your way—the king told me to call you the Thane of Cawdor. Hail, most worthy thane, for that title is now yours. BANQUO What, can the devil speak true? BANQUO (translation) What? Can the devil speak the truth? MACBETH The thane of Cawdor lives. Why do you dress me In borrowed robes? MACBETH (translation) The Thane of Cawdor is still alive. How can you pretend that his title is now mine? ANGUS Who was the thane lives yet, But under heavy judgment bears that life Which he deserves to lose. Whether he was combined With those of Norway, or did line the rebel With hidden help and vantage, or that with both He labored in his country’s wrack, I know not; But treasons capital, confessed and proved, Have overthrown him. ANGUS (translation) The former Thane of Cawdor is still alive, but he’s held under a death sentence—and he deserves to die. I don’t know whether he fought alongside the Norwegians or if he secretly helped the rebels, or if he worked with both of our enemies to destroy or country. But his capital treason has been proven, and he has confessed to it, so he has lost his former title. MACBETH125 [aside] Glamis, and thane of Cawdor! The greatest is behind. [to ROSS and ANGUS] Thanks for your pains. [aside to BANQUO] Do you not hope your children shall be kings, When those that gave the thane of Cawdor to me Promised no less to them? MACBETH [To himself] Glamis, and Thane of Cawdor! With the biggest part of their prophecy yet to come. [To ROSS and ANGUS] Thanks for your efforts to bring this news. [To BANQUO so that only he can hear] Are you starting to believe your children might be kings, since the witches who said I would be Thane of Cawdor promised they would be? BANQUO That, trusted home, Might yet enkindle you unto the crown, Besides the thane of Cawdor. But ’tis strange. And oftentimes, to win us to our harm, The instruments of darkness tell us truths, Win us with honest trifles, to betray ’s In deepest consequence. [to ROSS and ANGUS] Cousins, a word, I pray you. BANQUO (translation) If you trust them, then it seems you might eventually become king, not just Thane of Cawdor. But all of this is strange. Often, to lead us to harm, the agents of darkness will first tell us some bit of truth. They win us over by telling us the truth about unimportant things, only to betray us when the consequences will be most terrible. [To ROSS and ANGUS] Gentlemen, speak with me a moment, please. ROSS, ANGUS, and BANQUO move off to one side. MACBETH [aside] Two truths are told, As happy prologues to the swelling act Of the imperial theme. [to ROSS and ANGUS] I thank you, gentlemen. [aside] This supernatural soliciting Cannot be ill, cannot be good. If ill, Why hath it given me earnest of success, Commencing in a truth? I am Thane of Cawdor. If good, why do I yield to that suggestion Whose horrid image doth unfix my hair 150 And make my seated heart knock at my ribs, Against the use of nature? Present fears Are less than horrible imaginings. My thought, whose murder yet is but fantastical, Shakes so my single state of man That function is smothered in surmise, And nothing is but what is not. MACBETH (translation) [To himself] Two of the prophecies have come true, making it seem like this will end with my rise to the throne. [To ROSS and ANGUS] Thank you, gentlemen. [To himself] This supernatural temptation doesn’t seem like it’s a bad thing, but it can’t be good either. If it’s bad, why did it promise me a success that turned out to be true? I am the Thane of Cawdor. But if this is a good thing, why do I find myself thinking about something that is so horrid that it makes my hair stand on end, and my heart pound unnaturally within my chest? The things I should fear are less frightening to me than the horrible things I’m imagining. Although my thoughts of murder are just a fantasy, they shake my very sense of self. My ability to act is blocked by my swirling thoughts, and all that matters to me are things that don’t exist. BANQUO Look how our partner’s rapt. BANQUO (translation) Look how our friend is daydreaming. MACBETH [aside] If chance will have me king, why, chance may crown me Without my stir. MACBETH (translation) [To himself] If fate wants me to be king, well, maybe fate will give me the throne without me having to do anything at all. BANQUO New honors come upon him, Like our strange garments, cleave not to their mold But with the aid of use. BANQUO (translation) Like brand new clothes, Macbeth’s new titles don’t fit well until they’ve been worn for a while. MACBETH [aside] Come what come may, Time and the hour runs through the roughest day. MACBETH (translation) [To himself] No matter what happens, time continues on. BANQUO Worthy Macbeth, we stay upon your leisure. BANQUO (translation) Good Macbeth, we’re waiting for you, whenever you’re ready to go. MACBETH Give me your favor. My dull brain was wrought With things forgotten. Kind gentlemen, your pains Are registered where every day I turn 170 The leaf to read them. Let us toward the king. [aside to BANQUO] Think upon what hath chanced, and, at more time, The interim having weighed it, let us speak Our free hearts each to other. MACBETH (Translation) Pardon me. I was occupied by forgotten thoughts. Kind gentlemen, I won’t forget your efforts today, and will remember them every day. Let’s go to the king. [To BANQUO so that only he can hear] Think about what just happened, and let’s discuss it freely with one another when we’ve both had more time to consider its implications. BANQUO Very gladly. BANQUO (translation) Gladly. MACBETH Till then, enough. [to ROSS and ANGUS] Come, friends. MACBETH (translation) Until then, we'll keep quiet about it. [To ROSS and ANGUS] Let’s go, my friends. They all exit. Calcutta International School Grade 8 English Literature Handout Section A Analysing Macbeth’s Reaction to Becoming Thane of Cawdor Objective: To understand how Macbeth’s reaction to receiving the title of Thane of Cawdor reveals key aspects of his character. We'll use the P-E-A-L (Point, Evidence, Analysis, Link) structure to develop a cohesive answer. P-E-A-L Structure Point: State a clear topic sentence that answers the question. Evidence: Select relevant quotes from the text to support your point. (2 pieces) Explanation: Explain the meaning and significance of the evidence. (explain each evidence Link: Connect your analysis back to the question and to a broader understanding of Macbeth’s character. Question: Analyse the character of Macbeth based on the extract provided. (10 marks) Step-by-Step Analysis Using P-E-A-L Point Macbeth’s reaction to becoming Thane of Cawdor reveals his inner conflict between ambition and morality, which is a central aspect of his character. He is both tempted by power and fearful of the moral consequences of pursuing it. Evidence 1. “This supernatural soliciting / Cannot be ill, cannot be good.” 2. “If good, why do I yield to that suggestion / Whose horrid image doth unfix my hair?” 3. “If chance will have me king, why, chance may crown me / Without my stir.” Analysis 1. Ambiguity and Confusion: In the first aside, Macbeth questions whether the witches' prophecy is good or evil. His use of the words “cannot be ill, cannot be good” shows his confusion and inner conflict. This reflects his tendency to overthink, a trait that will drive much of his later indecision and paranoia. His moral compass is thrown off by the idea of destiny, hinting at his growing dependence on external forces (the supernatural) to justify his actions. 2. Ambition vs. Fear: The phrase “Whose horrid image doth unfix my hair” reveals Macbeth’s fear of his own ambition. The “suggestion” of murdering King Duncan to gain the crown immediately comes to his mind, which shows his desire for power. However, the violent and unnatural thoughts disturb him, “unfix[ing]” his hair and causing physical discomfort, indicating a deep inner turmoil. This inner conflict between ambition and conscience is central to Macbeth's character arc. 3. Fate vs. Action: Macbeth seems to briefly contemplate letting fate run its course, as indicated by his line “If chance will have me king, why, chance may crown me / Without my stir.” This reflects a key aspect of his character: a desire for power but an unwillingness to take immediate, violent action. It suggests that Macbeth is still morally hesitant at this stage, but the temptation of power is already influencing his thoughts. 4. Two truths are told As happy prologues to the swelling act Of the imperial theme: In this metaphor, Macbeth compares the two truths he has just heard—the prophecies that he would become Thane of Glamis (which he already is) and Thane of Cawdor (a new title he has just received)—to "happy prologues" to a "swelling act" in a larger play. "Two truths are told": Refers to the first two prophecies of the witches being true. "Happy prologues": A prologue is an introduction to a play, setting the stage for the main action. Macbeth sees these truths as pleasant introductions or signs of even greater things to come. "Swelling act": The word "swelling" suggests something that is growing or expanding, implying that the main event (his rise to the throne, or "imperial theme") is coming. "Imperial theme": This refers to kingship and royalty, with "imperial" highlighting the grandeur and power associated with becoming king. In short, the metaphor suggests that the prophecies are like the first act in a grand play, foreshadowing Macbeth’s ultimate rise to power. The "swelling act" hints at his ambition growing larger, building anticipation for what he believes is his destined kingship. Link Macbeth’s reaction to the news of his new title highlights his ambitious nature and foreshadows the internal battle he will face between his moral integrity and his desire for power. His hesitation to act on these thoughts in this scene reflects a crucial tension in his character—one that will ultimately lead to his downfall. Through this reaction, Shakespeare introduces a key theme of the play: the corrupting influence of unchecked ambition. Tips for Answering Questions Like This Focus on key quotes that show character development or conflict. Dive deep into the meaning of specific words or phrases and their effect on Macbeth’s state of mind. Always link your analysis back to the question: How does the evidence show a “crucial aspect” of his character? In Act 1, Scene 3 of Macbeth, both Macbeth and Banquo encounter the witches, who make prophecies that will affect both of their lives. However, their reactions to these prophecies reveal significant differences in their personalities and approaches to fate. Macbeth: 1. Ambition and Obsession: Macbeth's reaction to the witches' prophecies is immediate and intense. When they tell him he will become Thane of Cawdor and eventually the king, he is visibly shaken and consumed by thoughts of power. The idea of becoming king excites him, but also disturbs him. This shows Macbeth’s deep ambition, which will eventually drive his actions. The prophecy plants the seed of desire in him, and as soon as part of the prophecy is fulfilled (when he is named Thane of Cawdor), he begins to think about the possibility of murdering King Duncan to make the rest come true. 2. Inner Conflict: While Macbeth is ambitious, he is also conflicted. He acknowledges that the idea of murder horrifies him, saying, "My thought, whose murder yet is but fantastical, shakes so my single state of man." His internal struggle is evident, as he grapples with the moral consequences of pursuing the throne through treachery. 3. Reliance on the Supernatural: Macbeth places significant trust in the witches' words, even though he initially questions their motives. He becomes fixated on their prophecies, allowing the supernatural to influence his decisions. His readiness to accept the prophecy without much skepticism shows how deeply he is affected by the idea of destiny. Banquo: 1. Skepticism and Caution: In contrast to Macbeth, Banquo reacts to the witches with skepticism. He questions their intentions and wonders whether they are agents of evil. Unlike Macbeth, who is eager to believe in the possibility of power, Banquo is wary of the witches and warns that evil forces often betray people with half-truths: "And oftentimes, to win us to our harm, the instruments of darkness tell us truths." 2. Lack of Ambition: Banquo is not driven by ambition in the same way Macbeth is. The witches tell Banquo that his descendants will be kings, but he himself will not. Instead of being consumed by thoughts of power, Banquo remains calm and does not show any desire to manipulate events to ensure his descendants' success. His grounded nature contrasts sharply with Macbeth's obsessive focus on the prophecies. 3. Moral Integrity: Banquo’s reaction highlights his moral integrity. While he is curious about the prophecies, he does not act on them or let them control his thoughts. He maintains his loyalty to King Duncan and refuses to let ambition corrupt him. Banquo’s restraint and ethical compass become a foil to Macbeth’s growing moral decay. Comparison: Both Macbeth and Banquo hear prophecies that have significant implications for their futures. However, while Macbeth is consumed by ambition and conflicted about pursuing power, Banquo remains skeptical and morally grounded. Macbeth is easily swayed by the witches, showing his openness to the supernatural and his growing desire for power, while Banquo approaches the prophecies with caution and wisdom, warning against trusting evil forces. The key difference lies in how each character handles ambition: Macbeth lets it drive him towards moral corruption, while Banquo resists temptation and stays loyal to his principles. These contrasting reactions foreshadow the different paths the characters will take in the play: Macbeth’s descent into tyranny and Banquo’s eventual role as a symbol of integrity, even after his death. CALCUTTA INTERNATIONAL SCHOOL GRADE 8 ENGLISH LITERATURE MACBETH Original (Shakespeare's Text): 1st Witch: Where hast thou been, sister? 2nd Witch: Killing swine. 3rd Witch: Sister, where thou? 1st Witch: A sailor’s wife had chestnuts in her lap, And munched, and munched, and munched: ‘Give me,’ quoth I: ‘Aroint thee, witch!’ the rump-fed ronyon cries. Her husband’s to Aleppo gone, master o’ the Tiger: But in a sieve I’ll thither sail, And, like a rat without a tail, I’ll do, I’ll do, and I’ll do. Translation: 1st Witch: Where have you been, sister? 2nd Witch: Killing pigs. 3rd Witch: And you, sister? 1st Witch: I saw a sailor’s wife with chestnuts in her lap, And she was munching, munching, munching away. "Give me some," I said. "Get lost, witch!" the fat woman shouted. Her husband is a sailor, off to Aleppo on a ship called the Tiger. But I’ll go after him in a sieve (a strainer), And like a rat without a tail, I’ll cause trouble, trouble, and more trouble. Original (Shakespeare's Text): 2nd Witch: I’ll give thee a wind. 1st Witch: Thou’rt kind. 3rd Witch: And I another. 1st Witch: I myself have all the other, And the very ports they blow, All the quarters that they know I’ the shipman’s card. I’ll drain him dry as hay: Sleep shall neither night nor day Hang upon his penthouse lid; He shall live a man forbid: Weary se’nnights nine times nine Shall he dwindle, peak and pine: Though his bark cannot be lost, Yet it shall be tempest-tost. Look what I have. Translation: 2nd Witch: I’ll give you a wind to help you. 1st Witch: That’s kind of you. 3rd Witch: I’ll give another wind, too. 1st Witch: I’ve already got control over all the other winds, And I know every port From the shipman’s map. I’ll drain him dry as hay: He won’t sleep, night or day, His eyelids will never rest. He’ll be cursed for all his days. For 81 weeks, He’ll waste away, suffering. Even though I can’t sink his ship, I’ll still make it stormy. Look what I have here. Original (Shakespeare's Text): 2nd Witch: Show me, show me. 1st Witch: Here I have a pilot’s thumb, Wreck’d as homeward he did come. 3rd Witch: A drum, a drum! Macbeth doth come. ALL: The weird sisters, hand in hand, Posters of the sea and land, Thus do go about, about: Thrice to thine and thrice to mine And thrice again, to make up nine. Peace! the charm’s wound up. Translation: 2nd Witch: Show me, show me! 1st Witch: Here, I have a pilot’s thumb, Taken from a man who drowned on his way home. 3rd Witch: Listen! A drum! Macbeth is coming. ALL: We, the weird sisters, hand in hand, Travelers of both sea and land, Are circling around. Three times for you, and three times for me, And three times again, to make nine. Quiet now! The spell is cast. Original (Shakespeare's Text): MACBETH: So foul and fair a day I have not seen. BANQUO: How far is’t call’d to Forres? What are these So wither’d and so wild in their attire, That look not like the inhabitants o’ the earth, And yet are on’t? Live you? or are you aught That man may question? You seem to understand me, By each at once her chappy finger laying Upon her skinny lips: you should be women, And yet your beards forbid me to interpret That you are so. Translation: MACBETH: I’ve never seen such a foul and fair day. BANQUO: How far is it to Forres? Who are these creatures, So withered and wild-looking? They don’t look like they’re from Earth, But they’re here, aren’t they? Are you alive? Can we speak to you? You seem to understand us, Since you’ve put your fingers to your lips, But you should be women, Though your beards make me doubt it. Original (Shakespeare's Text): MACBETH: Speak, if you can: what are you? 1st Witch: All hail, Macbeth! hail to thee, Thane of Glamis! 2nd Witch: All hail, Macbeth, hail to thee, Thane of Cawdor! 3rd Witch: All hail, Macbeth, that shalt be king hereafter! Translation: MACBETH: Speak, if you can. Who are you? 1st Witch: All hail, Macbeth! Hail to you, Thane of Glamis! 2nd Witch: All hail, Macbeth! Hail to you, Thane of Cawdor! 3rd Witch: All hail, Macbeth! You will be king in the future! CALCUTTA INTERNATIONAL SCHOOL GRADE 8 ENGLISH LITERATURE MACBETH FIGURES OF SPEECH Act 1, Scene 3 of Macbeth is rich in figurative language. Here are some of the prominent figures of speech used in the scene: 1. Metaphor "If you can look into the seeds of time, And say which grain will grow and which will not." ○ Banquo uses this metaphor to compare the future to seeds, suggesting the witches might have the power to predict which "seeds" (or people) will succeed or fail. "The instruments of darkness tell us truths, Win us with honest trifles, to betray 's In deepest consequence." ○ Banquo calls the witches “instruments of darkness,” comparing them to tools or devices used to bring evil. 2. Alliteration "Thane of Glamis, Thane of Cawdor." ○ The repeated use of the "Th" sound helps create a rhythmic flow and emphasizes Macbeth's titles. "Present fears are less than horrible imaginings." ○ The repetition of the "P" sound draws attention to the contrast between actual fear and terrifying thoughts. 3. Irony "What, can the devil speak true?" ○ Banquo expresses irony in discovering that the witches' prophecy about Macbeth becoming Thane of Cawdor is true. It is ironic because the witches, often seen as evil, are telling the truth. 4. Simile "The earth hath bubbles, as the water has, And these are of them." ○ Banquo compares the witches' disappearance to bubbles forming and popping on the surface of the water. "New honours come upon him, Like our strange garments, cleave not to their mold But with the aid of use." ○ Banquo compares Macbeth’s new titles to clothes that don’t fit well at first but will eventually be comfortable as he gets used to them. 5. Personification "Why hath it given me earnest of success?" ○ Macbeth personifies the witches' prophecy, suggesting it has "given" him success. "Sleep shall neither night nor day Hang upon his penthouse lid." ○ The First Witch personifies sleep, suggesting it will avoid the sailor she curses. 6. Paradox "Lesser than Macbeth, and greater." ○ The First Witch tells Banquo he will be "lesser than Macbeth, and greater," creating a paradox that highlights the complexity of Banquo's fate. He will not be king, but his descendants will. "Not so happy, yet much happier." ○ Another paradox spoken by the witches about Banquo, suggesting that while Banquo may not enjoy the same immediate success as Macbeth, he will ultimately be better off. 7. Imagery "Strange images of death." ○ Ross describes Macbeth’s actions in battle, evoking strong visual imagery of death and violence. "My thought, whose murder yet is but fantastical, Shakes so my single state of man." ○ Macbeth uses vivid imagery to describe how the thought of murder disturbs him deeply, even though it’s only a fantasy. These figures of speech contribute to the dramatic tension, foreshadow events, and enhance the emotional depth of the scene. CALCUTTA INTERNATIONAL SCHOOL GRADE 8 ENGLISH LITERATURE HANDOUT ON MACBETH 1. IMPORTANCE OF THE SETTING In Act 1, Scene 1 of Shakespeare's Macbeth, the setting plays a crucial role in establishing the play's ominous and foreboding tone. The scene takes place in an open place during a storm with thunder and lightning. This choice of setting is significant for several reasons: 1. An atmosphere of Chaos and Disorder: The stormy weather immediately sets a chaotic and unsettling atmosphere. The thunder and lightning create a sense of turmoil and forewarning, suggesting that the natural order is disturbed. This reflects the central theme of the play, where the natural order is disrupted by Macbeth's actions. 2. Supernatural Element: The setting introduces the supernatural aspect of the play right from the beginning. The storm and the eerie, desolate place enhance the witches' mysterious and otherworldly presence. The witches, often associated with chaos and evil, are fittingly introduced in a turbulent environment, highlighting their connection to dark and malevolent forces. 3. Foreshadowing: The stormy weather foreshadows the tumultuous events to come. The disturbance in nature mirrors the political and moral disorder that will ensue as Macbeth disrupts the natural order by committing regicide and seizing the throne. The setting hints at the catastrophic consequences of his ambition and the ensuing conflict. 4. Isolation: The open place, away from human habitation, emphasizes the isolation of the witches and their separation from the normal world. This isolation also foreshadows Macbeth's sense of isolation as he descends into tyranny and madness. 5. Mood Setting: The dark and foreboding setting effectively sets the mood for the entire play. It prepares the audience for a story filled with dark deeds, supernatural occurrences, and moral ambiguity. The unsettling environment insinuates the audience to expect the unexpected and to be wary of appearances. 2. The Three WItches as Agents of Chaos In Act 1, Scene 1 of Shakespeare's Macbeth, the witches are portrayed as agents of chaos, setting the stage for the tumultuous events that follow. Their role as harbingers of disorder is conveyed through several key elements: 1. Prophetic Utterances: The witches' dialogue is cryptic and filled with paradoxes, such as "When shall we three meet again? / In thunder, lightning, or in rain?" and "Fair is foul, and foul is fair." These statements introduce the theme of ambiguity and inversion of  natural order, suggesting that what appears to be good may actually be evil and vice versa. This theme of equivocation is central to the chaos that unfolds in the play. 2. Manipulation and Influence: The witches plan to meet Macbeth, indicating their intention to influence and manipulate him. Their prophetic powers and the ability to foresee Macbeth's future actions suggest that they are catalysts for the ensuing chaos. By planting the seeds of ambition and power in Macbeth's mind, they set him on a path of moral and political upheaval. 3. Atmosphere of Foreboding: The witches appear in a desolate, stormy setting, accompanied by thunder and lightning. This environment reflects their chaotic nature and enhances the sense of foreboding. The storm mirrors the disruption they bring to the natural and social order. 4. Subversion of Natural Order: The witches' presence and actions symbolize a subversion (changing the natural order of things) of the natural order. They are associated with the supernatural and the occult, existing outside the realm of ordinary human experience. Their ability to predict and influence events hints at a world where normal rules do not apply, contributing to the overall sense of disorder. 5. Agents of Fate: The witches can be seen as instruments of fate, steering Macbeth towards his tragic destiny. Their prophecies are self-fulfilling, as Macbeth's belief in their predictions drives him to commit heinous acts. This element adds to the chaos, as characters struggle against forces beyond their control. By portraying the witches as agents of chaos in Act 1, Scene 1, Shakespeare sets the tone for the entire play. Their influence initiates a chain of events that leads to moral decay, political instability, and ultimately, Macbeth's downfall. The witches embody the unpredictable and destructive forces that disrupt the natural and social order, making them central to the play's exploration of ambition, power, and fate. 3. Explanation of ‘Fair is foul and Foul is fair’ The phrase "Fair is foul, and foul is fair," spoken by the witches in Act 1, Scene 1 of Shakespeare's Macbeth, is a central theme of the play and carries significant meaning. This paradoxical (meaning self-contradictory) statement is a symbol of the events that follow and the inversion of moral order that pervades the play. Here's a detailed explanation of the phrase: 1. Ambiguity and Contradiction: The phrase itself is contradictory, suggesting that what is fair (good) is foul (bad), and what is foul (bad) is fair (good). This introduces a world where appearances are deceiving and reality is not as it seems. It sets the stage for the play's exploration of deception, betrayal, and moral ambiguity. 2. Moral Inversion: The witches' chant signifies the inversion of the natural moral order. Throughout Macbeth, actions that are traditionally seen as good are subverted, and evil deeds are portrayed in a way that makes them seem justifiable or even desirable. This moral confusion is evident in Macbeth's actions as he justifies murder and treachery in his quest for power. 3. Foreshadowing: The phrase foreshadows the deceptive nature of the play's events. Characters who appear to be loyal and trustworthy may harbour treachery, while  seemingly evil characters might have hidden depths. This is exemplified in characters like Macbeth and Lady Macbeth, who initially seem noble but eventually reveal themselves to be complicit in King Duncan’s murder, justifying their actions through political ambition. 4. Reflection of Inner Conflict: The phrase also reflects the internal conflict within characters, especially Macbeth. He struggles with his ambition and his sense of guilt and morality. What he perceives as "fair" (the throne and power) is achieved through "foul" means (murder and betrayal), leading to his ultimate downfall. 5. Atmospheric Setting: By introducing this phrase in the opening scene, Shakespeare creates an atmosphere of uncertainty and foreboding. The natural world is depicted as out of balance, mirroring the moral and political chaos that will unfold. CALCUTTA INTERNATIONAL SCHOOL MODEL QUESTION PAPER WITH ANSWER Grade 8 English Literature: Macbeth Prepared By Ms Kundu EXTRACT 1 Macbeth [Aside] Two truths are told As happy prologues to the swelling act Of the imperial theme. [To Ross and Angus] I thank you, gentlemen. [Aside] This supernatural soliciting Cannot be ill, cannot be good. If ill, Why hath it given me earnest of success, Commencing in a truth? I am Thane of Cawdor. If good, why do I yield to that suggestion Whose horrid image doth unfix my hair, And make my seated heart knock at my ribs, Against the use of nature? Present fears Are less than horrible imaginings. My thought, whose murder yet is but fantastical, Shakes so my single state of man that function Is smothered in surmise — and nothing is, But what is not. Banquo Look, how our partner's rapt. Macbeth [Aside] If chance will have me king, why, chance may crown me, Without my stir. Question 1: How does Macbeth's reaction to the title of Thane of Cawdor reveal a critical aspect of his character? Response Framework (P-E-A-L): (Can be done in two ways) Structure 1 Paragraph 1 contains one point – Example Macbeth was guilty, Evidence 1 followed by explanation. Evidence 1 must be from the extract. Explanation may contain analysis from beyond the extract provided. Paragraph 2 contains another evidence to prove the same point, followed by an explanation of evidence 2. This will be followed by an overall link. EXAMPLE- PARAGRAPH 1 (Point) Macbeth’s reaction to the title of Thane of Cawdor demonstrates his ambition and internal conflict. He is both intrigued and fearful of the witches' prophecy, which taps into his latent desire for power. (Evidence) The first evidence shows Macbeth mentioning Two truths are told/As happy prologues to the swelling act/Of the imperial the me”(Analysis) Macbeth refers to the two parts of the witches' prophecy that have come true—he has already been named Thane of Glamis and Thane of Cawdor. This acknowledgment of the truth hints at his growing belief in the prophecy and suggests that he is beginning to view the witches' words as reliable, even if they come from a supernatural source. The phrase "Happy prologues to the swelling act": Macbeth likens the prophecies to the "prologues" or introductory scenes of a larger, grander event—the "swelling act." The phrase "swelling act" refers to his ambition to become king (the "imperial theme"). Here, Macbeth's use of theatrical language foreshadows his eventual performance of treachery and murder to fulfill his ambitions. The "imperial theme" refers to kingship, a goal that he sees as almost inevitable after the witches' predictions. These lines also reveal Macbeth’s ambitious nature. Although he doesn’t immediately decide to act, he is intrigued by the idea of kingship and sees the prophecy as a pathway to power. It also reflects the theme of temptation, as the prophecy stirs Macbeth’s latent desire for power, eventually pushing him towards darker actions. PARAGRAPH 2 The idea is further continued when Macbeth says "If good, why do I yield to that suggestion" Macbeth is contemplating whether the witches' prophecy is good or bad. He acknowledges that if the prophecy is good, it should not evoke feelings of dread. Yet, he is disturbed by the thought that he is already yielding to the "suggestion"—the idea of killing King Duncan to fulfill the prophecy. The word "yield" indicates that Macbeth feels tempted or drawn towards this violent course of action, despite not having taken any physical steps. The phrase "horrid image" Macbeth refers to is the visualization of murder. This thought is so terrifying that it physically affects him, making his hair stand on end. This suggests the depth of his horror at the idea of committing such a crime, showing that Macbeth is not naturally ruthless at this stage. His visceral reaction hints at his inner moral conflict; though he is tempted by ambition, the thought of murder repulses him. These lines also capture Macbeth's torn psyche—on one hand, he is ambitious and tempted by the possibility of becoming king, while on the other, he is horrified by the path he would have to take to achieve this. His reaction of fear and revulsion shows the psychological impact of contemplating such a grave sin. It foreshadows the mental turmoil he will experience later in the play as his guilt consumes him. Link: Macbeth’s immediate contemplation of murder after hearing the prophecy suggests his ambition, but his hesitation also reveals his moral struggle—a key trait that will drive the action of the play. Structure 2 Paragraph 1 contains the first point, an evidence to prove their point, an explanation Paragraph 2 contains the second point, an evidence to prove that point, an explanation followed by an overall link. In Macbeth Act 1, Scene 3, Macbeth's reaction to becoming Thane of Cawdor reveals key aspects of his inner character, including his ambition and moral conflict. Paragraph 1: First Point, evidence and explanation Macbeth's immediate reaction to the title of Thane of Cawdor demonstrates his ambition. When he states, "Two truths are told / As happy prologues to the swelling act / Of the imperial theme," he acknowledges that the witches' prophecy is unfolding as they predicted. This realization fuels his aspirations of becoming king, which is the "imperial theme." The word "happy" reflects Macbeth's initial excitement and satisfaction at the fulfillment of the witches' words. The prophecy encourages him to entertain thoughts of greater power, showing his latent ambition, even though he has not yet acted on these thoughts. Paragraph 2: Second Point, evidence and explanation with overall link However, Macbeth's reaction also reveals his internal struggle with the morality of his ambition. When he contemplates, "Why do I yield to that suggestion / Whose horrid image doth unfix my hair," he is terrified by the thought of murdering Duncan to fulfill the prophecy. His physical reaction—his hair standing on end and his heart pounding—indicates his deep fear and horror at the idea of committing such a crime. This reveals the crucial aspect of Macbeth's character: his ambition is in conflict with his sense of morality. He is tempted by the prospect of power but repelled by the means he would have to use to achieve it. Ultimately, this tension between ambition and conscience will drive his tragic downfall. Overall Link: Macbeth's reaction to becoming Thane of Cawdor encapsulates his inner turmoil between ambition and morality. His acknowledgment of the witches' prophecy ignites his desire for power, but his horror at the thought of murder reveals his moral hesitation. This sets the stage for the conflict that will consume him throughout the play. SHORT QUESTIONS: EXTRACT 1 First Witch I myself have all the other, And the very ports they blow — All the quarters that they know I' the shipman's card. I will drain him dry as hay. Sleep shall neither night nor day Hang upon his penthouse lid. He shall live a man forbid. Weary seven nights, nine times nine, Shall he dwindle, peak and pine. Though his bark cannot be lost, Yet it shall be tempest-tossed. Look what I have. Second Witch Show me, show me. First Witch Here I have a pilot's thumb, Wrecked as homeward he did come. Question 2: How do the witches' actions in plotting against the sailor reflect their nature and motivations? The description of the witches in these lines from Macbeth reveals their malevolent and vindictive nature, showing how they take pleasure in causing harm. The First Witch speaks about her control over the winds and her ability to torment a sailor, a clear demonstration of the witches' supernatural power and their capacity for cruelty. When she says, "I will drain him dry as hay," it conveys her intention to strip him of vitality and leave him utterly exhausted. The phrase emphasizes the witches' desire to punish, even though the sailor has done nothing to directly provoke them. Their malevolent influence extends beyond physical harm to psychological torment. The sailor will be deprived of sleep ("Sleep shall neither night nor day / Hang upon his penthouse lid"), causing his mental and physical decline. The imagery of the sailor's gradual deterioration ("He shall dwindle, peak and pine") illustrates the witches' ability to destroy lives slowly and painfully. Their cruelty is further highlighted when the First Witch proudly shows off the "pilot's thumb," a macabre trophy from a shipwrecked sailor. This reinforces the idea that the witches delight in suffering and death, making them embodiments of chaos and evil. EXTRACT 2 First Witch When shall we three meet again — In thunder, lightning, or in rain? Second Witch When the hurlyburly's done, When the battle's lost, and won. Third Witch That will be ere the set of sun. First Witch Where the place? Second Witch Upon the heath. Third Witch There to meet with Macbeth. All Fair is foul, and foul is fair. Hover through the fog and filthy air. Question 3. Identify the figure of speech in “Fair is foul, and foul is fair” and explain how it establishes the play's tone. In the line “Fair is foul, and foul is fair,” from Macbeth, the witches introduce a paradox, a figure of speech that presents contradictory statements. This paradox signifies that appearances can be deceiving, and what seems good or just might actually be evil, while what appears foul might be fair or true.This phrase sets the tone for the entire play by establishing the theme of moral ambiguity and the blurring of lines between good and evil. The witches, as representatives of supernatural chaos, foreshadow the inversion of values that occurs in the play. Macbeth, for instance, initially appears to be a loyal subject, but soon gives in to ambition and treachery. This paradox reflects the central conflict in the play: the duality of Macbeth’s character and the confusion between appearance and reality, which ultimately leads to his downfall.The foggy and ambiguous atmosphere that the witches create through this line adds to the overall sense of uncertainty and danger, setting the stage for the dark events that follow. It hints at the deceptive nature of the world in Macbeth, where one cannot trust outward appearances. The "fog and filthy air" further reinforces this murky sense of deception and confusion that clouds judgment throughout the play. Extract 3 Macbeth So foul and fair a day I have not seen. Banquo How far is't called to Forres? [Enter Witches] What are these, So withered and so wild in their attire, That look not like the inhabitants o' the earth, And yet are on't? [To the witches] Live you or are you aught That man may question? [The witches signal for Banquo to be silent] You seem to understand me, By each at once her chappy finger laying Upon her skinny lips. You should be women, And yet your beards forbid me to interpret That you are so. Question 4: What does Banquo’s description of the witches suggest about his perception, and how does it contrast with Macbeth’s attitude toward the supernatural? Answer: Banquo's description of the witches highlights his skepticism and unease regarding their appearance and nature. He perceives them as "withered" and "wild," noting their unnatural attire and the fact that they don’t seem like ordinary humans. His observation that "You should be women, and yet your beards forbid me to interpret that you are so" suggests that the witches defy natural categories, blurring the lines between male and female, human and supernatural. This contrasts sharply with Macbeth’s response to the witches. While Banquo is cautious and suspicious, Macbeth is more accepting of their presence and quickly becomes engrossed in their prophecy. Banquo questions their reality and is wary of their intentions, showing his more rational and grounded nature. Macbeth, on the other hand, is more open to their supernatural influence, which foreshadows his eventual surrender to ambition and darker forces. This contrast between Banquo's wariness and Macbeth's intrigue with the witches’ supernatural powers reflects their differing attitudes towards fate and morality. Banquo remains a moral compass, more skeptical of the witches and the temptations they offer, while Macbeth is seduced by the idea of power and destiny, leading to his tragic downfall. Question 5: Why is Macbeth’s line, “So foul and fair a day I have not seen,” significant, and how does it reflect a central theme of the play? Answer: When Macbeth says, "So foul and fair a day I have not seen," he echoes the words of the witches from Act 1, Scene 1, where they say, "Fair is foul, and foul is fair." This repetition highlights the theme of appearance versus reality, a central idea in the play. The line suggests that things are not always as they seem—what appears to be good can be bad and vice versa. This theme recurs throughout the play as characters deceive others, and ambition leads to tragic consequences. It also introduces the idea of moral ambiguity, where Macbeth himself begins to grapple with what is right and wrong, as his thoughts of murder begin to take hold. This line marks the growing influence of the supernatural on Macbeth's actions, linking him to the witches and foreshadowing the confusion and chaos that will follow.