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ACT III SUMMARIES
ⓒ CIAN HOGAN ENGLISH NOTES W W W .C I A N H O G A N .C O M
"1
Act III opens as
Banquo
considers
Macbeth’s
involvement
c le ar ly does n ot acce pt
murdered
that
were
suspicions that he has
the
most obviously f ai l ed t o
the
grooms
responsible
for
-
raise
we have already discussed
counci l mee ti ng that saw
in t he Act II summa r i es,
Macbeth
named
the manner in which he
Duncan’s
successor
moves
the
instead he chooses to
i n D un ca n ’s mur de r. Th e
in c lu s ive “u s ”, to str es s ing
concentr ate on wha t a ll
l a s t ti m e we met B an qu o
that he alone stands in
this means for him and
w a s a t t h e end o f A c t II.
the “ r i ght h a nd o f God ”
his children. It is at this
Assuming
leadership
s ug ge sts that he is awa re
precise moment that we
position, he vowed to
that he has a different
w itne ss the ful l exte n t of
“q u e s t i o n t h i s m o s t b l o o d y
perspective
Banquo’s
p i e c e o f w o r k”, i n o rde r
ghastly cr ime . Here , in
compromise. It is most
to “know
further”.
s o l i l o q u y, h e vo i c e s h i s
telling that the man who
B a n q u o
s us pi cions that his fr ie nd
wisely
a
it
using
on
h
this
a
s
the
King
murder. Fur ther more , as
from
in
his
off-stage
as
-
mor al
counselled
his
f r i e n d a g a i n s t p ay i n g t o o
much
heed
to
the tr uths that
THE
BANQ
UET
SCEN
E
“instruments
of
d a r k n e s s” use to
win
us
to “our
harms”, should
n ow d we l l o n t h e
“verities”
and
“truth”
the
of
Witches’ speeches:
!
ⓒ CIAN HOGAN ENGLISH NOTES I f t h e re c o m e t r u t h
fro m them - As upon
thee , Macbeth, their sp ee c hes s hin e - Why,
by t h e v e r i t i e s o n t h e e
m a d e go o d , M a y t h e y n o t
"2
b e my o ra c l e s a s
w e l l , A n d s e t m e u p i n h o p e ? But hush! no more .
!
T h e e n t i r e t o n e o f t h i s s p e e c h r e c a l l s M a c b e t h ’s e a r l i e r, s h o r t - l i ve d s t r u g g l e w i t h
temptation when he wondered if “ c hance ” would have him king without his stir.
!
W h e n Ma c be th ent e r s the s ta ge , Ba nquo puts hi s mi sgiv i ng s aside a nd
s wea r s al le g ian ce t o h im in t h e type of effusi ve l anguage
Macbeth
hi m sel
ⓒ CIANthat
HOGAN
ENGLISH NOTES
f
u s e d w h e n t a l k i n g t o D u n c a n : L e t you r h ig h ne ss C o mma nd upo n me; to the whic h my d uties
Are wi th a mo st in di sso l u ble ti e Fo r eve r k ni t. "3
During their
Malcolm and Donalbain,
between the royal “We”
c o nve r s a t i on , Mac be t h
wh o he des cr ib es as hi s
and “I”, his
questions Banquo closely
“b l o o d y c o u s i n s”, have
confir ms our se nse t ha t
about his plans to go
been spreading r umour s
h e i s n o t t h e l aw f u l k i n g .
r iding with Fleance .
about him. Reminding
The
Banquo replies, that if he
Banquo of the state
questions that betr ay his
does cover enough
banquet to be held later
sense
ground, he intends to
that night, Macbeth
“Ride you this afternoon? ” ,
become a “ b o r row e r o f
re ti re s to hi s chambe r. “I s ’ t fa r y o u r i d e ?”, “Go e s
scene
of
speech
is
full
of
uncer tainty:
the night ” . Th is may h ave
!
s y m bo li c ove r to n es . In
It is wor th foc using for a
those men our pleasure? ” ,
this play, night has
moment
and when the murderer s
o bv i ou s co n no t at io n s o f
Macbeth’s
e v i l a nd B a n qu o’s mor a l
re ve als abo ut h i m. Th i s is
c o n s i d e r ’d o f my fo r m e r
ambiguity may infer that
fi r s t s c e n e i n w h i c h we
sp ee c hes ? ”. T hes e are no t
h e h a s a l r e a d y b o r r owe d
me et Macbe th as Ki ng o f
the commands of a king
s o m et h i n g o f t he n ig ht .
Scotland
bu t r athe r th e unc er tai n
Macbeth also reveals that
moves
h e i s aw a r e t h a t
Fl ea nce with y o u ”, “Att end
on
what
language
and, as
uneasily
he
arrive , “Have
you
q u e s t i o n s o f a u s u r p e r.
Macbeth’s overwhelming
ⓒ CIAN HOGAN ENGLISH NOTES MACBETH’S LANGUAGE PROVIDES US WITH A
FASCINATING INSIGHT INTO HIS THINKING.
"4
desire in this scene is not
And ba d e the m spea k to
f u l fi l h i s a m b i t i o n . H e h a s
to project the power and
h i m : t h e n p ro p h e t - l i ke “file d [h i s] m in d ” and
m a je s ty of t he st at e , bu t
They hail'd him father to a
given his “ e te r nal jewe l ” ,
to gain per sonal secur ity.
line of kings: Upon my
his soul to devil.
Alone, and
head
Ambition d rove Macbet h
deep
in
they
placed
a
thought, we see the full
fru it le ss crown, And pu t a
to murder Duncan; and
extent of his troubled
barren
sceptre
in
my
n ow t h e s a m e a m b i t i o n
m i nd : gripe, Thence
to
be
impel s hi m to kil l Banq u o
!
w re n c h ' d w i t h a n u n l i n e a l
and Fleance , whom he
To b e th u s is n o th in g; hand, No
fe e l s a r e d e s t i n e d t o
But to be safely thus −Our
s ucceed in g. If ' t be so , For
w ren ch the monarc hy
fears
Stick
Banquo's issue have I filed
from him and his
d e e p ; a n d i n h i s roya l t y o f
my m i n d ; Fo r t h e m t h e
descendants. Notice also
n a t u re R e i g n s t h a t w h i c h
g ra c i o u s D u n c a n h a v e I
h ow t h e s p e e c h d e ve l o p s
w o u l d b e fe a r ' d : ' t i s mu c h
mu rd e r ' d ; P u t ra n co u r s i n
one of th e most
he dares; And, to that
t h e v e s s e l o f my p e a c e
inter esti ng and intr icat e
dauntless temper of his
Only for them; and mine
image r y patte r ns i n the
mind, He hath a wisdom
ete rnal jewe l G ive n to the
play − the ster ility of
that doth guide his valour
common enemy of man, To
To a ct in sa fety. Th ere is
m a ke t h e m k i n g s , t h e s e e d
none but he Whose being I
of Banquo kings! Rather
d o fe a r : a n d , u n d e r h i m ,
than so, come fate into
M y Ge n i u s i s rebuke d; as ,
the list. And c hampion me
i t is s a id , M ark Ant ony's
t o t h e u t t e ra n c e ! W h o ' s
wa s by C a e s a r. H e c h i d
there!
in
Banquo
the sister s When fir st they
son
of
mine
!
put the name of king upon
T h e s p e e c h r e ve a l s t o u s
m e , ju s t h ow mu ch Macb eth
h a s s a c r i fi c e d i n o r d e r t o
evi l . T he Wi tc hes, who
fi r s t a p p e a r o n a b a r r e n
heath, embody a type of
androgynous evil that
bear s no life . Macbeth
embr ace s thi s e vi l , w h ic h
h a s i n e v i t a bly p r ove n
“fruitle s s”, “b a r re n” and
“u n l i n e a l”. R eading th ese
lin es, one canno t he lp bu t
r ecall
L ady Macbeth’s
ⓒ
CIAN HOGAN
ENGLISH NOTES EVIL IN THIS PLAY IS PORTRAYED AS
BARREN AND STERILE
"5
her” and “turn [her] milk
Macbeth’s relationship.
dr ifted apar t. She has no
to gall ” . T h i s c h a n g e i s fi r s t
idea of hi s pl an to
u n d e r s c o r e d by h i s e x i t
murder Banquo, and
When the murderer s
through one door and
although she is suffer ing
ar r ive , Macbeth employs
her entrance through
ter r ibly, she conceals her
m a ny si m il ar t ec h ni qu es
another. In order to reach
pain from him. Instead,
to those used by his wife
h e r h u s b a n d n ow, s h e
sh e tr ies to assu re h i m
o n h i m i n or de r t o
must send a ser vant to
that “ w h a t ’s d o n e i s d o n e”
e m a sc u l a t e th em, a nd t o
re qu es t an aud ie nce wi th
and that he should not
c o nv i n c e t h em o f th e
h i m . M a c b e t h ’s
“ke e p a l o n e”. While sh e
n e e d t o mu r d e r B a n q u o
apprehensive , but realistic
manages to conce al her
and Fleance . The scene
o bs er vati on, that “To b e
pain for his sake , he
c o nc l u de s w it h Ma cbe t h
thus is nothing; | But to be
u n bu r d e n s h i s c o n c e r n s
re i t e r a ti ng hi s de c i si on t o
s afel y thu s ”, is ec hoed by
on he r. I n h is angui sh ed
h ave B a n q u o mu r d e r e d : L a d y M a c b e t h : account of how he feels,
!
!
!
we see that his words
It is concluded. Banquo,
No ug h t's ha d, a l l's sp e nt, ech o h er s. He too wo ul d
thy soul's flight,
Where our desire is got
r ather be dead than live
I f i t fi n d h e a v e n , mu s t fi n d
w i t h o u t c o n t e n t : the life that they have
i t o u t t o -n i ght.
'T is s afe r to be tha t whi c h
cre ate d for w e d e s t roy themselves:
A l t h ou gh sce n e i i, o pe n s
Than by destruction dwell
b e t t e r b e w i t h t h e d e a d , i n t he s am e l oc a ti on , it is
in do ub tful j oy. Whom we , to gain our
!
u s e d by S h a ke s p e a r e t o
!
e m ph as i se t he
Rather than stress the
Than on the tor ture of the
c o ns i d er a ble s hi ft th at
s imi la r ity in th ei r thi nki ng,
m i n d t o l i e I n re s t l e s s
h a s t a ke n p l a c e i n
the effect is to emphasise
ecsta sy. Macbeth and Lady
ju s t h ow f ar they h ave
p e a c e , h a v e s e n t t o p e a c e , !
ⓒ CIAN HOGAN ENGLISH NOTES THE MURDER OF DUNCAN DRIVES THEM
APART
"6
There's comfor t yet;
!
Aw a r e of t h e n ee d to
c o nc e al hi s mu rde ro u s
they are assailable;
i nt en t , M a cbe t h re mi nds
Be innocent of the
h i s w i fe o f t h e y mu s t
Then be thou jocund: ere
k nowl e dge , dea rest c h uc k , m a ke t he i r “faces vizards
the bat hath flown
to [their] hear ts , |
Disguising what they are ”.
H i s c l o i s t e r ' d f l i g h t , e re t o
We see just how much
b l a c k H e c a t e ' s s u m m o n s !
Macbeth has changed
While he may sense in
w h en h e d es cr ibe s how
The shard-borne beetle
h e r t h e u n d e r ly i n g
h i s m i n d i s “full of
w i t h h i s d row s y h u m s weakness that she
s co r p i on s ” . Th is ho r r i ble
previously pr ayed to the
i m ag e d em on st r a te s
H a t h r u n g n i g h t ' s ya w n i n g
spi r its of th e ni ght to
c l ea r ly th e e x t en t o f th e
p e a l , t h e re s h a l l b e d o n e su ppre ss , and w hil e he
m en t a l pa in th at M ac be t h
i s ex pe r i en c i ng . He t he n
d e e d o f d re a d f u l n o t e . Till thou applaud the
A
d e e d .
may be attempti ng to
sh ie ld h er fr om fur the r
h i n t s a t h i s d a r k p l a n s fo r
!
Banquo in a speech
Her stunned reaction to
denying that he is moving
w h os e t on e , rhyt hm a nd
wh at he h as j ust sai d, is
in a di ffe re nt d ir ectio n to
c a d en c e ec h o t he
greeted by him with a
h e r. Witches:
dismissive: distress, there is no
!
THE MURDER OF BANQUO MARKS A
CHANGE IN MACBETH’S CHARACTER
DEVELOPMENT
ⓒ CIAN HOGAN ENGLISH NOTES "7
20 0 4 “The play, Macbeth, has many scenes of compelling drama.” !
Choose one scene that you found compelling and say why you found it to be so.
Sup po r t y ou r answe r by reference t o th e p la y. !
While candidates may interpret ‘one scene’ liberally, they should focus mainly on one
p a r t i c u l a r p a r t o f t h e p l a y, o r o n a g ro u p o f re l a t e d s c e n e s s u c h a s t h e m e e t i n g s
w i t h t h e w i t c h e s , o r t h e mu rd e r o f D u n c a n a n d i t s i m m e d i a t e a f t e r m a t h . Code CD for ‘compelling drama’. Po s s i b l e p o i n t s : Compelling drama because of… - t he se t t in g and at mos p here - t he t e n s ion and conflict creat ed in it - i t s o ccu r re nce at a key m om ent in the drama - t h e mo o d creat e d by t he actions a nd tho ughts o f the c haracter s - t he d ra m a tic i mp act of Shakes p eare’s la nguage/image r y - t he st a g in g , cos t ume , lig ht ing - t he sc e n e’s pot e ntial for s p ecial effe cts
!
!
“M a c be th ” has many s c en es o f compellin g drama. How ever, to my
m in d Act th ree , sc ene i v, The B anqu et S cen e, h as to be on e of th e pl ay ’s
m os t f as cinat i ng and dramat i c sc en es. In on e sh ort scen e, S h akespeare
m an age s t o c apt ure bo t h t he momen t of Macbeth an d Lady’s Macbe t h ’s
tr i ump h and th ei r do wnf al l . Th is sc en e ch an ges ever yth in g an d follow in g
th e B anq ue t, Macb et h’s l e gi t i mac y as mon arch is n o lon ger accepted, h i s
ⓒ CIAN HOGAN ENGLISH NOTES THE BANQUET SCENE | A SAMPLE
ESSAY
"8
re lat i o ns hi p wit h his w i f e b e c omes i n creasi n gl y strai n ed an d h e i s dr i v en
fu rt h er in to p arano i a and vi o l en ce.
!
!
The Banquet Scene occurs in Act III, scene iv. Its placement within
th e ov e ral l p l ay i s hi ghl y s i gni f i can t. Macbeth ’s illegal attempt to u su r p th e
th ron e o f Sc ot l and has be e n s uc cessfu l an d in order to project an im a g e
o f p ow e r and st abi l i t y he arra nges for a state ban qu et to be h eld. Th e
s ce n e o pe ns wi t h Mac bet h i ns i sti ng o n order an d decor u m. He remin ds h is
gu e st s t h at th ey al l “ k no w [ t heir ] o wn de gre e s ;” an d offer s th em a “ h eart y
w el c o me ”. H e makes extens i ve u se o f th e royal plu ral so as project a se n se
o f maj e st y and p ower:
!
Our s el f w ill mingle w ith so cie ty,
A nd pla y t h e h u mble h ost .
O ur ho s te s s ke e ps h er s t ate, but in bes t time
We w i ll re qu ire h e r welcome .
!
O n e of t he mo st c o mpel l i ng aspec ts of th is scen e is th e w ay w h ic h
Sh ake s peare h i gh l i ght s t he i nc on gru ity betw een Macbeth ’s open h earte d
w e l com e t o th e ass embl ed Than es an d h is mu rderou s in ten t. If th e
B anq ue t h as be en organi s ed t o pro jec t a sen se of pow er an d stabilit y, it
ha s a lso be en ar range d i n o rder to c on ceal Macbeth ’s mu rder of Ban q uo.
Th e th e me of appeara n c e a n d real ity i s c en tral to an y readi n g o f Mac b e th
a nd , a s th e two murders arri ve at th e door, w e are remin ded of Du n can ’s
ⓒ CIAN HOGAN ENGLISH NOTES THE BANQUET SCENE | A SAMPLE
ESSAY
"9
be l ie f t hat th ere i s no “ a rt to fin d th e min d’s con s tru ction in th e fa c e ”.
Mac be th ’s sh oc ki ng abi l i t y t o presen t a k in d an d affable face to h is gu es ts
w h ile di s cu ss i ng th e c i rc ums t an ces o f his for mer fr ien d’s mu rder makes f or
c om pe lli ng d rama. The hi re d m urder s th at w ait for Macbeth ou tside t h e
ba nqu e t act as a po we rf ul metaph or for th e th eme of appearan ce an d
rea l it y an d the y al so p re s e n t u s w i th a vi sc eral ac c ou n t o f Ban qu o’s f ate .
We l ear n th at he no w lies in a d itch with “ W ith twe n ty tre n ch e d gas h e s on
h i s h ea d; | The l ea st a death to n atu re . “ Th e men ’s appearan ce an d th e
l an g ua g e th at th ey us e are c o mpl etel y at odds w ith th e refin ed splen d or
o f th e b anq ue t and i t s e mphas is o n o rder an d statu s.
!
W he n M ac b e th re t u r n s, we are prese nted with on e of th e m os t
c om pe lli ng mome nt s o f drama in al l of literatu re. Th e ar r ival of th e gh o st
o f B an qu o put s an e nd t o Mac beth ’s carefu lly con str u cted attempt to
a p pear maj es t i c. In many res pec ts, Ban qu o ach ieves in death w h at h e
fa il e d t o do i n l i f e. Earl i er i n t he pl ay, in Act II, scen e i Ban qu o promised t o
fi gh t “ Aga i nst the undiv ulged prete nce ” an d to qu estion th is most blo od y
pi e ce of wo rk . U nf o rt unat e l y, Ban quo does n ot live u p to th is promise. He
i s i n f ac t, i n many way s dee pl y co mpromised by h is in action . How ever, i n
d e a t h t h e s p e c t r a l e m b o d i m e n t o f B a n q u o s u c c e e d s i n d e s t ro y i n g
Mac be th ’s “p ret enc e”. The as s embl ed gu ests k n ow n oth in g of Ban q uo ’s
m u rd er. So, wh en Mac bet h i ns i sts to the Gh ost th at:
Tho u cans t no t s a y I di d it: ne v er s h ake
Thy gor y locks at me .
ⓒ CIAN HOGAN ENGLISH NOTES THE BANQUET SCENE | A SAMPLE
ESSAY
"10
th e y m u st s us p ec t t hat he i s refer ri ng to th e mu rder of Du n can . Th ei r
s us p ic i on s are cap ture d i n Ro s s’ puz zl ed reply to Macbeth :
!
What s ights, my lo rd?
!
Th e re is no ans wer t o t h i s q u esti on an d w h i l e Lady Mac beth ’s ti m el y
i nt er v e n ti o n sav es her hus band from mak in g a fu ll disclosu re, it al so
e m p h as ise s th at he i s c o nc eal i n g a dark secret.
!
Th i s s c en e al s o pre se n t s u s with a compellin g insigh t into Macbeth ’s
m e nt al st ate . Whe n t he murd erer s ar rive an d con fir m th at Ban qu o h a s
be e n “di s pat ch ed ”, Mac bet h’s rel ief is almost palpable. How ever, w h en
th e y expl ai n t hat Fl eanc e has esc aped w e are afforded a glimpse of j us t
how a g it at ed Macbe t h i s . What fo ll ow s, in h is descr iption of h ow h e i s
fe e l in g, is a near cl i ni c al ac c o un t of paran oia:
!
B ut now I am cabin 'd, cribb'd, confine d,
b ound in | To s au cy doubt s and fears.
!
Th e s e “sa u cy d o ubt s a nd f ea r s” are magn ified w h en h e sees th e Gh o st .
Mac be th i s no c oward; hi s prow ess o n th e battled h as con fir med th is fo r
u s. Ho we ve r, th e si ght o f B anqu o wh ose “ bon e s are marrowle s s ” an d w h o
ha s “ n o spe cul ati o n in [ his] e ye s ” redu ces Macbeth to feelin g like “ Th e
ba b y o f a gi r l.” Banq u o ’s “ ho r r i ble s hadow ” destroys Macbeth ’s self-
ⓒ CIAN HOGAN ENGLISH NOTES THE BANQUET SCENE | A SAMPLE
ESSAY
"11
c on f id en ce and hi s abi l i t y t o pro jec t a sen se of majesty. It is on ly w h en th e
a p par it ion vani s h es t hat he f e e l s li ke a “ man again .”
!
A l th o ug h L ady Macbe t h is master fu l in her attempt s to prev ent her
hu sb and f rom mak ing a s udden disc losu re, h er action s are in h er ow n
w ords “ to o l ate ”. Mac beth’s i nco herent an d ver y trou blin g beh aviou r h as
“d i sp la c ed t he mi rth [ a nd] bro ke th e good me e tin g, | W ith mos t admi red
di s ord er ”. The purp os e o f the ban quet w as after all to project a sen se o f
o rd e r an d p owe r. I n o rder t o po rtray the Macbeth s’ complete rever sa l of
fo rt un e , S hake sp eare e mphas i ses th e asymmetr ical n atu re of th e sce ne .
Th e B an q uet Sce ne o p e n s wi th Ma cbeth i n si sti n g th at h i s assemb l ed
gu e st s a ll “ kno w t heir o w n deg re es .” There is, of course, a great dea l o f
i ro ny in M ac be th ’s att empt t o remi nd h is gu ests of th e social h ierarch y t h at
he h as s o s av age l y vi o l at ed. I f th e sc en e begin s w ith order, it en ds in a n
u n ce re mo ni o us and di s o rderl y ex it by th e gu ests. Realisin g th at h e r
hu sb and i s o n t he bri nk o f maki ng a fu ll disclosu re, Lady Macbeth h as ti ly
be g s he r g ue st s to l eave i n whatever order th ey see fit:
!
I pra y y ou, spea k not; h e grows wors e an d wors e ;
Q u e s t ion e n rage s h im. At once , good night :
Sta n d not u pon t h e order of your going,
B ut g o at on ce .
!
Th e re i s a wo nderf ul e c o n o my to th e sc en e th at man ages to u n der sc o re
th e t rag ic f ut i l i ty o f what t he Mac beth ’s h ave don e.
ⓒ CIAN HOGAN ENGLISH NOTES THE BANQUET SCENE | A SAMPLE
ESSAY
"12
A c t I I I , s c e n e i v,
sudden and complete
Th e B an q ue t Sc en e, i s a
Mac beth ’s dow n fa ll has
fascinating
be en been .
and
c o mp e l lin g mo ment of
drama. In this short
scene, Shakespeare
captures
both
the
m o m e n t o f M a c b e t h ’s
and
Lady
Macbeth’s
triumph and downfall.
Th e mo od, t e ns io n a n d
carefully thought out
s t ru ct u re o f the s c en e
work to highlight just
h o w
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THE S
CENE
ENDS
IN
DISOR
DER
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ⓒ CIAN HOGAN ENGLISH NOTES "13
Key Quotes For Act III
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64. B A N QU O : M ay th ey not be my orac les as well, and se t me up in
h o p e ? 63. B A N QU O : Let y our Hig hnes s com m a nd upo n me , to the whi c h
my d u t i e s a re w i t h m o s t i n d i s s o l u b l e t i e fo r ev e r k n i t . 64. M AC BET H : To be thus is nothing , but to b e safely thus . Our selve s
fear s in Banquo stic k deep.
65. M AC BET H : H e h ath w is dom , that doth gu ide hi s val o ur, 66. M AC BET H : P ut rancour s in the ves se l o f my pe ace . 67. M AC BET H : That ever y m inut e of his be i ng, thrusts against my
n e a r ’s t o f l i fe : 68. L A DY M AC BETH: ’Tis s afer, t o be tha t w hi c h we de stroy, than
by d e s t r u c t i o n d w e l l i n d o u b t f u l j oy. 69. M AC BET H : We have s corc h’d the s nake , no t k ill’d it: 70. M AC BET H : A nd m ake our faces vizards to o ur he ar ts , di sguising
w h a t t h e y a re . 71. M AC BET H : B e innocent of t he know led ge , de are st c huc k , till
thou applaud the deed:
72. M AC BET H : Thou ar t the bes t o’ t h’ c ut-th ro ats
73. M AC BET H : B ut now I am cabin’d, cr i bb ’d, co fin’d, bo und in to s au c y d ou b t s , a n d fe ar s .
74. L A DY M AC BETH: O t he p rop er s tuff: thi s is the ve r y painting o f
y ou r fe a r : T h i s i s the a ir draw n dag ger w hi c h yo u sai d led yo u to Duncan.
CIAN HOGAN ENGLISH NOTES 75. M AC BET H : The ti me has been, that w he n the brai ns we re oⓒut,
the man would die , and there an end: but how they r ise again
76. M AC BET H : This is m ore s trange than s u c h a mur the r is . 77. M AC BET H : W he n now I t hink you can be ho l d suc h sights , and
ke e p t h e n a t u ra l r u by o f y o u r c h e e k s , w h e n m i n e i s b l a n c h e ’d w i t h fe a r. "14
78 . M AC BE T H: It w il l have blood t hey sa y: b lo o d will have bl o o d: !
79 . M AC BE T H: I am in blood s tep p ’d s o far, that sho ul d I wade no m o re , re t u r n i n g w e re a s t e d i o u s a s go o ’ e r : 80 . H E C ATE: A l l y ou have done hath been bu t fo r a wayward so n, s pi tef u l , a n d w rathful, who ( as ot her s do ) loves fo r his own e nds , n o t fo r y o u . 81 . H E C ATE: A s by t he s treng t h of t heir il lu si on, shall draw hi m o n to h i s c o n f u s i o n . !
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ⓒ CIAN HOGAN ENGLISH NOTES "15