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Macbeth encountering Banquo's ghost. A study by 18th century artist George Romney for his depiction of the "banquet scene."
Courtesy of Folger
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Subject Areas |
Literature and Language Arts
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British |
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Drama |
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Time Required |
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One to two class periods |
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Skills |
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texts
critical analysis
literary interpretation
drawing inferences and comparisons
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Additional Data |
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Date Created: 05/21/02 |
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Shakespeare's Macbeth: Fear and the “Dagger of the Mind”
Art thou not, fatal vision, sensible
To feeling as to sight? or art thou but A dagger of the mind, a false creation, Proceeding
from the heat-oppressed brain
IntroductionIn
his novel, Voyage of the Dawn Treader, C.S. Lewis describes an island where all
dreams come true. Sounds wonderful, right? But think about it a moment. All dreams.
Our fondest wishes, but also our most terrifying fears. On this island, we would
meet every shadowy thing we ever imagined to be lurking in the darkness, every
terrifying image we ever tried to thrust from our mind. This
is Macbeth's situation. Just as the three Weird Sisters predicted, or perhaps
precipitated, his fondest wishes, his secret dreams of power, have all come true.
But so too have his darkest fears. In the course of the play, we see Macbeth struggling
against those phantoms, struggling to master or eradicate his own fears. "I am
cabin'd, cribb'd, confined, bound in / To saucy doubts and fears" (3.4.24-25),
he laments to the men he has hired to murder Banquo. He has won the crown, but
his mind is poisoned, his tranquillity lost. He cannot enjoy his triumph, cannot
rest, cannot sleep. Shakespeare's preeminence
as a dramatist rests in part on his capacity to create vivid metaphors and images
that embody simple and powerful human emotions. This lesson is designed to help
students understand how Shakespeare's language dramatizes one such emotion: fear.
Students will work in small groups to perform the so-called "banquet scene," in
which the newly-crowned Macbeth, while entertaining the lords of Scotland, encounters
a ghost only he can see. The twist here is that while there will be opportunities
for students to analyze Shakespeare's language, the performance itself will be
done without words. The wordless performance means that students will need to
develop physical equivalents for the clues to Macbeth's state of mind that are
embedded in Shakespeare's poetry. Note:
This lesson may be taught either as a stand-alone lesson or as a prequel to the
complementary EDSITEment lesson, "Shakespeare's Macbeth: Fear and the Motives
of Evil". The second lesson takes a broader look at fear in the
play, exploring how fear becomes not just merely the result of Macbeth's actions,
but a cause of his increasingly desperate and evil actions. While the activities
in the present lesson center around students' performance of one scene, in "Shakespeare's
Macbeth: Fear and the Motives of Evil" students use a search engine to
locate and analyze key passages throughout the play that suggest the motives of
Macbeth's precipitous descent into evil.
Guiding
Questions:
Why is Macbeth, whom we know to be brave and ruthless in battle,
so afraid? How does Shakespeare dramatize Macbeth's fear? Learning
ObjectivesAfter completing the lessons in this
unit, students will be able to - Analyze
how Shakespearean metaphors, imagery, and another dramatic cues reveal Macbeth's
response to fear
- Perform without words
a scene dramatizing Macbeth's response to fear.
Preparing
to Teach this Lesson- This lesson, as well as
the complementary EDSITEment lesson, "Shakespeare's Macbeth: Fear and the
Motives of Evil," will refer to the online
text of Macbeth developed by Dr. Michael Best. This text is identical
to the standard online MIT version, but adds line numbers that are keyed to match
those in the Signet Classic Shakespeare. (Standard
online editions of most of Shakespeare's works, including Macbeth, are
available from the MIT Shakespeare
Homepage, a link on the EDSITEment-reviewed Mr.
Shakespeare and the Internet.)
- Two affordable
and dependable paperback editions of Macbeth, including critical introductions
and explanatory notes, are the Signet Classic Shakespeare Series edition and the
Folger Shakespeare Library edition (published by Simon & Schuster's Washington
Square Press). The latter is especially helpful for students, because notes and
explanatory materials are on the facing page rather than at the back of the book.
- Neither
this lesson plan, nor the complementary EDSITEment lesson, "Shakepeare's Macbeth:
Fear and the Motives of Evil," require you to first teach historical context.
However, a bit of history can help students make sense of some of the more puzzling
aspects of Macbeth's behavior. Specifically, why is it that Macbeth, whom we are
told is fierce and bloody and ruthless in battle, becomes completely unhinged
by the murder of Duncan? (A similar question could be asked about Lady Macbeth.)
At least part of the answer lies in the fact that regicide was considered a special
kind of murder in the sixteenth and seventeenth centuries, not an ordinary killing
but a uniquely heinous act that violates the entire natural order. Dire consequences
must follow the killing of a king, particularly a "good" king such as Duncan.
The mental deterioration of Macbeth and Lady Macbeth can be better understood
in this light. In part to demonstrate the special enormity of the crime of regicide,
Shakespeare alters the historical record.
- Shakespeare's
use of historical sources in Macbeth is shaped by contemporary concerns
about succession and legitimacy, fear of rebellion, and the playwright's deep
horror of the crime of killing a king. For more on these subjects, especially
the issue of regicide, see the online essay by Amanda Mabillard, "Sources
for Macbeth", from Shakespeare
Online, a link from Mr. Shakespeare
and the Internet. Mabillard shows how Shakespeare altered his sources to make
the historical Duncan look better and Macbeth worse: "Shakespeare's alterations
function to convey the sentiment echoed in many of his works - that there is a
divine right of kings, and that to usurp the throne is a nefarious crime against
all of humanity."
- For a more general (and
very brief) introduction to the historical Macbeth, see "The
True Story of Macbeth" on the Macbeth
Page, a link from Mr. Shakespeare
and the Internet. For a more scholarly experience of the historical sources
of Macbeth, see the resources listed for that play at Mr.
Shakespeare and the Internet, such as a passage
on the historical Macbeth from Holinshed's Chronicles, excerpted from
the complete text available at The
Furness Shakespeare Library; also on the Furness site, you can view a series
of woodcuts and excerpts related to Macbeth drawn from the Chronicles.
- Recommended
as critical background for the approach to Macbeth's psychology taken in this
lesson (as well as in the complementary sequel to this lesson, "Shakepeare's Macbeth:
Fear and the Motives of Evil") is the online lecture by Ian Johnston, An
Introduction to Macbeth. For further critical works on Macbeth,
see the resources listed on Mr. Shakespeare
and the Internet.
- Additional lesson plans
for teaching Macbeth are available from the EDSITEment-reviewed Teaching
Shakespeare, a site produced by the Folger
Shakespeare Library.
Lesson Plan
1
As an opening assignment, ask students to think about times when they have felt
fear and horror. What are some of the physical symptoms of fear and panic? What
does the face of a fearful person look like? What are some of the various facial
expressions of fear? What is the body language of a person who is feeling fear?
How does extreme fear affect the mind? How does it affect what we see or hear?
How do we master fear? (You might want to assign this opening exercise as a journal
assignment: students will then have time to reflect on the feelings, thoughts,
and physical sensations associated with fear.) Summarize student responses on
the board so that the class will have a record when they begin to work in performance
groups. Tell students they are going to be performing a scene in which a normally
brave man has a terrifying vision, a vision that no one else around him can see.
2 Print out copies of act 3, scene 4, from the online
text of Macbeth developed by Dr. Michael Best (see "Preparing to teach the lesson,"
above). Students will need their own copies of the text to write on in the activities
that follow. Before you read the scene aloud as a class, ask students to pay particular
attention to the entrances and exits of the ghost. Can they tell, from his words,
when and where Macbeth first sees the ghost? Ask students to write their comments
and reactions in the margins of their copy as you read through the scene, and
to make notes by passages in which Shakespeare uses imagery, metaphor, and simile
to reveal aspects of Macbeth's psychology (for definitions and brief discussions
of metaphor, simile, and other rhetorical figures and literary terms, see the
EDSITEment-reviewed Victorian
Web: the Tropes). Look, for example, at such animal images as "rugged Russian
bear," "arm'd rhinoceros," and "Hyrcan tiger." What does it tell us about Macbeth's
state of mind that his speech is filled with images of beasts? What feelings and
impressions do these and other images convey? 3
Once you have read through the scene as a class, ask students whether there were
any passages or events they did not understand. Discuss the central elements of
the scene, establishing the meanings of any difficult words or passages. Ask students
questions about whether or not they think that Macbeth actually sees a ghost,
or whether the ghost is just a metaphor for something that is inside him--like
the "dagger of the mind" referred to in the quote at the top of this lesson plan
(2.1.36-39).
Discuss Macbeth's response to the ghost, or to the phantom produced by his own
mind. How do students imagine him looking and behaving? What are his expressions,
his body language, at various points in the scene? What difference does it make
that Macbeth, as Shakespeare tells us the very beginning of the play, is no coward?
(You might want to share with them a passage from the first act in which a wounded
soldier describes how "brave Macbeth" has ruthlessly dealt with the Scottish traitor,
Macdonawald (1.2.16-23)).
The point here is that what the "banquet scene" depicts is the spectacle of an
otherwise brave man confronting a terrifying vision, as is implicit in Macbeth's
declaration to the ghost that "what man dare, I dare" (99). Ask students what
difference to performance this understanding of Macbeth's nature might make (as
a hint, you might ask them to consider the impression conveyed by the illustration
of Macbeth that accompanies this lesson plan, above left).
4 Next, ask students to work through the details
of the scene on their own, writing down the emotions and behavior of characters
at various points in the drama. Remind them of the symptoms and signs of fear
that you brainstormed previously, and have them try to match these to corresponding
passages in the scene. Ask them to think about how they might direct the scene.
What difference would it make to their direction if they wanted to show that there
is, in fact, no ghost other than the phantom produced in Macbeth's mind? What
does the banquet room look like? Where do the murderers stand when they speak
with Macbeth? Where is Lady Macbeth in relation to her husband? If they decide
to show it, where does the ghost appear--on its own, or sitting between other
characters? If they opt for an invisible ghost, in which direction will Macbeth
be looking? (Also, what do the other characters do when they see Macbeth looking
in a particular direction?) 5 After giving
students time to read and reflect on their own, divide the class into several
performance groups (three is perhaps ideal; fewer groups will be easier to manage,
and the "banquet scene" affords many roles for extras). Tell the groups
that they will each be responsible for performing a wordless version of act 2,
scene 4. The rules are no props and no speaking: all the emotion and action must
be conveyed through facial expressions, gestures, body language and movement.
Tell them that they can condense or otherwise adapt the scene as is appropriate
for a wordless performance. Give students ample time to discuss their performance,
and provide them with whatever guidance is appropriate in terms of assigning parts,
arranging a performance space in the classroom, designating one student as the
"director" of the group, and so on. As the groups are working our their performance,
encourage students to think creatively about how Macbeth's psychological state
might be visually realized; for example, some students could, through movement,
describe the terrible thoughts and visions that torment Macbeth (the metaphorical
images of beasts, for example) then they could abruptly vanish into the wings
of the classroom "stage." 6 Have
each group perform their version of the scene. Remind students that they are to
perform through gesture, expression, and movement only. Before the performances,
ask students to note any differences among the different groups' interpretation.
7 As a class, discuss how each group solved the basic
question of how to dramatize the psychology of fear without using words. How did
they interpret Macbeth's vision of Banquo: as a "real" ghost or as a metaphor
for his inner turmoil? What did they choose to make visible and what did they
choose to convey through gesture and expression? How did the other characters
look? How did Lady Macbeth respond? Was she angry, embarrassed, horrified, or
all of these things? What words--metaphors, images, constantly repeated words
and phrases--gave them clues as to Macbeth's state of mind? Analyzing the language
Shakespeare uses to reveal Macbeth's response to fear will prepare students tackle
the activities described in the EDSITEment lesson plan, ""Shakepeare's Macbeth:
Fear and the Motives of Evil."
Extending
the Lesson - Students now have some experience
in making decisions about performance values. Some may have ideas about how they
would stage the play. Their awareness of these issues offers an opportunity to
introduce some of the basics of Shakespeare's stage and stagecraft. For background,
visit "Shakespeare and the Globe Theatre,"
the website of the New Globe Theatre, an exacting reconstruction in London of
the playhouse Shakespeare's company constructed in December 1598. (At the Mr.
William Shakespeare on the Internet homepage, click "Theatre" in the left
margin, then scroll down and click on "Shakespeare and the Globe Theatre.")
- As
you talk about the larger sources of fear and evil in this play, your class will
eventually need to come to grips with the three witches. Who or what are they?
Are they embodiments of evil or, as some have suggested, projections and manifestations
of Macbeth's own deepest wishes and fears? To learn more about witches and witchcraft
in the seventeenth-century, visit the EDSITEment-reviewed site, Witchcraft
in a Salem Village. Whle most of the archived materials are from late-seventeenth-century
America, but the colonists conceptions about witches are inherited from English
traditions that would have been familiar to Shakespeare and his patron, King James
I, who was deeply interested in the subject.
Selected
EDSITEment Websites
Other Information
Standards Alignment
- NAES-VisArts- 9-12-2
Using knowledge of structures and functions
- NAES-VisArts- 9-12-4
Understanding the visual arts in relation to history and cultures
- NCTE/IRA-1
Students read a wide range of print and nonprint texts to build an understanding of texts, of themselves, and of the cultures of the United States and the world; to acquire new information; to respond to the needs and demands of society and the workplace; and for personal fulfillment. Among these texts are fiction and nonfiction, classic and contemporary works. more
- NCTE/IRA-2
Students read a wide range of literature from many periods in many genres to build an understanding of the many dimensions (e.g., philosophical, ethical, aesthetic) of human experience. more
- NCTE/IRA-3
Students adjust their use of spoken, written, and visual language (e.g., conventions, style, vocabulary) to communicate effectively with a variety of audiences and for different purposes. more
- NCTE/IRA-4
Students adjust their use of spoken, written, and visual language (e.g., conventions, style, vocabulary) to communicate effectively with a variety of audiences and for different purposes. more
- NCTE/IRA-7
Students conduct research on issues and interests by generating ideas and questions, and by posing problems. They gather, evaluate, and synthesize data from a variety of sources (e.g., print and nonprint texts, artifacts, people) to communicate their discoveries in ways that suit their purpose and audience. more
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