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Macbeth - Act 4, scene 1

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Act 4, scene 1.

Macbeth approaches the witches to learn how to make his kingship secure. In response they summon for him three apparitions: an armed head, a bloody child, and finally a child crowned, with a tree in his hand. These apparitions instruct Macbeth to beware Macduff but reassure him that no man born of woman can harm him and that he will not be overthrown until Birnam Wood moves to Dunsinane. Macbeth is greatly reassured, but his confidence in the future is shaken when the witches show him a line of kings all in the image of Banquo. After the witches disappear, Macbeth discovers that Macduff has fled to England and decides to kill Macduff’s family immediately.

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by William Shakespeare

Macbeth summary and analysis of act 4, act 4, scene 1.

The witches circle a cauldron, mixing in a variety of grotesque ingredients while chanting "double, double toil and trouble; / Fire burn, and cauldron bubble" (10-11). Hecate appears, they sing all together, and Hecate leaves. Macbeth then enters, demanding answers to his pressing questions about the future. The witches complete their magic spell and summon forth a series of apparitions. The first is an armed head that warns Macbeth to beware the Thane of Fife (Macduff). The second apparition is a bloody child, who tells him that "none of woman born / Shall harm Macbeth" (96-97). This news bolsters Macbeth spirits. The third apparition is a crowned child with a tree in its hand, who says that "Macbeth shall never vanquished be until / Great Birnam Wood to high Dunsinane Hill / Shall come against him" (107-09). This cheers Macbeth even more, since he knows that nothing can move a forest. Macbeth proceeds to ask his last question: will Banquo's children ever rule Scotland?

The cauldron sinks and a strange sound is heard. The witches now show Macbeth a procession of kings, the eighth of whom holds a mirror in his hand, followed by Banquo. As Banquo points at this line of kings, Macbeth realizes that they are indeed his family line. After the witches dance and disappear, Lennox enters with the news that Macduff has fled to England. Macbeth resolves that he will henceforth act immediately on his ambitions: the first step will be to seize Fife and kill Macduff's wife and children.

Act 4, Scene 2

At Fife, Ross visits Lady Macduff, who is frightened for her own safety now that her husband has fled. He reassures her by telling her that her husband did only what was right and necessary. After he leaves, Lady Macduff engages her son in a conversation about his missing father. The little boy demonstrates wisdom well beyond his years. A messenger interrupts them with a warning to flee the house immediately. But before Lady Macduff can escape, murderers attack the house and kill everyone including Lady Macduff and her son.

Act 4, Scene 3

Macduff arrives at the English court and meets with Malcolm. Malcolm, remembering his father's misplaced trust in Macbeth, decides to test Macduff: he confesses that he is a greedy, lustful, and sinful man who makes Macbeth look like an angel in comparison. Macduff despairs and says that he will leave Scotland forever if this is the case, since there seems to be no man fit to rule it. Upon hearing this, Malcolm is convinced of Macduff's goodness and reveals that he was merely testing him; he has none of these faults to which he has just confessed. In fact, he claims, the first lie he has ever told was this false confession to Macduff. He then announces that Siward has assembled an army of ten thousand men and is prepared to march on Scotland.

A messenger appears and tells the men that the king of England is approaching, attended by a crowd of sick and despairing people who wish the king to cure them. The king, according to Malcolm, has a gift for healing people simply by laying his hands on them.

Ross arrives from Scotland and reports that the country is in a shambles. When Macduff asks how his wife and children are faring, Ross first responds that they are “well at peace” (180). When pressed further, he relates the story of their death. Macduff is stunned speechless and Malcolm urges him to cure his grief by exacting revenge on Macbeth. Macduff is overcome with guilt and sorrow from the murders that occurred while he was absent. Again Malcolm urges him to put his grief to good use and seek revenge. All three men leave to prepare for battle.

As the act opens, the witches carry on the theme of doubling and equivocation that threads throughout the play. As they throw ingredients into their cauldron, they chant "double, double, toil and trouble"—a reminder that their speech is full of double meanings, paradox, and equivocation (IV i 10). The apparitions that the witches summon give equivocal messages to Macbeth, and they appear to know quite consciously that he will only understand one half of their words. Although Macbeth himself has previously acknowledged that "stones have been known to move and trees to speak" (III iv 122), the apparitions give Macbeth a false sense of security. He takes the apparitions' words at face value, forgetting to examine how their predictions could potentially come true.

The theme of doubling is amplified when the witches summon the "show of kings." Each king who appears looks "too like the spirit of Banquo," frightens Macbeth with their resemblance (IV i 128). For Macbeth, it is as if the ghosts of Banquo have returned to haunt him several times over. In the procession of kings, Macbeth also notes that some carry "twofold balls and treble scepters"—as if even the signs of their power have been doubled.

On a historical note, it is generally thought the eighth king holds up a mirror in order to pander to James I. This last king—the eighth-generation descendant of Banquo—is none other than a figure of James I himself. He thus carries a mirror to signal as much to the real James I, who sits at the forefront of the audience. A similar moment of pandering occurs when Malcolm notes that the king of England has a special power to heal people affected by “the evil” (147). In various subtle ways, Shakespeare complimented King James I—a legendary descendant of Banquo and author of a book on witchcraft ( Daemonologie [1597]).

James I is not the only character who is doubled in Macbeth . Throughout the play, characters balance and complement each other in a carefully constructed harmony. As a man who also receives a prophecy but refuses to act actively upon it, Banquo serves as sort of inverse mirror image of Macbeth. Although he has troubled dreams like Macbeth, his arise from the suppression of ambitions whereas Macbeth's arise from the fulfillment thereof. Other major characters, including Malcolm, Macduff, and Lady Macbeth , can also be seen as foils or doubles for Macbeth. Particularly interesting is the case of Lady Macbeth, who in some sense “switches roles” with Macbeth as the play progresses. Whereas she first advises Macbeth to forget all remorse and guilt, Lady Macbeth becomes increasingly troubled by her own guilt as Macbeth begins to heed her advice.

Another form of doubling or equivocation is found in the theme of costumes, masks, and disguises. While planning Duncan's murder, Lady Macbeth counsels Macbeth to "look like the innocent flower, / But be the serpent under't"—to "beguile the time" by disguising his motives behind a mask of loyalty (I v 61). After the murder, Lady Macbeth paints the bodyguards' faces with a mask of blood to implicate them. Similarly, while preparing to kill Banquo, Macbeth comments that men must "make [their] faces visors to [their] hearts, / Disguising what they are" (III ii 35-36). Thus when Malcolm tests Macduff's loyalty, he begins appropriately by saying that "all things foul would wear the brows of grace" (IV iii 23). Even the most foul of men—perhaps like Macbeth and the murderers—are able to disguise themselves. Just as the witches’ equivocation covers up the true harm within their alluring words, disguises and masks hide the inner world from the outer.

Finally, during the scene in which the murders occur, Lady Macduff reflects the bird symbolism that began in Act 1. When Lady Macduff complains to Ross about the abrupt departure of Macduff, she states: "the poor wren / The most diminutive of birds, will fight, / Her young ones in her nest, against the owl" (IV ii 9-11). Her metaphor comes to life when she and her son are attacked by Macbeth's men. Macbeth, as earlier established, is identified with the owl; so Lady Macduff, trying to protect her son, becomes the wren in a realization of her own figure of speech. It is with particular pathos that the audience sees Macduff’s precocious son fall prey to the swords of Macbeth’s ruthless murderers.

Macbeth Questions and Answers

The Question and Answer section for Macbeth is a great resource to ask questions, find answers, and discuss the novel.

Prophecy in Macbeth

The plot of Macbeth is set in motion ostensibly by the prophecy of the three witches. The prophecy fans the flames of ambition within Macbeth and Lady Macbeth, serving as the primary impetus for the couple to plot the death of Duncan--and...

"Be innocent of the knowledge, dearest chuck till thou applaud the deed!"

Macbeth is essentially telling his wife that he doesn't want her to know what he's doing until he's done it..... but that she'll be happy with the result.

What must the loser of the battle between Scotland and it’s enemy do in order to bury their dead men?

The loser of the battle had to retreat and pay a ten thousand dollar fine.

Sweno, the Norways' king, craves composition.

Nor would we deign him burial of his men

Till he disbursed at Saint Colme’s Inch

Ten thousand dollars to our general use.

Study Guide for Macbeth

Macbeth study guide contains a biography of William Shakespeare, literature essays, a complete e-text, quiz questions, major themes, characters, and a full summary and analysis.

• About Macbeth
• Macbeth Summary
• Macbeth Video
• Character List

Essays for Macbeth

Macbeth essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Macbeth by William Shakespeare.

• Serpentine Imagery in Shakespeare's Macbeth
• Macbeth's Evolution
• Jumping the Life to Come
• Deceptive Appearances in Macbeth
• Unity in Shakespeare's Tragedies

Lesson Plan for Macbeth

• About the Author
• Study Objectives
• Common Core Standards
• Introduction to Macbeth
• Relationship to Other Books
• Bringing in Technology
• Notes to the Teacher
• Related Links
• Macbeth Bibliography

E-Text of Macbeth

Macbeth e-text contains the full text of Macbeth by William Shakespeare.

• Persons Represented
• Act I, Scene I
• Act I, Scene II
• Act I, Scene III
• Act I, Scene IV

Wikipedia Entries for Macbeth

• Introduction
• Date and text

Macbeth Shakescleare Translation

Macbeth Translation Act 4, Scene 1

A cavern. In the middle, a boiling cauldron. Thunder. The three WITCHES enter.

A cavern. In the middle, a boiling cauldron. Thunder sounds. The three WITCHES enter.

FIRST WITCH

Thrice the brinded cat hath mewed.

The striped cat has meowed three times.

SECOND WITCH

Thrice, and once the hedge-pig whined.

Three times. And the hedgehog has whined once.

THIRD WITCH

Harpier cries, “‘Tis time, ’tis time.”

My familiar spirit Harpier cries out: “It’s time, it’s time!”

Everything you need for every book you read.

Round about the cauldron go, In the poisoned entrails throw. Toad, that under cold stone Days and nights has thirty-one Sweltered venom sleeping got, Boil thou first i’ th’ charmèd pot.

Dance around the cauldron, and throw in the poisoned entrails. This toad—which has slept under a cold rock, sweating venom for thirty-one days—will be the first to boil in this magic cauldron.

Double, double toil and trouble, Fire burn, and cauldron bubble.

Double, double toil and trouble. Fire burn, and cauldron bubble.

Fillet of a fenny snake, In the cauldron boil and bake. Eye of newt and toe of frog, Wool of bat and tongue of dog, Adder’s fork and blind-worm’s sting, Lizard’s leg and owlet’s wing, For a charm of powerful trouble, Like a hell-broth boil and bubble.

A fillet of swamp snake to boil and bake in the cauldron. And a newt’s eye; a frog’s toe; a bat's fur; a dog's tongue; an adder's forked tongue; a blindworm's venomous tongue; a lizard's leg; and an owl's wing. For a charm of powerful trouble, boil and bubble like a broth of hell.

Double, double toil and trouble, Fire burn and cauldron bubble.

Double, double toil and trouble. Fire burn and cauldron bubble.

Scale of dragon, tooth of wolf, Witches’ mummy, maw and gulf Of the ravined salt-sea shark, Root of hemlock digged i’ th’ dark, Liver of blaspheming Jew, Gall of goat and slips of yew Slivered in the moon’s eclipse, Nose of Turk and Tartar’s lips, Finger of birth-strangled babe Ditch-delivered by a drab, Make the gruel thick and slab. Add thereto a tiger’s chaudron, For the ingredients of our cauldron.

A dragon's scale; a wolf's tooth; a mummified witch; a ravenous shark's gullet and stomach; a root of hemlock dug up in the dark; a blaspheming Jew's liver; a goat’s gallbladder; twigs of yew taken during a lunar eclipse; a Turk’s nose; a Tartar’s lips; and the finger of a baby strangled just after a prostitute gave birth to it in a ditch. Make this potion sticky and thick. And now let’s add a tiger's entrails to the ingredients in our cauldron.

Cool it with a baboon’s blood, Then the charm is firm and good.

We’ll cool the mixture with a baboon’s blood. Then the charm will be done.

HECATE enters with three other WITCHES.

Oh well done! I commend your pains, And every one shall share i’ th’ gains . And now about the cauldron sing, Like elves and fairies in a ring, Enchanting all that you put in.

Well done! I praise your work, and every one of you will share the rewards. Now, come sing around the cauldron in a ring like elves and fairies, enchanting everything you put in.

Music plays. The six WITCHES sing a song called “Black Spirits.” HECATE exits.

By the pricking of my thumbs, Something wicked this way comes. Open, locks, Whoever knocks.

I can tell by the tingling in my thumbs: something wicked is coming. Open the doors for whoever is knocking.

MACBETH enters.

How now, you secret, black, and midnight hags? What is ’t you do?

What’s going on here, you secret, dark, midnight hags? What is it that you’re doing here?

A deed without a name.

Something that has no name.

I conjure you by that which you profess— Howe’er you come to know it—answer me. Though you untie the winds and let them fight Against the churches, though the yeasty waves Confound and swallow navigation up, Though bladed corn be lodged and trees blown down, Though castles topple on their warders’ heads, Though palaces and pyramids do slope Their heads to their foundations, though the treasure Of nature’s germens tumble all together, Even till destruction sicken, answer me To what I ask you.

I command you by the demonic powers you serve to answer my questions, no matter how you come to know those answers. I don’t care if you unleash violent winds that tear down churches; cause the foaming waves to rise up and destroy all ships and sailors; flatten crops and trees with storms; make castles fall down on the heads of their inhabitants; cause palaces and pyramids to topple; or create so much chaos in nature that destruction gets tired of itself. Just give me answers.

We’ll answer.

Say, if th’ hadst rather hear it from our mouths, Or from our masters’.

Tell us: would you rather hear the answers from our mouths or from our masters’?

Call ‘em. Let me see ‘em.

Call them. Let me see them.

Pour in sow’s blood, that hath eaten Her nine farrow; grease that’s sweaten From the murderer’s gibbet throw Into the flame.

Pour in the blood of a sow that has eaten her nine offspring. Take the liquefied fat from the corpse of a murderer hanged on the gallows, and throw it into the flame.

Come, high or low; Thyself and office deftly show!

Come, spirit, high or low. Show yourself and your function.

Thunder. The FIRST APPARITION appears, in the form of a head wearing a helmet.

Thunder sounds. The FIRST APPARITION appears, in the form of a head wearing a helmet.

Tell me, thou unknown power—

Tell me, you unknown power—

He knows thy thought. Hear his speech but say thou nought.

He knows your thoughts. Listen to what he says, but don’t say a thing.

FIRST APPARITION

Macbeth! Macbeth! Macbeth! Beware Macduff. Beware the thane of Fife. Dismiss me. Enough.

Macbeth! Macbeth! Macbeth! Beware Macduff. Beware the Thane of Fife. Release me. Enough.

The FIRST APPARITION descends.

Whate’er thou art, for thy good caution, thanks. Thou hast harped my fear aright. But one word more—

Whatever you are, thanks for your good advice. You have described exactly what I feared. But one more thing—

He will not be commanded. Here’s another More potent than the first.

You can not command him. Here’s another, stronger than the first.

Thunder. The SECOND APPARITION appears, in the form of a bloody child.

Thunder sounds. The SECOND APPARITION appears, in the form of a bloody child.

SECOND APPARITION

Macbeth! Macbeth! Macbeth!—

Macbeth! Macbeth! Macbeth!

Had I three ears, I’d hear thee.

If I had three ears, I’d use all three to listen.

Be bloody, bold, and resolute. Laugh to scorn The power of man, for none of woman born Shall harm Macbeth.

Be violent, bold, and determined. Mock the strength of other men, because no man born from a woman will ever harm Macbeth.

The SECOND APPARITION descends.

Then live, Macduff. What need I fear of thee? But yet I’ll make assurance double sure, And take a bond of fate. Thou shalt not live, That I may tell pale-hearted fear it lies, And sleep in spite of thunder.

Then live, Macduff. Why should I fear you? Yet, I’ll make doubly sure and guarantee my fate. You will die, Macduff, and by killing you I will defeat my fear and always sleep easily.

Thunder. The THIRD APPARITION appears, in the form of a child wearing a crown and holding a tree in his hand.

Thunder sounds. The THIRD APPARITION appears, in the form of a child wearing a crown and holding a tree in his hand.

What is this That rises like the issue of a king, And wears upon his baby-brow the round And top of sovereignty?

What is this spirit that appears like the child of a king, wearing a royal crown on his young head?

Listen but speak not to ’t.

Listen, but do not speak to it.

THIRD APPARITION

Be lion-mettled, proud, and take no care Who chafes, who frets, or where conspirers are. Macbeth shall never vanquished be until Great Birnam Wood to high Dunsinane Hill Shall come against him.

Be as courageous and proud as a lion. Don’t worry about who dislikes you, who resents you, and who conspires against you. Macbeth will never be beaten until Great Birnam Wood comes to fight you at Dunsinane Hill.

The THIRD APPARITION descends.

That will never be. Who can impress the forest, bid the tree Unfix his earthbound root? Sweet bodements! Good! Rebellious dead, rise never till the wood Of Birnam rise, and our high-placed Macbeth Shall live the lease of nature, pay his breath To time and mortal custom. Yet my heart Throbs to know one thing. Tell me, if your art Can tell so much: shall Banquo’s issue ever Reign in this kingdom?

That will never happen. Who can command the forest so that the trees lift their roots from the earth? Sweet prophecies! Good! My murders will never rise until the forest of Birnam rises, and I will live a full life and die only of old age, as is customary. But my heart still throbs to know one thing. Tell me, if your dark powers can see it: will Banquo’s sons ever reign in this kingdom?

Seek to know no more.

Do not try to learn more.

I will be satisfied. Deny me this, And an eternal curse fall on you! Let me know. Why sinks that cauldron? And what noise is this?

I demand to be satisfied. If you deny me, may an eternal curse fall on you! Let me know. Why is that cauldron sinking? And what is that sound?

Oboes play music for a ceremonial procession.

Show his eyes and grieve his heart. Come like shadows; so depart!

Show him so his heart grieves. Come like shadows and depart as shadows too!

Eight kings parade across the stage, the last one holds a mirror in his hand, followed by BANQUO.

Thou art too like the spirit of Banquo. Down! Thy crown does sear mine eyeballs. And thy hair, Thou other gold-bound brow, is like the first. A third is like the former. —Filthy hags! Why do you show me this? A fourth? Start, eyes! What, will the line stretch out to th’ crack of doom? Another yet? A seventh? I’ll see no more. And yet the eighth appears, who bears a glass Which shows me many more, and some I see That twofold balls and treble scepters carry. Horrible sight! Now I see ’tis true; For the blood-boltered Banquo smiles upon me And points at them for his.

[To BANQUO] You look too much like Banquo's ghost. Be gone!  

[To the first king] Your crown hurts my eyes. 

[To the second king] Your golden hair, which looks itself like a crown, resembles the hair on the first king. And this third king looks just like the second one.

[To himself] Filthy hags! Why do you show me this? A fourth! My eyes bulge from their sockets! Will this line of kings stretch on to infinity? Yet another one? And a seventh? I want to see no more. And yet an eighth appears, holding a mirror in which I see many more kings. And some of those kings carry double orbs and triple scepters ! Horrible sight! Now I see it’s true: blood-splattered Banquo smiles at me and points at them, identifying them as his descendants.

The spirits of the kings and BANQUO vanish.

What, is this so?

What? Is this true?

Ay, sir, all this is so. But why Stands Macbeth thus amazedly? Come, sisters, cheer we up his sprites, And show the best of our delights. I’ll charm th’ air to give a sound, While you perform your antic round. That this great king may kindly say, Our duties did his welcome pay.

Yes, it’s all true. But why do you stand there so amazed? Come, sisters, let’s conjure up some spirits and show him what we can do. I’ll charm the air to make music while you perform your wild dance. Then this noble king will say that our ceremonies repaid his friendly welcome.

Music plays. The WITCHES dance and then vanish.

Where are they? Gone? Let this pernicious hour Stand aye accursèd in the calendar! Come in, without there.

Where are they? Gone? Let this evil hour be marked as cursed in the calendar. 

[Calling to someone offstage] You outside, come in!

LENNOX enters.

What’s your grace’s will?

What does your Grace command?

Saw you the weird sisters?

Did you see the weird sisters?

No, my lord.

Came they not by you?

They didn’t pass by you?

No, indeed, my lord.

Infected be the air whereon they ride, And damned all those that trust them! I did hear The galloping of horse. Who was ’t came by?

The air they ride on is infected. Damn all those who trust them! I heard the galloping of horses. Who was it that came this way?

‘Tis two or three, my lord, that bring you word Macduff is fled to England.

My lord, two or three men came, bringing word that Macduff has fled to England.

Fled to England?

Ay, my good lord.

Yes, my good lord.

Time, thou anticipat’st my dread exploits. The flighty purpose never is o’ertook Unless the deed go with it. From this moment The very firstlings of my heart shall be The firstlings of my hand. And even now, To crown my thoughts with acts, be it thought and done: The castle of Macduff I will surprise, Seize upon Fife, give to th’ edge o’ th’ sword His wife, his babes, and all unfortunate souls That trace him in his line. No boasting like a fool. This deed I’ll do before this purpose cool. But no more sights! —Where are these gentlemen? Come, bring me where they are.

[To himself] Time, you stand in the way of my terrifying plans. Unless you immediately do what you planned, you never get the chance to do it. From this moment on, I will act as soon as I want to do something. I will begin right now to follow my thoughts immediately with action. I’ll launch a surprise attack against Macduff’s castle; seize the town of Fife; and kill his wife, his children, and anyone else unfortunate enough to bear even a trace of his blood. No more boasting like a fool. I will do this deed before my sense of purpose dulls. And no more hallucinations!

[To LENNOX] Where are these messengers? Come, lead me to them.

Notes on Prophecies & Apparitions in Macbeth by William Shakespeare

Back to: Macbeth by William Shakespeare

The play Macbeth seriously deals with the idea of fate and whether it is decided by our actions or due to external forces. The three witches are a supernatural force in the play. In their characteristic ambiguity, they utter prophecies in their very first confrontation with Macbeth and Banquo .

Table of Contents

1st Apparition

Their first prophecy is for Macbeth when they hail him as the Thane of Glamis, the Thane of Cawdor and the one who shall be king hereafter. As we come to know further in the play, this prophecy is in closest relation to Macbeth’s inner desire for absolute power which is kingship .

This prophecy plays an important role in the progress of the play because it sets the forthcoming actions which are by Macbeth when he tries to earn the power in a shortcut way under the influence of Lady Macbeth.

The moment Duncan awards him with the title of the Thane of Cawdor, he firmly starts believing in the prophecies. The fact that Duncan declares Malcolm as the heir to the throne alarms him and he wants nothing to cloud the prophecy and as an imminent possibility, he observes what Lady Macbeth says and kills Duncan. 

2nd Apparition

The second prophecy of the three witches from the first meeting was for Banquo . Confusing both of them further, they address Banquo as “ lesser than Macbeth, and greater ,” “ not so happy, yet much happier. ” And they predict that Banquo shall have kings in his coming generations but he will never be king by himself.

How Banquo reacts after listening to this tells us of his clear conscience. He disqualifies them as dark evil forces which deceive even in its truth. At the same time, hearing this, Macbeth perceives of Banquo as a threat and the second murder after Duncan is that of Banquo.

This is when we understand how Macbeth is trying to correct whatever sounds dangerous to him in the prophecies which means he is trying to control his own fate.

Once Macbeth has progressed as per the first confrontation with the three witches, they reveal themselves to him again. This time, under the influence of Hecate, they equivocate in a better way. They show him three apparitions. 

The first apparition is ahead with a helmet as armour on it. By this time, Macbeth has already doubted Macduff. This apparition warns him of the danger from Macduff and it confirms Macbeth’s next action which is to kill him and before doing so, he kills his family. 

The second apparition is a bloody child. Shakespeare has used child imagery in the play several times. Ironically, the child utters to be bloody bold and resolute. It confirms Macbeth’s further rampage as a killing machine.

As a prime equivocator, this apparition lures him into the first false sense of security which is that he won’t die because nobody born from a woman will ever harm him. 

3rd Apparition

The third apparition is a crowned child holding a tree who says that Macbeth is safe until Great Birnam Wood comes to Dunsinane hill. It sounds absolutely impossible hence it makes Macbeth sure of his invincibility. These apparitions are equivocations.

We see that Macbeth’s inability to trace the evil in them lures him further into misdeeds. His wrong actions and wrongly created confidence finally put him in a battle where he is defeated.

These apparitions and prophecies can be closely equated to the evil which already lies in Macbeth. The fact that Banquo sees the witches and yet act differently makes us think of Macbeth’s vulnerability to evil and his final tragic disintegration more.

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Signing Shakespeare resources and activities for teaching Act 4 of Macbeth

Act 4 Scenes 1-3: The Apparitions  

In these activities, students explore Macbeth’s second meeting with the witches when they show him three Apparitions who make further prophecies about his future. The activities include films of the three prophecies in BSL, for ASL download the ASL Gallery, and opportunities to explore Macbeth’s terrible action of killing Macduff’s family after hearing the prophecies. 

EXERCISE 1: The Apparitions

Tell the students that Macbeth seeks out the witches again, and demands that they reveal more to him about his future. The witches have been planning to meet Macbeth again. They are ready for him and conjure three apparitions (spirits or demons) to give him the answers he seeks.

Play Apparitions dramatic personae video from the gallery. This introduces the Apparitions with their sign name and an image of the actors playing them in the videos. You might like to tell your students that these actors are students like them who went to Braidwood Trust School for the Deaf.

Explain that you are going to watch a film of the Apparitions and see what they tell Macbeth. 

Play Apparition 1 video. This film is in BSL with subtitles or in ASL. 

Ensure students understand the Apparition’s message to be wary of Macduff.  

Play Macduff Dramatis Personae video as a reminder and ask what the students remember about Macduff. (He was the first to find the body of King Duncan after Macbeth murdered him. He chose to go home to Fife rather than see Macbeth crowned king in Scone. He ignored Macbeth’s invitation to the banquet.) 

Ask students to discuss in pairs how Macbeth might feel about what this First Apparition says and then to share with the class. 

Display Macbeth’s response to this prophecy (slide). Discuss what Macbeth says and draw out that this confirms his fears that Macduff is out to cause trouble for him. 

Play Apparition 2 video. This film is in BSL with subtitles or in ASL. 

Ensure students understand the Apparition’s message that no man that has been born of a woman can harm Macbeth. 

Ask students to discuss in pairs how Macbeth might feel about what this Second Apparition says and then to share with the class. Perhaps Macbeth feels invincible since every man has a mother who gave birth to him? 

 Display Macbeth’s response to this prophecy (slide). Discuss what Macbeth says and draw out that Macbeth feels he no longer needs to fear Macduff, but will have him killed anyway just to be sure.

Play Apparition 3 video. This film is in BSL with subtitles or in ASL. 

Ensure students understand the Apparition’s message that Macbeth cannot be defeated until a forest of trees called Birnam Wood moves to a place called Dunsinane. 

Show the map in the gallery (slide) 

Ask students how Macbeth might feel about what this Third Apparition says. Perhaps even more invincible since trees don’t move?  

Display Macbeth’s response to this prophecy (slide). Discuss what Macbeth says and draw out that Macbeth feels that he is safe because no-one can make trees move. 

EXERCISE 2: Macbeth’s hopes and fears

Recap with students what the Three Apparitions told Macbeth: to beware Macduff; that he cannot be defeated by any man who was given birth to by a woman; and that he will not be defeated until trees march.  

Revisit the Macbeth’s hopes and fears chart from Exercise 6 in Act 3 Scenes 3-4.   

Ask: Who or what might Macbeth still fear? Perhaps Macduff? Perhaps that Banquo’s children will become kings? 

Tell students that Macbeth demands that the witches answer one last question about whether Banquo’s children will ever rule in Scotland and that he is horrified to see a strange image of many kings who all descend from Banquo. Then the witches disappear again and leave him standing alone. 

Discuss how Macbeth’s hopes and fears have changed after this second meeting with the witches and encourage students to add to the columns on their sheets. Perhaps Macbeth fears Macduff and Banquo’s children, but hopes he cannot be defeated because of what the Apparitions said? 

EXERCISE 3: Macbeth and Macduff

Tell students that as Macbeth finds himself alone after the witches vanish, Lennox arrives and tells him that Macduff has fled to England.  

Ask: What do you think Macbeth will do now? 

Play Macbeth’s Plan video(s) (BSL/ VS or in ASL). 

Display the text from this film (slide) and ask students in pairs to discuss these questions:  

What does Macbeth want to do? (Surprise Macduff’s castle in Fife and kill Macduff’s wife and children and any other family)  Why do you think Macbeth wants this? 

EXERCISE 4: Macduff and Malcolm

• Recap Macbeth’s relationship with Macduff so far by asking the following questions (slide): 

What did the First Apparition tell Macbeth? (To ’Beware Macduff’)  Where is Macduff (He fled to England)  What did Macbeth say he would do when he heard where Macduff had gone? (Kill Macduff’s wife and children) 

Explain that you are going to jump to England and find out what Macduff is up to. 

Ask students what they remember about Malcolm. Play Malcolm Dramatis Personae video as a reminder. (He is King Duncan’s eldest son. He ran away to England as soon as he heard his father had been murdered) 

Organise students into pairs and ask them to be Malcolm and Macduff. 

Explain that you will play Ross and put on the ‘Thane of Ross’ sash.

As ‘Ross’, enter and greet the pairs as Malcolm and Macduff. Sign/say that you have come from Scotland where things are very bad under Macbeth’s rule. Explain you have some bad news for Macduff and give each pair a copy of ‘Macduff’s News’ from pdf resources and pens. You can also display the message (slide).

Ask each pair to discuss what they think the news is. Ask them to write a caption for each picture in the space provided. 

After allowing time for this, ask pairs to share their ideas with the whole class. Ensure the key facts emerge from this discussion that Macbeth has done what he said. He sent murderers to Macduff’s castle in Fife and those murderers killed Lady Macduff and her children and destroyed the castle.  

Ask pairs to create a freeze-frame of Malcolm and Macduff showing how they feel when they receive this news. 

Discuss what Macduff might want to do next. Perhaps punish Macbeth and stop him hurting anyone else? Perhaps kill him in revenge for the death of his family? 

EXERCISE 5: ‘Let grief convert to anger’

Display the lines spoken by Malcolm to Macduff: Let grief convert to anger (slide)  

Organise students into pairs and ask them to come up with a movement showing grief changing to anger. 

• Display the line spoken by Macduff to Malcolm: ’Front to front / Bring thou this fiend of Scotland and myself. / Within my sword’s length set him’ (slide). You can also give them a copy of these lines from the pdf resources.

Discuss what these lines mean (Macduff wants to face Macbeth, calling him a fiend or devil, so that he can fight him). 

Ask students to show in pairs what Macduff hopes will happen. 

Tell students that Macduff and Malcolm plan to march to Scotland and defeat Macbeth with the support of an army from England. 

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Macduff's News

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Answer the following 14 questions - for Act 4. 1. How do the...

Answer the following 14 questions - for Act 4. 1. How do the witches prepare for their meeting with Macbeth? 2. What is the first apparition and what does it tell Macbeth? 3. What is the second apparition and what does it tell Macbeth? 4. What is the third apparition and what does it tell Macbeth? 5. How do the apparitions fulfill Hecate's demand for the witches to make Macbeth overconfident? (Be specific) 6. What is the final image shown Macbeth and what does it mean? 7. How does Macbeth treat the witches/apparitions? (Be specific) 8. Why is Lady Macduff and her family in danger? 9. What is the purpose of Ross and of the messenger in Act 4? 10. Why does Shakespeare devote Scene 2 to Lady Macduff and her son? (Explore the impact on the audience) 11. Why and how does Malcolm test Macduff in Scene 3? Be specific (Be specific) 12. How does Macduff respond to Malcolm's testing? (Explain clearly) 13. What news does Ross deliver to Macduff?  How does Macduff react to the news? 14. What does Malcolm tell Ross to do with his grief?

Answer & Explanation

1- In Act 4 of William Shakespeare's play "Macbeth," the witches prepare for their meeting with Macbeth by brewing a potion or concoction in a cauldron. They add various ingredients to their cauldron, including "Finger of birth-strangled babe," "Gall of goat," and "Slips of yew." This potion is part of their dark and supernatural ritual, and it is intended to provide Macbeth with visions and prophecies that will influence his actions and decisions. The witches are portrayed as engaging in eerie and mystic activities to further their manipulation of Macbeth.

2- In Act 4 of William Shakespeare's "Macbeth," the first apparition that Macbeth encounters is a "head with no body" (a disembodied head). The apparition tells Macbeth to "beware Macduff," warning him that Macduff poses a significant threat to his rule and his life. This warning serves to heighten Macbeth's paranoia and fear of those who might challenge his authority.

The second apparition is a "bloody child," and it tells Macbeth that "none of woman born shall harm Macbeth." This prophecy gives Macbeth a false sense of security, as he interprets it to mean that he is invincible because everyone is born of a woman.

These apparitions play a crucial role in shaping Macbeth's actions and decisions as he interprets their messages in a way that bolsters his belief in his own invincibility, ultimately leading to his downfall.

3- The second apparition in Act 4 of William Shakespeare's "Macbeth" is a "bloody child." The apparition tells Macbeth the following prophecy:

"Be bloody, bold, and resolute. Laugh to scorn 

The power of man, for none of woman born 

Shall harm Macbeth."

This prophecy gives Macbeth a false sense of security and confidence, as he interprets it to mean that no one born of a woman can harm him. He takes this to mean that he is invulnerable because everyone is naturally born from a woman. This interpretation further fuels his ambition and recklessness.

However, as the play unfolds, it is revealed that Macduff, his eventual nemesis, was born through a Caesarean section and, therefore, was not "born of a woman" in the traditional sense. This revelation shatters Macbeth's false sense of invincibility and ultimately leads to his downfall.

4- The third apparition in Act 4 of William Shakespeare's "Macbeth" is a child wearing a crown and holding a tree. The apparition delivers the following message to Macbeth:

"Be lion-mettled, proud, and take no care 

Who chafes, who frets, or where conspirers are. 

Macbeth shall never vanquished be until 

Great Birnam Wood to high Dunsinane Hill 

Shall come against him."

This prophecy provides Macbeth with a false sense of security once again. It suggests that he cannot be defeated until Birnam Wood, a forest near Dunsinane Castle, physically moves to attack him. Macbeth interprets this as an impossible scenario since it seems highly unlikely that a forest could uproot itself and march on his castle.

However, as the play progresses, Macbeth's enemies, led by Malcolm and Siward, use branches and leaves from Birnam Wood as camouflage to advance on Dunsinane Castle. This clever tactic fulfills the prophecy, revealing the witches' words to be a metaphorical rather than a literal prediction. This realization further contributes to Macbeth's downfall, as it becomes clear that the witches' prophecies are not to be taken at face value.

5- Hecate, the queen of the witches, instructs the witches to conjure the apparitions in Act 4 of "Macbeth" as part of a plan to make Macbeth overconfident and ultimately lead him to his downfall. The apparitions fulfill Hecate's demand in the following ways:

• The First Apparition: The disembodied head warns Macbeth to "beware Macduff." This warning makes Macbeth overconfident in his own invincibility, as he believes that no one born of a woman can harm him. This false sense of security leads him to underestimate Macduff, who ultimately defeats him.
• The Second Apparition: The "bloody child" prophecy further bolsters Macbeth's confidence. He interprets it to mean that he cannot be harmed by anyone born of a woman. This interpretation makes him feel invulnerable and overly self-assured, contributing to his reckless actions.
• The Third Apparition: The third apparition's prophecy about Birnam Wood seemingly moving to Dunsinane Hill also plays into Macbeth's overconfidence. He believes that this is an impossible event, and it reinforces his belief that he cannot be defeated. This overconfidence blinds him to the clever strategy used by his enemies when they use branches from Birnam Wood as camouflage to approach his castle.

     In essence, the apparitions manipulate Macbeth's understanding of the prophecies to make him overly confident and complacent. This overconfidence leads him to take increasingly desperate and ill-advised actions, which ultimately lead to his downfall.

6- In Act 4 of William Shakespeare's "Macbeth," the final image shown to Macbeth is a procession of eight kings. These kings appear, with Banquo's ghost at the end, holding a mirror that reflects even more kings. The final image is intended to symbolize the future and the ultimate futility of Macbeth's actions.

This procession of kings represents a line of monarchs descended from Banquo, as the witches previously prophesied that Banquo's descendants would inherit the throne. The image implies that despite Macbeth's ruthless pursuit of power and his attempts to prevent Banquo's lineage from taking the throne, the prophecy will still come to pass. Macbeth's reign is seen as an interruption in the natural order of succession.

Additionally, the mirror held by the eighth king reflects an even longer line of kings, suggesting a never-ending cycle of kingship and power struggles. This image emphasizes the idea that power is transient, and no one can escape the inevitable consequences of their actions.

    In summary, the final image shown to Macbeth serves as a reminder of the ultimate futility of his ambitions and the inescapable fate foretold by the witches, contributing to his growing sense of despair and hopelessness.

7- Macbeth's treatment of the witches and apparitions in Act 4 of William Shakespeare's "Macbeth" varies as he interacts with them. Here's a specific breakdown of how he treats them:

• The Witches: When Macbeth first encounters the witches in Act 4, he is initially demanding and aggressive. He wants them to answer his questions and provide him with more prophecies. However, as the witches conjure the apparitions and give him cryptic messages, Macbeth becomes increasingly impatient and angry. He accuses the witches of deceiving him and manipulating him with their prophecies. His treatment of the witches is characterized by frustration and desperation as he tries to extract information and assurance from them.
• The Apparitions: Macbeth reacts to each of the apparitions in different ways:
• First Apparition: He is perturbed by the warning to "beware Macduff" but still demands more information.
• Second Apparition: Macbeth reacts with relief and confidence when he hears that "none of woman born shall harm Macbeth." He interprets this as a guarantee of his safety.
• Third Apparition: Macbeth is reassured by the prophecy that Birnam Wood will not come to Dunsinane. He sees this as an impossible event and believes it secures his position.

   As Macbeth interacts with the witches and the apparitions, his treatment of them reflects his increasingly delusional and paranoid state of mind. He alternates between seeking their guidance and berating them for the ambiguity of their prophecies. His behavior highlights his desperation and growing obsession with maintaining his grip on power.

8- Lady Macduff and her family are in danger in Act 4 of William Shakespeare's "Macbeth" because of Macbeth's growing paranoia and desire to eliminate potential threats to his rule. Macbeth believes that Macduff, a Scottish nobleman and one of his chief political rivals, is plotting against him. As a result, he orders the murder of Macduff's family, including Lady Macduff and her children, as a means to both eliminate a potential threat and to strike fear into his enemies.

Macbeth's paranoia intensifies as he becomes more tyrannical, and he starts to view anyone connected to his perceived enemies as a danger to his reign. Lady Macduff and her children are seen as extensions of Macduff's line, and Macbeth's ruthless decision to have them killed illustrates the brutality and cruelty that characterize his rule during this part of the play. This act serves as a demonstration of Macbeth's descent into madness and tyranny.

9- In Act 4 of William Shakespeare's "Macbeth," both Ross and the messenger serve important roles in advancing the plot and conveying critical information to the audience. Here's the purpose of each character:

• Ross: Ross is a Scottish nobleman who serves as a messenger and a conduit of information throughout the play. In Act 4, his primary purpose is to deliver the news of Macduff's flight to England, where he seeks support from King Edward in order to overthrow Macbeth. Ross also reveals the tragic fate of Lady Macduff and her family, providing insight into the growing brutality of Macbeth's rule. Ross serves as a means of conveying critical plot developments and the actions of key characters to both Macbeth and the audience.
• The Messenger: The messenger is a minor character whose role is to inform Macbeth of the approaching army, led by Malcolm and Siward, which is advancing against him. The messenger tells Macbeth that Birnam Wood appears to be moving toward Dunsinane, fulfilling one part of the witches' prophecy. This information greatly alarms Macbeth and plays a significant role in building tension and leading to the climax of the play.

    In summary, Ross and the messenger are both messengers who deliver crucial information to Macbeth and the audience. Ross provides updates on Macduff's activities and the consequences of Macbeth's actions, while the messenger delivers news of the advancing army, which contributes to Macbeth's growing sense of desperation and impending doom.

10- Shakespeare devotes Scene 2 of Act 4 in "Macbeth" to Lady Macduff and her son for several important reasons, each of which has a distinct impact on the audience:

• Humanization of Characters: This scene serves to humanize Lady Macduff and her son. While the main focus of the play is on the ambitious and morally compromised characters like Macbeth and Lady Macbeth, Scene 2 provides a contrast by depicting an innocent family. The audience witnesses Lady Macduff's vulnerability and her genuine concern for her son. This humanization creates empathy and sympathy among the audience, making them emotionally invested in the fate of these characters.
• Foreshadowing: Lady Macduff's conversation with her son foreshadows the themes of betrayal and abandonment that run throughout the play. Her son questions why his father (Macduff) has left them, and Lady Macduff expresses her concerns about his loyalty. This foreshadowing sets the stage for the later revelation of Macduff's actions and the consequences for his family.
• Dramatic Irony: The audience is aware of Macduff's true motives for leaving his family, as he has gone to seek help from Malcolm to overthrow Macbeth. However, Lady Macduff and her son are not privy to this information. This creates dramatic irony, where the audience knows something that the characters do not. It intensifies the emotional impact of the scene because the audience is aware of the imminent danger facing Lady Macduff and her son.
• Highlighting the Brutality of Macbeth: Scene 2 also serves to underscore the brutality of Macbeth's rule. Lady Macduff's murder and the murder of her innocent son by Macbeth's henchmen are brutal and shocking acts that emphasize the extent to which Macbeth is willing to go to secure his throne. This brutality generates a strong emotional response from the audience, further deepening their engagement with the play's themes of ambition and tyranny.

     In summary, Scene 2 featuring Lady Macduff and her son in "Macbeth" serves to humanize characters, foreshadow events, create dramatic irony, and highlight Macbeth's brutality. All of these elements combine to engage the audience emotionally and thematically, contributing to the overall impact of the play.

11- In Act 4, Scene 3 of William Shakespeare's "Macbeth," Malcolm tests Macduff's loyalty and trustworthiness because he is wary of Macduff's sudden departure to England. Malcolm is concerned that Macduff might be a spy sent by Macbeth to trick him or lead him into a trap. The test serves to ensure that Macduff is truly on their side and not a threat to the cause of overthrowing Macbeth. Here's how Malcolm conducts the test, specifically:

• Questioning Macduff's Motives: Malcolm begins by questioning Macduff's motives for leaving his family behind in Scotland. He wonders if Macduff's departure might be driven by ambition or a desire for power, which would make him a potential traitor. Malcolm's skepticism is evident as he expresses doubt about Macduff's intentions.
• False Confession of Vices: To test Macduff's reaction and probe his loyalty further, Malcolm falsely confesses to a series of vices and flaws, painting himself as unfit to rule. He claims to be greedy, lustful, and ruthless. He does this to gauge Macduff's response and see if Macduff is genuinely loyal to the cause or if he is only interested in supporting a worthy king.
• Macduff's Reaction: Macduff's reaction to Malcolm's confession is crucial. He expresses shock and disappointment in Malcolm's behavior but ultimately reaffirms his loyalty to Scotland and the rightful king, indicating that he is willing to endure Malcolm's supposed vices if it means restoring order and justice to the kingdom.

      Malcolm's test is designed to assess Macduff's character and commitment to the cause of removing Macbeth from power. Macduff's honest and passionate response reassures Malcolm of his loyalty, and this interaction solidifies their alliance against Macbeth. It also underscores the theme of trust and betrayal that runs throughout the play, emphasizing the importance of loyalty and integrity in a time of political turmoil.

12 - Macduff responds to Malcolm's testing in Act 4, Scene 3 of "Macbeth" with a mixture of shock, disappointment, and a reaffirmation of his loyalty to Scotland and the rightful king. Here's a clear explanation of Macduff's response:

• Shock and Disappointment: When Malcolm falsely confesses to a series of vices and character flaws, Macduff is initially shocked and disappointed. He cannot believe that the heir to the Scottish throne could have such apparent flaws and be unworthy of ruling. This reaction demonstrates Macduff's genuine concern for the fate of Scotland and his commitment to a righteous leader.
• Reaffirmation of Loyalty: Despite his initial shock and disappointment, Macduff quickly moves to reassure Malcolm of his loyalty to the Scottish cause. He expresses his unwavering commitment to Scotland's well-being and the need for a rightful king. Macduff declares that if Malcolm were indeed as he described himself, he would still support him in the fight against the tyrant Macbeth. This reaffirmation of loyalty demonstrates Macduff's deep sense of duty to his country and his determination to overthrow Macbeth.

In summary, Macduff responds to Malcolm's testing by expressing his shock and disappointment at Malcolm's false confession but ultimately reiterating his unwavering loyalty to Scotland and his commitment to fighting for a just and rightful ruler. This response confirms Macduff's integrity and dedication to the cause of ousting Macbeth from the throne.

13-  Ross delivers news to Macduff regarding the fate of Macduff's family and homeland. The news is grim, and it elicits a strong emotional reaction from Macduff.

Ross informs Macduff that Macbeth's forces, under the orders of Macbeth himself, have attacked Macduff's castle, resulting in the slaughter of Macduff's wife, children, servants, and everyone else in the household. The news is devastating, and it is a tragic turning point in the play.

Macduff's reaction to this news is one of profound grief and anguish. He is overcome with sorrow and rage at the loss of his family and the brutality of Macbeth's actions. His emotional response is expressed through his lines in the play, including:

• "All my pretty ones? Did you say all? O hell-kite! All? What, all my pretty chickens and their dam At one fell swoop?"

Macduff's words convey his heartbreak and fury, and his desire for vengeance against Macbeth intensifies. This news galvanizes Macduff's resolve to confront Macbeth and seek retribution for the atrocities committed against his family. It is a pivotal moment in the play that drives Macduff's determination to end Macbeth's reign of terror.

14 - Malcolm advises Ross on how to handle Macduff's grief and anger. Malcolm tells Ross to "Let grief convert to anger." In other words, Malcolm is suggesting that Macduff should channel his overwhelming grief and sorrow into a powerful and motivating anger.

This advice reflects Malcolm's understanding of the emotional turmoil Macduff must be experiencing and the need for him to use that anger as a driving force for action. Macduff's grief is transformed into a burning desire for revenge against Macbeth, and it further strengthens his resolve to join forces with Malcolm and others to overthrow the tyrant.

Malcolm's counsel highlights the theme of vengeance that runs throughout the play and emphasizes the importance of turning personal grief into a powerful motivation for justice and retribution.

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