Answers
What is the difference between a monologue and a dialogue? Is the excerpt from Act 2, Scene a monologue or dialogue?
A monologue is described as a 'prolonged talk by a single speaker'. In other words, it is one actor talking directly to themselves or to the audience. On the other hand, a dialogue often occurs between two or more individuals or characters when they exchange or convey ideas or opinions on a particular issue. The two are also different in that, whilst a monologue is effective in uncovering deep individual emotion, a dialogue enables us to compare and contrast this emotion against another character's. Similarly, a monologue often provides the audience with more personal information, where a dialogue reveals this in relation to other views on the issue. Dialogues also enable audience's to observe and understand the functioning of social, political and business relationships. Monologues obviously do not serve this function.
The excerpt from Act 2, Scene 2 is dialogue as it features two characters, Lady Macbeth and Macbeth, giving their outlook on King Duncan's murder.
A tragic hero is a character who was once noble, but who, due to a fatal flaw, experiences a 'fall from great heights'. How does this scene develop Macbeth as a tragic hero?
A tragic hero’s story is often that of the text or the play, as is the case with Macbeth. Therefore, tragic heroes are an essential aspect of the style of tragic drama. The tragic hero of a story is often the individual who holds an esteemed or noble position, but, due to a hamartia or fatal flaw, experiences a fall from grace. The character is regarded as being doomed to make a lapse or mistake in judgement as a result of negative or overly consuming personal characteristics. However, despite all of this, it is important for the author to demonstrate or reveal certain redeeming characteristics of the tragic hero in order to gain sympathy, fear or pity, and therefore interest, from the audience.
Act 2 Scene 2 is important in developing Macbeth as the tragic hero in that this could be described as the beginning of his fall from esteem. This is signified in his committing of the act of murder, which was brought about by his excessive ambition. However, Shakespeare has successfully and importantly diverted Macbeth from being a villainous character by showing his humanity and potential greatness through his obvious guilt and remorse. Macbeth’s culpability is evident in such phrases as “Who’s hands are here? Ha! They pluck out mine eyes. Will all great Neptune’s ocean was this blood clean from my hand?” and “I’ll go no more, I am afraid to think what I have done; Look on’t it again I dare not”. Therefore, in this one dialogue, Shakespeare has developed Macbeth as a character with all the traditional features of a tragic hero.
Why might Shakespeare have decided not to depict Duncan’s death onstage? What effect does this have on the audience’s understanding of the play?
The audience never does, in fact, see Macbeth murder King Duncan or his minders. Rather the characters dictate their actions and exit and enter the stage accordingly. For example, Macbeth calls from offstage, “Who’s there, what ho!” He then enters saying, “I have done the deed”. This is important in raising the tensions and moods of the play and therefore in engaging audiences. This dramatic effect requires the involvement of the audience through an extensive use of their imagination and an understanding of the character’s dialogue. Additionally, offstage action focuses the audience’s attention on the effects of the murder on the two main protagonists rather than on the deed itself. This is because it would seem that their reactions towards the murder are more important and influential as the play progresses than the actual murder itself. Offstage action may also be a technique utilised so as to spare the audience from witnessing excessive violence in relation to an already gruesome and sensitive subject. Similarly, this dramatic function succeeds in making the deed seem more terrible simply by power of suggestion.
How does the nature of the dialogue establish a mood or tone for the scene?
The phrasing and structure of the exchange between Macbeth and Lady Macbeth following the murder could be described as tense. It features fragmented line structures and short, quick conversation. For example, “Did you not speak? When? Now? As I descended? Ay.” This sharp and seemingly haphazard conversation is effective in establishing a sense of frightened urgency. The nature of the dialogue confirms and reiterates the compounding fear of discovery that is expressed in both Lady Macbeth and Macbeth’s words and references.
As the actual action occurs offstage, it is important for the character’s, through their verse, to establish the serious, fearful and desperate tone in order to inform and engage the audience. Tone is essential in immersing viewers in the character’s world and the storyline. The mood of the dialogue is important in enabling viewers to fully comprehend the enormity of the situation as well as the effect that it has on the Macbeths and their decisions or actions.
Juxtaposition is the placing of opposing ideas, people, places or themes in close proximity to each other in order to highlight the difference between them. This literary device is used to compare and explore in further detail two directly or indirectly related entities.
Shakespeare has employed juxtaposition in the Act 2, Scene 2 exchange as to compare and explore the very different reactions and perceptions that they hold in regards to the murder they have just committed. It would seem that Lady Macbeth does not see their crime in its entity and severity as Macbeth does. Similarly, Macbeth seems to fear himself and his capability after having just murdered his king. He is shrouded in guilt and the fevered imaginings of a freely choosing mind. However, whilst Lady Macbeth may also be experiencing hallucinations to some extent, she fears discovery. In some ways, the juxtaposition of Macbeth and Lady Macbeth’s personalities, including characteristics like courage and resolve, provides a deeper understanding into both their characters and their relationship. Shakespeare demonstrates this by using their differing views as responses to or retorts against the other. For example, Macbeth dreads that “my hands will rather the multitudinous seas incarnadine, making the green one red”. In response, Lady Macbeth says, “My hands are of your colour, but I shame to wear a heart so white…A little water clears us of this deed”. In other words, Macbeth believes that, rather than water having the capability to wash the blood away, the blood will stain the green seas red. On the other hand, Lady Macbeth refers to the murder as if it can be simply forgotten and brushed aside. This opposition is important in providing emphasis and clarity, heightening distinctions between the two and increasing interest from the audience.
The literary device of foreshadowing refers to the use of indicative words or phrases and hints that set the stage for the story to unfold. Foreshadowing hints at future occurrences in a way that does not reveal important developments in the story line. Ultimately, it is a technique used to suggest an upcoming outcome to the story.
Foreshadowing is actually employed in reference to numerous later happenings of the tragedy. For example, the infamous and extremely symbolic quote of “Glamis has murdered sleep, and therefore Cawdor shall sleep no more!” foreshadows a time when both Lady Macbeth and Macbeth will experience debilitating insomnia as a result of their ever-intensifying culpability. Even when Macbeth does sleep he will be tormented by his guilt in the "terrible dreams that shake us nightly". Additionally, Lady Macbeth’s conversation frequently features swift changes of thought and speech. This could ultimately foreshadow her final lapse into madness, insanity and mental instability later on, as demonstrated in the sleepwalking scene, Act 5, Scene 1.
Both motifs and symbols are important and effective literary techniques. A symbol is defined as an object, event or idea that represents a deeper meaning or greater concept. Similarly, a motif is the continued or repeated use of a symbol or image. Blood is a central topic of the dialogue in Act 2, Scene 2 and comes to symbolise murder and guilt. The image of blood, or blood-stained hands, may represent the characters’ initial and changing reactions to the killing of King Duncan. Similarly, blood symbolism serves as a continuous indicator of the characters’ emotional evolution. Macbeth’s and Lady Macbeth’s reactions to the symbol highlight their inverse attitude changes as result of their ‘fall from grace’. Macbeth moves from immeasurable guilt to cold-hearted killer, whilst Lady Macbeth starts as an insensitive manipulator and ultimately falls into a state of despair. In fact, it could be said that the symbol of blood comes to characterise Lady Macbeth and Macbeth. Therefore, the symbol of blood allows the reader to not only understand the characters, but to compare and contrast changes in their persona. To do this effectively, it is important that blood be used as a recurring image in order to reiterate its meaning and significance, as well as to ensure greater impact on the audience.
Create a Wordle outlining Lady Macbeth and Macbeth's most prominent characteristics:
For example:
A monologue is described as a 'prolonged talk by a single speaker'. In other words, it is one actor talking directly to themselves or to the audience. On the other hand, a dialogue often occurs between two or more individuals or characters when they exchange or convey ideas or opinions on a particular issue. The two are also different in that, whilst a monologue is effective in uncovering deep individual emotion, a dialogue enables us to compare and contrast this emotion against another character's. Similarly, a monologue often provides the audience with more personal information, where a dialogue reveals this in relation to other views on the issue. Dialogues also enable audience's to observe and understand the functioning of social, political and business relationships. Monologues obviously do not serve this function.
The excerpt from Act 2, Scene 2 is dialogue as it features two characters, Lady Macbeth and Macbeth, giving their outlook on King Duncan's murder.
A tragic hero is a character who was once noble, but who, due to a fatal flaw, experiences a 'fall from great heights'. How does this scene develop Macbeth as a tragic hero?
A tragic hero’s story is often that of the text or the play, as is the case with Macbeth. Therefore, tragic heroes are an essential aspect of the style of tragic drama. The tragic hero of a story is often the individual who holds an esteemed or noble position, but, due to a hamartia or fatal flaw, experiences a fall from grace. The character is regarded as being doomed to make a lapse or mistake in judgement as a result of negative or overly consuming personal characteristics. However, despite all of this, it is important for the author to demonstrate or reveal certain redeeming characteristics of the tragic hero in order to gain sympathy, fear or pity, and therefore interest, from the audience.
Act 2 Scene 2 is important in developing Macbeth as the tragic hero in that this could be described as the beginning of his fall from esteem. This is signified in his committing of the act of murder, which was brought about by his excessive ambition. However, Shakespeare has successfully and importantly diverted Macbeth from being a villainous character by showing his humanity and potential greatness through his obvious guilt and remorse. Macbeth’s culpability is evident in such phrases as “Who’s hands are here? Ha! They pluck out mine eyes. Will all great Neptune’s ocean was this blood clean from my hand?” and “I’ll go no more, I am afraid to think what I have done; Look on’t it again I dare not”. Therefore, in this one dialogue, Shakespeare has developed Macbeth as a character with all the traditional features of a tragic hero.
Why might Shakespeare have decided not to depict Duncan’s death onstage? What effect does this have on the audience’s understanding of the play?
The audience never does, in fact, see Macbeth murder King Duncan or his minders. Rather the characters dictate their actions and exit and enter the stage accordingly. For example, Macbeth calls from offstage, “Who’s there, what ho!” He then enters saying, “I have done the deed”. This is important in raising the tensions and moods of the play and therefore in engaging audiences. This dramatic effect requires the involvement of the audience through an extensive use of their imagination and an understanding of the character’s dialogue. Additionally, offstage action focuses the audience’s attention on the effects of the murder on the two main protagonists rather than on the deed itself. This is because it would seem that their reactions towards the murder are more important and influential as the play progresses than the actual murder itself. Offstage action may also be a technique utilised so as to spare the audience from witnessing excessive violence in relation to an already gruesome and sensitive subject. Similarly, this dramatic function succeeds in making the deed seem more terrible simply by power of suggestion.
How does the nature of the dialogue establish a mood or tone for the scene?
The phrasing and structure of the exchange between Macbeth and Lady Macbeth following the murder could be described as tense. It features fragmented line structures and short, quick conversation. For example, “Did you not speak? When? Now? As I descended? Ay.” This sharp and seemingly haphazard conversation is effective in establishing a sense of frightened urgency. The nature of the dialogue confirms and reiterates the compounding fear of discovery that is expressed in both Lady Macbeth and Macbeth’s words and references.
As the actual action occurs offstage, it is important for the character’s, through their verse, to establish the serious, fearful and desperate tone in order to inform and engage the audience. Tone is essential in immersing viewers in the character’s world and the storyline. The mood of the dialogue is important in enabling viewers to fully comprehend the enormity of the situation as well as the effect that it has on the Macbeths and their decisions or actions.
- How is contrast expressed in the dialogue? What does this juxtaposition convey to the audience?
Juxtaposition is the placing of opposing ideas, people, places or themes in close proximity to each other in order to highlight the difference between them. This literary device is used to compare and explore in further detail two directly or indirectly related entities.
Shakespeare has employed juxtaposition in the Act 2, Scene 2 exchange as to compare and explore the very different reactions and perceptions that they hold in regards to the murder they have just committed. It would seem that Lady Macbeth does not see their crime in its entity and severity as Macbeth does. Similarly, Macbeth seems to fear himself and his capability after having just murdered his king. He is shrouded in guilt and the fevered imaginings of a freely choosing mind. However, whilst Lady Macbeth may also be experiencing hallucinations to some extent, she fears discovery. In some ways, the juxtaposition of Macbeth and Lady Macbeth’s personalities, including characteristics like courage and resolve, provides a deeper understanding into both their characters and their relationship. Shakespeare demonstrates this by using their differing views as responses to or retorts against the other. For example, Macbeth dreads that “my hands will rather the multitudinous seas incarnadine, making the green one red”. In response, Lady Macbeth says, “My hands are of your colour, but I shame to wear a heart so white…A little water clears us of this deed”. In other words, Macbeth believes that, rather than water having the capability to wash the blood away, the blood will stain the green seas red. On the other hand, Lady Macbeth refers to the murder as if it can be simply forgotten and brushed aside. This opposition is important in providing emphasis and clarity, heightening distinctions between the two and increasing interest from the audience.
- What is foreshadowing? How is this technique used within the dialogue?
The literary device of foreshadowing refers to the use of indicative words or phrases and hints that set the stage for the story to unfold. Foreshadowing hints at future occurrences in a way that does not reveal important developments in the story line. Ultimately, it is a technique used to suggest an upcoming outcome to the story.
Foreshadowing is actually employed in reference to numerous later happenings of the tragedy. For example, the infamous and extremely symbolic quote of “Glamis has murdered sleep, and therefore Cawdor shall sleep no more!” foreshadows a time when both Lady Macbeth and Macbeth will experience debilitating insomnia as a result of their ever-intensifying culpability. Even when Macbeth does sleep he will be tormented by his guilt in the "terrible dreams that shake us nightly". Additionally, Lady Macbeth’s conversation frequently features swift changes of thought and speech. This could ultimately foreshadow her final lapse into madness, insanity and mental instability later on, as demonstrated in the sleepwalking scene, Act 5, Scene 1.
- What is the significance of blood as a motif and symbol?
Both motifs and symbols are important and effective literary techniques. A symbol is defined as an object, event or idea that represents a deeper meaning or greater concept. Similarly, a motif is the continued or repeated use of a symbol or image. Blood is a central topic of the dialogue in Act 2, Scene 2 and comes to symbolise murder and guilt. The image of blood, or blood-stained hands, may represent the characters’ initial and changing reactions to the killing of King Duncan. Similarly, blood symbolism serves as a continuous indicator of the characters’ emotional evolution. Macbeth’s and Lady Macbeth’s reactions to the symbol highlight their inverse attitude changes as result of their ‘fall from grace’. Macbeth moves from immeasurable guilt to cold-hearted killer, whilst Lady Macbeth starts as an insensitive manipulator and ultimately falls into a state of despair. In fact, it could be said that the symbol of blood comes to characterise Lady Macbeth and Macbeth. Therefore, the symbol of blood allows the reader to not only understand the characters, but to compare and contrast changes in their persona. To do this effectively, it is important that blood be used as a recurring image in order to reiterate its meaning and significance, as well as to ensure greater impact on the audience.
Create a Wordle outlining Lady Macbeth and Macbeth's most prominent characteristics:
For example:
Using the characteristics from the previous question, develop mini biography poems for Lady Macbeth and Shakespeare.
For example: Lady Macbeth, Keeper of a mind revered and strong. A mind, Cunning as the face, For which they give reward. A mind, Encased by a facade of smooth skin and flowing hair; Flowing hair born from the protector of her might. A mind, Responsible for the way the mouth spoke of murder and treason, And the way the hands washed, The thick red cocktail away. Each day until her mind shuddered under its genius, And ceased, In a sudden moment, To exist. What is the dramatic function (effect) of the knocking at the gate? The knocking at the gate serves multiple purposes. Firstly, it heightens the already tense mood of the scene and succeeds in sending a sense of urgency through the audience. Will someone catch Lady Macbeth and Macbeth? Is it someone who knows that Duncan has been murdered? Additionally, the build-up of the knocking is effective in developing the audience's anticipation and interest in the play. It has also been long assumed that the knocking at the gate is provided for some comic relief. It is likely that Shakespeare attempted to provide a sort of distraction from the heavy, serious and sensitive happenings of Act 2, Scene 2. |
Thane of Glames, Thane of Cawdor, KING. Vanquisher of traitors, Yielding a sword welded with pride. Consumed, by predictions, prophecies and power. Ambition, Wears away at sanity, And evil, Conquers even the noble. whilst blood, A symptom of guilt, Never seems to fade. |