Incredibly well-paced—Shakespeare learned a lot in writing for the theatre—theatricality: write by
design to enhance theatric performance, taking advantage of setting—what is Shakespeare’s theory
of art? Midsummer Night’s Dream (language adaptation, potion, playacting), Macbeth (prophecy
Interrogations—first line of each scene in Act I asks a question (answerable or subjects being
interrogated?) SC 1: time. SC 2: person/identity. SC 3: location. SC 4: justice. SC 5: no questions,
answer (Macbeth tells the truth). Not accidental, questioning on purpose.
Witches: “fair is foul and foul is fair” math, is/=. Reversing equation. Two subjects that seem set, but
really are variable—prophecy: Macbeth and killing King—not straightforward. Banquo—witches
don’t always mean well, get you to do things that otherwise you wouldn’t do. Accept witches world
view? Trust them? Reliability? Potential for error?
Act I end—Macbeth endorsed the witches? Already bought into it. Wavered, then set himself to this
formula—beginning Macbeth is spellbound by witches, Banquo is weary, Macbeth was fair, now he
turns foul—must get rid of Malcolm to become king—gets the Cawdor title by doing the right thing
(fair), but title makes Macbeth want throne by ill means (foul).
Important image—clothes. (borrowed robes) attire and whether or not someone should be wearing
a garment. Designed to create an outward appearance that may not be backe dup by what is
underneath—clothes protect and conceal—DISGUISE.
Theatricality—study in homicide—profile of a murderer (a different view)—stunning theatrical
devices (kerchief in Othello, disguises in Lear) fair and foul idea, three sisters—great way to
navigate the play—Macbeth and Lady Macbeth making comments. Is the n