FALLOUT Act 2, Scenes 2 – 4 - PowerPoint Presentation

Slide1

FALLOUTAct 2, Scenes 2 – 4 Slide2

Hands

Water

SoundsSlide3

Stichomythia

A type of dialogue in which actors exchange short remarks.

It is usually characterised

by repetition and antithesis and delivered at speed.

It

has also been called 

cat-and-mouse

dialogue and cut-and-thrust dialogue. The device was first used in the ancient Greek theater to intensify the drama of an exchange. Nowadays it is mainly used for comic effect or to create tension. 

How does this reflect and enhance the dramatic tension in the scene?

LADY MACBETH

My

husband! 

MACBETH

I

have done the deed. Didst

thou not hear

a noise? 

LADY MACBETH

I

heard the owl scream and

the crickets

cry.

Did

not you speak? 

MACBETH

When

? 

LADY MACBETH

Now

.

MACBETH

As I

descended? 

LADY MACBETH

Ay

.

MACBETH

Hark

! 

Who

lies

i

' the second

chamber

? 

LADY MACBETH

Donalbain

.

MACBETH

This

is a sorry sight.

[

Looking on

his hands

.]

LADY MACBETH

A

foolish thought, to say a

sorry sight

.Slide4

As Macbeth and his wife leave the courtyard, the porter, who has been slowly wakened from his drunken sleep by the repeated knocking on the gate, staggers upon the stage. Evidently he is not quite sober yet; he is in no hurry to open the gate, and he improves the time by a whimsical speech on the duties of the porter of hell-gate.

The porter seems for a time to imagine himself that position, and

tires his imagination in guessing who the offenders may be that are so loudly demanding admittance

to the infernal regions. The authenticity of this scene has been denied by some famous critics and editors; but there seems no good ground for any such suspicion. In the first

place,

an intervening scene of this kind is absolutely necessary to give Macbeth time to wash his hands and change his dress; in the

second,

the porter's speech contains several distinctly Shakespearean phrases, "old turning of the key," "devil-porter it," and "the primrose way to the everlasting bonfire." The jokes about the farmer, the equivocator, and the tailor seem rather flat to modern audiences, but they are topical 'gags' which likely enough set the audience laughing when first spoken. A 'gag' can hardly be expected to retain its charm for three centuries. 

Act 2, Scene 3Slide5

Shakespeare made direct references to the Gunpowder

Plot right in Macbeth. To commemorate the discovery of the

dreadful scheme, King James had a medal created picturing a snake hiding amongst flowers. Another significant allusion is

to a Jesuit priest named Father Henry Garnet, who had concealed his knowledge of the conspiracy. When Father Garnet finally confessed, he insisted that his previous perjury was not really perjury because he lied for God’s sake.

For this excuse, he

became known as the great “

equivocator

” and was promptly hanged. Later on, when Macbeth’s Porter wonders what kind of people would enter the gates of hell, he declares:Faith, here’s an equivocator, that could swear in both the scales against either scale; who committed treason enough for God’s sake, yet could not equivocate to heaven. O, come in, equivocator.

The equivocator

 A person who speaks ambiguously or doesn't tell the whole truthSlide6

A porter stumbles through the hallway to answer the knocking, grumbling comically about the noise and mocking whoever is on the other side of the door. He compares himself to a porter at the gates of hell and asks,

“Who’s there,

i

’

th

’ name of Beelzebub

?”

Macduff and Lennox enter, and Macduff complains about the porter’s slow response to his knock. The porter says that he was up late carousing and rambles on humorously about the effects of alcohol, which he says provokes red noses, sleepiness, and urination. He adds that drink also “provokes and

unprovokes

”

lechery—it inclines one to be lustful but takes away the ability to have

sex.

Macbeth

enters, and Macduff asks him if the king is awake, saying that Duncan asked to see him early that morning. In short, clipped sentences, Macbeth says that Duncan is still asleep. He offers to take Macduff to the king. As Macduff enters the king’s chamber, Lennox describes the storms that raged the previous night, asserting that he cannot remember anything like it in all his years. With a cry of

“O horror, horror, horror!”

Macduff comes running from the room, shouting that the king has been

murdered

Act 2, Scene 3Slide7

Macbeth and Lennox rush in to look, while Lady Macbeth appears and expresses her horror that such a deed could be done under her roof. General chaos ensues as the other nobles and their servants come streaming in.

As

Macbeth and Lennox emerge from the bedroom, Malcolm and

Donalbain

arrive on the scene. They are told that their father has been killed, most likely by his chamberlains, who were found with bloody daggers. Macbeth declares that in his rage he has killed the chamberlains

.

Macduff seems suspicious of these new deaths, which Macbeth explains by saying that his fury at Duncan’s death was so powerful that he could not restrain himself. Lady Macbeth suddenly faints, and both Macduff and Banquo call for someone to attend to her.

Malcolm

and

Donalbain

whisper to each other that they are not safe, since whoever killed their father will probably try to kill them next. Lady Macbeth is taken away, while Banquo and Macbeth rally the lords to meet and discuss the murder. Duncan’s sons resolve to flee the court. Malcolm declares that he will go south to England, and

Donalbain

will hasten to Ireland.

Act 2, Scene 3Slide8

Appearance vs. Reality

How does Shakespeare present the theme of appearance vs. reality in Act 2, Scene 3

?Highlight every line that represents the theme of appearance vs. reality in the extractSlide9

MACDUFF

  O

horror, horror, horror! Tongue nor

heart

Cannot

conceive nor name thee!  

MACBETH

  What's the matter

.   MACDUFF 

Confusion

now

hath

made

his masterpiece! Most

sacrilegious

murder

hath

broke

ope

The

Lord's

anointed

temple,

and

stole

thence

The

life

o'

the

building

!  

MACBETH

What

is

't

you

say

?

the

life

?  

LENNOX

Mean

you

his

majesty

?

MACDUFF

Approach

the

chamber

,

and

destroy

your

sight

With

a

new

Gorgon

: do not

bid

me

speak

;

See

,

and

then

speak

yourselves

.  

  Exeunt MACBETH

and

LENNOX

Awake

, awake!  

Ring

the alarum-bell. Murder and treason

!

Banquo

and

Donalbain

! Malcolm! awake

!

Shake

off this downy sleep, death's counterfeit

,

And

look on death itself! up, up, and

see

The

great doom's image! Malcolm! Banquo

!

As

from your graves rise up, and walk like sprites,

To

countenance this horror! Ring the bell

.

Bell

rings

.

Enter

LADY

MACBETH

LADY MACBETH

What's

the

business,  

That

such

a

hideous

trumpet

calls

to

parley

The

sleepers

of

the

house?

speak

,

speak

!

MACDUFF

O

gentle

lady,

'Tis

not for

you

to

hear

what

I

can

speak

:

The

repetition

, in a

woman's

ear

,

Would

murder

as it fell.  

Enter

BANQUO

.

O

Banquo

,

Banquo

,  

Our

royal

master 's

murder'd

!Slide10

LADY MACBETH

  Woe

, alas!  

  What

, in

our

house?  

BANQUO  Too cruel

any where

.  

Dear

Duff

, I

prithee

,

contradict thyself,    And

say

it is not so.

Re-

enter

MACBETH and LENNOX,

with

ROSS

.

MACBETH

Had

I

but

died

an

hour

before

this

chance

,  

  I

had

lived

a

blessed

time; for, from

this

instant

,  

There

's

nothing

serious

in

mortality

:  

  All is

but

toys

:

renown

and

grace

is

dead

;  

  The

wine

of

life

is

drawn

, and

the

mere lees  

  Is

left

this

vault

to brag

of

.  

Enter MALCOLM and DONALBAIN.

DONALBAIN

What

is

amiss

?  

MACBETH

You

are

, and do not

know't

:  

  The spring,

the

head,

the

fountain

of

your

blood

  Is

stopp'd

;

the

very

source

of

it is

stopp'd

.

MACDUFF

Your

royal

father

's

murder'd

.  

MALCOLM

  O, by

whom

?  

LENNOX

Those

of

his

chamber

, as it

seem'd

,

had

done 't:  

Their

hands and

faces

were

an

badged

with

blood

;  

  So

were

their

daggers

,

which

unwiped

we

found

Upon

their

pillows

:  

They

stared

, and

were

distracted

;

no

man's

life

Was

to be

trusted

with

them

.  

MACBETH

  O,

yet

I do

repent

me

of

my

fury

,  

That

I

did

kill

them

.

MACDUFF

Wherefore

did

you

so

?Slide11

MACBETH

  Who can

be

wise,

amazed

,

temperate

and furious,  

  Loyal and neutral

, in a moment? No man:  

  The

expedition

my violent love  

Outrun

the

pauser, reason. Here lay Duncan

,

His

silver

skin

laced

with

his

golden

blood

;  

  And his

gash'd

stabs

look'd

like a

breach

in nature  

  For

ruin's

wasteful

entrance

:

there

,

the

murderers

,  

Steep'd

in

the

colours

of

their

trade,

their

daggers

Unmannerly

breech'd

with

gore

:

who

could

refrain

,

That

had

a

heart

to love, and in

that

heart

Courage

to make 's love

known

?  

LADY MACBETH

  Help

me

hence

, ho!  

MACDUFF

Look

to

the

lady.Slide12

Ross, a thane, walks outside the castle with an old man. They discuss the strange and ominous happenings of the past few days: it is daytime, but dark outside; last Tuesday, an owl killed a falcon; and Duncan’s beautiful, well-trained horses behaved wildly and ate one another.

Macduff

emerges from the castle and tells Ross that Macbeth has been made king by the other lords, and that he now rides to Scone to be crowned. Macduff adds that the chamberlains seem the most likely murderers, and that they may have been paid off by someone to kill Duncan.

Suspicion

has now fallen on the two princes, Malcolm and

Donalbain

, because they have fled the scene. Macduff returns to his home at Fife, and Ross departs for Scone to see the new king’s coronation.

Act 2, Scene 4Slide13

Supernatural Phenomena

Old Man

Threescore and ten I can remember well:

Within the volume of which time I have seen Hours dreadful and things strange; but this sore night

Hath trifled former

knowings

.

ROSS Ah, good father,

Thou seest, the heavens, as troubled with man's act, Threaten his bloody stage: by the clock, 'tis day,

And yet dark night strangles the travelling lamp:

Is't

night's predominance, or the day's shame,

That darkness does the face of earth entomb,

When living light should kiss it?

Old Man

'Tis unnatural, Even like the deed that's done. On Tuesday last, A falcon, towering in her pride of place,

Was by a

mousing

owl

hawk'd

at and

kill'd

.

ROSS

And Duncan's horses--a thing most strange and certain--

Beauteous and swift, the minions of their race,

Turn'd wild in nature, broke their stalls, flung out, Contending 'gainst obedience, as they would make War with mankind. Old Man 'Tis said they eat each other. ROSS They did so, to the amazement of mine eyes That look'd upon't. Here comes the good Macduff.

Negative lexisSlide14

Shakespeare extracted three of the four omens associated with King Duffe's murder from the  Holinshed’s

Chronicles, and applied them to the murder of Duncan. Holinshed writes: "

Monsterous sights also that were seene within the Scottish kingdome that

yeere were these: horses in

Louthian

, being of a singular

beautie

and awiftnesse, did eate their own flesh, and would in no wise taste anie other meate ... There was a sparhawke also strangled by an owlq. Neither was it anie lesse

woonder that the sunne, as before is said, was continuallie covered with clouds for six monthe space" (237). As

Henry Paul points out in his book 

The Royal Play of Macbeth

: "[Shakespeare] improved Holinshed's portents 

(1)

 by assigning the horses to Duncan, thus dramatizing the events; and by converting the strange behaviour of the horses into a protest against the inhumanity of man ... 

(2)

 by transforming the hawking owl into an image of the witches malign power; and 

(3)

 by confining to the murder day the darkness which the Chronicle ruinously diluted by protracting it for six months" (200). Supernatural Phenomena