TEXT AND PERFORMANCE General Editor: Michael Scott The series is designed to introduce sixth-form and undergradu ate students to the themes, continuing vitality and performance of major dramatic works. The attention given to production aspects is an element of special importance, responding to the invigoration given to literary study by the work of leading contemporary critics. The prime aim is to present each playas a vital experience in the mind of the reader - achieved by analysis of the text in relation to its themes and theatricality. Emphasis is accord ingly placed on the relevance of the work to the modern reader and the world of today. At the same time, traditional views are presented and appraised, forming the basis from which a creative response to the text can develop. In each volume, Part One: Text discusses certain key themes or problems, the reader being encouraged to gain a stronger perception both of the inherent character of the work and also of variations in interpreting it. Part Two: Performance examines the ways in which these themes or problems have been handled in modern productions, and the approaches and techniques employed to enhance the play's accessibility to modern audi ences. A synopsis of the play is given and an outline of its major sources, and a concluding Reading List offers guidance to the student's independent study of the work. PUBLISHED A Midsummer Night's Dream Roger Warren Antony and Cleopatra Michael Scott Hamlet Peter Davison Henry the Fourth, Parts 1 and 2 T. F. Wharton King Lear Gamini Salgado Macbeth Gordon Williams Othello Martin L. Wine The Tempest David L. Hirst Twelfth Night Lois Potter Doctor Faustus William Tydeman Volpone Arnold P. Hinchliffe IN PREP ARAT ION Measure for Measure Graham Nicholls The Winter's Tale R. P. Draper MACBETH Text and Performance GORDON WILLIAMS M MACMILLAN © Gordon Williams 1985 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright Act 1956 (as amended). Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. First published 1985 Published by Higher and Further Education Division MACMILLAN PUBLISHERS LTD Houndmills, Basingstoke, Hampshire RG21 2XS and London Companies and representatives throughout the world Typeset by Wessex Typesetters Ltd Frome, Somerset British Library Cataloguing in Publication Data Williams, Gordon Macbeth. - (Text and performance) I. Shakespeare, William. Macbeth I. Title II. Series 822.3'3 PR2823 ISBN 978-0-333-34000-4 ISBN 978-1-349-06473-1 (eBook) DOI 10.1007/978-1-349-06473-1 CONTENTS Acknowledgements 6 General Editor's Preface 7 Plot Synopsis and Sources 8 PART ONE: TEXT 1 Introduction 9 2 The Jacobean Macbeth 16 3 Macbeth and his Fiend-like Queen 24 4 The Knocking at the Gate 29 PART TWO: PERFORMANCE 5 Introduction 38 6 The Player King 39 7 Macbeth's Dearest Partner 46 8 Black, and Midnight Hags? 54 9 Adaptation 63 10 Conclusion 69 Reading List 71 Index of Names 73 Illustrations appear in Part Two. 6 ACKNOWLEDGEMENTS Quotations from Macbeth are from the New Penguin Shakes peare edition (1970), edited by G. K. Hunter. Source details for the illustrations are given with the relevant captions to the plates. To ROSE 7 GENERAL EDITOR'S PREFACE For many years a mutual suspicion existed between the theatre director and the literary critic of drama. Although in the first half of the century there were important exceptions, such was the rule. A radical change of attitude, however, has taken place over the last thirty years. Critics and directors now increasingly recognise the significance of each other's work and acknow ledge their growing awareness of interdependence. Both inter pret the same text, but do so according to their different situations and functions. Without the director, the designer and the actor, a play's existence is only partial. They revitalise the text with action, enabling the drama to live fully at each performance. The academic critic investigates the script to elucidate its textual problems, understand its conventions and discover how it operates. He may also propose his view of the work, expounding what he considers to be its significance. Dramatic texts belong therefore to theatre and to literature. The aim of the 'Text and Performance' series is to achieve a fuller recognition of how both enhance our enjoyment of the play. Each volume follows the same basic pattern. Part One provides a critical introduction to the play under discussion, using the techniques and criteria of the literary critic in examining the manner in which the work operates through language, imagery and action. Part Two takes the enquiry further into the play's theatricality by focusing on selected productions of recent times so as to illustrate points of contrast and comparison in the interpretation of different directors and actors, and to demonstrate how the drama has worked on the modern stage. In this way the series seeks to provide a lively and informative introduction to major plays in their text and performance. MICHAEL SCOTT 8 PLOT SYNOPSIS AND SOURCES The play begins with thunder and lightning, and three Witches. Next, Duncan, King of Scotland, receives news that Macbeth has led the royal forces to victory. The captains Banquo and Macbeth stumble upon the Witches who announce that Macbeth shall be king thereafter. Macbeth is disgruntled to hear Duncan proclaim his son, Malcolm, next King of Scotland. Lady Macbeth receives his letter giving news of the prophecy, and she resolves that he shall be king. Macbeth returns and she begins working on him. During the feast in Duncan's honour, Macbeth ponders murder. His troubled conscience is eased by Lady Macbeth. After a brief meeting with Banquo, Macbeth imagines a dagger pointing the way to Duncan's chamber. He leaves to commit murder while Lady Macbeth waits in an agony of impatience. He returns shocked and bloodstained, and Lady Macbeth has to take the initiative. She leads him off while a knocking sounds at the gate and Macduffis admitted to rouse the king. The alarm is sounded, but Macbeth's attempts to divert suspicion are not altogether successful and the king's sons flee. Banquo voices suspicions of the new king and Macbeth determines to be rid of him. Banquo is slain, and Macbeth hears of it during a banquet. Banquo's ghost appears to him and the banquet is disrupted. He repairs to the Witches again and hears further prophecies. He has MacduWs family killed because Macduffhas joined with Duncan's son, Malcolm. They gather an army together in England and prepare to march on Macbeth. Lady Macbeth's loss of reason is shown in a scene of sleepwalking. Macbeth's followers desert to the enemy, and he is troubled by his wife's sickness. She dies, and the advancing army appears bearing boughs cut from Birnam Wood in fulfilment of one of the Witches' prophecies. The remaining prophecy, that Macbeth is invulnerable to any born of woman, betrays him when Macduffreveals that he was untimely ripped from his mother's womb. Macbeth is slain and Malcolm hailed as the new king. SOURCES The only incontrovertible source is Holinshed's Chronicles of England, Scotland, and Ireland (2nd edition, 1587), though a few touches are borrowed from Seneca's Medea, Deloney's Thomas of Reading (1600), and Marston's Sophonisba (1606). 9 PART ONE: TEXT 1 INTRODUCTION Art is, above all, contemporary. The childless Elizabeth was approaching sixty when Shakespeare began his dramatic career; so it is no accident that he shows himselffrom the outset deeply concerned with questions oflegitimacy and the respon sibilities of power. That these matters are still to the fore in Macbeth testifies to his abiding interest in politics. But he would have gained fresh impetus from the new reign which, beginning with Marston's The Malcontent and Jonson's Sejanus (which brought him before the Privy Council on treason charges), saw a growing taste for political plays. Macbeth may well have been played before the king. Although there is no record of a performance before April 161 I, allusions to the Jesuit Henry Garnet's complicity in the Gunpowder Plot date those parts at least to a period when his trial and execution were highly topical (May 1606, or soon after). Two plays echoing Macbeth were published in 1607, so it seems very likely that Shakespeare's play was first acted in 1606 when royal performances were given by his company. The King of Denmark was visiting James during the summer and ifM acbeth were selected for such a royal occasion, it would explain why Holinshed's account of Danish invaders is strangely altered to Norwegians in the play. Although the Witches and Edward the Confessor's touching for the King's Evil - recalling James's activities in that way-further support the idea of royal interest, these are secondary considerations. More importantly, Macbeth reinforces the Stuart myth much as Richard III does that of the Tudors. The notion that Banquo begat the house of Stuart, and was consequently James's ancestor, was invented by the propagandist-historian Hector Boece and absorbed into Holinshed's Chronicles, Shakespeare's main source. From this point of view, the key scene of the play is, of course, that where the Witches present to Macbeth their show of eight