MYPNA_TE_G12_U3_web.pdf

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NOTES

At first and last, the hearty welcome.
Lords. Thanks to your Majesty.
Macbeth. Ourself will mingle with society^2
And play the humble host.
Our hostess keeps her state,^3 but in best time
We will require^4 her welcome.
Lady Macbeth. Pronounce it for me, sir, to all our friends,
For my heart speaks they are welcome.
[Enter First Murderer.]
Macbeth. See, they encounter thee with their hearts’ thanks.
Both sides are even: here I’ll sit i’ th’ midst:
Be large in mirth; anon we’ll drink a measure^5
The table round. [Goes to Murderer.] There’s blood upon
thy face.
Murderer. ’Tis Banquo’s then.
Macbeth. ’Tis better thee without than he within.^6
Is he dispatched?
Murderer. My lord, his throat is cut: that I did for him.
Macbeth. Thou art the best o’ th’ cutthroats.
Yet he’s good that did the like for Fleance:
lf thou didst it, thou art the nonpareil.^7
Murderer. Most royal sir, Fleance is ’scaped.
Macbeth. [Aside] Then comes my fit again: I had else been perfect.
Whole as the marble, founded as the rock,
As broad and general as the casing^8 air:
But now I am cabined, cribbed, confined, bound in
To saucy^9 doubts and fears.—But Banquo’s safe?
Murderer. Ay, my good lord: safe in a ditch he bides,
With twenty trenchèd^10 gashes on his head,
The least a death to nature.^11
Macbeth. Thanks for that.
[Aside] There the grown serpent lies: the worm that’s fled
Hath nature that in time will venom breed,
No teeth for th’ present. Get thee gone. Tomorrow
We’ll hear ourselves^12 again. [Exit Murderer.]
Lady Macbeth. My royal lord,
You do not give the cheer.^13 The feast is sold
That is not often vouched, while ’tis a-making,
’Tis given with welcome.^14 To feed were best at home;
From thence, the sauce to meat is ceremony;^15
Meeting were bare without it.
[Enter the Ghost of Banquo and sits in Macbeth’s place.]
Macbeth. Sweet remembrancer!
Now good digestion wait on appetite.


  1. society company.
    5

  2. keeps her state remains seated
    on her throne.

  3. require request.


10


  1. measure toast.


15


  1. thee... within you outside
    than he inside.

  2. nonpareil without equal.

  3. as... casing as unrestrained as
    the surrounding.

  4. saucy insolent.

  5. trenchèd trenchlike.

  6. nature natural life.


20

25


  1. hear ourselves talk it over.

  2. give the cheer make the guests
    feel welcome.

  3. The feast... welcome The
    feast at which the host fails to
    make the guests feel welcome
    while the food is being
    prepared is no more than a
    bought dinner.

  4. From... ceremony Ceremony
    adds a pleasant flavor to the
    food.


30

35

CLOSE READ
ANNOTATE: Mark the words
and phrases Macbeth uses to
describe himself in lines 22–24.
Mark a separate set of words
he uses to describe himself in
lines 25–26.
QUESTION: How are the two sets
of words different?
CONCLUDE: How do these
descriptive details define the
changes that have occurred in
Macbeth?

304 UNIT 3 • FACING THE FUTURE, CONFRONTING THE PAST

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TEACHING


CLOSE READ


Remind students that authors use adjectives to
describe characters in literature. You may wish
to model the Close Read using the following
think-aloud format. Possible responses to
questions on the student page are included.
ANNOTATE: I know that authors use adjectives
to describe characters, but this question only
asks about particular adjectives in lines 22–26.
As I read those lines, I note and highlight the
adjectives that Macbeth uses to describe himself.
QUESTION: I notice that the first few adjectives
describe a strong, assured man; the last describe
a man who is frustrated, frightened, and unsure.

CONCLUDE: The adjectives factually define the
changes in Macbeth as he was so certain that
he would succeed in taking the throne, but now
is going mad because his conscience has got
the better of him: he can’t live with what he
has done. These adjectives communicate the idea
through a variety of images including the strength
of rock and marble and the broadness of air. They
end with an image of Macbeth tightly confined.

304 UNIT 3 • FACING THE FUTURE, CONFRONTING THE PAST


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