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[3] Further, Milward maintains that although Shakespeare "may have felt obliged by the circumstances of the Elizabethan stage to avoid Biblical or other religious subjects for his plays," such obligation "did not prevent him from making full use of the Bible in dramatizing his secular sources and thus infusing into them a Biblical meaning ...
Macbeth and Banquo Meeting the Three Witches by John Wootton. Many scholars see Banquo as a foil and a contrast to Macbeth. Macbeth, for example, eagerly accepts the Three Witches' prophecy as true and seeks to help it along. Banquo, on the other hand, doubts the prophecies and the intentions of these seemingly evil creatures.
The word "loss" is repeated throughout this poem, appearing six times. The repetition of this word emphasizes how strongly the speaker feels that he has been deprived of the two most important relationships in his life: the fair youth and the mistress. The word "loss" is balanced by the word "love," which also appears six times.
Macbeth was a favourite of the seventeenth-century diarist Samuel Pepys, who saw the play on 5 November 1664 ("admirably acted"), 28 December 1666 ("most excellently acted"), ten days later on 7 January 1667 ("though I saw it lately, yet [it] appears a most excellent play in all respects"), on 19 April 1667 ("one of the best plays for a stage ...
The writer describes someone stirring from a fainting spell as the most affecting moment in the ordeal, because onlookers are assured of the recommencement of a life that was suspended. Macbeth and his wife must step out of the realm of human affairs and transfigure themselves into murderers. Lady Macbeth says she is unsexed, for instance.
William Shakespeare's play Macbeth is said to be cursed, so actors avoid saying its name when in the theatre (the euphemism "The Scottish Play" is used instead). Actors also avoid even quoting the lines from Macbeth before performances, particularly the Witches' incantations. Outside a theatre and after a performance, the play can be spoken of ...
[143] [144] [145] In Macbeth, the shortest and most compressed of Shakespeare's tragedies, [146] uncontrollable ambition incites Macbeth and his wife, Lady Macbeth, to murder the rightful king and usurp the throne until their own guilt destroys them in turn. [147] In this play, Shakespeare adds a supernatural element to the tragic structure.
The Shakespearean macaronic line "Et Tu Brutè?" in the First Folio from 1623 This 1888 painting by William Holmes Sullivan is named Et tu Brute and is located in the Royal Shakespeare Theatre.