Macbeth by William Shakespeare Read Free Book Online Page B

efficiency. The watchers realize the significance of the spectacle but the Doctor says that she is more in need of “divine” help than that of a physician.
Act 5 Scene 2
    In the first of six short scenes that run into each other—the pace of events is now at its quickest—Lennox and other Scottish noblemen discuss their intention to join with Malcom and Macduff near Birnam Wood. They reveal that “the tyrant” Macbeth is fortifying Dunsinane against the English.
Act 5 Scene 3
    Macbeth issues orders, confident that the prophecies mean he is invincible. A frightened servant reports that there are “ten thousand” English soldiers and Macbeth sends him away, angry at his cowardice. He calls for Seyton. His speech as he waits reveals a weariness with life: he feels he has “lived long enough” and his actions mean that his life will hold not honor and friendship but “Curses.” He instructs Seyton to bring his armor. When he inquires after his wife, the doctor reports that Lady Macbeth is “troubled” and Macbeth tells him to cure her “diseased” mind, but is told that it is a patient alone who can deal with their own conscience.
Act 5 Scene 4
    The English forces arrive at Birnam Wood and camouflage themselves with tree branches to disguise their numbers.
Act 5 Scene 5
    As Macbeth defiantly issues orders to Seyton, a cry is heard and Seyton is sent to investigate. Macbeth contemplates how he would once have been disturbed by such a noise, but now that he has “supped full with horrors” he is no longer affected. Seyton returns with news of Lady Macbeth’s death, and Macbeth’s response is weary and resigned as he describes life as “a walking shadow,” a “tale” “Signifying nothing.” A messenger brings news that he has seen Birnam Wood moving. Angry, then resigned, Macbeth vows to fight on.
Act 5 Scene 6
    Malcolm commands the English forces to throw off their camouflage and places the English soldier Siward and his son at the head of the army.
Act 5 Scene 7
    Macbeth fights, unafraid because he can only be killed by one “not born of woman.” He kills young Siward and exits. Macduff passes across the stage, searching for Macbeth, and then Siward leads Malcolm to the defeated castle. Macbeth re-enters, scorning escape in suicide. Macduff finds him and they fight, but Macbeth claims that he bears “a charmed life” because of the prophecy. Macduff replies that he was “from his mother’s womb / Untimely ripped.” Roused by Macduff’s threats that he will be kept captive like “rarer monsters,” Macbeth refuses to yield and they exit fighting, then re-enter after “Alarums,” and Macbeth is slain. Macduff drags him away. As Malcolm and Siward discuss the battle, Ross informs Siward of his son’s death. Macduff enters, bearing Macbeth’s severed head, and hails Malcolm as “King of Scotland.” Malcolm makes his noblemen into earls and expresses his intention to deal with matters “in measure, time and place,” emphasizing a return to order.

MACBETH
IN
PERFORMANCE:
THE RSC AND BEYOND
    The best way to understand a Shakespeare play is to see it or ideally to participate in it. By examining a range of productions, we may gain a sense of the extraordinary variety of approaches and interpretations that are possible—a variety that gives Shakespeare his unique capacity to be reinvented and made “our contemporary” four centuries after his death.
    We begin with a brief overview of the play’s theatrical and cinematic life, offering historical perspectives on how it has been performed. We then analyze in more detail a series of productions staged over the last half-century by the Royal Shakespeare Company. The sense of dialogue between productions that can only occur when a company is dedicated to the revival and investigation of the Shakespeare canon over a long period, together with the uniquely comprehensive archival resource of promptbooks, program notes, reviews, and interviews, held