SINEL, Macbeth's father, according to Holinshed; I. iii. 71. SINGLE, individual; I. iii. 140. simple, small; I. vi. 16. SIRRAH, used in addressing an inferior; here used playfully; IV. ii. 30. SKIRR, SCOur; V. iii. 35. SLAB, thick, glutinous; IV. i. 32. SLEAVE, sleave-silk, floss silk; II. ii. 37. SLEEK O'ER, Smooth; III. ii. 27. SLEIGHTS, feats of dexterity; III. v. 26. SLIPP'D, let slip; II. iii. 57. SLIVER'D, slipped off; IV. i. 28. SMACK, have the taste, savor; I. ii. 44. So, like grace, gracious; IV. iii. 24. So WELL, as well; I. ii. 43. III. i. 14. SOMETHING, some distance; III. i. 132. SOMETIME, Sometimes; I. vi. 11. SPECULATION, intelligence; III. iv. 95. SPEED; "had the s. of him," has outstripped him; I. v. 37. SPONGY, imbibing like a sponge; I. vii. 71. SPRING, Source; I. ii. 27. SPRITES, spirits; IV. i. 127. STABLENESS, Constancy; IV. iii. 92. STAFF, lance; V. iii. 48. STAMP, stamped coin; IV. iii. 153. STANCHLESS, insatiable; IV. iii. 78. STAND, remain; III. i. 4. STAND NOT UPON, do not be particular about; III. iv. 119. STATE, chair of State; III. iv. 5. STATE OF HONOR, noble rank, condition; IV. ii. 66. STAY, wait for; IV. iii. 142. STAYS, waits; III. v. 35. STICKING-PLACE, i. e. "the place in which the peg of a stringed instrument remains fast; the proper degree of tension"; I. vii. 60. STIR, stirring, moving; I. iii. 144. STOREHOUSE, place of burial; II. iv. 34. STRANGE, new; I. iii. 145. ; "s. and self-abuse," i. e. (?) "my abuse of others and myself"; III. iv. 142. STRANGELY-VISITED, afflicted with strange diseases; IV. iii. 150. STUFF'D, crammed, full to bursting; V. iii. 44. SUBSTANCES, forms; I. v. 51. SUDDEN, violent; IV. iii. 59. SUFFER, perish; III. ii. 16. SUFFERING; "Our s. country," i. e. our country suffering; III. vi. 48. SUGGESTION, temptation, incitement; I. iii. 134. SUMMER-SEEMING, “appearing like summer; seeming to be the effect of a transitory and short-lived heat of the blood" (Schmidt); (Warburton, "summer-teeming"; Johnson, "fume, or seething," &c.); IV. iii. 86. SUNDRY, various; IV. iii. 48. SURCEASE, Cessation; I. vii. 4. SURVEYING, noticing, perceiving; I. ii. 31. SWAY BY, am directed by; V. iii. 9. SWEARS, Swears allegiance; IV. ii. 47. TAINT, be infected; V. iii. 3. TAKING-OFF, murder, death; I. vii. 20. TEEMS, teems with; IV. iii. 176. TEND ON, wait on; I. v. 43. ; "to th.", to that end, for that purpose; I. ii. 10. THEREWITHAL, therewith; III. i. 34. THIRST, desire to drink; III. iv. 91. THOUGHT; "upon a th.", in as THREAT, threaten; II. i. 60. 56. "to gain the t. inn," opportune; III. iii. 7. TITLES, possessions; IV. ii. 7. To, in addition to; I. vi. 19. according to; III. iii. 4. compared to; III. iv. 64. -, for, as; IV. iii. 10. linked with, "prisoner to"; III. iv. 25. TOP, overtop, surpass; IV. iii. 57. TOP-FULL, full to the top, brimful; I. v. 44. TOUCH, affection, feeling; IV. ii. 9. TOUCH'D, injured, hurt; IV. iii. 14. TOWERING, turning about, soaring, flying high (a term of falconry); II. iv. 12. TRACE, follow; IV. i. 153. TRAINS, artifices, devices; IV. iii. 118. TRAMMEL UP, entangle as in a net; I. vii. 3. TRANSPORT, Convey; IV. iii. 181. TRANSPOSE, change; IV. iii. 21. TREBLE SCEPTERS, symbolical of the three kingdoms-England, Scotland, and Ireland; IV. i. 121. TRIFLED, made trifling, made to sink into insignificance; II. iv. 4. TUGG'D; "t. with fortune," pulled about in wrestling with fortune; III. i. 112. TWO-FOLD BALLS, probably referring to the double coronation of James, at Scone and Westminster (Clar. Pr.); according to others the reference is to the union of the two islands; IV. i. 121. TYRANNY, Usurpation; IV. iii. 67. TYRANT, usurper; III. vi. 22. UNFIX, make to stand on end; I. iii. 135. UNROUGH, beardless; V. ii. 10. UNSPEAK, recall, withdraw; IV. iii. 123. UNTITLED, having no title or STUDY QUESTIONS By ANNE THROOP CRAIG GENERAL 1. What is the historic basis of the action of this drama? 2. What is the dramatic divergence from the Chronicles in the portrayal of Macbeth? 3. What social condition characterized the times in which the scene is laid? 4. Trace the development of Macbeth's course of crimes, from step to step. Analyze the impelling causes. 5. Upon what state of mind in Macbeth do the Weird Sisters react? Of what are they the abiding symbol? 6. Had Macbeth legally, according to record, an equal claim to the throne with Duncan? How would such a preliminary situation for him make the Sisters' prophecy naturally take swift hold upon his fancy? 7. What impression is given of Lady Macbeth's nature? Describe her intellectual processes with regard to the crimes to which she is accessory;-the development of her emotional experiences as they are made to appear, because of them. 8. Describe the influence of these two persons, Macbeth and his wife, upon each other, in instigation and reaction. 9. What are the qualities of the drama, and its marked features in respect of movement, color, and the casting of its plan? 10. What is historically said of the government of Duncan ? What is the main feature of it brought forward in the drama? Is there a dramatic purpose in this, and, if so, what, especially by contrast with the dramatic portrayal of his cousin, Macbeth? ACT I 11. For what does the opening of the play prepare us? 12. In scene ii what is the report of Macbeth? 13. With what people were the Scots at war? 14. What is the significance of the effect of the Weird Sisters' prophecy upon Banquo as compared with that it has upon Macbeth? 15. What does Banquo say that might be construed as a warning to Macbeth against dangerous ambitions,―or his own suspicions of their possibility in Macbeth's mind? 16. What do we infer as to the keynote of Macbeth's nature from Lady Macbeth's words upon reading his letter? 17. What gives the effect of fatality to the messenger's news of Duncan's approach, close upon the receipt by Lady Macbeth of her husband's letter? 18. Trace the development of her idea with regard to Duncan. 19. What is the dramatic effect of her manner of meeting with Duncan, in the midst of her treacherous scheming? 20. What is the distinguishing feature of Lady Macbeth's attitude toward the contemplated deed, by contrast with her husband's? ACT II 21. What is portentous in the opening lines? 22. What may we suppose has been the drift of the "cursed thoughts" Banquo refers to? Does this make it necessary to judge that he has any definite suspicions of Macbeth or only vague ones, that his nature would try to repudiate? Which is most in keeping with Banquo's character as portrayed? 23. Describe scene ii, especially the effect of the noises of the night upon the two guilty ones after the murder has been done, and the effect of the knocking upon the atmosphere and tension of the scene. |