An Inspector Calls /Macbeth Quotes

Question 1

Act 1-“a man has to make his own way- has to look after himself- and his family, too, of course, when he has one- and so long as he does that he won’t come to much harm” (Arthur Birling- Responsibility)

Answer 1

At the beginning of Act I, Arthur delivers several lengthy monologues and this quote is spoken to Gerald and Eric just before the Inspector arrives. This quote reveals Arthur Birling’s self-centredness and his narrow-minded view of society. His vocabulary reveals his sense of individualism as he believes that everyone should be responsible for themselves and their family and is devoid of any sympathy for those less fortunate than himself. “A man has to…” alludes to his patriarchal values, that men should have more power and privilege than women

Question 2

Act 2- “Public men, Mr Birling, have responsibilities as well as privileges” (Inspector Goole- Responsibility)

Answer 2

This quote is delivered in Act II by the Inspector and is directed to Arthur Birling.
The Inspector argues that members of a society have duties and obligations toward each other’s welfare and have a collective and social responsibility to take care of each other. As Arthur (and Sybil) hold prominent positions within society, the Inspector suggests they have an even greater duty of care toward others.
Birling’s hypocritical views about personal responsibility are unfitting for a character who has held prominent public positions.
While the Inspector alludes to ideas of “responsibility”, Arthur also repeatedly uses this word though he interprets responsibility in a very different way.

Question 3

Act 3- “We are members of one body. We are responsible for one another… if men will not learn that lesson, they will be taught it in fire and blood and anguish” (Inspector Goole- Responsibility)

Answer 3

This quote is from Inspector’s final speech in Act III to the Birlings before he exits the stage. This is the Inspector’s most significant and weighty statement in the play and Priestley warns of the dire consequences of evading social responsibility. The language here is carefully composed and moralistic in tone.
The use of violent imagery and metaphor is powerful and suggests impending conflict.
Priestley warns the audience (and society) of the consequences of evading social responsibility.

Question 4

Act 1- “Working together, for lower costs and higher prices.” (Arthur Birling- Capitalism Vs Socialism)

Answer 4

This quote is from Act I and is directed toward Gerald Croft. Arthur Birling is discussing his delight that one day Gerald’s family business will no longer be seen as rivals and that they may eventually join forces. Arthur’s priorities are those of business and he believes he needs to make as much profit as possible, regardless of the consequences. He has no sense of responsibility or concern that his workers may need higher wages to live. He believes his wages are fair and treats the pay strike at his factory with contempt for it threatens his profits.

Question 5

Act 1- “but these girls aren’t cheap labour- they-re people”(Sheila- Capitalism Vs Socialism)

Answer 5

This quote is from Act I and Sheila directs this quote to her father when he is discussing the workers in his factory. Working-class women would have been one of the cheapest forms of labour available to factory owners. Although Sheila appears somewhat self-interested at the beginning of Act I, there are early indications (as evident in this quote) that she is a caring character. This quote reveals her sensitive nature and her compassion and empathy for others less fortunate than herself. The use of the word ‘but’ shows how she has interrupted and challenged her father’s views here and as the play progresses, her dialogue increasingly demonstrates an assertiveness towards her parents.

Question 6

Act 3- “Everything alright now, Sheila” (Gerald- Generational divide)

Answer 6

This quote is from the end of Act III and Gerald directs this line to Sheila in the hope that she will take back his engagement ring. Offering the ring again to Sheila at the end of the play suggests Gerald has not learned anything from the Inspector. The use of the adverb ‘now’ shows that he believes that it is possible for everything to return to normal. When Gerald realises there are no consequences for his behaviour, he no longer cares. As Gerald falls between the younger and older generations, the audience will have hoped that he would have redeemed himself, but by the end of the play he reverts to his original stance.

Question 7

Act 2- “I know I’m to blame- and I am disparately sorry” and “I can’t stop thinking about it”(Sheila- Guilt)

Answer 7

These quotes are from Act II, after Sheila’s confession in Act I. Sheila is portrayed as both sympathetic and courageous as she is the first character (apart from the Inspector) to empathise with Eva Smith’s predicament. The personal pronoun ‘I’ is repeatedly used here to show that Sheila acknowledges her own personal guilt. However, the Inspector insists that the guilt, as well as the responsibility, must be shared by all. Sheila’s language becomes increasingly emotional and she continually displays genuine remorse for her actions.

Question 8

Act 2- “ I am very sorry. But I think she only had herself to blame.” (Sybil Birling- Guilt)

Answer 8

This quote is from Act II and Sybil Birling directs it toward the Inspector. Sybil is portrayed as one of the least compassionate characters in the play. She refuses to express any guilt for their treatment of Eva. She continues to fail to see or acknowledge that she has done anything wrong. The older generation is sharply contrasted with the younger generation, as they are able to demonstrate their capacity for change and accept their social responsibility.

Question 9

Act 2- “Girls of that class” (Sybil Birling- Class)

Answer 9

This quote is from Act II and Sybil Birling directs it toward the Inspector. Sybil makes incorrect assertions about the working classes and views them as morally and socially inferior. She ignorantly links class with morality and cannot believe Eva, as a working-class girl, would refuse stolen money. Sybil’s hypocritical stance means she overlooks her own selfish and immoral actions and others belonging to her class.

Question 10

Act 2- “I was in the state when a chap easily turns nasty” (Eric Birling- Gender)

Answer 10

This quote is from Act III and is said by Eric Birling during his confession. While an audience may view Eric as a sympathetic character, his treatment of Eva reveals how he has also abused her. Eric hints at the potential for sexual violence and reveals Eva did not want him to enter her room until he became ‘nasty’ and issued a threat. This quote exposes the vulnerability of women who can be easily exploited by wealthy men like Eric.

Question 11

Act 2- “I did keep a girl last summer. I’ve admitted it. And I’m sorry Sheila” (Gerald Croft- Gender)

Answer 11

This quote is from Act II and is during Gerald’s confession about his affair with Eva/Daisy. The three-part list in this quote suggests Gerald feels that it is all over and done with and he and Sheila can simply move on. During his confession, Gerald he appears more concerned that his affair has been discovered, rather than having betrayed his fiancée. Gerald’s confession of having a mistress is overlooked by Arthur and Sybil.

Question 12

“But take my word for it, you youngsters — and I’ve learnt in the good hard school of experience — that a man has to mind his own business and look after himself and his own” - Arthur Birling, Act 1 (Capitalism Vs Socialism)

Answer 12

Arthur tells Sheila and Eric that his experience outweighs education, and that they should heed his advice to look after one’s own family instead of everyone else’s. Arthur Birling is presented as patronising, and often wrong despite his certainty:
He belittles his adult children, calling them “you youngsters”. In this way, Priestley exposes Arthur as an arrogant parent. Priestley portrays Arthur Birling’s strong disagreement with socialist philosophies:
His capitalist views are illustrated by his pride as a businessman. His description of a “good hard school of experience” challenges academics. He thinks “practical” businessmen “know” better than socialist writers like the “Bernard Shaws and H.G.Wellses”.

Question 13

“And this girl. Eva Smith, was one of them, she’d had a lot to say — far too much — so she had to go” - Arthur Birling, Act 1 (Guilt)

Answer 13

Arthur Birling explains to the Inspector that he had no choice but to dismiss Eva as she was part of the protestors and was too outspoken. Arthur Birling explains to the Inspector that he had no choice but to dismiss Eva as she was part of the protestors and was too outspoken. Arthur Birling ironically says that he dismissed Eva for saying “far too much”: This subtly mocks Mr Birling’s hypocrisy as he often talks at length. Priestley presents Arthur Birling’s argument as farcical.

Question 14

“You must give me a list of those accounts. I’ve got to cover this up as soon as I can” - Arthur Birling, Act 3 (Responsibility)

Answer 14

When Eric tells his father that he stole money from his office, Arthur Birling’s first priority is ensure he is not exposed. Priestley presents Arthur Birling as unchanged despite the Inspector’s visit: He lacks personal responsibility and avoids accountability. Arthur Birling insists on keeping things hidden: Earlier in the play he expresses concern about the “press”. Rather than engage with his son’s actions he chooses to cover it up. Priestley challenges capitalism by exposing their virtue as a façade.

Question 15

“When you’re married you’ll realise that men with important work to do sometimes have to spend nearly all their time and energy on their business. You’ll have to get used to that, just as I had”- Sybil Birling, Act 1 (Gender)

Answer 15

Sybil Birling tells Sheila that she must not complain and suggests that Sheila should get used to Gerald focusing on business. Priestley illustrates the patriarchal system in 1912 through Sybil and Sheila Birling: Sheila’s mother perpetuates gender norms before suffrage. She teaches Sheila that her husband is superior and to submit to him. She implies that Gerald’s work is more important than his marriage. In fact, Eric is the only one to protest: He laughs and questions their interest in Sheila’s happiness.

Question 16

“I think it was simply a piece of gross impertinence — quite deliberate — and naturally that was one of the things that prejudiced me against her case” - Sybil Birling, Act 2 (Class)

Answer 16

Sybil Birling tells the Inspector that she judged Eva as intentionally disrespectful when she asked her charity for help with the pregnancy, and this is why she was refused. Sybil Birling is presented as an arrogant and snobbish upper class woman: Her proud determination makes her confidently admit her prejudice. She believes it disrespectful for Eva to have used the Birling name. Priestley humiliates Sybil Birling for her hypocritical and indignant pride: Her insistence that the father of the child should take responsibility is met with shock when she is told that the father is Eric.

Question 17

“I was the only one of you who didn’t give in to him. And now I say we must discuss this business quietly and sensibly” - Sybil Birling, Act 3 (Responsibility)

Answer 17

Sybil Birling expresses pride at not having changed as a result of the Inspector’s visit, and wants to resume their ordered world. Mrs Birling’s pride at her inability to change illustrates her continued sense of superiority: Her wish to return to calm implies that she prefers to ignore issues. The phrase, “give in” implies an admission of wrongdoing is an undignified submission. Priestley challenges conservativism via a depiction of the parents’ refusal to change: Sheila and Eric are emboldened by accepting new information. But the parents dismiss the Inspector in favour of traditional attitudes.

Question 18

“It’s just that I can’t help thinking about this girl — destroying herself so horribly — and I’ve been so happy tonight. Oh I wish you hadn’t told me” - Sheila Birling, Act 1 (Responsibility)

Answer 18

Sheila expresses horror at Eva’s death, yet wishes the terrible news had not ruined her happy night. To begin, Priestley portrays Sheila as self-absorbed: Her wish to be ignorant of tragic news portrays her as immature and selfish. However, Sheila is presented as a naïve young girl who is not used to challenges: Here, she expresses her shock. She conveys empathy through the emotive “destroyed” and “so horribly”. Priestley conveys how she has been protected from the evils of the world.

Question 19

“So that’s what you think I’m like. I’m glad I realised it in time, Gerald” - Sheila Birling, Act 2 (Gender)

Answer 19

Gerald suggests that Sheila wants to hear the Inspector humiliate someone else, and she replies that she is glad she knows his real opinion, implying this may change their relationship. Priestley uses Sheila and Gerald’s relationship to illustrate gender imbalances: The implication of Sheila’s words is that they do not know each other well. This alludes to their marriage as a business contract. Priestley highlights this earlier when Arthur describes how the marriage will bond the rival businesses. Her reply foreshadows the end of their relationship (she refuses the ring at the end): Priestley presents Sheila as less compliant than her mother. Nevertheless, her future, alone and without support, is uncertain.

Question 20

“The point is, you don’t seem to have learnt anything.” - Sheila Birling, Act 3 (Generational divide)

Answer 20

Sheila is disturbed that her parents have learned nothing from the Inspector’s visit. Priestley presents a distinct difference between the Birling parents and children: Eric is cynically aware of his parents’ weaknesses from the start. Sheila undergoes a transformation and starts to challenge her parents. Here, she is frustrated that her parents have chosen to deny all personal responsibility: Sheila’s disappointment lies in their inability to learn, one of Priestley’s main critiques.

Question 21

“What about war?” - Eric, Act 1 (Generational divide)

Answer 21

Eric challenges his father on his lack of concern for the predictions of war. Eric is a contrasting character to Gerald: Arthur Birling says that Gerald is “just the kind of son-in-law” he wanted. Eric challenges his father and holds him to account, unlike Gerald. Eric’s short question is a shy, early challenge to his father’s arrogance: His question leads Arthur Birling to assert his superiority. Dramatic irony presents Eric as wiser.

Question 22

“…do you remember what you said to Gerald and me after dinner, when you were feeling so pleased with yourself?”- Eric, Act 3 (Generational divide)

Answer 22

Eric interrupts his father to remind him of what he said earlier, and enjoys announcing that his father was not so sure of himself when the Inspector quizzed him on his capitalist views. Priestley presents Eric as a cynical son: He interrupts his father and laughs “bitterly” to hold him to account. Eric’s description of his father being “so pleased” criticises his arrogance: He reminds his father of his confident words prior to the Inspector’s visit.

Question 23

“and the child she’d have had too — my child — your own grandchild — you killed them both — damn you, damn you” - Eric, Act 3 (Responsibility)

Answer 23

Eric is furious with his mother for refusing to help the pregnant Eva and accuses her of killing her own grandchild as well as Eva. Priestley portrays how Sybil Birling’s children turn against her when she is exposed: Eric’s anger is conveyed in his unstable voice and curses. The revelation that Eric is the father of Eva’s unborn baby is a dramatic turning point: Eric’s explicit accusation highlights Sybil Birling’s callousness. She denies responsibility even when a distressed Eric tells her the truth

Question 24

Act 1, Scene 7- “I have no spur to prick the sides of my intent, only vaulting ambition”
(Macbeth- Ambition and Power)

Answer 24

Macbeth is saying that it is his own ambition that is his only motivation to murder King Duncan. This soliloquy comes as Macbeth is deciding whether to kill King Duncan or not. Shakespeare has his protagonist, Macbeth, clearly state his hamartia (“ambition”) to the audience. It is implied that there is no other motivation for Macbeth (“no spur”). Shakespeare could be suggesting that Macbeth’s fatal flaw (“ambition”) overcomes all of his other, positive character traits. Later in the same soliloquy, Macbeth says this ambition “overleaps itself” (trips itself up), suggesting Macbeth is aware on some level that he is doomed if he commits regicide.

Question 25

Act 1, Scene 7- "When you durst do it, then you were a man" (Lady Macbeth- Ambition and Power)

Answer 25

Lady Macbeth is suggesting that only if Macbeth commits the murder of King Duncan that he could be considered a real man. This comes after Macbeth has expressed doubts about the plan to commit regicide. Lady Macbeth is attacking Macbeth’s masculinity. It would hurt Macbeth’s pride; in the Jacobean era, manliness would have been equated with strength, so here Lady Macbeth is calling Macbeth weak. It is an example of role reversal: Lady Macbeth, unusually for a woman, is manipulating and dominating a man. As a woman, Lady Macbeth’s power is in her skills of deception and manipulation.

Question 26

Act 5, Scene 5- "Life [...] is a tale told by an idiot, full of sound and fury, signifying nothing" (Macbeth- Ambition and Power)

Answer 26

Macbeth is suggesting that although in life lots seem to happen, ultimately, it is meaningless and without purpose. This powerful soliloquy comes after Macbeth is told of the death of Lady Macbeth. This is an example of nihilism: a belief that life is pointless (“signifying nothing”). For a largely Christian Jacobean audience, this rejection of God’s plan and the suggestion of a rejection of Heaven and Hell, would have been shocking. However, it is also a moment of pathos: the audience, despite his blasphemous words, would still feel sympathy for a once noble general who has lost his wife. It perhaps also represents a moment of anagnorisis: a tragic hero’s realisation that all his actions were for “nothing” and that he will be defeated.

Question 27

Act 1, scene 4- "Stars hide your fires; let not light see my dark and deep desires" (Macbeth- The Supernatural/Appearance Vs Reality/Corruption of nature) and Act 1, scene 5- "Come, thick night and pall thee in the dunnest smoke of hell [...] nor Heaven peep though" (Lady Macbeth- The Supernatural/Appearance Vs Reality/Corruption of nature).

Answer 27

Both Lady Macbeth and Macbeth are asking for their evil desires to be hidden from God. Both quotations come as they are plotting the murder of King Duncan. Lady Macbeth and Macbeth are both on their own on stage when they speak these lines, suggesting that they reveal the characters’ true feelings. The fact that Macbeth echoes Lady Macbeth’s words shows that they still have a close relationship based on shared ideas (unlike later in the play). However, it is also significant that Macbeth speaks these lines after Lady Macbeth; Shakespeare could be suggesting that Macbeth is led, or controlled, by Lady Macbeth’s thinking. The religious symbolism (“stars”, “light”, "Heaven”) suggests that both characters are aware of the significance and consequences (“Hell”) of committing regicide. Both characters use imperative verbs (“hide”, “come”) to command the natural world (“stars”, “night”). This could be seen as blasphemous and an attempt to disrupt the Great Chain of Being or God’s plan.

Question 28

Act 5, scene 9- "The dead butcher and his fiend- like queen" (Malcolm- The Supernatural and Ambition/Power)

Answer 28

Malcolm is describing the now-dead Macbeth and Lady Macbeth. This comes as part of the final soliloquy of the play after Macduff has killed Macbeth and Malcolm is restored to the throne. A “butcher” is someone who kills without feeling or remorse. Shakespeare is suggesting that, because of his ambition, Macbeth turned from noble general to common murderer. Malcolm doesn’t refer to either character by name: this omission shows their immediate fall in status. Lady Macbeth is described as a “fiend”: a demon. She is being compared to the evil forces present in the play – the witches – who aim to bring chaos to the kingdom of Scotland.

Question 29

Act 1, scene 5- "Come you spirits [...] Unsex me here" (Lady Macbeth- The Supernatural /Appearance Vs Reality)

Answer 29

Lady Macbeth is calling on evil spirits to take away her feminine traits. This is part of a long soliloquy after Macbeth has written her a letter outlining the witches’ prophecies. Shakespeare has Lady Macbeth use imperative verbs (“Come”; “unsex”) when commanding evil spirits: This shows her power at this point in the play (or at least the power she believes she commands). The fact that she is commanding evil spirits shows her hubris: it is arrogant for humans to believe they can control evil forces. She wants to remove her feminine traits (being nurturing, dutiful, powerless) and become “unsexed”: She wants to subvert the characteristics of a typical woman. Shakespeare could be suggesting that only by adopting male characteristics can women gain power. This would have been seen as disturbing to a Jacobean audience and very unnatural, perhaps akin to the actions of a witch.

Question 30

Act 1, scene 5- "Look like the innocent flower but be the serpent underneath it" (Lady Macbeth- Appearance Vs Reality)

Answer 30

Lady Macbeth is suggesting that Macbeth hide his true, treasonous self from King Duncan. This comes as the couple are first plotting the murder of Duncan. This quotation is reflective of Lady Macbeth’s duplicitous nature. Her use of the imperative verb “look” also shows her power over Macbeth. She has no trouble acting like “an innocent flower” in the very next scene when greeting King Duncan. The “serpent” has religious connotations: it is a reference from the Christian Bible to the snake (a representation of the Devil), who tempts Eve in the Garden of Eden: Lady Macbeth is also a woman who is tempted by evil and, in turn, tempts a man (Macbeth). In the Bible, this temptation causes the fall of man. In Macbeth, it causes the downfall of Lady Macbeth and her husband. This could be Shakespeare suggesting that committing blasphemous acts will always lead to ruin.

Question 31

Act 5, scene 1- "Out, damn spot: out, is say!" (Lady Macbeth- Ambition/Appearance Vs Reality) and Act 5, scene 5- "Out, out brief candle" (Macbeth- Ambition/Appearance Vs Reality)

Answer 31

Lady Macbeth is desperately pleading for the hallucination of blood on her hands to disappear. It comes as she is losing her mind and just before her suicide. Macbeth is commenting on the brief nature of life. It is part of a long soliloquy after he is told about the death of Lady Macbeth. Lady Macbeth’s desperation is apparent in her ramblings: to show this, Shakespeare: uses lots of punctuation to reflect her disjointed mind, uses repetition (“out”) to show her increasing desperation. The use of imperative verbs (“out”) is ironic: whereas earlier in the play she used commanding language with evil spirits, she has now completely lost power. Commands have turned into pleas of desperation. Macbeth echoes the language of Lady Macbeth (“out, out”). However, unlike other times when Macbeth echoes the language of Lady Macbeth or the witches, this quotation doesn’t imply he is being led by them. Lady Macbeth’s desperation has turned into a reflection of Macbeth: It is a realisation that what he – and Lady Macbeth – have done was worthless. It creates a sense of pathos for the audience. Macbeth using Lady Macbeth’s words brings the couple closer again.

Question 32

Act 2, scene 2- "A little water clears us of this deed" and Act 5, scene 1- "All the perfumes of Arabia will not sweeten this little hand" (Lady Macbeth- Ambition/Appearance Vs Reality)

Answer 32

Lady Macbeth at first suggests that it won’t take much for their consciences to be cleared after Duncan’s murder; later, she realises that nothing could remove the feelings of guilt. These quotations come before the murder of King Duncan, and then after Lady Macbeth has lost her mind, right before her suicide. Lady Macbeth displays hubris when she confidently asserts that she and her husband will not be troubled by feelings of guilt or remorse. Her confidence contrasts with Macbeth’s belief that all the water in “Neptune’s ocean” couldn’t wash the blood (symbolising guilt) from his hand. “Hands” here represent responsibility. It is ironic that later in the play, Lady Macbeth sees blood on her hands (guilt and responsibility for the murder of Duncan). However, it also becomes clear that her original confidence was misplaced: her “little hand” is dirtied by blood, and seemingly nothing (even “all the perfumes of Arabia”) can cleanse it of her guilt and responsibility. Shakespeare could be suggesting that once Lady Macbeth accepted responsibility for the murder, the guilt was overwhelming.

Question 33

Act 1, scene 1- "Fair is foul and foul is fair" (Three Witches- Corruption of nature) and Act 1, scene 3- "So foul and fair a day I have not seen" (Macbeth- Corruption of nature)

Answer 33

The witches are warning the audience that what may be seen as good might well be bad, and vice versa. It comes from the very first scene of the play. Macbeth is commenting on the very strange weather that comes after his victory in battle. His lines come just before his first encounter with the witches. The witches are presenting the audience with a paradox: a contradictory statement that suggests that the play will involve the themes of deception and appearance versus reality. It is also a suggestion from Shakespeare of the disruption and chaos to come, of a kingdom turned upside down. The paradox suggests that the words of the witches might be in the form of riddles: confusing, or misleading, just as their prophecies are to Macbeth. Macbeth, without having met the witches, echoes their language: This suggests he is already being led by them, or under their spell. This suggests to the audience that perhaps his “fair” character will be corrupted and become most “foul”.

Question 34

Act 2, scene 2- "Macbeth does murder sleep!" (Macbeth- Corruption of Nature)

Answer 34

Macbeth is quoting a voice he can hear that tells him that he has murdered sleep. It comes immediately after the murder of King Duncan when Macbeth returns to Lady Macbeth. Macbeth returns from murdering Duncan in a panicked state and is hallucinating. He hears a voice telling him he will no longer be able to sleep. “Sleep” symbolises peace or calm, so this is a suggestion that Macbeth will no longer be at peace because he committed regicide. Shakespeare could be suggesting that in the act of murdering a king, he has murdered his own chance at peace – and perhaps eternal peace: Heaven. The voice he can hear might be interpreted as his own conscience.

Question 35

“Cannot be ill, cannot be good: if ill,/Why hath it given me earnest of success,/Commencing in a truth?” - Macbeth, Act 1 Scene 3 (Theme- Fate)

Answer 35

Shakespeare raises questions about fate and free will through his protagonist: His tragic hero expresses uncertainty about the ambiguous prophecies. The oxymoronic “ill” or “good” conveys dichotomies in his dilemma. Macbeth, via his questioning nature, is presented as doubtful and reflective. Shakespeare presents Macbeth as, initially, dubious about the witches’ prophecies: However, his question suggests he is inclined to believe the witches’ words. This may imply his receptiveness to supernatural ideas, as well as his ambition.

Question 36

“I dare do all that may become a man;/Who dares do more is none” - Macbeth, Act 1 Scene 7 (Theme- Loyalty)

Answer 36

Shakespeare illustrates the pressures between Macbeth and his wife: Macbeth’s loyalty is challenged. While their relationship is close, gender issues cause conflict as a result of Lady Macbeth’s masculine qualities. The alliterative anaphora “dare do all” and “dares do more” stresses Macbeth’s attitudes towards masculinity: Macbeth’s repetition of “dare” links to bravery and, perhaps, recklessness. His loyalty to the king, Macbeth suggests, makes him more of a man.

Question 37

“Hear not my steps, which way they walk, for fear. Thy very stones prate of my whereabout,” - Macbeth, Act 2 Scene 1(Theme- Guilt)

Answer 37

Shakespeare’s tragic hero experiences psychological turmoil and guilt: Macbeth’s hallucination indicates his anxious need to detach from reality. His soliloquy expresses his troubled state as he doubts his senses. The scene’s tension is emphasised by the silence to which Macbeth refers: This emphasises Macbeth’s paranoia about being caught. As he talks to himself, he draws attention to his footsteps. He personifies the stones, believing that they will expose him.

Question 38

“That I may pour my spirits in thine ear; And chastise with the valour of my tongue All that impedes thee from the golden round” - Lady Macbeth, Act 1 Scene 5 (Theme- Loyalty)

Answer 38

Shakespeare initially introduces Lady Macbeth as a loyal wife: Her determination to help Macbeth fulfil his destiny is conveyed by the phrase “All that impedes thee”. She implies that her power lies in the strength of her speech and her ability to manipulate Macbeth to her bidding. Shakespeare foreshadows Lady Macbeth’s relentless persuasion in Act 1 Scene 7: In her soliloquy, audiences hear her plans to scold Macbeth.

Question 39

“A foolish thought, to say a sorry sight.” - Lady Macbeth, Act 2 Scene 2 (Theme- Guilt)

Answer 39

Shakespeare presents contrasting characters in Lady Macbeth and Macbeth: The reversed gender roles is significant in this scene. Macbeth weakens and wails while Lady Macbeth is emotionless. While the scene is tense, the unexpected responses create some humour: Lady Macbeth’s frustration at her lamenting husband is conveyed in the sibilant “sorry sight”. This line highlights her distinct lack of guilt: The word “foolish” implies her pragmatic response to the murder.

Question 40

“Here's the smell of the blood still: all the perfumes of Arabia will not sweeten this little hand” - Lady Macbeth, Act 5 Scene 1 (Theme- Guilt)

Answer 40

Lady Macbeth’s line ironically illustrates the error of her previous arrogance: Earlier, she tells Macbeth that “a little water” will clean his hands of blood. By Act 5, a contrast in her attitude is highlighted by the word “all”, implying nothing can remove the blood. Shakespeare’s ideas about guilt are conveyed with metaphor: Lady Macbeth is haunted by the blood that is “still” on her hands. Arabia is associated with the finest perfumes. Her guilt leads to mental decline. Shakespeare raises questions about Machiavellian success.

Question 41

“When the hurlyburly's done, When the battle's lost and won” -The Witches/Second Witch, Act 1 Scene 1 (Theme- Supernatural)

Answer 41

Shakespeare opens his play ominously foreshadowing the witches’ influence: They discuss events in rhyme, making their speech chant-like as if casting a spell. Nevertheless, their words are ambiguous and mysterious. Chaos, or “hurly-burly”, is implied. Shakespeare creates dramatic irony as audiences hear the witches’ plans: This suggests their power in the play. In this way, ideas about the influence of supernatural forces are raised.

Question 42

“Lesser than Macbeth, and greater” - The Witches/First Witch, Act 1 Scene 3 (Theme- Fate)

Answer 42

Shakespeare uses the witches to present ideas about fate and free will: The witches are perceived as having supernatural qualities. Yet it is Macbeth’s response to their words that realises their prophecies. The oxymoron “Lesser” and “greater” presents alternative versions of success: Although Macbeth will be king, Banquo’s legacy makes him “greater”. Macbeth’s jealous paranoia once he is king leads to his ruin.

Question 43

“He will not be commanded: here's another, More potent than the first” - The Witches/First Witch, Act 4 Scene 1 (Theme- Supernatural)

Answer 43

Shakespeare presents the witches’ loss of power over Macbeth once he becomes king: His obsession with Banquo’s legacy blinds him to the witches’ warnings. The witches are frustrated with his refusal to be “commanded”. They make the visions scarier to try to shock him.

Question 44

“And oftentimes, to win us to our harm, The instruments of darkness tell us truths, Win us with honest trifles, to betrays In deepest consequence” - Banquo, Act 1 Scene 3 (Theme- Supernatural)

Answer 44

Shakespeare’s plays often present the danger of placing trust in the supernatural: Banquo resists the witches. Imagery emphasises his belief that they are harmful tools of “darkness”. The oxymoron (“honest trifles” and “betrays/In deepest”) implies Banquo sees the witches as deceitful. Banquo acts as a foil to Macbeth: While Macbeth is uncertain, Banquo has clarity and self-assuredness. Macbeth is lured into betraying his king, but Banquo remains loyal.

Question 45

“Thou hast it now: king, Cawdor, Glamis, all, As the weird women promised, and, I fear, Thou play'dst most foully for't”- Banquo, Act 3 Scene 1 (Theme- Fate)

Answer 45

Shakespeare illustrates the growing conflict in Macbeth and Banquo’s friendship: Banquo suspects that his friend has acted “foully”. This raises ideas about Machiavellian success. Shakespeare questions ideas about fate, free will, and the power of the supernatural: This line mirrors the witches’ words, “foul and fair”. The line is blurred between the prophecies and the way in which Macbeth responds.

Question 46

“O, treachery! Fly, good Fleance, fly, fly, fly! Thou mayst revenge” - Banquo, Act 3 Scene 3 (Theme- Loyalty)

Answer 46

The climax of the play signals a turning point for Macbeth, the tragic hero: His submission to egomania and violence leads to mental decline and, ultimately, his downfall. His “treachery” (as cried out by Banquo) makes him irredeemable. However, notably, Banquo calls to his son to seek vengeance: Perhaps Shakespeare implies that loyalty can create a continuous cycle of violent revenge.

Question 47

“It will have blood, they say: blood will have blood.” Macbeth, Act 3, Scene 4 (Theme- Violence)

Answer 47

Macbeth reflects on the idea that violence begets violence. Once he begins his murderous path, he recognizes a cycle of retribution is inevitable. This line encapsulates one of the play’s central ideas—that acts of violence have a way of spiralling out of control.

Question 48

“I am in blood / Stepp’d in so far that, should I wade no more, / Returning were as tedious as go o’er.” Macbeth, Act 3, Scene 4 (Theme- Violence)

Answer 48

Macbeth compares his murderous journey to wading through a river of blood. He acknowledges that he has committed so many crimes that turning back would be as difficult as continuing. This metaphor highlights how violence has consumed him.

Question 49

“Unseam'd him from the nave to the chaps / And fix'd his head upon our battlements.” Act 1, Scene 2 (Theme- Violence)

Answer 49

A description of Macbeth’s brutal killing of Macdonwald, glorified early in the play. Ironically, this praise for violence foreshadows the bloodshed Macbeth will later be condemned for. It introduces the theme that violence can be both heroic and destructive.

Question 50

“O, full of scorpions is my mind, dear wife!” Macbeth, Act 3, Scene 2 (Theme- fear)

Answer 50

Macbeth reveals that fear and anxiety are tormenting his mind, particularly his fear of Banquo. The metaphor of “scorpions” suggests dangerous, stinging thoughts, showing how fear drives his decisions.

Question 51

“Methought I heard a voice cry ‘Sleep no more! / Macbeth does murder sleep’...” Macbeth, Act 2, Scene 2 (Theme- fear)

Answer 51

After murdering Duncan, Macbeth is immediately consumed by guilt and paranoia. This hallucinated voice signifies his loss of peace and the onset of a fear that will haunt him permanently—fear of retribution and inner torment.

Question 52

“There's no such thing: / It is the bloody business which informs / Thus to mine eyes.” Macbeth, Act 2, Scene 1 (Theme- fear)

Answer 52

Macbeth hallucinates a dagger leading him to Duncan’s chamber. He tries to rationalize it as a result of his anxiety. Fear blurs the line between reality and illusion, revealing the psychological consequences of contemplating murder.