MACBETH TEACHER RESOURCE GUIDE THE LANGUAGE
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While this is the basic structure of unrhymed iambic pen-
tameter, Shakespeare loved to break his own “rules,” and
did so intentionally to create dierent emotional aects.
For example, in Macbeth’s famous speech from Act 5,
Scene 5, he adds a syllable to the first line giving it what
is called a “feminine ending” (eleven beats instead of ten):
Tomorrow and tomorrow and tomorrow.
Some questions to consider when analyzing a line like
this with students could be:
• Why do you think Shakespeare chose to end the line
with an unstressed syllable? (A “feminine ending?”)
What does that tells us about how Macbeth feels
about “tomorrow?”
• Shakespeare also ends the first line of Hamlet’s “To be
or not to be” speech from Act 3, Scene 1 with a femi-
nine ending. How are these two speeches similar?
• How would the meaning be dierent if the “ands”
were not stressed?
• What has happened the moment before Macbeth be-
gins this speech, and how might that influence how it
is spoken?
• Why does Shakespeare have Macbeth repeat the word
“tomorrow” three times?
• If iambic pentameter represents a normal heartbeat,
how do you think Shakespeare’s language changes
when a character is terrified, excited, depressed, an-
gry, etc. (Helpful hint: have students imagine what happens to their heartbeat when they experience these emotions.)
See actor Patrick Stewart discuss this famous speech here: http://www.youtube.com/watch?v=HZnaXDRwu84 . Watch him
perform it here: http://bit.ly/5fCSGi .
LITERARY DEVICES
The majority of Shakespeare’s plays were performed at the Globe, an open-spaced stage that was lit by sunlight, and had
no curtain and little scenery. It was up to Shakespeare to use his words to "paint a picture." Shakespeare’s language, rich
with literary devices like similes, metaphors, foreshadowing, dramatic irony, and imagery, oer numerous Common Core
entry-points for an in-depth analysis of the text.
New York: Federal Art Project, between 1936 and 1938. Source: Library of Congress.