Product Description

Dark and violent, Macbeth is also the most theatrically spectacular of Shakespeare's tragedies. Indeed, for 250 years - until early this century - it was performed with grand operatic additions set to baroque music. In his introduction Nicholas Brooke relates the play's chaning fortunes to changes within society and the theatre and investigates the sources of its enduring appeal. He examines its many layers of illusion and interprets its linguistic turns and echoes, arguing that the earliest surviving text is an adaptation, perhaps carried out by Shakespeare himself in collaboration with Thomas Middleton. This fully annotated edition reconsiders textual and staging problems, appraises past and present critical views, and represents a major contribution to our understanding of Macbeth.

Product Details

• Amazon Sales Rank: #375411 in Books
• Published on: 1970-06-25
• Original language: English
• Number of items: 1
• Binding: Paperback
• 208 pages

Amazon.co.uk Review
One of Shakespeare's greatest, but also bloodiest tragedies, was written around 1605/06. Many have seen the story of Macbeth's murder and usurpation of the legitimate Scottish King Duncan as having obvious connection to contemporary issues regarding King James I (James VI of Scotland), and the Gunpowder Plot of 1605. King James was particularly fascinated with witchcraft, so the appearance of the witches chanting "Fair is foul, and foul is fair" at the opening of the play seemed particularly topical, as was Macbeth's betrayal of Banquo, from whom James claimed direct descent.

However, the play is clearly far more than a piece of royal entertainment. It is also a fast-moving and dramatically satisfying piece of theatre. Macbeth's existential struggle between loyalty to his King and his "Vaulting ambition" is fascinating to watch, as his is struggle with Lady Macbeth, and her own terrifying refusal of her maternal role. The play shows an intensification of Shakespeare's interest in mothers and their effect upon ruling masculinity, and also contains some of the most memorable speeches in the entire canon, including Macbeth's reflections that ultimately life "is a tale / Told by an idiot, full of sound and fury, / Signifying nothing". --Jerry Brotton

Synopsis
Part of "The New Penguin Shakespeare" series, this text looks at "Macbeth" with an introduction, a list of further reading, commentary and a short account of the textual problems of the play. The series is used and recommended by the Royal Shakespeare Company.

About the Author
Nicholas Brooke is Emeritus Professor of English Literature at the University of East Anglia.

Customer Reviews

Thoughts on Macbeth
Macbeth is the story of a general in the army of King Duncan of Scotland, who is approached by three witches, who plant the seeds of ruthless ambition in his mind, by predicting that he will be made King of Scotland.
He invites King Duncan to his castle, where encouraged by his, wife, he murders him.
He manipulates events to become King, and embarks on a reign of bloody tyranny, having all killed who stand in his way, or who he suspects may do so.
Macbeth is the story of tyranny and ambition. It is also the story of inner struggles and of Macbeth's own diseased imagination.

The primary villains of the play are the three witches. They do not simply predict, but indeed their soul aim is to sow evil and destruction wherever they can: " Fair is foul and foul is fair. Hover through the fog and filthy air."
Their motto seems to be an apt encapsulation of the dominant 21st century worldview. Indeed Orwell and Kafka where to predict a similar world where truth would be lies and lies would be truth, good would be evil and evil would be good, war would be peace and peace would be war. This twisted view of the witches is the worldview of Bolshevism and leftism today, where terrorists and dictators are lauded as `revolutionary heroes' and those who defend against the former are vilified and reviled.

The three witches of today are academia, the media and the United Nations.

Lady Macbeth is but a pale shadow of the witches. She encourages her husband in his evil, but is destroyed by her own guilt.
She needs to call on the evil spirits to `unsex' her and fill her with the direst cruelty, but at the end `all the perfumes of Arabia' cannot wash away the guilt of her deeds.
The plea to be unsexed is relevant to the sexlesness of the cruel Bolshevik women of the last century and of women terrorists and women leftwing academics. These are generally sexless and totally cruel in pursuing revolution and the destruction of Judeo-Christian civilization.

Lady Macbeth was outwardly beautiful but most of these unsexed women of the revolution have not. Unlike Lady Macbeth they have achieved the being of the three witches for whom they resemble.

The play is indeed full of rich irony- how Macbeth persuades the three murderers that Banquo is responsible for their misfortunes, twisting the truth to suit his unholy ends as the media so often does today.

Macbeth is brought to justice for his deeds. His arrogance is his downfall.

The benevolent influence though, in this story is the doctor of physic - the voice of compassion and religion who says while attempting to heal Lady Macbeth- "More she needs the divine than the physician-G-D, G-D forgive us all"

The greatest Lady Macbeth since Judi Dench
OK: so it's a bit odd to review a performance of "Macbeth" and single out Lady Macbeth. Just as it is to compare an audio performance to a live one - they are, of course, massively different.
That said, Fiona Shaw's performance as Lady Macbeth is astoundingly good and real. Every word feels thought and every phrase feels new. It really is a remarkable piece of characterisation and performance. Stephen Dillane, though not Shaw's match, is a thoughtful and aware Macbeth.
It's a must own, for Shaw alone, but there are many pleasures to this great rendition of a great play.

Lay on, Macduff!
While I was basically familiar with Shakespeare's Tragedy of Macbeth, I have only recently actually read the bard's brilliant play. The drama is quite dark and moody, but this atmosphere serves Shakespeare's purposes well. In Macbeth, we delve deeply into the heart of a true fiend, a man who would betray the king, who showers honors upon him, in a vainglorious snatch at power. Yet Macbeth is not 100% evil, nor is he a truly brave soul. He waxes and wanes over the execution of his nefarious plans, and he thereafter finds himself haunted by the blood on his own hands and by the ethereal spirits of the innocent men he has had murdered. On his own, Macbeth is much too cowardly to act so traitorously to his kind and his country. The source of true evil in these pages is the cold and calculating Lady Macbeth; it is she who plots the ultimate betrayal, forcefully pushes her husband to perform the dreadful acts, and cleans up after him when he loses his nerve. This extraordinary woman is the lynchpin of man's eternal fascination with this drama. I find her behavior a little hard to account for in the closing act, but she looms over every single male character we meet here, be he king, loyalist, nobleman, courtier, or soldier. Lady Macbeth is one of the most complicated, fascinating, unforgettable female characters in all of literature.

The plot does not seem to move along as well as Shakespeare's other most popular dramas, but I believe this is a result of the writer's intense focus on the human heart rather than the secondary activity that surrounds the related royal events. It is fascinating if sometimes rather disjointed reading. One problem I had with this play in particular was one of keeping up with each of the many characters that appear in the tale; the English of Shakespeare's time makes it difficult for me to form lasting impressions of the secondary characters, of whom there are many. Overall, though, Macbeth has just about everything a great drama needs: evil deeds, betrayal, murder, fighting, ghosts, omens, cowardice, heroism, love, and, as a delightful bonus, mysterious witches. Very many of Shakespeare's more famous quotes are also to be found in these pages, making it an important cultural resource for literary types. The play doesn't grab your attention and absorb you into its world the way Hamlet or Romeo and Juliet does, but this voyage deep into the heart of evil, jealousy, selfishness, and pride forces you to consider the state of your own deep-seated wishes and dreams, and for that reason there are as many interpretations of the essence of the tragedy as there are readers of this Shakespearean masterpiece. No man's fall can rival that of Macbeth's, and there is a great object lesson to be found in this drama. You cannot analyze Macbeth without analyzing yourself to some degree, and that goes a long way toward accounting for the Tragedy of Macbeth's literary importance and longevity.