LESSON 11 ACTIVITY: MACBETH: OBSERVATION, INTERPRETATION, AND CRITIQUE

ENGLISH 4 : MODULE 01 : LESSON 11 ACTIVITY: MACBETH: OBSERVATION, INTERPRETATION, AND CRITIQUELesson SummaryShow your understanding of academic criticism by conducting your own analysis of a scene from Macbeth.The source text you will use for your criticism is Lady Macbeth’s sleepwalking scene from Act V, Scene I. Follow the steps below to write your final critique.Step 1: Read the source text. Lady Macbeth’s sleepwalking scene from Act V, Scene I.Step 2: Evaluate the source text and add your notes to the literature column of the Academic Criticism graphic organizer.Step 3:Choose one of these images of Lady Macbeth’s sleepwalking scene.Step 4: Evaluate the image and add your notes to the art column of the Academic Criticism graphic organizer.Step 5: Watch Lady Macbeth’s sleepwalking scene from Michael Lynch’s stage adaptation of Macbeth.Step 6: Evaluate the production and add notes to the theater column of the Academic Criticism graphic organizer.Step 7: Use your notes to create a final critique of the two interpretations of Shakespeare’s scene. Your critique should evaluate each piece and compare both the image and the play to the source text. Your critique should be a minimum of 10 sentences.Step 8: Submit your completed Academic Criticism graphic organizer and your final critique for grading.Your work will be evaluated using the Macbeth: Observation, Interpretation, and Critique rubric.AssignmentComplete the reading for this lesson.Complete the self-checks in the lesson.In the Assessment area, submit your Academic Criticism graphic organizer and your final critique document for 01.11 Macbeth: Observation, Interpretation, and Critique.
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Lady Macbeth’s sleepwalking scene from Act V, Scene I
SCENE I. Dunsinane. A Room in the Castle.
[Enter a Doctor of Physic and a Waiting-Gentlewoman.]
DOCTOR. I have two nights watched with you, but can perceive no truth in your report. When was it
she last walked?
GENTLEWOMAN. Since his majesty went into the field, I have seen her rise from her bed, throw her
nightgown upon her, unlock her closet, take forth paper, fold it, write upon it, read it, afterwards seal
it, and again return to bed; yet all this while in a most fast sleep.
DOCTOR. A great perturbation in nature,—to receive at once the benefit of sleep, and do the effects
of watching— In this slumbery agitation, besides her walking and other actual performances, what,
at any time, have you heard her say?
GENTLEWOMAN. That, sir, which I will not report after her.
DOCTOR. You may to me; and ’tis most meet you should.
GENTLEWOMAN. Neither to you nor any one; having no witness to confirm my speech. Lo you,
here she comes!
[Enter Lady Macbeth, with a taper.]
This is her very guise; and, upon my life, fast asleep. Observe her; stand close.
DOCTOR. How came she by that light?
GENTLEWOMAN. Why, it stood by her: she has light by her continually; ’tis her command.
DOCTOR. You see, her eyes are open.
GENTLEWOMAN. Ay, but their sense is shut.
DOCTOR. What is it she does now? Look how she rubs her hands.
GENTLEWOMAN. It is an accustomed action with her, to seem thus washing her hands: I have
known her continue in this a quarter of an hour.
LADY MACBETH. Yet here’s a spot.
DOCTOR. Hark, she speaks: I will set down what comes from her, to satisfy my remembrance the
more strongly.
LADY MACBETH. Out, damned spot! out, I say!—One; two; why, then ’tis time to do’t ;—Hell is
murky!—Fie, my lord, fie! a soldier, and afeard? What need we fear who knows it, when none can
call our power to account?—Yet who would have thought the old man to have had so much blood in
him?
DOCTOR. Do you mark that?
LADY MACBETH. The Thane of Fife had a wife; where is she now?—What, will these hands ne’er
be clean? No more o’ that, my lord, no more o’ that: you mar all with this starting.
DOCTOR. Go to, go to; you have known what you should not.
GENTLEWOMAN. She has spoke what she should not, I am sure of that: heaven knows what she
has known.
LADY MACBETH. Here’s the smell of the blood still: all the perfumes of Arabia will not sweeten this
little hand. Oh, oh, oh!
DOCTOR. What a sigh is there! The heart is sorely charged.
GENTLEWOMAN. I would not have such a heart in my bosom for the dignity of the whole body.
DOCTOR. Well, well, well,—
GENTLEWOMAN. Pray God it be, sir.
DOCTOR. This disease is beyond my practice: yet I have known those which have walked in their
sleep who have died holily in their beds.
LADY MACBETH. Wash your hands, put on your nightgown; look not so pale:—I tell you yet again,
Banquo’s buried; he cannot come out on’s grave.
DOCTOR. Even so?
LADY MACBETH. To bed, to bed; there’s knocking at the gate: come, come, come, come, give me
your hand: what’s done cannot be undone: to bed, to bed, to bed.
[Exit.]
DOCTOR. Will she go now to bed?
GENTLEWOMAN. Directly.
DOCTOR.
Foul whisperings are abroad: unnatural deeds
Do breed unnatural troubles: infected minds
To their deaf pillows will discharge their secrets.
More needs she the divine than the physician.—
God, God, forgive us all!—Look after her;
Remove from her the means of all annoyance,
And still keep eyes upon her:—so, good-night:
My mind she has mated, and amaz’d my sight:
I think, but dare not speak.
GENTLEWOMAN. Good-night, good doctor.
[Exeunt.]
Print
Academic Criticism:
Literature
Lady Macbeth’s Scene
from Macbeth
Step 1:
Observe
Step 2:
Question
Step 3:
Analyze
Step 4:
Evaluate
Academic Criticism: Art
Provide the Title of Your
Selection:
Academic Criticism: Theater
Michael Lynch’s Stage
Adaptation

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