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The victorious generals Macbeth and Banco enter. The witches hail Macbeth as Thane of Glamis (a title he already holds by inheritance), Thane of Cawdor, and king "hereafter." Banco is greeted as "lesser than Macbeth, but greater", never a king himself, but the progenitor of a line of future kings.
The sentence "When Banquo asks of his own fortunes, the witches respond paradoxically, saying that he will be less than Macbeth, yet happier, and less successful, yet more" kinda sucks. The play said Banquo would be "less happy, yet much happier", and "lesser than Macbeth, yet much greater".
In the discussion of Macbeth, it is Macbeth's unity of character that is significant. [302] In many chapters, he emphasises the dominant mood, a unifying theme, the "character" of the play as a whole. [303] In, again, Macbeth, the entire play "is done upon a stronger and more systematic principle of contrast than any other of Shakespear's plays."
Macbeth and Banquo do not hear of this news; when out riding, they happen upon Three Witches, who hail Macbeth as "Thane of Cawdor and future King", and Banquo as "lesser and greater". At their camp, nobles arrive and inform Macbeth he has been named the Thane of Cawdor, with Macbeth simultaneously awed and frightened at the prospect of ...
As Kenneth Muir writes, "Macbeth has not a predisposition to murder; he has merely an inordinate ambition that makes murder itself seem to be a lesser evil than failure to achieve the crown." [53] Some critics, such as E. E. Stoll, explain this characterisation as a holdover from Senecan or medieval tradition. Shakespeare's audience, in this ...
Daniel Amneus argued that Macbeth as it survives is a revision of an earlier play, in which Duncan granted Macbeth not only the title of Thane of Cawdor, but the "greater honor" [9] of Prince of Cumberland (i.e. heir to the throne of Scotland). Banquo's silence may be a survival from the posited earlier play, in which Macbeth was the legitimate ...
Lord Macbeth, the Thane of Glamis and quickly the Thane of Cawdor, is the title character and main protagonist in William Shakespeare's Macbeth (c. 1603–1607). The character is loosely based on the historical king Macbeth of Scotland and is derived largely from the account in Holinshed's Chronicles (1577), a compilation of British history.
A different concept from Griffiths and Denton, this book is an alternative version of Macbeth by William Shakespeare. It was also produced by Bell Shakespeare for the stage in various performances nationally, [ 21 ] after Griffiths was commissioned by Bell Shakespeare in 2005 to adapt Macbeth for a younger audience.