Also they have met lady Macbeth and know that she is evil. In the lead up to this scene, the audience are waiting for Macbeth to kill Duncan, they have been since the beginning of the play, when Macbeth first thought about killing Duncan. I heard the owl scream and the crickets cry.In this piece of coursework I am going to respond to the questions asked. I could smell fear on them more clearly as their heart rate and their language accelerated.

I mean obviously she's not thinking that but-Д«ut it marks the moment when you're trying to bring it back to sanity, to reason. in that bom, bom, bom, bom, bom, bit and then you almost put a stop to it with, 'Let's get back to proper lines.' 'A foolish thought, to say a sorry sight.' with a complete line from you. heightened way of communicating and I think that's what Shakespeare's doing in this scene. 'When anybody is in that kind of heightened state' people start to talk very, very quickly at each other, finish each other's sentences, come in- ItвЂ™s a very. So you've got, 'De-de, de-de, de-de, de-de, de-de, de-de, de-de.' the heartbeat is, 'De-de, de-de, de-de, de-de, de-de, de-de, de-de.' And yet you're sharing those de-de. They are coming in on each other's lines because of panic, rising panic. They don't have a great deal of time it's almost as if time has escalated. urgent the need to communicate is between Macbeth and Lady Macbeth at that point. The sharing of the lines in the 'Bloody Daggers' or post-murder scene I think allows us to hear how. I heard the owl scream and the crickets cry. Who's there? What, ho! There are a lot of shared lines in this scene. I have drugg'd their possets, that death and nature do contend about them, whether they live or die. 'I have drugged their possets that death and nature do contend about them.' and then you've got the beginning of a short line '.whether they live or die.' And then there's another short line - from Macbeth, off, 'Who's there what ho?' So actually that does make up ten beats so it suggests it probably should 'Boom.' come in and flow like a line. Glamis hath murder'd sleep, and therefore Cawdor Shall sleep no more. Still it cried, 'Sleep no more!' to all the house. It just gets in the way and it stops people from understanding what you're saying. How- whatever- Of whatever interest it is it is no longer interesting when you can still hear it when an actor's saying it. And it's very difficult, once you've got it so rigidly in your head to let go of it because the truth is, you have to let go of it. Listening their fear, I could not say 'Amen.' Actors, students, you know, they go round doing this di dum, di dum.

Listening their fear, I could not say 'Amen.' Nobody says, 'I'd really like to have a cup of tea' do they? I'd really like to have a cup of tea, right? Now. The truth is that we very often speak in iambic pentameter just naturally. What hath quench'd them hath given me fire. I don't know, 'That which hath made them drunk hath made me bold.' That's a very, very regular line. The heartbeat, the - di dum, di dum is how we speak in- It's how we all- It's how we communicate to each other now.ДЄnd the understood structure here is based on this ten beat line. That which hath made them drunk hath made me bold.

Macbeth act 2 scene 2