Out, damned spot - eNotes Shakespeare Quotes Out, damned spot What is it she does now? Look how she rubs her hands. Gentlewoman: It is an accustom'd action with her, to seem thus washing her hands. I have known her continue in this a quarter of an hour. Hark, she speaks. I will set down what comes from her, to satisfy my remembrance the more strongly. Lady Macbeth: Out, damn'd 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 pow'r to accompt?—Yet who would have thought the old man to have had so much blood in him? Read on Owl Eyes This eText is now on Owl Eyes. Clicking this link will open a new window. Lady Macbeth, as has become her wont, sleepwalks through the royal castle.

As her waiting-woman and her doctor listen in, she mutters fragments of an imaginary conversation that recalls the night she and her husband conspired to murder King Duncan [see A SORRY SIGHT ]. The hour is two o'clock; she upbraids her husband for his bad conscience; she insists that there will be nothing to fear once they've grabbed the crown; she marvels at how much blood Duncan had to shed. As Lady Macbeth replays this scene for the eavesdroppers, she not only incriminates herself, but also reveals the pangs of conscience she had ridiculed in her husband. "Out, damn'd spot" is a prime example of "Instant Bard," tailor-made for ironic jokes and marketing schemes. But the "spot" isn't a coffee stain, it's blood. One motif of Macbeth is how tough it is to wash, scrub, or soak out nasty bloodstains. Macbeth had said that even the ocean couldn't wash his hands clean of Duncan's blood; Lady Macbeth, who scorned him then, now finds the blood dyed into her conscience.

The king and queen persist in imagining that physical actions can root out psychological demons, but the play is an exposition of how wrong they are. No Fear Shakespeare: Macbeth: Act 5, Scene 1, Page 2 No Fear Shakespeare Home → No Fear Shakespeare → Macbeth → Act 5, Scene 1, Page 2 Macbeth Why, it stood by her. She has light by her continually. 'Tis her command. GENTLEWOMAN It stands by her bedside. She always has to have a light next to her. Those are her orders. DOCTOR You see her eyes are open. DOCTOR You see, her eyes are open. GENTLEWOMAN Ay, but their sense is shut. GENTLEWOMAN Yes, but they don’t see anything. DOCTOR What is it she does now? Look, how she rubs her hands. DOCTOR What’s she doing now? Look how she rubs her hands. 20 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. GENTLEWOMAN She often does that. She looks like she’s washing her hands.

I’ve seen her do that before for as long as fifteen minutes. LADY MACBETH Yet here’s a spot. LADY MACBETH There’s still a spot here. DOCTOR Hark! She speaks. I will set down what comes from her, to satisfy my remembrance the more strongly. DOCTOR Listen! She’s talking. I’ll write down what she says, so I’ll remember it better. 25 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. LADY MACBETH (rubbing her hands) Come out, damned spot! Out, I command you! One, two. OK, it’s time to do it now.—Hell is murky!—Nonsense, my lord, nonsense! You are a soldier, and yet you are afraid?

Why should we be scared, when no one can lay the guilt upon us?—But who would have thought the old man would have had so much blood in him? DOCTOR Out, damned spot Out, damned spot William Shakespeare Quotes Home "Out, damned spot" - A Famous Quote by William Shakespeare This famous quote originated in the play by William Shakespeare. This section provides answers to the following questions about this famous Shakespeare quote: Who said that? Which play the quote come from? What was the name of the speaker? In which Act or Scene can the whole quote, or saying, be found? Shakespeare Quote - "Out, damned spot" Doctor: What is it she does now? Look how she rubs her hands. Gentlewoman: It is an accustom'd action with her, to seem thus washing her hands. I have known her continue in this a quarter of an hour. Hark, she speaks. I will set down what comes from her, to satisfy my remembrance the more strongly. Lady Macbeth: Out, damn'd spot!

out, I say!ï¿½One; two: why, then 'tis time to do't.ï¿½Hell is murky.ï¿½Fie, my lord, fie, a soldier, and afeard? What need we fear who knows it, when none can call our pow'r to accompt?ï¿½Yet who would have thought the old man to have had so much blood in him? Macbeth Act 5, Scene 1 Famous Shakespeare Quote Although set in different times many of the most famous quotes about life and love by William Shakespeare are still relevant today. Did you know that William Shakespeare is credited by the Oxford English Dictionary with the introduction of nearly 3,000 words into the language. It's no wonder that expressions from his works in literature, including the "Out, damned spot" quote, are an 'anonymous' part of the English language. Many people continue to use this "Out, damned spot" quote by William Shakespeare in famous quotes about life. "Out, damned spot" Out, Damned Spot | Pretty Little Liars Wiki | Fandom powered by Wikia [ show ] Summary The girls are at school after having donated blood at the blood drive organized by Ashley.

Emily arrives and informs them that she can’t donate blood since she was in Haiti during summer and can only donate blood after a year. Ashley walks up to them and thanks them for helping her out with the blood drive since the people she had recruited from the church cancelled at the last minute. A lady from church arrives. She mentions to Ashley how she hasn’t seen Ashley around church and Ted has been distracted these past few days. She asks Ashley if everything is fine between them and Ashley lies that everything is good and that Ashley has just been busy. The lady cryptically says that maybe the reason the people from church didn’t show up is because they were “busy”. The lady asks Ashley to request Ted to hang up posters for an upcoming beauty pageant around the church. Suddenly a clattering sound is heard, startling everyone. It turns out to Mike. The nurse asks him what is he doing and he replies that he was “interested in how it all works” and runs off. Aria calls after him but he ignores her. After he leaves, the liars notice that the freezer containing the vials of blood is open. The girls are discussing Mike in the hallway.

Hanna and Spencer are convinced that Mike was there to steal their blood to frame them and help Alison but Aria refuses to believe them. Aria is stubborn that just because Holbrook wasn’t the one helping Alison doesn’t mean that Mike is. She tells them that Mike was in love with Mona and would never hurt her and storms off. Aria heads to class but hasn’t studied properly for her math test. During the test, Aria panics. She notices Andrew sitting in front of her and begins copying off of him. Hanna catches up to Spencer in the hallway. She tells Spencer that she needs her help since none of the schools Hanna got into are offering her financial aid and currently her mother is unemployed. Spencer is surprised since Ashley was working for the DiLaurentis family but Hanna tells her that Ashley left not willing to tell Spencer the reason. Spencer goes through Hanna’s paperwork and explains to her that the reason she was denied financial aid is because of her dad’s high income. After class, Andrew corners Aria and demands to know why she was copying off of him. Aria apologizes and tells him that she got conditional admission into Savannah College of Art and Design but can only keep it if she maintains a minimum required average.

Andrew isn’t mad and he offers to tutor her. Aria initially declines and Andrew remarks that tutoring is better than getting caught cheating. Aria finally agrees to let him tutor her. Emily goes for a bike ride with Talia and they head out in the woods. Talia takes her to the spot where she had her first kiss in fourth grade. Talia tells her how weird her first kiss was and wishes she could have a do-over. Talia asks Emily what her biggest fear is. Emily, not wanting to answer the question, leans in and kisses Talia, telling her that it’s the do-over Talia wished for. Hanna heads home and finds Ashley sitting in the dark fiddling with her engagement ring. Ashley tells Hanna that she spoke to Ted after the blood drive since Ted deserved an answer. Ashley accepted his proposal but then told him the truth about sleeping with Jason. Ted told her that he needed some time to think and he would call her later. At Spencer’s, Spencer is on the phone with Aria. Aria reminds Spencer about how they thought Melissa was ‘A’ but turned out to be wrong but Spencer is convinced that Mike is working with Alison.

Aria reassures her that she will keep an eye out on Mike, if Spencer stops jumping to conclusions. Spencer gets off the phone, and Jonny walks into the kitchen. He says that he is painting a mural at Hollis, and he invites her to tag along and help him. Spencer, on her mother’s orders, has to e-mail her relatives who can help her get into college, but he persuades her to come. Aria hears her brother’s phone ringing from between the couch cushions and answers it. It is a collect call from Chester Women's Correctional Facility from Alison, who says “Hank Mahoney” and hangs up. Spencer and Jonny head to Hollis after hours to paint the mural. Jonny tells her that if they do their work at night, the students won’t bother them. Spencer asks him what he would have done if Spencer refused to accompany him, to which Jonny replies that he would’ve called his ex-girlfriend, Sophia. Spencer reminisces about how she used to come to Hollis as a kid when she wanted to become a violinist.

Jonny asks her why she never pursued the dream, and Spencer replies that according to the Hastings, if you don’t excel at something, you should give up. Jonny is surprised that Spencer never did anything just for the fun of it. Aria confronts Mike and demands to know why he has been talking to Alison and who Hank Mahoney is. Mike refuses to answer her questions and tells her that it’s none of her business. Aria wants to know why is Mike letting Alison manipulate him and informs him that she knows about the fight he and Mona had the night before she died but Mike just slams the door on Aria’s face. Meanwhile at Hanna’s house, Ashley informs Hanna that her father can’t make it to lunch the next day since he has to work. Ashley asks her why she wanted to meet Tom. Hanna admits that she wanted to talk to Tom about her college tuition. Ashley tells her that her father’s financial obligations were worked out in the divorce settlement. Hanna tells her she just wants to talk to her father, but Ashley tells her not to since she doesn’t want him to know about her unemployment. Ashley consoles Hanna that she’ll fix the problem. At The Brew, Ezra is doing paperwork.

He remarks that Emily and Talia seem to be getting along great. Emily mentions to Ezra about Aria’s acceptance into Savannah College of Art and Design surprising Ezra. Emily is astonished that Aria didn’t tell him about it. Emily notices Talia’s file in Ezra’s stack of payroll and is shocked when she learns that Talia is married and listed her husband as an emergency contact. Back at Hollis, Jonny encourages Spencer to paint something on the mural too but Spencer is sure she’ll ruin it. Jonny finally persuades Spencer to paint something. After Spencer is done, as she gets down from the ladder, she falls but Jonny catches her. Mike is on his computer messaging someone named Hank Mahoney. He types that “she” told him what to bring and they need to meet up tomorrow. The other person types back that they’ll be in touch. Mike’s opens the mini fridge in his room and opens a decoy can of protein shake and inside it is a vial of blood. The next day Spencer is furious when she sees the newspaper, and realizes that the mural she helped Jonny paint was actually vandalism. Spencer snaps at him that he told her that he was hired to paint the mural.

Jonny replies that he never used the word “hired” to make Spencer come with him. She screams at him that she has already been arrested once for murder but the charges were dropped and she can’t get into trouble again. Jonny apologizes but Spencer storms off. Aria sits down with Andrew for her tutoring session. Andrew mentions that Ezra must not be good at math and science since Aria didn’t ask him for help. Aria doesn’t want to talk about Ezra and tells him to get back to studying. Hanna keeps texting her and asking about Mike and Andrew notices this. At work Talia is flirty and tries to get Emily to taste some food she has been cooking. Emily freaks out on her and demands to know when she was going to tell her that she was married. Emily is angry that all this time, Talia told her how much she likes her and acted like nothing was wrong. Ezra walks in and asks if everything is fine but Emily storms out of The Brew. Outside The Brew, Emily sees Mike at an ATM machine taking out money. She grabs the receipt after he leaves and realizes that whatever account he is taking money out of has over $18,000.

Aria is surprised at the number of activities Andrew is involved in at school. Andrew believes that compared to Aria’s life, his seems “planned” but Aria thinks that his life is more “healthy” and “functional”. Emily rushes inside and shows her the ATM receipt and Aria tells her about the call Mike got from prison. Just then, they hear Mike leave and beg Andrew to take his car to follow Mike. Andrew’s car is standard and since they don’t know how to drive stick Andrew agrees to drive them. Hanna is meeting with her father who is shocked that Hanna got so many good colleges. Hanna mentions the college tuition but her father tells her that he and Ashley already have an agreement. Tom tells her that he had no idea she wanted to go these types of schools. He admits that he is paying for Kate’s education at Dartmouth and can’t afford to fund both their education. Hanna is disgusted that her father is paying for Kate’s education but didn’t even bother asking Hanna about her plan. Tom defends himself by saying that the last time they talked about college, Hanna had no plans about college but Hanna tells him that the last time they talked about college, Hanna was twelve and storms off.

Spencer composes an email to Melissa, apologizing for contacting her through e-mail since Melissa deserves much more, asking her if Wren still has his contact at Oxford. Andrew is curious about whatever is going on with Mike and Emily makes up an excuse that Mike is on drugs and that he is gambling. They follow Mike to a secluded diner. Aria and Emily rush inside and are shocked to see that Mike is meeting with Cyrus who introduces himself to Mike as Hank. Mike hands him an envelope. Hanna shows up at The Brew searching for Emily but Ezra informs her that Emily already left. Hanna tells him that she can’t get in touch with anyone since she left her phone at her dad’s office and would rather not go back to get it. Ezra tells her that she can talk to him if she wants to. Hanna breaks down and tells him about how her father doesn’t think she’s college material and is paying for Kate’s education instead. Ezra consoles her, telling her that his parents never thought he would amount to much. Once his parents cut him off he took every possible job he could, to make ends meet and put himself through college. Spencer meets up with Emily and Aria outside the diner.

They think that Mike is running an errand for Alison. Aria doesn’t care if Mike is helping Alison, she just wants to keep him safe. Spencer convinces her that once Cyrus leaves, they’ll follow him. Aria gets a call from Ezra but ignores it. The call actually came from Hanna. Hanna returns Ezra his phone. She’s feeling much better now and is about to leave when she notices the poster for the beauty pageant with the grand prize being a scholarship for $20,000. While Emily, Spencer, and Aria are waiting outside the diner, watching Cyrus and Mike, Aria tells them about Ezra’s belief that Aria didn’t have the “perfect high school experience” because of him. Spencer also tells them about the confused state of her relationship. They receive a text message from “A”: “Thanks for donating to my get-into- jail fund” and a picture of their vials of blood. When they look back at the diner, Mike and Cyrus are gone. Mike gets in his car and leaves. Someone in a bike chases the girls and corners them up against a dumpster. It turns out to be Cyrus. He confronts the girls, asking them if they were following him.

Spencer tells him that he has something of theirs. Cyrus smirks and offers to make a trade but Andrew shows up behind him with a baseball bat and tells Cyrus to leave them alone, scaring him off. Ashley gives Hanna her phone back that Tom dropped off. Hanna apologizes for going behind Ashley’s back. Ashley notices Hanna filling out the application form for the beauty pageant and Hanna tells her that she’s participating for the grand prize scholarship. Ashley tells her that Ted still hasn’t called her back and Hanna tells her that if she loves Ted, she should fight for him. Aria and Spencer head back to Spencer’s house and find Jonny stocking her refrigerator. Spencer admits to Jonny that she had fun last night but she has boundaries. Getting into college is her only ticket out of Rosewood and she doesn’t want to ruin it. Jonny tells her that he understands, and leaves. Talia shows up at Emily’s house. She explains that she married her husband, Eric, right out of high school and that they love each other, but not in the romantic sense. He knows that she is into girls, but she hasn’t left him because they are best friends and have been through a lot together.

She apologizes for lying to Emily. Emily admits that there are things that she isn’t ready to share with her either and holds Talia’s hand. Hanna heads to Spencer’s house. They don’t know how to proceed since they know it’s only a matter of time before “A” plants their blood somewhere to connect them to Mona’s murder and get them arrested. Spencer heads downstairs to get another blanket and has no idea that Mike is watching her through the window. The episode ends with someone wearing black gloves taking the vial containing Hanna’s blood and transferring some of the blood from the vial onto the clothes Mona was wearing the day she died, while the video of Hanna and Caleb discussing breaking into the storage facility plays in the background. Notes The girls, except for Emily , donate blood at a blood drive at Rosewood High, organized by Ashley Marin . Mike , apparently, steals one of the blood viles and hides it in an energy drink can in his bedroom. Mike meets up with Cyrus , who is under the alias Hank Mahoney, at a diner and hands him an envelope.

Hanna's father declines to pay for Hanna 's college tuition, saying that he promised Isabel that he would pay for Kate to go to Dartmouth, and he was under the impression Hanna didn't want to go to college. Aria asks Andrew to tutor her since she needs a minimum average to keep her conditional admission into Savannah College of Art and Design. Emily finds out that Talia is married, but she and her husband are separated. ' A ' transfers some of Hanna's blood onto the clothes Mona was wearing the day she died. Title and Background "Out, Damned Spot" is a reference to Macbeth by William Shakespeare. In the play, after talking so tough throughout the play about how she could kill to become queen, it turns out that she begins cracking under the pressure of the crime and the secret. She hallucinates that she still has blood on her hands from planting the murder weapons used to kill the king, symbolizing her fear of being found out; blood that she can't seem to scrub off. In the Book Series, Spencer played Lady Macbeth and said the exact same line: "Out, Damned Spot".

Main Cast Macbeth Act 5 Scene 1 - Lady Macbeth's sleepwalking scene Explanatory Notes for Act 5, Scene 1 From Macbeth. Ed. Thomas Marc Parrott. New York: American Book Co. (Line numbers have been altered.) _______ The last act brings about the catastrophe of the play. This does not consist merely in the death of Macbeth upon the field of battle. Shakespeare is always more interested in the tragedy of the soul than in external events, and he here employs all his powers to paint for us the state of loneliness and hopeless misery to which a long succession of crimes has reduced Macbeth. Still clinging desperately to the deceitful promises of the witches the tyrant sees his subjects fly from him; he loses the support and companionship of his wife, and looks forward to a solitary old age, accompanied only by "curses, not loud, but deep." It is not until the very close of the act, when he realizes how he has been trapped by the juggling fiends, that Macbeth recovers his old heroic self; but he dies, sword in hand, as befits the daring soldier that he was before he yielded to temptation.

It is worth noting how in this act Shakespeare contrives to reengage our sympathies for Macbeth. The hero of the play no longer appears as a traitor and a murderer, but as a man oppressed by every kind of trouble, yet fighting desperately against an irresistible fate. His bitter remorse for the past and his reckless defiance of the future alike move us with overwhelming power, and we view his tragic end, not with self-righteous approval, but with deep and human pity. The number of scenes in this act and the frequent changes of place have necessitated many alterations for modern stage performances. But when the construction is regarded with an eye to the simple Elizabethan stage for which Shakespeare composed his work, it will be found a masterpiece of dramatic art. It opens with a prologue which shows us the mental ruin of Lady Macbeth and at the same time recalls to our minds the sins for which she and her husband are now to receive their just reward. The second scene shows us the revolt of the Scotch nobles; the third, Macbeth's still unshaken reliance upon the witches' prediction; the fourth, the union of the Scottish nobles with the English forces.

In the fifth we see Macbeth reduced to the lowest pitch of misery by his forced inaction and by the news of his wife's death. The report of the moving wood which is brought to him in this scene opens his eyes to the "equivocation of the fiend," and the manner in which he receives it prepares us for his final outburst of defiance. The sixth scene brings the avengers before the walls of Dunsinane. The seventh, shows us Macbeth still clinging desperately to his last hope, that no man, born of woman, can harm him; but in the eighth even this hope is wrested from him, and he falls by the hand of the man he has most deeply wronged. The last scene, for there should be another, beginning at line 35 of the eighth scene, shows Malcolm in Macbeth's stronghold, "compassed by his kingdom's pearl," and points forward to a new era of peace and happiness in Scotland. At the beginning of this act Lady Macbeth who has apparently dropped out of the story is brought back upon the stage that we may see how she too pays the penalty of her crimes.

The strong will that enabled her to defy her woman's nature has broken down utterly; left alone in her castle while Macbeth is in the field she broods by day over past crimes and future punishment, and at night wanders in uneasy sleep through the halls, betraying to all who hear her the deadly secrets of the past. In spite of the doctor's statement (lines 65-67), we feel that she is doomed, and we are prepared not only for the news of her death in scene v., but also for the report in the last scene that she died by her own hands. The most tragic part of her punishment is that she, who had sinned so deeply for her husband's sake, drifts away from him and dies in lonely isolation. 4. field. We must suppose that at this time Macbeth is in the field endeavouring to suppress the revolt of the Scotch nobles, alluded to in iv. 3. 182-185. 12, 13. do the effects of watching, perform the acts of waking hours. 13. slumbery agitation, activity of sleep. 16. report, repeat. 16.

The gentlewoman is afraid lest she should get into trouble by repeating Lady Macbeth's words. 22, 23. her very guise, exactly her habit. 24. stand close, keep concealed. 27. 'tis her command. Note Lady Macbeth's terror of darkness. She who had invoked thick night to come and cover her deeds of blood dares not now be left alone in the dark. 29. sense, an old plural form. 32. accustomed. Note how Shakespeare impresses on us the fact that this scene is only one of a number. 37. satisfy, assure. 39. Out, damned spot. Lady Macbeth imagines, herself trying to wash the blood of Duncan from her hands. 40. to do't, to kill Duncan. She is living over again the night of Duncan's murder. She thinks she hears the bell strike two, and knows that this is the signal for her husband to enter the king's chamber. 40. Hell is murky. These words reveal Lady Macbeth's brooding fear of the hereafter. They have no connection with the sentence that follows, for Macbeth never showed the slightest dread of future punishment. 44, 45.

old man ... 'him. She now fancies herself in Duncan's chamber, standing over the bed which streams with the blood of the murdered king. 47, 48. The thane of Fife ... now. Lady Macbeth had not been a party to the murder of Macduff's wife; but this crime of her husband's is another of the burdens on her conscience. The words in which she mentions Lady Macduff are thrown into the form of an old song. Perhaps she had heard the snatch of a lament sung for her husband's victims, and is now reproducing it in her sleep. 49, 50. No more o' that ... starting. She now imagines herself back at the feast where Banquo's ghost had appeared. 51. go to, an expression of proof. 57. Arabia, a land famous for its spices and perfumes. 58. little hand, one of the few allusions in the play to Lady Macbeth's personal appearance. 59, 60. sorely charged, heavy laden. 65. beyond my practice, outside of my experience. 68. Wash your hands.

She now fancies herself speaking to her husband directly after the murder of Duncan. In the next line she recurs to the scene at the banquet. 70. on's, of his. 72. Even so?, an expression of surprise. 79. Note the change to blank verse. The vivid realism of Lady Macbeth's broken utterances would have been impossible in metre, and while she spoke in prose her hearers naturally used the same form. 79. Foul whisperings, terrible rumours. The doctor may have heard some such talk as that between Lennox and the Lord in iii. 6. If so his suspicions would be more than confirmed by what he has heard Lady Macbeth say. 79, 80. unnatural deeds ... troubles, deeds against nature (cf. ii. 4. 10, 11) give rise to abnormal evils in the body. 80. infected minds, guilty souls. 84. the means of all annoyance, anything by which she could harm herself. ________ How to cite the explanatory notes: Shakespeare, William. Macbeth. Ed. Thomas Marc Parrott. New York: American Book Co., 1904. Shakespeare Online. 10 Aug.

2010. < >. ________ William Shakespeare – Out, Damned Spot! | Genius More on Genius About “Out, Damned Spot!” This passage from the first scene in the fifth act of Macbeth is one of the most indelible expressions of guilt in all of literature. Earlier in the play, Lady Macbeth possessed a stronger resolve and sense of purpose than her husband and was the driving force behind their plot to kill Duncan. When Macbeth believed his hand was irreversibly bloodstained earlier in the play, Lady Macbeth had told him: A little water clears us of this deed… Now, however, she too hallucinates blood. Her recall falters: her memory obsessively returns to the murder, but she doesn’t seem to know whether it’s happened yet or not. She is completely undone by guilt and descends into madness. It may be a reflection of her mental and emotional state that she is not speaking in verse; this is one of the few moments in the play when a major character—save for the witches, who speak in four-foot couplets—strays from iambic pentameter. In fact critic A. C.

Bradley has said she is “denied the dignity of verse”–uniquely among major Shakespearean characters making their final appearance. Compare “Out, damned spot! out” with Macbeth’s later “Out, out, brief candle!” in Act 5, Scene 5. Guilt can stain a whole life, but life itself is fleeting. Compare also the Second Murderer’s nervous guilt in an earlier Shakespearean tragedy, Richard III: MACBETH, Act 5, Scene 1 Enter a Doctor of Physic and a Waiting-Gentlewoman. 1 I have two nights watched with you, but can 2 perceive no truth in your report. When was it 3 she last walked? 4 Since his majesty went into the field, I have 5 seen her rise from her bed, throw her night-gown 6. closet: chest. 6 upon her, unlock her closet, take forth paper, fold 7 it, write upon't, read it, afterwards seal it, and again 8 return to bed; yet all this while in a most fast sleep. 9 A great perturbation in nature, to receive at once 10. do the effects of watching: do the actions of a waking person.

11. agitation: activity. 10 the benefit of sleep, and do the effects of 11 watching! In this slumbery agitation, besides her 12. actual performances: i.e., observed activities. 12 walking and other actual performances, what, at any 13 time, have you heard her say? Gentlewoman 14. That which I will not report after her: i.e., things which I will not repeat. 14 That, sir, which I will not report after her. Doctor 16 should. Gentlewoman 17. having no witness : because I have no witness. Apparently Lady Macbeth has said what we will soon hear her say, which amounts to a confession of murder. The Gentlewoman dares not repeat such things without a witness. 17 Neither to you nor any one; having no witness 18 to confirm my speech. Enter LADY [MACBETH], with a taper. 19. her very guise: exactly the way she always looks. 20. stand close: stay out of sight. Image Source: 19 Lo you, here she comes!

This is her very guise; and, 20 upon my life, fast asleep. Observe her; stand close. Doctor 35 Out, damned spot! out, I say!One: two: why, 36 then, 'tis time to do't.Hell is murky!Fie, my 37 lord, fie! a soldier, and afeard? What need we 38 fear who knows it, when none can call our power 39 to account?Yet who would have thought the old 40 man to have had so much blood in him? Doctor 41 Do you mark that? LADY MACBETH 42 The thane of Fife had a wife; where is she now? 43 What, will these hands ne'er be clean?No more o' 44 that, my lord, no more o' that: you mar all with 45. this starting: these startled movements. Apparently Lady Macbeth is imagining the moments just after the murder of King Duncan, especially Macbeth's reaction to the knocking at the gate. 46.

go to: "Go to" is a colloquial phrase with many possible meanings. In this case, the Doctor means something like "ai yi yi! we have a big problem." Annika Boris 55 I would not have such a heart in my bosom 56 for the dignity of the whole body. Doctor 57 Well, well, well. Gentlewoman 58. Pray God it be, sir: The Doctor uses the phrase "well, well, well" as an expression of wonder and dismay; the Gentlewoman purposely takes the word "well" in its sense of "good, healthy." 59. beyond my practise: beyond the scope of my expertise. 58 Pray God it be, sir. Doctor 59 This disease is beyond my practise; yet I 60 have known those which have walked in 61 their sleep who have died holily in their beds. LADY MACBETH 62 Wash your hands, put on your nightgown; 63 look not so pale.I tell you yet again, Banquo's 64. come out on's grave: come out of his grave.

64 buried; he cannot come out on's grave. Doctor 71 Foul whisperings are abroad. Unnatural deeds 72 Do breed unnatural troubles; infected minds 73 To their deaf pillows will discharge their secrets. 74 More needs she the divine than the physician. 76. the means of all annoyance: anything which might cause injury. The Doctor may think Lady Macbeth might commit suicide. 77. still: always. 75 God, God forgive us all! Look after her; 76 Remove from her the means of all annoyance, 77 And still keep eyes upon her. So, good night: 78. mated: stupefied, bewildered, shocked. 78 My mind she has mated, and amazed my sight. 79 I think, but dare not speak. Gentlewoman SparkNotes: Macbeth: Important Quotations Explained Important Quotations Explained Act 5, scenes 1–11 Key Facts The raven himself is hoarse That croaks the fatal entrance of Duncan Under my battlements.

Come, you spirits That tend on mortal thoughts, unsex me here, And fill me from the crown to the toe top-full Of direst cruelty. Make thick my blood, Stop up th’access and passage to remorse, That no compunctious visitings of nature Shake my fell purpose, nor keep peace between Th’ effect and it. Come to my woman’s breasts, And take my milk for gall, you murd’ring ministers, Wherever in your sightless substances You wait on nature’s mischief. Come, thick night, And pall thee in the dunnest smoke of hell, That my keen knife see not the wound it makes, Nor heaven peep through the blanket of the dark, To cry ‘Hold, hold!’ Lady Macbeth speaks these words in Act 1, scene 5, lines 36–52, as she awaits the arrival of King Duncan at her castle. We have previously seen Macbeth’s uncertainty about whether he should take the crown by killing Duncan. In this speech, there is no such confusion, as Lady Macbeth is clearly willing to do whatever is necessary to seize the throne. Her strength of purpose is contrasted with her husband’s tendency to waver.

This speech shows the audience that Lady Macbeth is the real steel behind Macbeth and that her ambition will be strong enough to drive her husband forward. At the same time, the language of this speech touches on the theme of masculinity— “unsex me here / . . . / . . . Come to my woman’s breasts, / And take my milk for gall,” Lady Macbeth says as she prepares herself to commit murder. The language suggests that her womanhood, represented by breasts and milk, usually symbols of nurture, impedes her from performing acts of violence and cruelty, which she associates with manliness. Later, this sense of the relationship between masculinity and violence will be deepened when Macbeth is unwilling to go through with the murders and his wife tells him, in effect, that he needs to “be a man” and get on with it. 2. If it were done when ’tis done, then ’twere well It were done quickly. If th’assassination Could trammel up the consequence, and catch With his surcease success: that but this blow Might be the be-all and the end-all, here, But here upon this bank and shoal of time, We’d jump the life to come.

But in these cases We still have judgement here, that we but teach Bloody instructions which, being taught, return To plague th’inventor. This even-handed justice Commends th’ingredience of our poisoned chalice To our own lips. He’s here in double trust: First, as I am his kinsman and his subject, Strong both against the deed; then, as his host, Who should against his murderer shut the door, Not bear the knife myself. Besides, this Duncan Hath borne his faculties so meek, hath been So clear in his great office, that his virtues Will plead like angels, trumpet-tongued against The deep damnation of his taking-off, And pity, like a naked new-born babe, Striding the blast, or heaven’s cherubin, horsed Upon the sightless couriers of the air, Shall blow the horrid deed in every eye That tears shall drown the wind. I have no spur To prick the sides of my intent, but only Vaulting ambition which o’erleaps itself And falls on th’other. In this soliloquy, which is found in Act 1, scene 7, lines 1–28, Macbeth debates whether he should kill Duncan.

When he lists Duncan’s noble qualities (he “[h]ath borne his faculties so meek”) and the loyalty that he feels toward his king (“I am his kinsman and his subject”), we are reminded of just how grave an outrage it is for the couple to slaughter their ruler while he is a guest in their house. At the same time, Macbeth’s fear that “[w]e still have judgement here, that we but teach / Bloody instructions which, being taught, return / To plague th’inventor,” foreshadows the way that his deeds will eventually come back to haunt him. The imagery in this speech is dark—we hear of “bloody instructions,” “deep damnation,” and a “poisoned chalice”—and suggests that Macbeth is aware of how the murder would open the door to a dark and sinful world. At the same time, he admits that his only reason for committing murder, “ambition,” suddenly seems an insufficient justification for the act. The destruction that comes from unchecked ambition will continue to be explored as one of the play’s themes.

As the soliloquy ends, Macbeth seems to resolve not to kill Duncan, but this resolve will only last until his wife returns and once again convinces him, by the strength of her will, to go ahead with their plot. 3. How is’t with me, when every noise appals me? What hands are here! Ha, they pluck out mine eyes. Will all great Neptune’s ocean wash this blood Clean from my hand? No, this my hand will rather The multitudinous seas incarnadine, Making the green one red. Macbeth says this in Act 2, scene 2, lines 55–61. He has just murdered Duncan, and the crime was accompanied by supernatural portents. Now he hears a mysterious knocking on his gate, which seems to promise doom. (In fact, the person knocking is Macduff, who will indeed eventually destroy Macbeth.) The enormity of Macbeth’s crime has awakened in him a powerful sense of guilt that will hound him throughout the play.

Blood, specifically Duncan’s blood, serves as the symbol of that guilt, and Macbeth’s sense that “all great Neptune’s ocean” cannot cleanse him—that there is enough blood on his hands to turn the entire sea red—will stay with him until his death. Lady Macbeth’s response to this speech will be her prosaic remark, “A little water clears us of this deed” (2.2.65). By the end of the play, however, she will share Macbeth’s sense that Duncan’s murder has irreparably stained them with blood. 4. 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? These words are spoken by Lady Macbeth in Act 5, scene 1, lines 30–34, as she sleepwalks through Macbeth’s castle on the eve of his battle against Macduff and Malcolm.

Earlier in the play, she possessed a stronger resolve and sense of purpose than her husband and was the driving force behind their plot to kill Duncan. When Macbeth believed his hand was irreversibly bloodstained earlier in the play, Lady Macbeth had told him, “A little water clears us of this deed” (2.2.65). Now, however, she too sees blood. She is completely undone by guilt and descends into madness. It may be a reflection of her mental and emotional state that she is not speaking in verse; this is one of the few moments in the play when a major character—save for the witches, who speak in four-foot couplets—strays from iambic pentameter. Her inability to sleep was foreshadowed in the voice that her husband thought he heard while killing the king—a voice crying out that Macbeth was murdering sleep. And her delusion that there is a bloodstain on her hand furthers the play’s use of blood as a symbol of guilt. “What need we fear who knows it when none can call our power to account?” she asks, asserting that as long as her and her husband’s power is secure, the murders they committed cannot harm them.

But her guilt-racked state and her mounting madness show how hollow her words are. So, too, does the army outside her castle. “Hell is murky,” she says, implying that she already knows that darkness intimately. The pair, in their destructive power, have created their own hell, where they are tormented by guilt and insanity. 5. Macbeth. Act V. Scene I. William Shakespeare. 1914. The Oxford Shakespeare Dunsinane. A Room in the Castle. Enter a Doctor of Physic and a Waiting-Gentlewoman. Doct. I have two nights watched with you, but can perceive no truth in your report. When was it she last walked? Gen. Since his majesty went into the field, I have seen her rise from her bed, throw her night-gown upon her, unlock her closet, take forth paper, fold it, write upon t, read it, afterwards seal it, and again return to bed; yet all this while in a most fast sleep. Doct. 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? Gen. That, sir, which I will not report after her. Doct. You may to me, and tis most meet you should. Gen. Neither to you nor any one, having no witness to confirm my speech. Enter LADY MACBETH, with a taper. Lo you! here she comes. This is her very guise; and, upon my life, fast asleep. Observe her; stand close. Doct. How came she by that light? Gen. Why, it stood by her: she has light by her continually; tis her command. Doct. You see, her eyes are open. Gen. Ay, but their sense is shut. Doct. What is it she does now? Look, how she rubs her hands. Gen. It is an accustomed action with her, to seem thus washing her hands. I have known her to continue in this a quarter of an hour. Lady M. Yet heres a spot. Doct. Hark! she speaks.

I will set down what comes from her, to satisfy my remembrance the more strongly. Lady M. 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? Doct. Do you mark that? Lady M. 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. Doct. Go to, go to; you have known what you should not. Gen. She has spoke what she should not, I am sure of that: Heaven knows what she has known. Lady M. Heres the smell of the blood still: all the perfumes of Arabia will not sweeten this little hand. Oh! oh! oh! Doct. What a sigh is there! The heart is sorely charged. Gen.

I would not have such a heart in my bosom for the dignity of the whole body. Doct. Well, well, well. Gen. Pray God it be, sir. Doct. 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 M. Wash your hands, put on your night-gown; look not so pale. I tell you yet again, Banquos buried; he cannot come out on s grave. 30 Doct. Even so? Lady M. 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. Doct. Will she go now to bed? Gen. Directly.

Question: Who said "Out, damn'd spot"?
Answer: Lady MacBeth