Shakespeare: Model Answers (AQA GCSE English Literature): Model Answers

Macbeth

Question: Read from Act II Scene 2 'Methought I heard a voice cry, "Sleep no more ..."' (line 38) to 'Look on't again, I dare not' (line 55). In this scene, Macbeth has just returned from killing Duncan.

Starting with this speech, explore how Shakespeare presents guilt in Macbeth.

Write about:

• how Shakespeare presents ideas about guilt in this extract
• how Shakespeare presents ideas about guilt in the play as a whole.

Aiming for a grade 9:

In this extract, Macbeth is deeply disturbed and distracted, immediately feeling the weight of his actions. When he says, "Methought I heard a voice cry 'Sleep no more!'" it suggests that his conscience is manifesting as a voice, reminding him of the guilt he feels after murdering Duncan. This idea of a guilty conscience is closely tied to the Divine Right of Kings, where the king was seen as God's representative on Earth. By killing Duncan, Macbeth has not only committed regicide but has also disrupted the natural order or the 'great chain of being'. The voice Macbeth hears can be seen as his conscience rebelling against this grave sin, or possibly as a hallucination brought on by the paranoia and fear that his crime has triggered.

Macbeth's language in this scene is repetitive and disjointed, reflecting his mental turmoil. The repeated use of the word "sleep" shows how fixated he is on the idea, with "sleep" symbolising a clear conscience and peace of mind—both of which he has destroyed. The metaphor of sleep also hints at the nightmares that will later plague him, as he mentions "terrible dreams" that trouble him and Lady Macbeth's descent into sleepwalking. This shows that their guilt is so profound that it robs them of the natural rest that all living beings require. The murder of Duncan, while he slept, becomes symbolic of the murder of innocence and justice.

Lady Macbeth, on the other hand, initially appears unaffected by guilt. In this extract, she belittles Macbeth, accusing him of losing his "noble strength" and being "brain-sickly," taking control of the situation by urging him to wash the "filthy witness" of blood from his hands. However, Macbeth's assertion that "all great Neptune's ocean" cannot wash away the blood signifies that their guilt is indelible. This foreshadows Lady Macbeth's eventual breakdown, where she obsessively tries to clean her hands of the imagined bloodstains in Act V, symbolising the inescapable nature of their guilt.

Guilt in Macbeth is not limited to the title character. Lady Macbeth's initial dismissal of guilt is portrayed as unfeminine, especially after she calls on spirits to "unsex" her in Act I Scene 5, revealing her desire to suppress her natural femininity to commit the murder. Her accusation that Macbeth is "infirm of purpose" shows her taking on a role traditionally seen as masculine, where she commands and leads. Yet, her brief hesitation, when she admits she couldn't kill Duncan because he resembled her father, hints at a deeper, more suppressed guilt that will later consume her.

Banquo's ghost in Act III Scene 4 is another manifestation of Macbeth's guilt. Whether the ghost is real or a product of Macbeth's imagination, it is driven by the same forces that led him to see the floating dagger and hear accusatory voices. Macbeth's desperate denial, "Thou canst not say I did it!" reflects his attempt to escape responsibility, despite having ordered Banquo's death. Similarly, Macduff's guilt in Act IV Scene 3, upon hearing of his family's murder, drives him to seek vengeance against Macbeth, showing how guilt can also motivate characters to act righteously.

In conclusion, Shakespeare presents guilt in Macbeth as a complex force, arising from different sources. It can be the immediate result of one's own murderous actions, as seen with Macbeth and Lady Macbeth, or it can stem from perceived inaction, as with Macduff. Guilt is shown as a weakness that can lead to madness and self-destruction, but it also becomes a catalyst for restoring order. Shakespeare thus uses guilt not just as a personal affliction but as a driving force in the play's moral and narrative structure.

2.

Aiming for a grade 6

In this extract, Shakespeare immediately presents Macbeth as overwhelmed with guilt after murdering Duncan. Macbeth hears a voice saying, "Sleep no more!" which suggests that his guilt is so intense that he believes he will never be able to sleep peacefully again. This could also represent his conscience condemning him for his actions.

The repetition of the word "sleep" in this extract highlights Macbeth's obsession with the idea that he will never rest again. Sleep is an important motif in the play, symbolising peace and innocence, and its disruption reflects Macbeth's inner turmoil. Later in the play, he speaks of "terrible dreams" (III.2), showing how his guilt haunts him and prevents him from finding peace.

Macbeth's guilt is intensified by the fact that he has not just committed murder but has killed the king. During Shakespeare's time, the Divine Right of Kings was a widely accepted belief, meaning that the king was seen as God's representative on Earth. Killing Duncan is therefore seen as an act against God, making Macbeth's guilt even more profound. This guilt could be seen as a form of divine punishment.

Macbeth's distraction and guilt are evident when he forgets to leave the daggers with the guards, forcing Lady Macbeth to take over. At this point in the play, Lady Macbeth seems more focused and less affected by guilt than Macbeth, though her own sense of guilt will later lead to her downfall.

When Macbeth later arranges for Banquo to be killed, he hires murderers rather than doing it himself. This suggests that he is unwilling to experience the guilt of directly killing another friend. His paranoia about the witches' prophecies drives him to order the murder of Banquo's son, Fleance, as well.

In contrast, Lady Macbeth appears composed and in control in this extract, using commanding language like "Go, get some water" to instruct her husband to clean away the evidence of his crime. The word "witness" refers to the blood on Macbeth's hands, symbolising the visible evidence of his guilt. Lady Macbeth's control here makes Macbeth, who was once seen as "brave," seem weak by comparison. This challenges the traditional view of women as the weaker sex, showing Lady Macbeth as more dominant in this moment.

However, this scene foreshadows Lady Macbeth's eventual breakdown. Her initial composure does not last, and she is later seen sleepwalking, desperately trying to wash a "damned spot" from her hands. This "spot" represents her guilt, which, unlike blood, cannot be washed away. The irony is clear, as earlier she had confidently told Macbeth that water would cleanse them of their crime. Ultimately, both Macbeth and Lady Macbeth are consumed by their guilt.

In conclusion, this extract introduces key themes of guilt that are explored throughout the play, particularly through the recurring motifs of blood and disturbed sleep.

Romeo and Juliet

Question: Read from Act I Scene 4 ''Tis he that villain Romeo ...' (line 182) to 'This trick may chance to scathe you' (line 204). At this point in the play, Tybalt and Capulet discuss Romeo's appearance at the ball. Starting with this conversation, explore how Shakespeare presents Capulet's attitude to young people in the play. Write about: • how Shakespeare presents Capulet's attitude to young people in this conversation • how Shakespeare presents Capulet's attitude to young people in the play as a whole.

Aiming for a grade 6

In this passage, Shakespeare presents Lady Capulet as distant and formal rather than warm and maternal. When discussing Juliet's potential marriage, she is blunt, asking, "How stands your disposition to be married?" This contrasts with the Nurse's enthusiastic, motherly interruptions, highlighting the Nurse's closer relationship with Juliet compared to Lady Capulet's detachment.

While Juliet may seem young for marriage by modern standards, it was common in the play's context. Lady Capulet notes that "ladies of esteem" in Verona are already mothers at Juliet's age, revealing societal norms. However, it's the Nurse, not Lady Capulet, who has provided daily care and affection, suggesting that wealthy parents had limited involvement in raising their children.

Lady Capulet encourages Juliet to marry Paris, focusing on his appearance and wealth, indicating that marriages were often arranged for financial or social gain rather than love. In contrast, Lady Montague is shown as more caring, expressing relief that Romeo wasn't involved in a fight, and Lord Montague shows concern for Romeo's sorrow, implying they might have supported him if he had confided in them.

Initially, Lord Capulet is protective of Juliet, expressing concerns about early marriage, but he quickly arranges the marriage without consulting her, assuming she will obey. When Juliet resists, Capulet reacts with aggression, calling her a "disobedient wretch," showing his concern for his pride and reputation over her feelings. This reflects the era's emphasis on parental authority and societal expectations.

Despite Capulet's harsh behaviour, his actions are motivated by a desire to secure Juliet's future, as women in that society had no financial independence. Towards the end of the play, when Juliet's parents believe she is dead, their grief highlights the loss they feel, suggesting that the families learn too late from the love their children have for each other.

Aiming for a grade 7

In this scene, which takes place at Capulet's ball, Tybalt is furious that Romeo, a Montague, has crashed the party. Tybalt believes Capulet should not tolerate Montague's presence. However, Capulet, aware of the social consequences, shows a more measured approach. Unlike his hot-headed nephew, he prioritises his reputation and the decorum expected of him as host, even if it means putting aside the family rivalry.

Capulet recognises Tybalt's frustration but is unwilling to confront Romeo during the celebration. He describes Romeo as a "virtuous and well-governed youth," suggesting that Capulet acknowledges Romeo's positive qualities. The term "virtuous" implies that Romeo is seen as good and possibly religious, while "well-governed" suggests he is self-controlled and respected in society. This shows that Capulet is concerned with how others perceive him and his actions. Despite his dislike for the Montagues, Capulet understands that a party is not the appropriate time for conflict. He values his social standing and uses the phrase "for all the wealth in this town" to warn Tybalt against causing trouble. This strong, financial metaphor indicates that Capulet will not allow anything to damage his reputation. When he warns Tybalt that he will "make a mutiny amongst my guests," it highlights his concern for maintaining control and authority. The word "mutiny" implies a rebellion against his leadership, and the possessive "my" underscores his pride in his role as host and his desire to manage the event, as well as Tybalt's behaviour.

Capulet instructs Tybalt to "be patient" and twice refers to him as a "boy," emphasising his youth and inexperience. As an older figure of authority, Capulet commands Tybalt several times to "Go to!"—a command that implies Tybalt must leave Romeo alone and avoid ruining the party.

Capulet's final words to Tybalt carry a veiled threat: "This trick may chance to scathe you." This suggests that Tybalt will face consequences if he disrupts the event. The tone here is that of a strict father reprimanding a misbehaving child. Shakespeare uses this to reinforce Capulet's dominance in the situation and to show the obedience he expects from younger family members.

Throughout this scene, Capulet appears understanding of young people. This attitude is further demonstrated when Paris asks for Juliet's hand in marriage. While Capulet considers the proposal, he is protective of his daughter, thinking her too young and inexperienced, calling her "a stranger in the world."

However, once Capulet decides that Juliet should marry Paris, Shakespeare shows a shift in his character. Capulet expects Juliet to be "ruled in all respects" by him. It is important to note that during this period, it was typical for fathers to expect complete obedience from their daughters. Capulet's reputation, as head of the household, would have been at risk if Juliet defied him. While his behaviour may seem harsh to a modern audience, it reflects the norms of the time, where marriages among wealthy Elizabethan families were often arranged for financial or social gain. Yet, this also reveals a cruel and unforgiving side to Capulet's character. He calls Juliet a "disobedient wretch" when she refuses to obey him, and even when she kneels and begs for his understanding, he remains furious.

Capulet's need to control the younger generation ultimately drives the play's tragic direction. His insistence on Juliet's marriage to Paris leads her to take the potion, which in turn results in the deaths of both Romeo and Juliet. It is only after their deaths that Capulet's attitude softens, as he recognises the futility of the "ancient grudge" and finally seeks peace with the Montagues.

Aiming for a Grade 9

Act I Scene 3 helps us to contextualise the relationship that Juliet has with her parents. As a fourteen-year-old girl, she is visited in her chamber by her mother, to be presented with the opportunity for marriage. Her mother, distant and somewhat calculating, presents this as an opportunity for increased wealth and to ensure her daughter becomes one of the 'ladies of esteem' who are 'made already mothers' among the Veronese elite.

Juliet's mother's language, with its blunt interrogatives such as: 'Tell me . . . How stands your disposition to be married?' and 'What say you, can you love the gentleman?', is presented by Shakespeare in stark contrast to the warm effusiveness of the Nurse, whose enthusiasm is shown when she exclaims: 'A man, young lady! Lady, such a man!' Likewise, Lady Capulet's impatience with the Nurse is evident when she says, 'I pray thee hold thy peace.' This seems to stem from the fact that the Nurse is full of anecdotes about her beloved Juliet and her childhood, something Lady Capulet clearly does not share.

We are therefore encouraged to see that in wealthy Veronese society, the notion of parenting is one of a more distant relationship. Though both Capulet and Lady Capulet declare their love for Juliet when she is supposed dead in Act IV, their actions and attitudes at other times in the play lead us to question its strength.

In the extract, Lady Capulet uses elaborate language to describe Paris. She employs the metaphor of a 'precious book', suggesting Juliet will be the 'cover' that this 'unbound lover' lacks. Though seemingly romantic, this is far from the reality of marrying a virtual stranger, selected by Juliet's father. Lady Capulet emphasises two positive features about Paris: his looks and his wealth. She suggests he has been drawn with, 'beauty's pen' and that Juliet might 'share all that he doth possess'. Again, this helps us to see the values that shaped elite Veronese society and raises questions about Lady Capulet's idea of what real love might be.

Capulet initially speaks of Juliet in gentle terms as 'the hopeful lady of my earth', and insists it will be another two years before Juliet should be wed. However, the violent actions of Act II seem to galvanise him, Tybalt's death a clear catalyst which encourages him to hastily arrange Juliet's marriage to Paris. Perhaps he fears for his family's reputation within the context of these violent outbursts. Moreover, his position as the family patriarch leads him to believe Juliet will consider this arrangement as 'a sudden day of joy.' His fury at her refusal leads to him addressing her in disparaging terms as 'a wretched puling fool', and 'a whining mammet'. Rather than as a daughter, he views Juliet as a possession, declaring 'I'll give you to my friend.' This is compounded by Lady Capulet's curt, monosyllabic rejection, 'I have done with thee.'

Shakespeare seems to contrast the Capulets with the more rarely seen Montagues, whose concern for their son and his sensitive moods, suggests their more genuine love for him. Indeed, we are told even before Montague learns of his son's death at the end of the play that Lady Montague has died of grief, so distressed was she by Romeo's banishment. Much earlier, Montague has engaged Benvolio's help to 'learn from whence his sorrows grow'. Yet we are led to question why Romeo did not seek the advice of these concerned parents, rather than that of Friar Laurence, when he discovered his love for Juliet.

Though the play presents us with a picture of parenting in wealthy Veronese society, Shakespeare also conveys the idea that young adults may see their parents as a potential hurdle to their happiness and, equally, how some parents feel that they must exert complete control over their children. The backdrop of the feud and the conventions of the society itself create the conditions in which mistrust and tragedy come to dominate these family relationships.