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    SHAKESPEARE: Macbeth
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• • 莎士比亚: 马克白 / SHAKESPEARE: Macbeth
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  • William ShakespeareMacbeth By the time Shakespeare came to write Macbeth—almostcertainly in 1605/1606—he had already completed three of the great tragedieswith which modern audiences are so familiar: Hamlet (1601), Othello (1603) andKing Lear (1605). Each of those plays gives us an eponymous hero who is in somesignificant way flawed, but for whom we also inevitably feel deep sympathy,whatever his errors or crimes. But in Macbeth, Shakespeare has chosen for histragic hero a man guilty of the most terrible crime imaginable to a Jacobeanaudience, that of regicide—the murder of a king. Part of the writer’s triumphis to succeed in making Macbeth, whose crime we must detest, a man in whom wemust also see something of our own darker side, our own potential for evil, sothat Malcolm’s final judgment on him as a mere ‘butcher’ seems whollyinadequate, the verdict of someone who does not share the audience’s insightinto Macbeth’s anguished inner world. The Date and Sources The dating of Macbeth is of particular interest becauseexternal, topical factors were clearly so influential in its composition. Theplay may well have been performed at court, in which case the emphasis on thesupernatural would have chimed in perfectly with King James’ known interest inwitchcraft; the monarch (who was also, of course, the Stuart James VI ofScotland) claimed direct descent from Banquo, the escape of whose son Fleancein Act 3 Scene 3 thus assumes crucial importance. Perhaps the most immediatelysignificant event at this time was the discovery of the Gunpowder Plot inNovember 1605: the Jesuit Father Garnet was hanged for treason in May 1606, andhis ‘equivocation’ over the truth during his trial is echoed satirically in thePorter’s speech (Act 2 Scene 3)—‘Faith, here’s an equivocator, that could swearin both the scales against either scale; who committed treason enough for God’ssake, yet could not equivocate to heaven...’ Shakespeare’s concern fornational, natural or social disorder may be seen in almost any of his plays,whether history, comedy or tragedy. But in Macbeth he approaches it with particular focus andintensity, detailing its consequences in ways which range from the domestichorror of the murder of Lady Macduff and her children to the general disturbanceof nature remarked on by the Old Man and Ross in Act 2 Scene 4, or expressed inthe personification of Scotland offered by Macduff in Act 4 Scene 3: ‘It weeps,it bleeds; and each new day a gash / Is added to herwounds...’ The source of the play is relatively straightforward:Macbeth is almost entirely derived from the Elizabethan Raphael Holinshed’sChronicles of British History. Of particular interest here is what Shakespearealtered or omitted, often for political reasons: for example, Holinshed hasBanquo as an accomplice in Duncan’s murder. This is changed because, obviously,Shakespeare will not wish to offend his King by presenting his ancestor as aregicide. Additions, which Shakespeare made in order to deepen character orenhance dramatic effect, include the banquet scene, with the appearance ofBanquo’s ghost (Act 3, Scene 4), and Lady Macbeth’s sleepwalking scene (Act 5Scene 1). Synopsis of the Play Act 1, Scene 1: Three witches agree to meet Macbeth on theheath after the battle against the rebels in which Macbeth, with Banquo, isleading King Duncan’s forces. Scene 2: The King receives a report of thecurrent state of battle: Macbeth is fighting with formidable valor. Ross thenbrings news of Macbeth’s victory. The treacherous Thane of Cawdor, captured byMacbeth, is to be executed and his title given to Macbeth. Scene 3: The witches meet Macbeth and Banquo, greetingMacbeth as not only Thane of Glamis (which he already is) but also as Thane ofCawdor and ‘King hereafter’. They predict that Banquo will father kings, thoughhe will not himself be one. News arrives that Macbeth has indeed been namedThane of Cawdor. Macbeth broods over the disturbing but exciting possibilitythat he might now become king, by fair means or foul. Scene 4: King Duncanhonors the achievements of his two generals, but checks Macbeth’s hopes oflegal succession by naming his elder son Malcolm as heir to the throne. Scene5: Lady Macbeth reads a letter from her husband, which details the prophecies.Immediately excited by the prospect of her husband’s kingship, she realizesthat she must be the driving force behind the murder they will have to commit.A messenger brings news that the King will stay in the Macbeth’s castle thatvery night; seeing her opportunity, she prays for strength to the ‘spirits thattend on mortal thoughts’. Macbeth enters. Scene 6: Duncan is welcomedgraciously by his hostess. Scene 7: Macbeth has left the banquet to wrestlewith his conscience over the prospective murder of his guest, the King. LadyMacbeth finds and furiously upbraids him: he is persuaded once more to do thedeed. Act 2, Scene 1: Macbeth and Banquo agree to speak at anothertime of the witches and their prophecies. Alone and waiting for the prearrangedsignal from his wife, Macbeth feverishly imagines the dagger he will useshowing him the way to Duncan’s chamber. Scene 2: Macbeth, paralyzed with fearand guilt, returns to his wife, having killed Duncan. She assures him that ‘alittle water clears us of this deed’. They are interrupted by a loud knockingat the castle gates. Scene 3: The Porter, imagining himself the porter of‘hell-gate’, makes his way to the gate to let in Macduff and Lennox. Macduff isappalled to discover the King’s murdered body. Suspicion initially falls on theKing’s guards, whom Macbeth claims to have murdered in a fit of righteousanger, but Malcolm and Donaldbain, Duncan’s sons, fearing further treacherousviolence, flee the country. Scene 4: An old man describes the unnatural signsin nature. Ross will attend Macbeth’s investiture as King, but Macduff, hintingat his suspicions of Macbeth, refuses to join him. Act 3, Scene 1: Now King, Macbeth is fearful of Banquo andhis offspring: he hires two murderers to assassinate Banquo and his son Fleanceas they return to the castle that evening. Scene 2: Macbeth and his wifeattempt to reassure themselves: Macbeth hints at the planned murder and claimsthat the deed will make their position safer. Scene 3: Banquo is killed,according to plan, but Fleance escapes. Scene 4: Entertaining the Scottishlords at a great banquet, Macbeth is overwhelmed by terror at the appearance ofBanquo’s ghost, visible to no one else. Lady Macbeth is forced to bring theevening to an abrupt halt, conscious that suspicions must now be directed ather husband. [Scene 5: Hecate reproaches her minions, the witches. This sceneis almost certainly not by Shakespeare.] Scene 6: Lennox and another Lord speakdarkly of the current pitiful state of Scotland. Hope lies with Malcolm andMacduff, who have gone to England to seek Edward the Confessor’s help inrestoring rightful rule to Scotland. Act 4, Scene 1: Macbeth visits the witches to seek reassurance.They warn him to beware Macduff; claim that ‘none of woman born shall harmMacbeth’, and that he will never be defeated until ‘Great Birnam wood to highDunsinane hill / Shall come against him’. But they also show him a vision ofBanquo’s descendants as Kings of Scotland. Macbeth resolves to murder Macduffand his family immediately. Scene 2: Lady Macduff, talking to her young son(who is precociously aware of the prevalence of evil), is unable to escapeMacbeth’s assassins. She and her children are butchered. Scene 3: In England,Malcolm tests Macduff’s loyalty by pretending that, when he has recovered thethrone, he will be an even more monstrous ruler than Macbeth. Macduff’s horrorconfirms his loyalty. Ross arrives with news of the murder of Macduff’s family.Macduff swears vengeance. Act 5, Scene 1: A doctor and a waiting-gentlewoman observethe now deranged Lady Macbeth as she walks and talks in her sleep, revealingher guilt. Scene 2: The Scottish elements of the force sent to destroy Macbethare about to join their English allies near Birnam wood. Scene 3: Some ofMacbeth’s fellow thanes are deserting to the approaching army, but Macbethremains defiant, bolstered by the witches’ prophecies. Scene 4: Malcolm ordershis soldiers to cut down branches from Birnam wood and carry them to camouflagetheir advance. Scene 5: Inside Dunsinane Castle news is brought to Macbeth ofhis wife’s death, presumably by suicide. Then Birnam wood is reported to be onthe move. Scene 6: Malcolm asks old Siward and his son to lead the assault onDunsinane. Scene 7: Battle having been joined outside the castle, Macbethencounters and kills young Siward. Macduff seeks out Macbeth. Scene 8: Macdufffinds Macbeth and they fight. Macduff tells Macbeth that he was ‘from his mother’swomb untimely ripp’d ‘—i.e. born by Caesarean section. Macbeth is dismayed todiscover the treacherous ‘double sense’ of the last of the witches’ prophecies.Scene 9: Old Siward is comforted by the thought that his son died fightingbravely. Macduff appears holding Macbeth’s severed head aloft, and Malcolm isacclaimed King of Scotland. Commentary Macbeth is one of the shortest of Shakespeare’s plays,especially in comparison with the other great tragedies. The action proceedsswiftly, conveying sometimes a sense of almost sickening rapidity and violence,especially when Macbeth resolves that ‘the very firstlings of my heart shall be/ The firstlings of my hand’, and we are plunged immediately into theterrifying scene of slaughter in Macduff’s castle. This uneasy motion is infact suggested in the very first scene of the play, when a disturbing moralambiguity is established by the witches’ ‘Fair is foul, and foul is fair’. Theplay, in other words, is to conjure a world where nothing can be trusted to bewhat it seems, where ‘nothing is, but what is not’: ‘Is this a dagger which Isee before me… or art thou but a dagger of the mind, a false creation?’ Thisis, then, as much a drama of atmosphere as of character, and the atmosphere isin part created by Shakespeare’s brilliantly vivid and consistent use ofimagery—for example, of light and dark, disease, clothing and sleep—while thecharacter interest is almost wholly centered around the Macbeths. Goodness isperhaps inevitably less interesting than evil, and in any case it is clear thatneither of the Macbeths is purely wicked: Lady Macbeth is eventually eaten upand destroyed by her guilt, while Macbeth’s mental and spiritual anguish isrepeatedly conveyed, whether in his obsessive belief that he has ‘murderedsleep’ or his final state of numb despair where life is no more than a ‘tale /Told by an idiot, full of sound and fury, / Signifying nothing’. One might saythat the play exists simultaneously on two levels: the level of physicalaction, powerfully conveyed, but almost more importantly the level of spiritualconflict being fought out within Macbeth himself. Evil, for Shakespeare, isinevitably and rightly self-destructive: but who can emerge from an experienceof this extraordinary play without a pang of regret for the man that Macbethmight have been and once was? Notes by Perry Keenlyside Macbeth—The Theater Legend Is there a curse on the play of Macbeth? Some actors believeso, to the extent that direful things will happen to the current production ifthe play is quoted or even mentioned by name. That is why, in hushedtones, you’ll hear thespians referring to the ‘Scottish play’. Indeed, sovirulent is the superstition that should a hapless actor let fall a quote in adressing-room, he is obliged to leave the room, turn around three times, spit(or swear), and knock on the door to be granted re-entry! But is there anybasis for this tradition? It certainly seems that Macbeth has been dogged withbad luck over the centuries. In the 1930s, for instance, at the Old Vic, four differentactors played the Thane in one week. The first lost his voice, the secondcaught a chill, the third was sacked and the fourth finally did make it to thestage, but not, I imagine without considerable first-night nerves. Mishaps involving the fight between Macbeth and Macduff arelegion: swords breaking and points just missing members of the audience, fatalstabbings and one poor actor in the 19th century, who had to face the violentforce of Macready’s Macbeth, succeeded in losing both his thumbs! As is often the case, there is a practical reason behind thesuperstition. In the days of the strolling players, when a company saw Macbethadvertised as their next production, it was often a sign that they were notdoing well at the box office, and this popular play was expected to save theday. So it is not perhaps surprising that the mere mention of this play isconsidered unlucky for actors.There is also a sinister side to the superstition. Traditionhas it that the young boy-actor Hal Berridge, who created Lady Macbeth, diedduring the first performance; and there is a rumor that the Witches’incantations contain a genuine Black Magic Curse, thus perpetuating in everyperformance the play’s unprecedented run of bad luck that has lasted nearly 400years.David Timson The Cast of Macbeth Macbeth StephenDillane LadyMacbeth FionaShaw Duncan DenysHawthorne Malcolm/Apparition2 DeclanConlan Banquo AdamKotz Macduff/Apparition1 ColinTiernay Ross Nick Gecks Lennox BruceAlexander Porter Bill Paterson Witch1 AnnetteBadland Witch2 JoyceHenderson Witch3/Gentlewoman PaulineLynch Hecate JuneWatson Doctor/OldMan/Siward JohnRogan Donaldbain/YoungSiward Benjamin Soames Fleance/Apparition3 JamesBoxer LadyMacduff Stella Gonet Sonof Macduff StephanieLane Captain/1stMurderer/Caithness/Lord/Seyton DavidTimson 2ndMurderer/Mentheith/Servant JonathanKeeble Angus/Servant/Soldier/3rdMurderer PeterYapp FIONA SHAW (Lady Macbeth) has won the Olivier Award for Best Actress four times, as well as a clutch of otherawards, for her roles in As You Like It, Electra, The Good Person of Sichuan,Hedda Gabler and Machinal. Her interpretation of Richard II was widelyacclaimed, as is her work in films such as My Left Foot, Jane Eyre and AnnaKarenina. STEPHEN DILLANE (Macbeth) trained at the Bristol Old Vic andhas appeared in many productions at the Royal National Theatre; at the RoyalCourt; and at the Gielgud Theatre in the title role of Hamlet. He played Clovin Endgame at the Donmar Warehouse, and the title role in Uncle Vanya for theRoyal Shakespeare Company at the Young Vic. TV work includes The One Game, AnAffair in Mind, Christabel, Heading Home, You, Me and It, The Rector’s Wife,The Widowing of Mrs. Holroyd and Kings in Grass Castles. Films include Hamlet,Stolen Hearts, Firelight, Welcome to Sarajevo, and Love and Rage. DENYS HAWTHORNE’s (Duncan) long career has encompassed manyof the leading theater companies in the UK and Ireland. He played Mr. Woodhousein the film of Emma and appears regularly in TV sitcoms, from Poirot toInspector Morse. DECLAN CONLAN (Malcolm/Apparition 2) has worked widely forthe Royal Shakespeare Company and the National Theatre in England, and theAbbey Theatre and Naked Theatre Company (including the title role in Hamlet) inIreland. He is also seen in TV and film. ADAM KOTZ (Banquo) has worked extensively in leading roleswith, in particularly, The Royal National Theatre and Cheek by Jowl TheatreCompany. Plays include Racing Demon, Measure for Measure, and A Family Affair.TV and Film work includes Band of Gold, Touching Evil and Shot Through TheHeart. COLIN TIERNAY (Macduff/Apparition 1) trained at The DramaCentre. His theater work includes Sienna Red (Peter Hall Company), Henry VI(Royal Shakespeare Company), The Machine Wreckers (National Theatre) andOthello (National and world tour). His TV work includes Casualty, and Betweenthe Lines. NICK GECKS (Ross) has appeared in several theater andtelevision productions. Theater includes several seasons for the RoyalShakespeare Company. For television: The Mill on the Floss, The Chief andWycliffe. Films: Parting Shots, Tai Pan, Forever Young and To The Lighthouse. BRUCE ALEXANDER (Lennox) is best known as SuperintendentMullett in A Touch of Frost and has appeared in many other TV shows such asBerkeley Square, Casualty and Peak Practice. He has also played major roles inthe theater, notably with the Royal Shakespeare Company. He is a director ofACTER, which annually tours Shakespeare to US campuses. BILL PATERSON (Porter) was born in Glasgow in 1945. Foundermember of 7:84 Theatre Company, he was involved in many of the firstproductions of John McGrath, John Byrne and Billy Connolly. He has workedextensively in theater: Who’s Life Is It Anyway?, Guys and Dolls, Death and theMaiden; on TV: Smiley’s People, The Singing Detective, The Crow Road; in film:The Killing Fields, Truly, Madly, Deeply, Richard III and Spiceworld. His radiowork has included many dramas and documentary commentaries. ANNETTE BADLAND (Witch 1) has appeared with the RoyalShakespeare Company and received an Olivier Award nomination for bestsupporting actress for Sadie in The Rise and Fall of Little Voice at theNational. She played Miss Mackay in The Prime of Miss Jean Brodie at theNational. She is regularly seen on TV. JOYCE HENDERSON (Witch 2) trained with Jacques Lecoq inParis. Her theater credits include, for the Royal National Theatre: The Streetof Crocodiles (Theatre de Complicite) and Volpone; Others: Wallace and Gromitin a Grand Night Out. Film and TV credits include Peter and the Wolf (SpittingImage) and Stella Does Tricks. PAULINE LYNCH (Witch 3/Gentlewoman) trained at Rose BrufordCollege. She played Lizzie in Trainspotting and has appeared in A Mug’s Gameand Soldier Soldier on TV. Among her theater work has been the role of MaryMacGregor in The Prime of Miss Jean Brodie. JUNE WATSON (Hecate) gained her early theater experience inLiverpool, Edinburgh and Leicester. Since then she has been seen frequently atthe Royal National Theatre, with the English Shakespeare Company. Film and TVincludes: Doctor Finlay, Prime Suspect, and Bloody Kids.JOHN ROGAN’s (Doctor/Old Man/Siward) active career hasincluded regular appearances with the Royal Shakespeare Company in Stratfordand London and in London’s West End. His equally busy TV career includesPorterhouse Blue, The Bill, and Poirot. Films include: Drowning by Numbers and The Grass Arena. BENJAMIN SOAMES (Donaldbain/Young Siward) trained at LAMDA. He has appeared in the TV series Sharpe andAbsolutely Fabulous as well as the films Heavy Weather and England, My England.He has also toured worldwide in the acclaimed Cheek By Jowl production ofMeasure For Measure. JAMES BOXER’s (Fleance/Apparition 3) first appearance intheater was as William in the National Theatre’s production of The Merry Wivesof Windsor, a play he later adapted for a school production. He has sung in many operas with theEnglish National Opera Company, including Carmen, Tosca, Der Rosenkavalier andThe Magic Flute. STELLA GONET’s (Lady Macduff) appearances in series of key roles have placed her in the forefront of youngBritish actresses. These included Titania and Isabella for the RoyalShakespeare Company, Roxanne in Cyrano de Bergerac and Ophelia in Hamlet at theNational Theatre.STEPHANIE LANE (Son of Macduff) has sung in numerousconcerts, recordings, operas, and on television, as a member of FinchleyChildren’s Music. She is an accomplished pianist and appeared in The Wind inthe Willows and The Prime of Miss Jean Brodie both for the Royal NationalTheatre. DAVID TIMSON (Captain/First Murderer/Caithness/Lord/ Seyton)has performed in modern and classic plays across Great Britain and abroad,including Hamlet, The Man of Mode, and Hard Times, and for Alan AyckbournChekov’s Wild Honey. He has made over 1000 broadcasts for the BBC and World Service ranging from the classics to theWoman’s Hour serial. He has been seen on TV in Nelson’s Column, The Bill, andEastenders, and in the film The Russia House. JONATHAN KEEBLE (Second Murderer/Mentheith/Servant) trainedat the Central school of Speech and Drama. Theater includes Coventry,Liverpool, Lancaster, West Yorkshire Playhouse, and a season at Manchester’sRoyal Exchange. He has featured in over 150 radio plays for the BBC and is anestablished voice actor. PETER YAPP (Angus/Servant/Solder/Third Murderer) hasappeared in plays and theaters across Britain and in the West End includingRosencrantz and Guildenstern are Dead at the Piccadilly, and The Black Princeat the Aldwych, and spent a year with the BBC Radio Drama Company. His TVcredits include House of Elliot, Martin Chuzzlewit and Poirot. STEPHEN WARBECK Composer Stephen Warbeck has composed over 60 scores for the theater.He wrote the music for The Prime of Miss Jean Brodie at the Royal NationalTheatre, which was running while this recording was made. His music has alsofeatured in many Shakespeare plays in Royal Shakespeare Company productions.His TV work includes Prime Suspect and Bramwell, and his film work includesMrs. Brown. He also has his own bands: the hKippers and the Metropolitan WaterBoard. SARAH HOMER Bass Clarinet/Double BassSarah Homer trained at the Royal College of Music. She wasprincipal clarinetist with the Bilbao Symphony Orchestra and as well as herextensive theater and film work she has played with such diverse people asGavin Friday, Dagmar Krause, the hKippers, Django Bates’ Delightful Precipice,Magic Mountain, Massive Attack, the Almeida Ensemble, Electra Strings and manyothers. SARAH BUTCHER Cello Sarah Butcher studied at the Guildhall School of Music andDrama with Stefan Popov and later in master classes with William Pleeth. A busyworldwide career has involved work with ensembles as diverse as the EuropeanCommunity Youth and the BBC Symphony Orchestras, as well as many chambergroups. She is a member of the London Mozart Players. PAUL CARVAS PercussionPaul Carvas plays with many different bands and is involvedin all musical genres working with musicians ranging from Leonard Bernstein,Harrison Birtwistle and John Dankworth to Randy Crawford. He has recordedalbums with John Williams, John Adams, and Elton John and is in great demand onfilm and recordings sessions as a specialist hand drummer. He also teaches atthe Royal Academy of Music. SIMON WEIR Engineer and Sound DramatizationSimon Weir has recorded and edited Hamlet and A MidsummerNight’s Dream for Naxos AudioBooks, as well as editing over 100 spoken wordrecordings for the label. He spends much of his time engineering and editingclassical music recordings for Radio 3 and many classical record companies.
  • • 作品列表
    • • CD01
      • 作品编号：23347  Macbeth

      • Act 1 Scene 1 - Enter Three Witches

      • Act 1 Scene 2 - Enter Duncan, Malcolm, Lennox, Ross etc And A Bleeding Captain

      • Act 1 Scene 3 - Enter Three Witches

      • Act 1 Scene 3 - Enter Macbeth And Banquo - Macbeth: So Foul And Fair A Day I Have Not Seen

      • Act 1 Scene 3 - Enter Ross and Angus

      • Act 1 Scene 3 - Macbeth: Do You Not Hope Your Children Shall Be Kings

      • Act 1 Scene 3 - Macbeth: Two Truths Are Told

      • Act 1 Scene 4 - Enter Duncan, Lennox, Malcolm; Macbeth, Banquo Ross and Angus

      • Act 1 Scene 5 - Enter Lady Macbeth - Lady Macbeth: They Met Me In The Day Of Success

      • Act 1 Scene 5 - Lady Macbeth: The Raven Himself Is Hoarse

      • Act 1 Scene 5 - Enter Macbeth - Lady Macbeth: Great Glamis, Worthy Cawdor

      • Act 1 Scene 6 - Enter Duncan, Banquo, Lady Macbeth

      • Act 1 Scene 7 - Enter Macbeth - Macbeth: If It Were Done When 'Tis Done, Then 'Twere Well It Were Do

      • Act 1 Scene 7 - Enter Lady Macbeth - Lady Macbeth He Has Almost Supped

      • Act 2 Scene 1 - Enter Banquo And Fleance; Macbeth

      • Act 2 Scene 1 - Macbeth: Is This A Dagger Which I See Before Me

      • Act 2 Scene 2 - Enter Lady Macbeth; Macbeth - Lady Macbeth: That Which Hath Made them Drunk, Hath Ma

      • Act 2 Scene 3 - Enter Porter - Porter: Here's A Knocking Indeed

      • Act 2 Scene 3 - Enter Macduff and Lennex

      • Act 2 Scene 3 - Enter Macbeth

      • Act 2 Scene 3 - Maduff: Awake, Awake!

      • Act 2 Scene 4 - Enter Ross With An Old Man

      • Act 2 Scene 4 - Enter Macduff

      • CD02
      • 作品编号：23347  Macbeth

      • Act 3 Scene 1 - Enter Banquo

      • Act 3 Scene 1 - Enter Macbeth, Lady Macbeth, Servent

      • Act 3 Scene 1 - Macbeth: To Be Thus Is Nothing - But To Be Safely Thus

      • Act 3 Scene 1 - Enter Murderers:

      • Act 3 Scene 2 - Enter Lady Macbeth, Servent. Enter Macbeth

      • Act 3 Scene 3 - Enter Three Murderers; Banquo, Fleance

      • Act 3 Scene 4 - Enter Macbeth, Lady Macbeth, Ross, Lords - Enter First Murderer

      • Act 3 Scene 4 - Macbeth: It Will Have Blood They Say: Blood Will Have Blood

      • Act 1 Scene 5 - Enter Three Witches And Hecate

      • Act 3 Scene 6 - Enter Lennox And Another Lord

      • Act 4 Scene 1 - Enter Three Witches; Hecate

      • Act 4 Scene 1 - Enter Macbeth - Macbeth: How Now, You Secret, Black, And Midnight Hags! - Three Appa

      • Act 4 Scene 1 - Enter Lennox

      • Act 4 Scene 2 - Enter Lady Macduff, Her Son And Ross

      • Act 4 Scene 2 - Enter Messenger - Enter Murderers

      • Act 4 Scene 3 - Enter Malcolm And Macduff

      • Act 4 Scene 3 - Enter Ross

      • CD03
      • 作品编号：23347  Macbeth

      • Act 5 Scene 1 - Enter A Doctor Of Pyhsic And A Waiting-Gentlewoman - Enter Lady Macbeth

      • Act 5 Scene 1 - Lady Macbeth: Yet Here's A Spot

      • Act 5 Scene 2 - Enter Mentieth, Angus, Caithness, Lennox

      • Act 5 Scene 3 - Enter Macbeth, Servant, Seyton, Doctor

      • Act 5 Scene 4 - Enter Malcolm, Mentieth, Siward, A Soldier, Macduff

      • Act 5 Scene 5 - Enter Macbeth, Seyton, Messenger

      • Act 5 Scene 6 - Enter Malcolm, Siward, Macduff

      • Act 5 Scene 7 - Enter Macbeth, Young Siward

      • Act 5 Scene 7 - Enter Macduff

      • Act 5 Scene 7 - Enter Malcolm and Siward

      • Act 5 Scene 8 - Macbeth, Macduff

      • Act 5 Scene 9 - Malcolm, Siward, Ross

      • Act 5 Scene 9 - Enter Macduff