The Metre of Macbeth
From Macbeth. Ed. Thomas Marc Parrott. New York: American Book Co.In order to enjoy to the full the poetry of such a play as Macbeth the student should be able to read it rhythmically, and to do this demands some knowledge, at least, of the general principles of Shakespearean versification. The metre of Macbeth is, as is well known, very irregular. This is due, perhaps, in some few places to the corrupt state of the text, but more generally to the fact that by the time he wrote Macbeth Shakespeare had acquired such a mastery of language and metre that he often disregarded the rules which earlier poets, and he himself in his earlier works, had carefully observed.
One often feels in reading Macbeth that Shakespeare did not compose the drama line by line, but rather in groups of lines, and that so long as each group produced the rhythmical effect he sought, it mattered little to him whether or not the individual lines conformed to strict metrical rule. At the same time it is necessary for us to know these rules, if only to appreciate the freedom with which Shakespeare departs from them.
The simplest division of the drama is into prose and verse. There is comparatively little prose in Macbeth, The letter in i. 5 is naturally in prose; the porter in ii. 3 talks prose as do most of Shakespeare's low comedy characters; the dialogue between Lady Macduff and her son in iv. 2 wavers between verse and prose in a rather curious fashion (see note on this passage, page 260); and finally the sleep-walking scene, v. i, is for the most part in prose.
This may be explained by the fact that Shakespeare almost without exception puts prose rather than verse into the mouths of the insane, and Lady Macbeth's somnambulism is meant by him to be regarded as a symptom of her mental disorder.
The verse of the drama falls naturally into two parts: (a) blank verse, that is, unrhymed lines in iambic pentameter; (b) rhymed lines in various metres.
Blank verse — The normal blank verse line is an iambic pentameter, that is, it contains five feet of two syllables each, the second of which is accented; or, to use a more modern terminology, it is a sequence of ten alternately unstressed and stressed syllables. We may denote this line most simply by placing an accent over each stressed syllable, as,
To point out the stresses of a line in this way corresponds in the study of English metre to the elaborate system of scanning classical verse which has sometimes been applied to English poetry.
It is evident that a prolonged succession of such regular lines would be extremely monotonous. This may easily be seen by reading aloud some of the longer passages in Shakespeare's earlier plays, such as the Comedy of Errors, where many of these regular lines occur in unbroken succession. In order to avoid such monotony Shakespeare soon began to make use of a number of variations from the normal line. Some of these from their frequent occurrence in Macbeth deserve particular notice.
Instead of ending with a stressed syllable Shakespeare frequently added an unstressed syllable to the line. This so-called feminine ending, appears in something over a quarter of the blank verse lines of Macbeth:
Sometimes two such syllables are added, making what is called the triple, or the double feminine, ending.
The Alexandrine or line of six feet resembles the line with the double feminine ending in having twelve syllables, but differs from it in closing with a stressed syllable. Thus:
Sometimes an Alexandrine takes on an extra unstressed syllable at the close. Thus:
Akin to the feminine ending is the addition of an unstressed syllable to the foot preceding the caesura, i.e. the pause in the middle of the line. Thus:
Occasionally two unstressed syllables are added here. Thus:
On the other hand Shakespeare often dropped an unstressed syllable from the line. Thus:
Occasionally a stressed syllable is omitted giving us a line of four feet:
We find also lines in which one or more feet are entirely omitted. Thus:
Of these fragmentary lines it may be remarked that lines of two and three feet are by no means uncommon, twenty-nine of the first class, and fifty-one of the second, occurring in Macbeth. Lines of four feet are rarer, and lines of one foot rarest of all.
Another method of varying the normal line is the substitution of some other foot for the iamb in one or more places of the line. The commonest substitution is that of the trochee, i.e. a, foot of two syllables with the stress on the first. This substitution is sometimes called "stress-inversion." As a rule it appears in the first foot or after the caesura; but it may occur in any foot of the line. Thus we have it in the first foot,
in the second,
in the third,
in the fourth,
in the fifth,
Occasionally we find two and very rarely three such inversions in one line.
Sometimes an anapaest, i.e. a foot consisting of two unstressed and one stressed syllable, is substituted for an iamb. This substitution is often more apparent than real, for many such cases can be explained by the contraction of words common in Shakespeare's day; but there are some cases where contraction is impossible. Thus we have.
and
In scanning, attention must, of course, be paid to differences of pronunciation between the English of Shakespeare's time and our own. Some of the more striking of these have been pointed out in the notes. Attention must also be paid to the frequent contraction of two words or two syllables into one. Such contractions as "I'll" for "I will," "I've " for "I have" are sometimes indicated in the text, but frequently are left to the judgment of the reader. An unaccented syllable in the middle of a word is often slurred over in scanning; thus in such a line as
the second syllables of "corporal" and "terrible" are barely heard, if at all. On the other hand there are a few cases where one syllable is expanded into two for the sake of the metre. Thus in the line
"worst" is practically equivalent to "worest." The same word is sometimes pronounced differently in different places according to the requirement of the meter. Thus the termination "-ion" is pronounced as two syllables in i. 2. 18, but is contracted to one in i. 4. I. Compare also the pronunciations of "remembrance" in ii. 3. 67 and iii. 2. 30. No rule can be given for such cases; the reader's ear for rhythm must serve as his guide.
We must not forget that Shakespeare wrote his verse to be declaimed from the boards of a theatre, not to be puzzled over in a schoolroom. Many lines that tax the ingenuity of scholars who attempt to fit them into an exact metrical scheme, would flow smoothly enough when spoken by a good actor.
Rhymed Lines — The rhymed lines in Macbeth may be divided into
(1) Heroic couplets. i.e. iambic pentameter lines, each pair of lines rhyming as
Such couplets frequently occur at the end of a scene, where they are called rhymed "tags." Out of twenty-eight scenes in Macbeth nineteen end with a "tag" of this kind. Heroic couplets, however, appear occasionally in the middle of a scene in blank verse. See lines 90-101 of iv. i. There are some fifty-four such couplets in Macbeth.
(2) Lyrical passages. The ordinary dialogue of the witches, as has been pointed out in the notes is thrown into rhymed verse, consisting for the most part of trochaic tetrameter, i,e. lines of four feet, having two syllables to a foot, with the stress falling on the first. Thus:
As a rule the second syllable of the last foot is wanting in this metre; but see i. 3. 14. Occasionally we find iambic lines in the speeches of the witches as
In the speeches of Hecate on the other hand (see iii. 5. and iv. i.) the rhythm is iambic. There is occasional stress inversion but not a single trochaic line. This is one of several arguments against the Shakespearean authorship of these passages. The same argument would hold against the speech of the First Witch iv. i. 125- 132. Here and there in the witches' speeches we have lines that exceed the regular number of feet as
or fall short of it as
There are about 120 short rhyming lines in the whole play.
How to cite this article:
Shakespeare, William. Macbeth. Ed. Thomas Marc Parrott. New York: American Book Co., 1904. Shakespeare Online. 10 Aug. 2010. < http://www.shakespeare-online.com/plays/macbeth/macbethmetre >.
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FAQs
What type of meter does Shakespeare use in Macbeth? ›
Iambic pentameter is used almost all the time in Macbeth. If you count the syllables in Macbeth's first lines, you can see how it works: 'So foul and fair a day I have not seen' (Macbeth, 1:3).
How does Shakespeare use blank verse in Macbeth? ›He uses the form to create realistic characters for the audience. He also uses blank verse to give greater prominence to key ideas and to add another layer of richness to the meanings of words.
What is blank verse and iambic pentameter in Macbeth? ›Almost all of Macbeth is written in blank verse, or unrhymed iambic pentameter (a form of poetry meant to imitate the natural rhythms of speech). An iamb is one “foot” that has one unstressed followed by one stressed syllable. Each of the following is an iamb: Macbeth, success, to win.
What is the meter of the witches speech in Macbeth? ›The Witches in Macbeth have one of the most famous speeches in the show and it is written in trochaic tetrameter. A trochee is the exact opposite of an iamb.
What is the meter that Shakespeare uses? ›Iambic pentameter is a style of poetry, which refers to a certain number of syllables in a line and the emphasis placed on the syllables. While he did not invent it, William Shakespeare frequently used iambic pentameter in his plays and sonnets.
Does Macbeth speak in blank verse? ›Macbeth is, for the most part, written in blank verse. The basic unit of blank verse is a line in iambic pentameter without a rhyme scheme but, increasingly in his plays, Shakespeare's use of the line and the number of its syllables and stresses became freer.
What is the purpose of the blank verse in Shakespeare's plays? ›Typically in Shakespeare, blank verse is used to indicate the status of a character, as usually only higher status characters will speak in blank verse, while lower status characters speak in prose.
What is an example of blank verse in Shakespeare? ›These lines from Hamlet are written in blank verse (note the lack of rhyme and the consistent meter of unstressed/stressed syllables): "It is not nor it cannot come to good, / But break, my heart, for I must hold my tongue."
Did Shakespeare use free verse or blank verse? ›Blank verse poetry came of age in the sixteenth century and has been famously employed by the likes of William Shakespeare, John Milton, William Wordsworth, and countless others. Unlike free verse, it adheres to a strong metrical pattern.
What is the rhythm in Macbeth? ›In Macbeth the noble characters mostly speak in unrhymed iambic pentameter, which is a fancy way of saying they talk like this: ba-DUM, ba-DUM, ba-DUM, ba-DUM, ba-DUM. See, an "iamb" is an unaccented syllable followed by an accented one. "Penta" means "five," and "meter" refers to a regular rhythmic pattern.
Is tragedy of Macbeth in iambic pentameter? ›
Joel Coen's choice of going solo with an adaptation of William Shakespeare's Macbeth has created a spare, sinewy tale of ambition, murder and guilt, stripped to its bare essentials of delicious iambic pentameter and gorgeous black-and-white frames.
Why did Shakespeare write Macbeth in the meter of iambic pentameter? ›It is said by scholars that Shakespeare wrote in iambic pentameter so that it would be easier for the actors to memorize, since it has a sing-songy tone to it.
What is an example of rhyme in Macbeth? ›For example, Macbeth says that the bell, for Duncan, rings for heaven or hell: 'The bell invites me. / Hear it not, Duncan – for it is a knell / That summons thee to heaven or to hell' (II. 1.63–5). The word 'hell' is afforded extra resonance and depth because of the rhyme.
What is the effect of the meter and rhyme scheme used by the three witches? ›The witches speak in rhyming couplets. What is significant about The Witch's meter? The Witches meter is trochaic tetrameter, which has an inverse stress pattern to a noble character like the Sergeant. This can highlight the inversion of natures the witches symbolise.
What is a verse line in Shakespeare? ›Verse in Shakespeare refers to all the lines of a play that follow a specific pattern of stressed and unstressed syllables. This pattern creates a metrical rhythm when the lines are spoken aloud. Shakespeare most often wrote in blank verse – blank meaning that it doesn't rhyme – arranged in iambic pentameter.
What is an example of blank verse? ›But the most famous early example of a poem composed in blank verse is without a doubt John Milton's epic masterpiece, Paradise Lost, which appeared in its twelve-book form in 1674.
What is metre in verse? ›In poetry, metre (Commonwealth spelling) or meter (American spelling; see spelling differences) is the basic rhythmic structure of a verse or lines in verse. Many traditional verse forms prescribe a specific verse metre, or a certain set of metres alternating in a particular order.
What is the name of the metre used for verse? ›The meters are iambs, trochees, spondees, anapests and dactyls. In this document the stressed syllables are marked in boldface type rather than the tradition al "/" and "x." Each unit of rhythm is called a "foot" of poetry.
What techniques does Macbeth use? ›William Shakespeare uses similes, metaphors, personification, and allusions in Macbeth. In addition, he uses sound devices such as alliteration and assonance to appeal to his audience.
What is the effect of the use of rhyme in this speech Macbeth? ›The rhyme scheme of Macbeth's speech affects its meaning by changing its tone and enhancing the traits of each character. Macbeth has changed the meaning of his dialog through the tone in which he speaks. Without the rhyme Macbeth would seem less sinister.
Who speaks in rhyme in Macbeth? ›
The Witches' Rhymes
Almost everything the Witches say comes out in rhymes. The first five lines are in rhyme! ("When shall we meet again, in thunder, lightning or in rain.
Shakespeare used rhyme to enhance the sensory appeal of his plays and poems. Rhyme occurs when a sound in a line echoes a sound in another line or in the same line. Rhyming sounds may have one, two, or even three syllables.
What was the first blank verse tragedy? ›Thomas Sackville and Thomas Norton used blank verse for the first English tragic drama, Gorboduc (first performed 1561), and Christopher Marlowe developed its musical qualities and emotional power in Tamburlaine, Doctor Faustus, and Edward II.
Are most of Shakespeare's plays written in blank verse? ›The use of blank verse dominates all of Shakespeare's plays. Some (such as Richard II) are written almost entirely in blank verse… in other plays, he combines blank verse with some prose.
What is blank verse and rhyme? ›Blank Verse is a poetic form which doesn't rhyme but instead a rhythmic pattern marks it out. Blank Verse is written in Iambic Pentameter meaning that each line has 10 syllables with a stress on syllables 2,4,6,8 and 10.
What are the elements of blank verse? ›Blank verse poetry is written in regular cadences but does not rhyme. Typically, it is written with ten syllables per line and an unstressed syllable is followed by an unstressed syllable. This pattern continues five times per line. This style is also known as un-rhymed iambic pentameter.
What are the types of verse in Shakespeare? ›The language used by Shakespeare in his plays is in one of three forms: prose, rhymed verse or blank verse, each of which he uses to achieve specific effects (more on the functions of prose, rhyme and blank verse below).
What is blank verse and prose in Shakespeare? ›Shakespeare switches between prose and verse often in his plays, with lower class characters generally speaking prose, and upper class characters speaking verse, though characters frequently speak both, sometimes switching in the middle of a speech.
What is Trochaic meter in Shakespeare? ›William Shakespeare employed trochaic tetrameter in A Midsummer Night's Dream (1594), in the dialogues of the fairies, which are written in catalectic trochaic tetrameter; Puck speaks: Through the forest have I gone. This flower's force in stirring love. Night and silence.
What type of meter does the poet use? ›The most common metrical patterns in poetry are iambic pentameter, blank verse (which is unrhymed iambic pentameter), and free verse.
What meter is a sonnet written in? ›
Traditionally, it has fourteen lines of iambic pentameter linked by an intricate rhyme scheme. Iambic pentameter refers to its rhythm; basically, each line of the poem has ten syllables, and every other syllable is stressed.
What is an example of trochaic tetrameter in Macbeth? ›A trochee is made up of one stressed syllable followed by one unstressed syllable (the opposite of an iamb). Here is the flow of a line of trochaic tetrameter: BAboom / BAboom / BAboom / BAboom.
What is an example of trochaic meter? ›A metrical foot consisting of an accented syllable followed by an unaccented syllable. Examples of trochaic words include “garden” and “highway.” William Blake opens “The Tyger” with a predominantly trochaic line: “Tyger! Tyger! Burning bright.” Edgar Allan Poe's “The Raven” is mainly trochaic.
What is the difference between iambic and trochaic meter? ›An iamb is simply an unstressed syllable followed by a stressed one. A trochee, on the other hand, is a stressed syllable followed by an unstressed one. It's sometimes useful to think about meter in terms of music: a stressed syllable would be on the beat, whilst an unstressed syllable would be off beat.
What is rhyme and meter? ›Rhyme is perhaps the most common of these elements: countless poetic works, from limericks to epic poems to pop lyrics, contain rhymes. But equally important is meter, which imposes specific length and emphasis on a given line of poetry.
How do you identify meter in a poem? ›- If there's one foot per line, it's monometer. ...
- If there are are two feet per line, it's called dimeter. ...
- Three feet per line = trimeter. ...
- Four feet per line = tetrameter. ...
- Five feet per line = pentameter. ...
- Six feet per line = hexameter or Alexandrine. ...
- Seven feet per line = heptameter.
In English verse and poetry, meter (British spelling: metre) is a recurring rhythmic pattern of syllables in lines of a set length.
What is the rhyming pattern of sonnet? ›A sonnet usually consists of two parts: and eight-line section (the octet) followed by a six-line section (a sestet). The Shakespearean sonnet rhyme scheme is ABAB CDCD EFEF GG.
What is an example of iambic pentameter sonnet? ›Here are examples of iambic pentameter in use: From “Holy Sonnet XIV” by John Donne: “As yet but knock, breathe, shine and seek to mend. Every other word in these two lines of poetry is stressed.
What is the rhythm meter of each line in a sonnet called? ›All true sonnets are written in the rhythm pattern called iambic pentameter. This means that there are five metric feet in a line of poetry, with each two syllable foot having the accent on the second syllable.