A2 History Edexcel Stuarts Course Overview

Edexcel A2 History Course Overview

This is the Edexcel course list of everything you should *theoretically* cover/know for the A2 Stuart History exam!

NOTE: This is missing the second controversy question theme The Protectorate checklist (section 9) as my sixth form only learnt one of the two controversy questions, but this information can be found on the original specification document on the Edexcel website.

1) 2 hours: Introduction: Charles I and the Dissolution of Parliament	A difficult inheritance: the long-term causes of tension between Crown and parliaments The impact of Charles I, 1625-29: character and actions of Charles I Reasons for dissolution in 1629 Different interpretations of the decision to rule without parliaments. (introduction to sources and conflicting interpretations)
2) 5 hours: The failure of Personal Rule, 1629-40	Peace and retrenchment: the search for financial security, 1629-37 Uniformity and order: the role of the Privy Council, Laud, Strafford               and the policy of Thorough Reforming the Church: Charles, Laud and the ‘beauty of holiness’; the attack on puritan influence The British dimension: resentment in Ireland and conflict in Scotland, 1633-39 The growth of opposition in England, 1637-40 and the calling of the Long Parliament.
3) 5 hours: From Crisis to War, 1640-42	The parliamentary opposition: aims, strategies and success, November 1640 - February 1641 The problem of Strafford and its impact, February-May 1641 Steps too far? The extension of parliamentary power, the attack on the Church and the emergence of moderate royalism, May-October 1641 The Irish rebellion and its aftermath, October 1641 –January 1642 The drift to war: competing plots and mutual mistrust, the propaganda war and the taking up of arms.
4) 15 hours: Controversy: What determined side-taking in 1642?	Causes and motives: the causes of war and the taking up of arms – the differences between them and the way they relate. Historians’ views: Whigs, Marxists and revisionists, the importance of local studies and why individuals took up arms. Patterns of allegiance, 1642-43 (about six hours study, using both contemporary sources and historians’ accounts to establish the nature and complexity of the process by which men took sides – or not.) The broad pattern: regions and resources The raising of forces, June-October 1642: levies, volunteers and resistance The roles of religion and class, the influence of individuals and personal loyalties Neutralism and localism: the role of the county community The failure of neutrality, October 1642 - May 1643; the fate of individuals The process of taking sides and its implications for explaining the English Civil War. The historical debate through the sources (about 7 hours). Using the views of historians as secondary sources, to analyse different interpretations and evaluate them against students’ knowledge of events and contemporary sources, and against each other. In particular students will consider attempts to explain the ‘causes of the civil war’ and explanations based on long-term problems, the impact of individual leaders and the context of attitudes and beliefs. They will also refer to local research and the various local studies made at different times and for different purposes. Students will consider reasons for conflicting views, the extent and nature of conflict, and the extent to which conflicts can be reconciled, in order to establish a judgement about why men took up arms, for whom, and what this suggests about the causes of the English Civil War.
5) 5 hours: The victory of Parliament, 1642-46	1642-43: the balance of forces and the royalist advance: the importance of parliamentary outposts, Hull, Plymouth and Gloucester, in delaying defeat: the Solemn League and Covenant and its effects. Comparisons: resources, administration and leadership, 1643-44: the role of Pym 1644: military stalemate and political developments: the emergence of the New Model Army, the roles of Cromwell and Fairfax, ‘Presbyterians’ and ‘Independents’. 1645-46: the defeat of the Royalists, commanders and Clubmen, the role of the King. Sources and debates: Why did Parliament win the first Civil War?
6) 5 hours: The search for settlement, 1646-48	King and Parliament: the search for peace and the Newcastle Propositions Ferment and fears 1645-46: the origins, nature and impact of radical ideas. Parliament and Army 1646-47: disbandment and mutiny, the role of the Levellers, the Presbyterian leaders and the Grandees The Army and the King, June-November 1647: the role and motives of Cromwell, the influence of Ireton, the attitudes of the King. The King’s Engagement with the Scots and the Second Civil War in England
7) 5 hours: Regicide and Rump	The impact of the Second Civil War: Pride’s Purge, the trial and execution of the King. The role of Cromwell – conflicting views. Assessment of Charles I: tyrant, martyr or fool. The abolition of the monarchy and the government of the Rump: securing the regime in England, Ireland and Scotland The Rump and the Army: conflicting aims and mutual mistrust, 1649-53 The Dissolution of the Rump and the role of Cromwell The Barebones Parliament: aims, achievements and dissolution.
8) 5 hours: The Lord Protector: the search for stability	The establishment of the Protectorate and the Instrument of  Government – a viable solution? Cromwell and Parliament, 1654-55: conspiracies and conflicts, fears and frustrations, the problem of conflicting aims 1655-56: the experiment of the Major-Generals: conflicting interpretations 1657-58: King Oliver: the significance of the Humble Petition and Advice and the prospects for settlement – conflicting views from both contemporaries and historians 1658-59: the death of Oliver and the failure of Richard, the return of the Rump and the threat of Civil War.
10) 5 hours: The return of the King	Government under the Rump, 1659: a bankrupt regime? Fear and instability: the Army and the sects, the Army and the Rump, the Army and the country The return of the King: the role of General Monck The return of the King: Charles and Clarendon 1660-61: prospects for reconciliation and the desire for revenge.
11) 5 hours: The nature of settlement	1661-62: the royalist reaction: the Cavalier Parliament and the Act of Uniformity Dissenters and their allies: the failure of the religious settlement Land, money and Crown finances: winners and losers, the old and new elite. The powers of the King: the three kingdoms, the role of parliaments and the fall of Clarendon The Restoration: the new monarchy by accident and design.

A2 English Literature Gothic Key Quotes

This is my list of quotes that I made for cramming literally a few days before the exam!

I just tried to find the most flexible, useful quotes I could that addressed most of the key Gothic themes.

They're not everything you need and I avoided most of the 'mainstream' quotes that I already knew ("Is this a dagger I see before me?" etc. - which are still very useful and not to be underestimated), but this list is great if you're really short on time! I prioritised Frankenstein and Wuthering Heights as my potential Part A texts so there's more quotes for those books.

Enjoy!

Frankenstein

• like one doomed by slavery to toil in the mines (immorality of work)
• a place befitting such work (Orkney islands, setting)
• desolate and appalling landscape (Orkney islands, setting)
• new and unlimited powers (scientific ambition)
• command the thunders of heaven  (scientific ambition)
• in a scientific pursuit there is continual food for discovery and wonder  (scientific ambition)
• the tortures of the accursed did not equal mine; she was sustained by justice (Victor's bias)
• had I right, for my own benefit, to inflict this curse upon everlasting generations? (morality)
• I fell, never, never again to rise (Victor, damnation)
• Oh Frankenstein! Generous and self-devoted being! (Creature's sorrow at Victor's death, regret)
• I ought to be thy Adam, but I am rather the fallen angel (heaven/hell, creation)
• his soul is as hellish as his form, full of treachery and fiendlike malice (appearance showing character)
• my unhappy victim (Victor about Creature, responsibility)
• Satan has his companions, fellow-devils, to admire and encourage him; but I am alone and detested (Creature, isolation)
• do you share my madress? Have you drunk also of the intoxicating draught? (Victor, insanity)
• Elizabeth was of a calmer and more concentrated disposition (women)
• I looked upon crime as a distant evil; benevolence and generosity were ever present before me (nature vs nuture, Creature's initially benevolence)
• evil thenceforth became my good (good/evil, nature vs nuture)
• a serpent to sting you, as mine has been (forbidden knowledge)
• believes his native town to be the world (safety of ignorance)
• aspires to become greated than his nature will allow (forbidden knowledge, ambition)
• beware, for I am fearless and therefore powerful (fear, power, role reversal)
• devil...do you dare approach me? Begone, vile insect! (Victor to creature, nature vs nurture)
• the first hapless victims to my unhallowed arts (forbiddden knowledge, sin, responsibility)
• I saw, by the light of the moon, the demon at the casement (supernatural)
• chord after chord was sounded and soon my mind was filled with one thought, one conception, one purpose (obsession, ambition)
• when I thought of him, I gnashed my teeth, my eyes became inflamed (similarities between Victor and Creature)
• seems still to have the power of elevating his soul from earth (transcendence, power of nature)
• my spirits were elevated by the enchanting appearance of nature (transcendence, power of nature)

Wuthering Heights

• one bitter whirl of wind and suffocating snow (setting)
• her spirit has taken the post of ministering angel (spirituality, heaven)
• my fingers closed on the fingers of a little, ice-cold hand! (horror, supernatural)
• intense horror of nightmare came over me (horror)
• terror made me cruel (fear, morality)
• rubbed it to and fro until the blood ran down and soaked the bed clothes (horror, violence, blood)
• uncontrollable passion of tears (extreme emotions)
• snow and wind whirled wildly through (pathetic fallacy)
• as dark almost as if it came from the devil (racism, sin)
• would it not be a kindness to the country to hang him at once, before he shows his nature in acts, as well as features? (appearance reflecting character)
• fine clothes and flattery (civilisation)
• instead of a wild, hatless little savage (wild, free, emotions)
• I wish I had light hair and a fair skin, and was dressed, and behaved as well and had a chance of being as rich as he will be! (class, race, wealth)
• never had power to conceal her passion (extreme emotions)
• irresistibly impelled by the naughty spirit within her (extreme emotion)
• double assault of falsehood and violence that his idol had committed (violence, sin, idolisation)
• he possessed the power to depart, as much as a cat possesses the power to leave a mouse half-killed, or a bird half-eaten (love, obsession, idolisation)
• he's doomed, and flies to his fate! (love, damnation)
• with the help of Satan, I will make you swallow the carving-knife (images of horror, cruelty, religion)
• heaven did not seem to be my home (religion)
• growling thunder (patheticl fallacy)
• the storm came [...] in full fury (pathetic fallacy)
• it was nothing less than murder [...] to stand up and contradict her rages (uncontrollable emotions, anger, morality)
• it was not the thorn bending to the honeysuckle, but the honeysuckles embracing the thorn (pastoral metaphor, love, violence)
• the gunpowder lay as harmless as sand, because no fire came near to explode it (metaphor, uncontrollable emotions, anger)
• your presence is a moral poison that would contaminate the most virtuous (morality)
• painting on its white the colours of the rainbow (domestic violence, metaphor, horror)
• Mrs Linton, the lady of Thrushcross Grande and the wife of a stranger, an exile and outcast (isolation, class, civilisation)
• I wish I were a girl again, half savage and hardy, and free (wild)
• while you are at peace I shall writhe in the torments of hell (attitudes towards death, death as freedom)
• we'll see if one tree doesn't grow as crooked as the other, with the same wind to twist it! (nature vs nurture)
• as his nephew resembled him in person, he would resemble him in mind (appearance vs character)
• smiling sweet as honey (peace)
• two such radiant counterances (love)
• last night I was on the threshold of hell, today, I am in sight of my heaven (love, attitudes towards death, religion)
• under that benign sky (setting)
• imagine unquiet slumbers for the sleepers in that quiet earth (resolution (?), peace)

Macbeth

• nought's had, all's spent / where our desire is got without content / 'tis safer to be that which we destroy / than in destruction dwell in doubtful joy (regret, remorse, ambition)
• unnatural deeds / do breed unnatural troubles (immorality, psychological disturbance)
• I have almost forgot the taste of fears (unnatural, fear)
• but get thee back: my soul is too much charged / with blood of thine already (noble (?), morals, redemption?)
• life's but a walking shadow, a poor player / that struts and frets his hour upon the stage (attitudes towards life)
• my hands are of thy colour; but I shame / to wear a heart so white (cowardice, bravery, guilt, remorse, gender roles)
• upon my head they placed a fruitless crown / and put a barren sceptre in my gripe (monarchy, guilt, kingship)
• now I am cabined, cribbed, confined, bound in / to saucy doubts and fears (fear, paranoia, guilt)
• the very firstlings of my heart shall be / the firstlings of my hand (action, immorality)
• not in the legions / of horrid Hell can come a devil more damned / in evils to top Macbeth (damnation, sin, religion)
• O nation miserable, with an untitled tyrant, bloody-sceptred (kingship, sin, violence)
• before my body / I throw my warlike shield (defence or pride?, soldier, bravery)
• dead butcher and his fiend-like Queen (character types, tyranny)

(Note: I already knew a lot of the key parts of Macbeth from studying it at GCSE, so the vast majority of famous lines etc are not on this list)

The Bloody Chamber - The Bloody Chamber

• seventeen and knew nothing of the world (innocence, naivety, chronological change)
• only a baby (youth, innocence)
• dark leonine shape of his head (threatening male, animalistic)
• dark mane (animalistic)
• waxen face (unnatural, frightening)
• like an extraordinarily precious slit throat (beauty and pain, wealth, excess, violence)
• as if he were stripping the leaves off an artichoke (humour?, objectification, sex)
• instruments of mutilation (horror)
• gleamed as if they were sweating with fright (fear, tension)
• an armful of the same lilies with which he had filled my bedroom (sex and death)
• subterranean privacy (hell, underworld)
• my little nun (sex and religion, worship of sex)
• prayer-books (dark humour, sex and religion)

(Note: Again, these are only quotes for the opening of TBC - I knew most of the quotes from the end by this point!)

The Bloody Chamber - The Erl King

• the woods enclose, then enclose again, like a system of Chinese boxes (entrapment, lost, mystery, tension)
• the Erl King will do you grievous harm (isolated line, tension, danger, foreshadowing)
• he is the tender butcher who showed me that the price of flesh is love; skin the rabbit, he says! (objectification, violence and sex)
• I feel your sharp teeth in the subaqueous depths of your kisses (violence and sex, animalistic)
• how sweet I roamed, or rather, used to roam (lost innocence)
• his touch both consoles and devastates me (oxymoronic, lust, love, fear)
• I feel my heart pulse, then wither (love and death)
• eyes as green as apples. Green as dead sea fruit. (danger, death, natural world)
• his embraces were his enticements, and yet, oh yet! they were the branches of which the trap itself was woven (entrapment, male dominance, danger, tension)
• then she will open all the cages (freedom, escape)
• I will strangle him (strength, danger, tension, violence, role reversal)
• each with the crimson imprint of his love-bite on their throats (violence and sex, ownership, scarring)

The Bloody Chamber - The Lady of the House of Love

• my darkness (nature, sin, darkness)
• I thought, perhaps, you might irradiate it (love, light, purity, darkness)
• immune to shadow, due to his virginity (purity, innocence, virginity)
• the blood on the Countess' face will be mixed with tears (moral conflict, danger, emotional anguish)
• the bridegroom bleeds on my inverted marriage bed (role reversal, gender roles, blood, sex and death)
• their swooning odour, that breathes lasciviously of forbidden pleasures (excess, sex)
• too many shadows (darkness, menace)
• now you are at the place of annihilation (danger, tension)
• both death and the maiden (mixed characterisation, oxymoronic)
• beautiful and ghastly lady (mixed characterisation, oxymoronic)
• I am condemned to solitude and dark; I do not mean to hurt you (nature vs nuture, damnation)
• two-wheeled symbol of rationality vanish into the dark entrails of the mansion (rationality against supernatural, occult)
• no-man's land between life and death, sleeping and waking (liminal state)
• I will vanish in the morning light; I was only an invention of darkness (darkness, supernatural, mystery, transformation)

Macbeth Key Gothic Quotes by Scene

“the danger of ambition well described” Samuel Johnson, 18th century

Lines in bold were ones that I prioritised learning!

Act 1, Scene 1:

• When shall we three meet again? / In thunder, lightning, or in rain? / When the hurly-burly’s done; /When the battle’s lost and won. / That will be ere the set of sun.
• Fair is foul and foul is fair / Hover through the fog and filthy air.

Act 1, Scene 2:

• For brave Macbeth (well he deserves that name) / Disdaining fortune, with his brandished steel, / Which smoked with bloody execution,

Act 1, Scene 3:

• So withered, and so wild in their attire, / That look not like th’inhabitants o’th’earth
• By each at once her choppy finger laying / Upon her skinny lips. You should be women, / And yet your beards forbid me to interpret / That you are so.

• All hail, Macbeth! That shalt be King hereafter!
• Lesser than Macbeth, and greater. / Not so happy, yet much happier.
• The earth hath bubbles, as the water has, / And these are of them
• Come what may, / Time and the hour runs through the roughest day

Act 1, Scene 5

• Hie thee hither, / That I may pour my spirits in thine ear / And chastise with the valour of my tongue / All that impedes thee from the golden round / Whhich Fate and metaphysical aid doth seem / To have thee crowned withal.

• 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.
• 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’!
• Look like th’innocent flower / but be the serpent under‘t

Act 1, Scene 7

• 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.
• 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 -
• I have given suck, and know / How tender ‘tis to love the babe that milks me: / I would, while it was smiling in my face, / Have plucked my nipple from his boneless gums, / And dashed the brains out, had I so sworn as you / Have done to this.

Act 2, Scene 1

• Is this a dagger which I see before me, / The handle toward my hand? Come, let me clutch thee: / I have thee not, and yet I see thee still. / Art thou not, fatal vision, sensible / To feeling, as to sight? Or art thou but / A dagger of the mind, a false creation, / Proceeding from the heat-oppressed brain?
• I see thou still, / And, on thy blade and dudgeon, gouts of blood, / Which was not so before.
• I go, and it is done: the bell invites me. / Hear it not, Duncan, for it is a knell / That summons thee to Heaven, or to Hell.

Act 2, Scene 2

• Still it cried ‘Sleep no more!’ to all the house; / ‘Glamis hath murthered sleep, and therefore Cawdor / Shall sleep no more: Macbeth shall sleep no more!
• Whence is that Knocking? / 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?
• My hands are of your colour; But I shame / To wear a heart so white.

Act 2, Scene 3

• Knock, knock! Never at quiet! What are you? But this placvce is too cold for Hell. I’ll Devil-porter it no further.
• O horror, horror, horror! Tongue, nor heart, / Cannot conceive nor name thee!...Confusion now hath made his masterpiece: / Most sacrilegious murther hath broke ope / The Lord’s anointed temple, and stole thence / The life o’th’building.
• From this instant, / There’s nothing serious in mortality: / All is but toys; renown and grace is dead; / The wine of life is drawn.
• Here lay Duncan, / His silver skin laced with his golden blood, / And his gashed stabs looked like a breach in nature / For ruin’s wasteful entrance; there, the murtherers, / Steeped in the colours of their trade, their daggers / Unmannerly breeched with gore: who could refrain, / That had a great to love, and in that heart / Courage to make’s love known?

Act 3, Scene 1

• Thou hast it now, King Cawdor, Glamis, all / As the Weyward Women promised, and I fear / Thou play’dst most foully for’t...prophet-like, / They hailed him father to a line of kings. / Upon my head they placed a fruitless crown, / And put a barren sceptre in my gripe.
• Banquo, thy soul’s flight, / If it find Heaven, must find it out tonight.

Act 3, Scene 2

• Nought’s had, all’s spent / Where our desire is got without content: / ‘Tis safer to be that which we destroy, / Than by destruction dwell in doubtful joy.
• We have scorched the snake, not killed it; / She’ll close and be herself, whilst our poor malice / Remains in danger for her former tooth.
• Come, seeling night, / Scarf up the tender eye of pitiful day, / And with thy bloody and invisible hand / Cancel and tear to pieces that great bond / Which keeps me pale! Light thickens, and the crow / Makes wings to th’rooky wood

Act 3, Scene 4:

• I had else been perfect; / Whole as the marble, founded as the rock, / As broad and general as the casing air; / But now I am cabined, cribbed, confined, bound in / To saucy doubts and fears.
• ‘What is’t that moves your Highness?’ // Which of you have done this? / ‘What my good lord?’ / [to ghost] Thou canst not say I did it; never shake thy gory locks at me.
• ‘Are you a man?’ / Ay, and a bold one, that dare look on that / Which might appal the Devil.
• Approach thou like a rugged Russian bear, / The armed rhinoceros, or th’Hyrcan tiger, / Take any shape but that, and my firm nerves / Shall never tremble. Or be alive again, / And dare me to the desert with thy sword.
• It will have blood, they say: blood will have blood. / Stones have been known to move, and trees to speak; / Augures and understood relations have / By maggot-pies and choughs and rooks brought forth / The secret’st man of blood. What is the night?
• I will tomorrow / (And betimes I will) to the Weyward Sisters. / More shall they speak: for now I am bent to know, / By the worst means, the worst.

Act 3, Scene 5

• How did you dare / To trade and traffic with Macbeth / In riddles and affairs of death.

Act 3, Scene 6

• How it did grieve Macbeth! Did he not straight, / In pious rage, the two delinquents tear / ...Was not that nobly done? Ay, and wisely too.

Act 4, Scene 1

• Like a Hell-broth, boil and bubble. / Double, double, toil and trouble; / Fire burn, and cauldron bubble.
• ‘Be bloody, bold, and resolute: laugh to scorn / The power of man; for none of woman born / Shall harm Macbeth’ Then live Macduff: what need I fear of thee? / But yet I’ll make assurance double sure, / And take a bond of fate: thou shalt not live, / That I may tell pale-hearted fear it lies, / And sleep in spite of thunder.
• Thou art too like the spirit of Banquo: down! / Thy crown does sear mine eyeballs. And thy hair, / Thou other gold-bound brow, is like the first….filthy hags! Why do you show me this?
• Time, thou anticipat’st my dread exploits: / The flighty purpose never is o’ertook / Unless the deed go with it. From this moment, / The very firstlings of my heart shall be / The firstlings of my hand. And even now, / To crown my thoughts with acts, be it thought and done.

Act 4, Scene 2

• What, you egg? Young fry of treachery! / ‘He has killed me, mother: Run away, I pray you.’ / Murther!

Act 4, Scene 3

• Each new morn / New widows howl, new orphans cry, new sorrows / Strike Heaven on the face.
• All the particulars of vice so grafted / That, when they shall be opened, black Macbeth / Will seem as pure as snow.
• Not in the legions / Of horrid Hell can come a devil more damned / In evils to top Macbeth.
• ‘Fit to govern’? / No, not to live! O nation miserable, / WIth an untitled tyrant, bloody-sceptred, / When shalt thou see thy wholesome days again.
• Let not your ears despise my tongue for ever, / Which shall possess them with the heaviest sound / That ever yet they heard...Your castle is surprised; your wife and babes / Savagely slaughtered.
• Receive what cheer you may; / The night is long that never finds the day.

Act 5, Scene 1:

• 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 accompt? Yet who would have thought the old man to have had so much blood in him?

• What, will these hands ne’er be clean?
• 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.
• Foul whisp’rings are abroad: unnatural deeds / do breed unnatural troubles.

Act 5, Scene 2:

• Meet we the med’cine of the sickly weal, / And with him pour we, in our country’s purge, / Each drop of us.

Act 5, Scene 3:

• The mind I sway by, and the heart I bear, / Shall never sag with doubt, nor shake with fear.
• Canst thou not minister to a mind diseased, / Pluck from the memory a rooted sorrow, / Raze out the written troubles of the brain, / And with some sweet oblivious antidote / Cleanse the stuffed bosom of that perilous stuff / Which weighs upon the heart?

Act 5, Scene 5:

• Hang out our banners on the outward walls. / The cry is still ‘They come’. Our castle’s strength / WIll laugh a siege to scorn.
• I have almost forgot the taste of fears. / The time has been, my senses would have cooled / To hear a night-shriek.
• Tomorrow, and tomorrow, and tomorrow, / Creeps in this petty pace from day to day, / To the last syllable of recorded time; / And all our yesterdays have lighted fools / The way to dusty death. Out, out, brief candle? / Life’s but a walking shadow, a poor player, / That struts and frets his hour upon the stage, / And then is heard no more.

Act 5, Scene 6:

• Make all our trumpets speak: give them all breath, / Those clamorous harbingers of blood and death!

Act 5, Scene 7

• They have tied my to a stake: I cannot fly, / But bear-like I must fight the course.
• Thou wast born of woman; / But swords I smile at, weapons laugh to scorn, / Brandished by a man that’s of a woman born.

Act 5, Scene 8

• But get thee back: my soul is too much charged / With blood of thine already.
• I have no words: / My voice is in my sword, thou bloodier villain.
• Despair thy charm, / And let the angel whom thou still hast served / Tell thee, Macduff was from his mother’s womb / Untimely ripped.
• Though Birnam Wood be come to Dunsinane, / And thou opposed, being of no woman born, / Yet I will try the last. Before my body / I throw my warlike shield. Lay on, Macduff, / And damned be him that first cries ‘Hold, enough’!

Act 5, Scene 9

• Hail, King, for so thou art. Behold, where stands / Th’usurper’s cursed head: the time is free. / I see thee compassed with thy kingdom’s pearl, / That speaks my salutation in their minds; / Whose voices I desire aloud with mine: / Hail, King of Scotland!
• Of this dead butcher and his fiend-like Queen, / (Who, as ‘tis thought, by self and violent hands / Took off her life): this, and what needful else / That calls upon us, by the grace of Grace / We will perform in measure, time and place.