Macbeth (IGCSE English Literature) ACT 5

Macbeth (IGCSE English Literature) ACT 5

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Act 5, scene 1 SUMMARY At night, in the king’s palace at Dunsinane, a doctor and a gentlewoman discuss Lady Macbeth’s strange habit of sleepwalking. Suddenly, Lady Macbeth enters in a trance with a candle in her hand. Bemoaning the murders of Lady Macduff and Banquo, she seems to see blood on her hands and claims that nothing will ever wash it off. She leaves, and the doctor and gentlewoman marvel at her descent into madness.	SCENE I. Dunsinane. Ante-room in the castle. Lady Macbeth’s apartments. Enter a Doctor of Physic and a Waiting-Gentlewoman Doctor I have two nights watched with you, but can perceive no truth in your report. When was it she last walked? Gentlewoman 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. Doctor 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? Gentlewoman That, sir, which I will not report after her. Doctor You may to me: and 'tis most meet you should. Gentlewoman 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. Doctor How came she by that light? Gentlewoman Why, it stood by her: she has light by her continually; 'tis her command. Doctor You see, her eyes are open. Gentlewoman Ay, but their sense is shut. Doctor What is it she does now? Look, how she rubs her hands. 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. LADY MACBETH Yet here's a spot. Doctor Hark! she speaks: I will set down what comes from her, to satisfy my remembrance the more strongly. 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. Doctor Do you mark that? LADY MACBETH 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. Doctor Go to, go to; you have known what you should not. Gentlewoman She has spoke what she should not, I am sure of that: heaven knows what she has known. LADY MACBETH Here's the smell of the blood still: all the perfumes of Arabia will not sweeten this little hand. Oh, oh, oh! Doctor What a sigh is there! The heart is sorely charged. Gentlewoman I would not have such a heart in my bosom for the dignity of the whole body. Doctor Well, well, well,-- Gentlewoman Pray God it be, sir. Doctor This disease is beyond my practise: yet I have known those which have walked in their sleep who have died holily in their beds. LADY MACBETH Wash your hands, put on your nightgown; look not so pale.--I tell you yet again, Banquo's buried; he cannot come out on's grave. Doctor Even so? LADY MACBETH 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 Doctor Will she go now to bed? Gentlewoman Directly. Doctor Foul whisperings are abroad: unnatural deeds Do breed unnatural troubles: infected minds To their deaf pillows will discharge their secrets: More needs she the divine than the physician. God, God forgive us all! Look after her; Remove from her the means of all annoyance, And still keep eyes upon her. So, good night: My mind she has mated, and amazed my sight. I think, but dare not speak. Gentlewoman Good night, good doctor. Exeunt	1) In her somnambulant ravings, Lady Macbeth employs hyperbole (or overstatement) when she says that ".. ; all the perfumes of Arabia will not sweeten this little hand" (44-45). It is sure that, had she all the perfumes in the Arab world, they would certainly cover up the smell of blood she still seems to detect on her hands. By employing this hyperbole, however, Shakespeare lets us know just how incredibly guilty she feels as a result of this metaphorical blood on her hands. It is not the blood she cannot wash off; the blood is gone. It is her guilt that stays with her. 2) The doctor uses metonymy, a substitution of one thing for something that it is connected with, when he says that Lady Macbeth's "The heart is sorely charged" (46). He connects her heart with her emotions; her heart is no different than it ever was physically, but her emotions and her conscience are heavily weighted by the things that she has seen and known 3) In this scene, Lady Macbeth's words and actions become a metaphor for the deep guilt she feels over the murders she has been part of. The scent of blood she speaks of is a metaphor for murder, and her sense of guilt is expressed through an image that shows that no amount of sensory loveliness can cover the horror of her crime: “Here’s the smell of the blood still. All the perfumes of Arabia will not sweeten this little hand. Oh, Oh, Oh!” (44) 4) Shakespeare also uses a literary device less commonly employed: this is called epizeuxis. Epizeuxis is when a word is repeated over and over at least two times in a row for emphasis. We see this in the above quote as "Oh! Oh! Oh!" (44) This expresses and highlights Lady Macbeth's emotional distress.
Act 5, scene 2 SUMMARY Outside the castle, a group of Scottish lords discusses the military situation: the English army approaches, led by Malcolm, and the Scottish army will meet them near Birnam Wood, apparently to join forces with them. The “tyrant,” as Lennox and the other lords call Macbeth, has fortified Dunsinane Castle and is making his military preparations in a mad rage.	SCENE II. The country near Dunsinane. Drum and colours. Enter MENTEITH, CAITHNESS, ANGUS, LENNOX, and Soldiers MENTEITH The English power is near, led on by Malcolm, His uncle Siward and the good Macduff: Revenges burn in them; for their dear causes Would to the bleeding and the grim alarm Excite the mortified man. ANGUS Near Birnam wood Shall we well meet them; that way are they coming. CAITHNESS Who knows if Donaldbain be with his brother? LENNOX For certain, sir, he is not: I have a file Of all the gentry: there is Siward's son, And many unrough youths that even now Protest their first of manhood. MENTEITH What does the tyrant? CAITHNESS Great Dunsinane he strongly fortifies: Some say he's mad; others that lesser hate him Do call it valiant fury: but, for certain, He cannot buckle his distemper'd cause Within the belt of rule. ANGUS Now does he feel His secret murders sticking on his hands; Now minutely revolts upbraid his faith-breach; Those he commands move only in command, Nothing in love: now does he feel his title Hang loose about him, like a giant's robe Upon a dwarfish thief. MENTEITH Who then shall blame His pester'd senses to recoil and start, When all that is within him does condemn Itself for being there? CAITHNESS Well, march we on, To give obedience where 'tis truly owed: Meet we the medicine of the sickly weal, And with him pour we in our country's purge Each drop of us. LENNOX Or so much as it needs, To dew the sovereign flower and drown the weeds. Make we our march towards Birnam. Exeunt, marching	1)
Act 5, scene 3 SUMMARY Macbeth strides into the hall of Dunsinane with the doctor and his attendants, boasting proudly that he has nothing to fear from the English army or from Malcolm, since “none of woman born” can harm him (4.1.96) and since he will rule securely “[t]ill Birnam Wood remove to Dunsinane” (5.3.2). He calls his servant Seyton, who confirms that an army of ten thousand Englishmen approaches the castle. Macbeth insists upon wearing his armor, though the battle is still some time off. The doctor tells the king that Lady Macbeth is kept from rest by “thick-coming fancies,” and Macbeth orders him to cure her of her delusions (5.3.40).	SCENE III. Dunsinane. A room in the castle. Enter MACBETH, Doctor, and Attendants MACBETH Bring me no more reports; let them fly all: Till Birnam wood remove to Dunsinane, I cannot taint with fear. What's the boy Malcolm? Was he not born of woman? The spirits that know All mortal consequences have pronounced me thus: 'Fear not, Macbeth; no man that's born of woman Shall e'er have power upon thee.' Then fly, false thanes, And mingle with the English epicures: The mind I sway by and the heart I bear Shall never sag with doubt nor shake with fear. Enter a Servant The devil damn thee black, thou cream-faced loon! Where got'st thou that goose look? Servant There is ten thousand-- MACBETH Geese, villain! Servant Soldiers, sir. MACBETH Go prick thy face, and over-red thy fear, Thou lily-liver'd boy. What soldiers, patch? Death of thy soul! those linen cheeks of thine Are counsellors to fear. What soldiers, whey-face? Servant The English force, so please you. MACBETH Take thy face hence. Exit Servant Seyton!--I am sick at heart, When I behold--Seyton, I say!--This push Will cheer me ever, or disseat me now. I have lived long enough: my way of life Is fall'n into the sear, the yellow leaf; And that which should accompany old age, As honour, love, obedience, troops of friends, I must not look to have; but, in their stead, Curses, not loud but deep, mouth-honour, breath, Which the poor heart would fain deny, and dare not. Seyton! Enter SEYTON SEYTON What is your gracious pleasure? MACBETH What news more? SEYTON All is confirm'd, my lord, which was reported. MACBETH I'll fight till from my bones my flesh be hack'd. Give me my armour. SEYTON 'Tis not needed yet. MACBETH I'll put it on. Send out more horses; skirr the country round; Hang those that talk of fear. Give me mine armour. How does your patient, doctor? Doctor Not so sick, my lord, As she is troubled with thick coming fancies, That keep her from her rest. MACBETH Cure her of that. 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 stuff'd bosom of that perilous stuff Which weighs upon the heart? Doctor Therein the patient Must minister to himself. MACBETH Throw physic to the dogs; I'll none of it. Come, put mine armour on; give me my staff. Seyton, send out. Doctor, the thanes fly from me. Come, sir, dispatch. If thou couldst, doctor, cast The water of my land, find her disease, And purge it to a sound and pristine health, I would applaud thee to the very echo, That should applaud again.--Pull't off, I say.-- What rhubarb, cyme, or what purgative drug, Would scour these English hence? Hear'st thou of them? Doctor Ay, my good lord; your royal preparation Makes us hear something. MACBETH Bring it after me. I will not be afraid of death and bane, Till Birnam forest come to Dunsinane. Doctor [Aside] Were I from Dunsinane away and clear, Profit again should hardly draw me here. Exeunt
Act 5, scene 4 SUMMARY In the country near Birnam Wood, Malcolm talks with the English lord Siward and his officers about Macbeth’s plan to defend the fortified castle. They decide that each soldier should cut down a bough of the forest and carry it in front of him as they march to the castle, thereby disguising their numbers.	SCENE IV. Country near Birnam wood. Drum and colours. Enter MALCOLM, SIWARD and YOUNG SIWARD, MACDUFF, MENTEITH, CAITHNESS, ANGUS, LENNOX, ROSS, and Soldiers, marching MALCOLM Cousins, I hope the days are near at hand That chambers will be safe. MENTEITH We doubt it nothing. SIWARD What wood is this before us? MENTEITH The wood of Birnam. MALCOLM Let every soldier hew him down a bough And bear't before him: thereby shall we shadow The numbers of our host and make discovery Err in report of us. Soldiers It shall be done. SIWARD We learn no other but the confident tyrant Keeps still in Dunsinane, and will endure Our setting down before 't. MALCOLM 'Tis his main hope: For where there is advantage to be given, Both more and less have given him the revolt, And none serve with him but constrained things Whose hearts are absent too. MACDUFF Let our just censures Attend the true event, and put we on Industrious soldiership. SIWARD The time approaches That will with due decision make us know What we shall say we have and what we owe. Thoughts speculative their unsure hopes relate, But certain issue strokes must arbitrate: Towards which advance the war. Exeunt, marching	1) Dramatic irony occurs when the audience knows what the people in the play don't. We have left Macbeth in the previous act clinging emotionally to the witches' prophecy that says he can't lose unless Birnam Woods move, and we, as an audience, now know what Macbeth doesn't; that the woods will "move" because the soldiers will cut down the boughs and carry them forward. We can at this point guess, if we haven't already, that the battle is not going to go well for Macbeth. 2) At the end of the scene, (17-21) Shakespeare uses the literary device of verse, with the rhymes "know/owe" and "relate/arbitrate." The rhyming verse emphasizes the importance of what is being said.
Act 5, scene 5 SUMMARY Within the castle, Macbeth blusteringly orders that banners be hung and boasts that his castle will repel the enemy. A woman’s cry is heard, and Seyton appears to tell Macbeth that the queen is dead. Shocked, Macbeth speaks numbly about the passage of time and declares famously that life is “a tale / Told by an idiot, full of sound and fury, / Signifying nothing” (5.5.25–27). A attendant enters with astonishing news: the trees of Birnam Wood are advancing toward Dunsinane. Enraged and terrified, Macbeth recalls the prophecy that said he could not die till Birnam Wood moved to Dunsinane. Resignedly, he declares that he is tired of the sun and that at least he will die fighting.	SCENE V. Dunsinane. Within the castle. Enter MACBETH, SEYTON, and Soldiers, with drum and colours MACBETH Hang out our banners on the outward walls; The cry is still 'They come:' our castle's strength Will laugh a siege to scorn: here let them lie Till famine and the ague eat them up: Were they not forced with those that should be ours, We might have met them dareful, beard to beard, And beat them backward home. A cry of women within What is that noise? SEYTON It is the cry of women, my good lord. Exit MACBETH I have almost forgot the taste of fears; The time has been, my senses would have cool'd To hear a night-shriek; and my fell of hair Would at a dismal treatise rouse and stir As life were in't: I have supp'd full with horrors; Direness, familiar to my slaughterous thoughts Cannot once start me. Re-enter SEYTON Wherefore was that cry? SEYTON The queen, my lord, is dead. MACBETH She should have died hereafter; There would have been a time for such a word. To-morrow, and to-morrow, and to-morrow, 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: it is a tale Told by an idiot, full of sound and fury, Signifying nothing. Enter a Attendant Thou comest to use thy tongue; thy story quickly. Attendant Gracious my lord, I should report that which I say I saw, But know not how to do it. MACBETH Well, say, sir. Attendant As I did stand my watch upon the hill, I look'd toward Birnam, and anon, methought, The wood began to move. MACBETH Liar and slave! Attendant Let me endure your wrath, if't be not so: Within this three mile may you see it coming; I say, a moving grove. MACBETH If thou speak'st false, Upon the next tree shalt thou hang alive, Till famine cling thee: if thy speech be sooth, I care not if thou dost for me as much. I pull in resolution, and begin To doubt the equivocation of the fiend That lies like truth: 'Fear not, till Birnam wood Do come to Dunsinane:' and now a wood Comes toward Dunsinane. Arm, arm, and out! If this which he avouches does appear, There is nor flying hence nor tarrying here. I gin to be aweary of the sun, And wish the estate o' the world were now undone. Ring the alarum-bell! Blow, wind! come, wrack! At least we'll die with harness on our back. Exeunt	1) The repetition of "Tomorrow, and tomorrow, and tomorrow" (18) emphasizes the "petty pace" that seems to drag on, day after day. Macbeth insists that it will go on this way "To the last syllable of recorded time." In other words, until the end of our time on earth (since we are the ones who "record" history). 2) When Macbeth says, "And all our yesterdays have lighted fools The way to dusty death," (21 -22), he uses a metaphor, comparing "yesterdays" to torches or lanterns that have been carried ahead. These torches have led other people, people who have lived in the past, to their deaths. 3) Macbeth uses more metaphors to compare life to a "…walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more." (23-24) First, he says that life is an illusion, like a shadow; it does not have substance. Next, he compares life to an actor, one who acts dramatically on the stage, and then the performance is suddenly over. 4) Further, he uses "hour" (24) as a kind of shorthand, called metonymy, for a short amount of time. Just like he compares life to a "brief candle," (22) he likens it here to an "hour," again, emphasizing its brevity.
Act 5, scene 6 SUMMARY Outside the castle, the battle commences. Malcolm orders the English soldiers to throw down their boughs and draw their swords.	SCENE VI. Dunsinane. Before the castle. Drum and colours. Enter MALCOLM, SIWARD, MACDUFF, and their Army, with boughs MALCOLM Now near enough: your leafy screens throw down. And show like those you are. You, worthy uncle, Shall, with my cousin, your right-noble son, Lead our first battle: worthy Macduff and we Shall take upon 's what else remains to do, According to our order. SIWARD Fare you well. Do we but find the tyrant's power to-night, Let us be beaten, if we cannot fight. MACDUFF Make all our trumpets speak; give them all breath, Those clamorous harbingers of blood and death. Exeunt	1) Shakespeare creates a metaphor when Macbeth says he is “tied to a stake.” (1) This is not literally true; if it was he would be tied up like an animal. But, like all metaphors, it is true in the figurative sense. He is trapped by the army outside his castle 2) Second, within the metaphor he has inserted a simile: “bear-like.” (2) Here Shakespeare compares himself to a trapped animal who has no choice but to fight--escape is impossible.
Act 5, scene 7 SUMMARY On the battlefield, Macbeth strikes those around him vigorously, insolent because no man born of woman can harm him. He slays Lord Siward’s son and disappears in the fray.	SCENE VII. Another part of the field. Alarums. Enter MACBETH MACBETH They have tied me to a stake; I cannot fly, But, bear-like, I must fight the course. What's he That was not born of woman? Such a one Am I to fear, or none. Enter YOUNG SIWARD YOUNG SIWARD What is thy name? MACBETH Thou'lt be afraid to hear it. YOUNG SIWARD No; though thou call'st thyself a hotter name Than any is in hell. MACBETH My name's Macbeth. YOUNG SIWARD The devil himself could not pronounce a title More hateful to mine ear. MACBETH No, nor more fearful. YOUNG SIWARD Thou liest, abhorred tyrant; with my sword I'll prove the lie thou speak'st. They fight and YOUNG SIWARD is slain MACBETH Thou wast born of woman But swords I smile at, weapons laugh to scorn, Brandish'd by man that's of a woman born. Exit Alarums. Enter MACDUFF MACDUFF That way the noise is. Tyrant, show thy face! If thou be'st slain and with no stroke of mine, My wife and children's ghosts will haunt me still. I cannot strike at wretched kerns, whose arms Are hired to bear their staves: either thou, Macbeth, Or else my sword with an unbatter'd edge I sheathe again undeeded. There thou shouldst be; By this great clatter, one of greatest note Seems bruited. Let me find him, fortune! And more I beg not. Exit. Alarums Enter MALCOLM and SIWARD SIWARD This way, my lord; the castle's gently render'd: The tyrant's people on both sides do fight; The noble thanes do bravely in the war; The day almost itself professes yours, And little is to do. MALCOLM We have met with foes That strike beside us. SIWARD Enter, sir, the castle. Exeunt. Alarums	1) Irony - First, when Macbeth points out that young Siward, whom he has just killed, was "born of woman," and exits, only to be followed by Macduff, who, we find out, was not born of woman, having been delivered by Caesarian section. 2) Then there is an example of classic dramatic irony. Siward describes the battle in terms that suggest that Macbeth's castle was taken with relatively little loss. "The castle," he says, "is gently surrounded...little is to do." He does not know that his son was among the dead before the castle walls, killed earlier in the scene by Macbeth
Act 5, scene 8 SUMMARY Macduff emerges and searches the chaos frantically for Macbeth, whom he longs to cut down personally. He dives again into the battle.	SCENE VIII. Another part of the field. Enter MACBETH MACBETH Why should I play the Roman fool, and die On mine own sword? whiles I see lives, the gashes Do better upon them. Enter MACDUFF MACDUFF Turn, hell-hound, turn! MACBETH Of all men else I have avoided thee: But get thee back; my soul is too much charged With blood of thine already. MACDUFF I have no words: My voice is in my sword: thou bloodier villain Than terms can give thee out! They fight MACBETH Thou losest labour: As easy mayst thou the intrenchant air With thy keen sword impress as make me bleed: Let fall thy blade on vulnerable crests; I bear a charmed life, which must not yield, To one of woman born. MACDUFF Despair thy charm; And let the angel whom thou still hast served Tell thee, Macduff was from his mother's womb Untimely ripp'd. MACBETH Accursed be that tongue that tells me so, For it hath cow'd my better part of man! And be these juggling fiends no more believed, That palter with us in a double sense; That keep the word of promise to our ear, And break it to our hope. I'll not fight with thee. MACDUFF Then yield thee, coward, And live to be the show and gaze o' the time: We'll have thee, as our rarer monsters are, Painted on a pole, and underwrit, 'Here may you see the tyrant.' MACBETH I will not yield, To kiss the ground before young Malcolm's feet, And to be baited with the rabble's curse. 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 damn'd be him that first cries, 'Hold, enough!' [Exeunt, fighting. Alarums] Enter Macbeth and Macduff, fighting and Macbeth slain [Exit Macduff, with Macbeth’s body]	1) Allusion: The indirect reference to a significant person, act or event of cultural, historical or literary significance. “Why should I play the Roman fool and die ” (1) In this line, Macbeth is alluding to a Roman soldier who would, as per their custom, rather commit suicide than suffer the ignominy of surrendering to his enemy. He is not prepared to take his own life since he sees this as a foolish act. He would rather courageously fight to the death. 2) Anaphora: The repetition of a word or phrase, especially at the beginning of a sentence, to create a literary effect. “And be these juggling fiends no more believed, That palter with us in a double sense; That keep the word of promise to our ear...” (19-21) In this example, Macbeth repeats "that" to emphasize his disgust with the witches' deception and his utter disillusion that he had been so gullible as to believe them.
Act 5, scene 9 SUMMARY In the freshly taken castle of Dunsinane, events move to their natural conclusion. With the tyrant dead and war honors duly acknowledged, Malcolm is proclaimed by all the assembled thanes to be the new king of Scotland.	SCENE IX. Malcolm’s headquarters. Retreat, and flourish. Enter with drum and colours, Malcolm, Siward, Ross, Thanes, and Soldiers. MALCOLM I would the friends we miss were safe arrived. SIWARD Some must go off: and yet, by these I see, So great a day as this is cheaply bought. MALCOLM Macduff is missing, and your noble son. ROSS Your son, my lord, has paid a soldier's debt: He only lived but till he was a man; The which no sooner had his prowess confirm'd In the unshrinking station where he fought, But like a man he died. SIWARD Then he is dead? ROSS Ay, and brought off the field: your cause of sorrow Must not be measured by his worth, for then It hath no end. SIWARD Had he his hurts before? ROSS Ay, on the front. SIWARD Why then, God's soldier be he! Had I as many sons as I have hairs, I would not wish them to a fairer death: And so, his knell is knoll'd. MALCOLM He's worth more sorrow, And that I'll spend for him. SIWARD He's worth no more They say he parted well, and paid his score: And so, God be with him! Here comes newer comfort. Re-enter MACDUFF, with MACBETH's head MACDUFF Hail, king! for so thou art: behold, where stands The usurper's cursed head: the time is free: I see thee compass'd with thy kingdom's pearl, That speak my salutation in their minds; Whose voices I desire aloud with mine: Hail, King of Scotland! ALL Hail, King of Scotland! Flourish MALCOLM We shall not spend a large expense of time Before we reckon with your several loves, And make us even with you. My thanes and kinsmen, Henceforth be earls, the first that ever Scotland In such an honour named. What's more to do, Which would be planted newly with the time, As calling home our exiled friends abroad That fled the snares of watchful tyranny; Producing forth the cruel ministers 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: So, thanks to all at once and to each one, Whom we invite to see us crown'd at Scone. Flourish. Exeunt	1) Juxtaposition: Creating a comparison between contrasting ideas by placing them next to each other. “So great a day as this is cheaply bought.” (3) In the quote above, the words "cheaply" and "great" are contrasted to indicate Siward's sentiment that the day is significant but that its enormous importance is undermined by the ease with which they have been able to attack Macbeth's castle. 2) Exaggeration: Making something seem worse or better than it actually is. “...your cause of sorrow Must not be measured by his worth, for then It hath no end.” (10-12) Ross, in stating that Siward's sorrow would have no end if he should compare it to the value of his son, is a kindness in which he attempts to bring the grief-stricken lord some comfort when he learns that his son is dead. 3) Alliteration: The repetition of the same consonant sound. “And so, his knell is knoll'd.” (17) The repetition of the n-sound helps emphasize the depth of Siward's grief at losing his son. It is also an allusion to the ringing of a church's bell when someone has passed on. 4) Rhyme: The repetition of similar sounds, normally at the end of a line of poetry. “He's worth no more They say he parted well, and paid his score”(19) The last words in these two lines rhyme perfectly and the effect is lyrical. The rhyme is used to indicate that Siward is eulogizing his son and he uses the lyrical form to give his words a musical tenor, as in a praise-song.

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