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Notes 131 42, 43. Onomatopoeia. 46. Seeling. Term in falconry; blinding. 50. Shakespeare's skill is again shown in his background for murder. The Elizabethan audience always wished an in- dication of the action about to be presented. 52. Onomatopoetic. 56. Go with me: i. e., in my deeds. Scene III. Note the speeches of the third murderer throughout this scene; he is most familiar with the customs of the people who come to the palace. May the third mur- derer be Macbeth? What argument is there against such an interpretation? See Act III, sc. iv, line 21. 17. Good Fleance. He fled into Wales and married there; his son became Lord High Steward of Scotland. Scene IV. 10. Does Macbeth sit? 29. The escape of Fleance is significant. Why? 73. Kites. Birds of prey. 81. Twenty mortal murders. See Act III, sc. iv, line 27. Explain. 86. Infirmity. He has caught Lady Macbeth's language as well as her courage to keep up the farce. She previously re- ferred to his fit, passion. 95. Speculation: i. e., sight. 100. Macbeth's physical courage is apparent here. He fears only sights and shadows. 110. Admired: i. e., wondered at. 123. Stones. Does this refer to the Druids? 124. Augures: i. e., auguries. 131. Them. Reference? His. Reference? 133. Betimes: i. e., early. 139-140. Macbeth's mind quickly determines upon things which must be done immediately. This attitude is consistent with the soldier, and is intensified here because of his ex- citement and his attempt to make all things conform to his. safety.