document_title: History of Las Vegas

question_text: when did the mob lose control of las vegas

text: History of Las Vegas

text: Prehistory[edit]

text: The prehistoric landscape of the Las Vegas Valley and most of Southern Nevada was once a marsh with water and vegetation. The rivers that created the marsh eventually went underground, and the marsh receded. The valley then evolved into a parched, arid landscape that only supported the hardiest animals and plants.

text: At some point in the valley's early geologic history, the water resurfaced and flowed into what is now the Colorado River. This created a luxurious plant life, forming a wetland oasis in the Mojave Desert landscape.

text: Evidence of prehistoric life in Las Vegas Valley was found in 1993, when a group of construction workers discovered the remains of a Columbian mammoth. Palaeontologists estimate that the mammoth roamed the area some 8,000 to 15,000 years ago.

text: Native Americans lived in the Las Vegas Valley, beginning over 10,000 years ago. Archaeologists have discovered baskets, petroglyphs, pictographs and other evidence in diverse locations, including Gypsum Cave and Tule Springs. Paiutes moved into the area as early as AD 700, migrating between nearby mountains in the summer and spending winter in the valley, near Big Springs.[1]

text: 1829–1905: origins[edit]

text: A trade caravan of 60 men led by the Mexican merchant Antonio Armijo was charged with establishing a trade route to Los Angeles.[2][3][4][5][6][7] Las Vegas was named by Mexicans in the Antonio Armijo party.[8] By following the Pike and Smith routes through a tributary of Colorado River they came upon the Las Vegas Valley, described by Smith as the best point to re-supply before going onto California. The travelers named the area "Las Vegas" which is Spanish for "The Meadows".[9]

text: John C. Frémont traveled into the Las Vegas Valley on May 3, 1844, while it was still part of Mexico. He was appointed by President John Tyler to lead a group of scientists, scouts, and spies for the United States Army Corps of Engineers who were preparing for a possible war with Mexico. Upon arriving in the valley they made camp at the Las Vegas Springs, establishing a clandestine fort there. A war with Mexico did occur, resulting in the region becoming United States territory. The fort was used in later years by travellers, mountain men, hunters, and traders seeking shelter, but was never permanently inhabited.

text: In 1855, William Bringhurst led a group of 29 Mormon missionaries from Utah to the Las Vegas Valley. The missionaries built a 150-square-foot (14 m2) adobe fort near a creek and used flood irrigation to water their crops, a process still used at the park. However, because of tensions rising between leaders of the small Mormon community, the summer heat and difficulty growing crops, the missionaries returned to Utah in 1857, abandoning the fort.

text: For the next few years the area remained unoccupied by Americans except for travelers and traders. Then the U.S. Army, in an attempt to deceive Confederate spies active in southern California in 1864, falsely publicized that it reclaimed the fort and had renamed it Fort Baker, briefly recalling the area to national attention. After the end of the war in 1865, Octavius Gass, with a commission from the federal government, re-occupied the fort. The Paiute nation had declined in numbers and negotiated a new treaty with the United States, ceding the area around the fort to the United States in return for relocation and supplies of food and farming equipment. Consequently, Gass started irrigating the old fields and renamed the area 'Las Vegas Rancho.' Gass made wine at his ranch and Las Vegas became known as the best stop on the Old Spanish Trail. In 1881, because of mismanagement and intrigue with a Mormon syndicate, Gass lost his ranch to Archibald Stewart to pay off a lien Stewart had on the property.[citation needed] In 1884, Archibald's wife, Helen J. Stewart became the Las Vegas Postmaster.

text: The property (increased to 1,800 acres (730 ha)), stayed with the family (despite Archibald Stewart's murder in July 1884) until it was purchased in 1902 by the San Pedro, Los Angeles, and Salt Lake Railroad, then being built across southern Nevada. The railroad was a project of Montana Senator William Andrews Clark. Clark enlisted Utah's U.S. Senator and mining magnate Thomas Kearns to ensure the line's completion through Utah to Las Vegas. The State Land Act of 1885 offered land at $1.25 per acre ($3.09/hectare). Clark and Kearns promoted the area to American farmers who quickly expanded the farming plots of the areas. Not until 1895 did the first large-scale migration of Mormons begin in the area, at long last fulfilling Brigham Young's early dream. Through wells and arid irrigation, agriculture became the primary industry for the next 20 years and in return for his development, the farmers named the area Clark County in honor of the railroad tycoon and Senator.

text: 1905–1929: birth, growth and crisis[edit]

text: By the early 20th century, wells piped water into the town, providing both a reliable source of fresh water and the means for additional growth. The increased availability of water in the area allowed Las Vegas to become a water stop, first for wagon trains and later railroads, on the trail between Los Angeles, California, and points east such as Albuquerque, New Mexico.

text: The San Pedro, Los Angeles & Salt Lake Railroad was completed in 1905, linking Salt Lake City to southern California. U.S. Senator William Andrews Clark was the majority owner of the railroad, which was a corporation based in Utah. Among its original incorporators were Utah's U.S. Senator Thomas Kearns and his business partner David Keith. Kearns, one of the richest and most powerful men in Utah, and Keith were the owners of Utah's Silver King Coalition Mine, several mines in Nevada and The Salt Lake Tribune newspaper. Kearns and Keith helped Clark ensure the success of the new railroad across Utah and into Nevada to California. Curiously, for a time there were two towns named Las Vegas. The east-side of Las Vegas (which encompassed the modern Main Street and Las Vegas Boulevard) was owned by Clark, and the west-side Las Vegas (which encompassed the area north of modern-day Bonanza Road) was owned by J.T. McWilliams, who was hired by the Stewart family during the sale of the Las Vegas Rancho and bought available land west of the ranch. It was from their property that Las Vegas took form.

text: Clark subsequently built another railroad branching off from Las Vegas to the boomtown of Bullfrog called the Las Vegas and Tonopah Railroad. With the revenue coming down both railways that intersected there, the area of Las Vegas was quickly growing. On May 15, 1905, Las Vegas officially was founded as a city, when 110 acres (45 ha), in what would later become downtown, were auctioned to ready buyers. Las Vegas was the driving force in the creation of Clark County, Nevada in 1909 and the city was incorporated in 1911 as a part of the county. The first mayor of Las Vegas was Peter Buol who served from 1911-1913.

text: Shortly after the city's incorporation, the State of Nevada reluctantly became the last western state to outlaw gaming. This occurred at midnight, October 1, 1910, when a strict anti-gambling law became effective in Nevada. It even forbade the western custom of flipping a coin for the price of a drink. Nonetheless, Las Vegas had a diversified economy and a stable and prosperous business community, and therefore continued to grow until 1917. In that year, a combination of economic influences and the redirection of resources by the federal government in support of the war effort forced the Las Vegas and Tonopah Railroad to declare bankruptcy. Although William Clark sold the remains of the company to the Union Pacific Railroad, a nationwide strike in 1922 left Las Vegas in a desperate state.

text: 1930–1941: Hoover Dam and the first casinos[edit]

text: On July 3, 1930, President Herbert Hoover signed the appropriation bill for the Boulder Dam. The dam was later renamed the Hoover Dam during the Truman administration. Work started on the dam in 1931 and Las Vegas' population swelled from around 5,000 citizens to 25,000, with most of the newcomers looking for a job building the dam. However, the demographic of the work force consisting of males from across the country with no attachment to the area created a market for large scale entertainment. A combination of local Las Vegas business owners, and Mafia crime lords helped develop the casinos and showgirl theaters to entertain the largely male dam construction workers.[11]

text: Despite the influx of known crime figures, the local business community tried to cast Las Vegas in a respectable light when the Secretary of the Interior Ray Lyman Wilbur visited in 1929 to inspect the dam site. However a subordinate was found with alcohol on his breath (this was during the time of Prohibition) after a visit to Block 16 in Las Vegas. The government ultimately decided that a federal-controlled town, Boulder City, would be erected for the dam workers.

text: Realizing that gambling would be profitable for local business, the Nevada state legislature legalized gambling at the local level in 1931. Las Vegas, with a small but already well-established illegal gambling industry, was poised to begin its rise as the gaming capital of the world. The county issued the first gambling license in 1931 to the Northern Club, and soon other casinos were licensed on Fremont Street like the Las Vegas Club and the Apache Hotel. Fremont Street became the first paved street in Las Vegas[12] and received the city's first traffic light in 1931.

text: In reply, the federal government restricted movement of the dam workers to Las Vegas. Smuggling and circuitous routes then were developed. In 1934, to curtail these activities and the resulting growth of criminal figures in the gambling industry, the city's leading figures purged gambling dens and started an effort to stem the flow of workers from the dam. This only emboldened some dam workers who still contrived to visit Las Vegas. A celebration of this era has become known as Helldorado Days.[13]

text: Although the suppression efforts resulted in declines at gambling venues and resulted in a business downturn, the city was recharged—both literally and figuratively—when the dam was completed in 1935. In 1937, Southern Nevada Power became the first utility to supply power from the dam, and Las Vegas was its first customer. Electricity flowed into Las Vegas and Fremont Street became known as Glitter Gulch due to the many bright lights powered by electricity from Hoover Dam. Meanwhile, although the dam worker population disappeared, Hoover Dam and its reservoir, Lake Mead, turned into tourist attractions on their own and the need for additional higher class hotels became clear.

text: In 1940, U.S. Route 95 was finally extended south into Las Vegas, giving the city two major access roads. Also in 1940 Las Vegas's first permanent radio station, KENO, began broadcasting replacing the niche occupied earlier by transient broadcasters.

text: 1941–1945 war years[edit]

text: On January 25, 1941 the U.S. Army established a flexible gunnery school for the United States Army Air Corps in Las Vegas. Mayor John L. Russell signed over land to the U.S. Army Quartermaster Corps for this development. The gunnery school later would become Nellis Air Force Base. The U.S. Army was not pleased with the legal prostitution in Las Vegas and in 1942 forced Las Vegas to outlaw the practice, putting Block 16, the local red light district permanently out of business.

text: On April 3, 1941, hotel owner Thomas Hull opened the El Rancho Vegas. It was the first resort on what would become the Las Vegas Strip. The hotel gained much of its fame from the gourmet buffet that it offered. On October 30, 1942, Texas cinema magnate R. E. Griffith rebuilt on the site of a nightclub called Pair-O-Dice,[14] that first opened in 1930, and renamed it Hotel Last Frontier. A few more resorts were built on and around Fremont Street, but it was the next hotel on the Strip that publicly demonstrated the influence of organized crime on Las Vegas.

text: Although ethnic organized crime figures had been involved in some of the operations at the hotels, the Mafia bosses never owned or controlled the hotels and clubs which remained monopolized by hard-bitten local Las Vegas families who were unwilling to cede ground to the crime bosses and proved strong enough to push back. This changed in post-war Las Vegas when Jewish gangster Bugsy Siegel, with help from friend and fellow mob boss Meyer Lansky, poured money through Mormon-owned banks for cover of legitimacy and built The Flamingo in 1946. Siegel modeled his enterprises on the long-running gambling empire in Galveston, Texas, which had pioneered the high-class casino concepts that became mainstays on the Strip.[15]

text: 1946–1955: postwar boom[edit]

text: The Flamingo initially lost money and Siegel died in a hail of gunfire in Beverly Hills, California in the summer of 1947. Additionally, local police and Clark County Sheriff deputies were notorious for their heavy-handed tactics toward mobsters who "grew too big for their pants." However, many mobsters saw the potential that gambling offered in Las Vegas. From 1952 to 1957, through money and institutional lending provided by the Teamsters Union and some Mormon bankers they built the Sahara, the Sands, the New Frontier, the Royal Nevada, the Showboat, The Riviera, The Fremont, Binion's Horseshoe (which was the Apache Hotel), and finally The Tropicana.[16]

text: Owned and operated by a joint combination of Mormon elders who provided political and business legitimacy and people involved with organized crime who provided unreported income and street muscle, such as Meyer Lansky, these crime hotels became regarded as the epitome of gambling entertainment.[citation needed] Even with the general knowledge that some of the owners of these casino resorts had dubious backgrounds, by 1954, over 8 million people were visiting Las Vegas yearly pumping $200 million into casinos. Gambling was no longer the only attraction; the biggest stars of films and music like Frank Sinatra, Dean Martin, Andy Williams, Liberace, Bing Crosby, Carol Channing, and others performed in intimate settings. After coming to see these stars, the tourists would resume gambling, and then eat at the gourmet buffets that have become a staple of the casino industry.

text: However, the confluence of various marginal and/or suspected groups such as Jews, Sicilians, and Mormons into the gambling enterprises in Las Vegas and the subsequent cornering of the gambling market in the city by these groups sparked a two-year investigation by Senator Estes Kefauver and his Senate Special Committee to Investigate Crime in Interstate Commerce in 1950–51.[citation needed] The hearing concluded that organized crime money was incontrovertibly tied to the Las Vegas casinos and was becoming the controlling interest in the city thereby earning for the groups vast amounts of income which was strengthening their influence in the country. This led to a proposal by the Senate to institute federal gambling control. Only through the power and influence of Nevada's Senator Pat McCarran did the proposal die in committee.

text: Along with their connections in Hollywood and New York City, these interests in Las Vegas were able to use publicity provided by these media capitals to steer the rapid growth of tourism into Las Vegas thereby dooming Galveston, Texas; Hot Springs, Arkansas; and other illegal gaming centers around the nation.[17] Nevada's legal gaming as well as the paradoxical increased scrutiny by local and federal law enforcement in these other locales during the 1950s made their demise inevitable.

text: Atomic testing[edit]

text: While the Strip was booming, the U.S. Atomic Energy Commission on January 27, 1951 detonated the first of over a hundred atmospheric explosions at the Nevada Test Site. These atmospheric tests would continue until enactment of the Partial Test Ban Treaty in 1963 when the tests moved underground. The last test explosion was in 1992. Despite the dangers and risks, greatly underestimated at the time, of radiation exposure from the fallout, Las Vegas advertised the explosions as another tourist attraction and offered Atomic Cocktails in Sky Rooms that offered a great view of the mushroom clouds.

text: The influx of government employees for the Atomic Energy Commission and from the Mormon-controlled Bank of Las Vegas spearheaded by E. Parry Thomas during those years funded the growing boom in casinos. But Las Vegas was doing more than growing casinos. In 1948, McCarran Field was established for commercial air traffic. In 1957 the University of Nevada, Las Vegas was first established, initially as a branch of the University of Nevada, Reno and becoming independent in 1969. In 1959 the Clark County Commission built the Las Vegas Convention Center, which would become a vital part of the area's economy. A new utility company, Southwest Gas expanded into Las Vegas in 1954.

text: 1956–1969: the beginning of modern Las Vegas[edit]

text: Howard Hughes[edit]

text: In 1966, Howard Hughes, the eccentric hero of the American aviation industry, and noted American entrepreneurial financier with vast connections to long established networks in the country, moved to Las Vegas. Initially staying in the Desert Inn, he refused to vacate his room and instead decided to purchase the entire hotel. Hughes extended his financial empire to include Las Vegas real estate, hotels and media outlets, spending an estimated $300 million and using his considerable powers to take over many of the well known hotels, especially the organized crime connected venues and he quickly became one of the most powerful men in Las Vegas. He was instrumental in changing the image of Las Vegas from its Wild West roots into a more refined cosmopolitan city.

text: Hank Greenspun[edit]

text: The local newspaper Las Vegas Sun and its editor Hank Greenspun led a crusade in those days to expose all the criminal ties, activities, and government corruption in Las Vegas. His investigative reporting and editorials led to the exposure of Clark County Sheriff Glen Jones' ownership of a brothel and the resignation of Lieutenant Governor Clifford A. Jones as the state's national committeeman for the Democratic Party. Before his death in 1989, Hank Greenspun founded The Greenspun Corporation to manage his family's assets, and it remains a major influence in Las Vegas, with media holdings in print, television and the Internet; substantial real estate holdings; and ownership stakes in a number of casinos.

text: Local government[edit]

text: One problem for the City of Las Vegas was that the Strip did not reside in Las Vegas . Because of this, the city lost tax revenue. There was a push to annex the Strip by the City of Las Vegas, but The Syndicate used the Clark County Commissioners to pull a legal maneuver by organizing the Las Vegas Strip properties into an unincorporated township called Paradise. Under Nevada Law, an incorporated town, Las Vegas, cannot annex an unincorporated township. To this day, virtually all of the Strip remains outside the City of Las Vegas.

text: Desegregation[edit]

text: Much like in other American settled counties and towns throughout the United States, entertainment venues were segregated between black- and white-owned businesses. With almost all of the businesses owned and operated by whites, Black Americans were barred from entering the venues which remained focused, regardless of their legitimacy or criminality, on entertaining a white-only clientele. As a result of property deeds, businesses owned by or mainly serving non-whites were confined to clubs on the "west side" of the tracks. This also was enforced in many of the work positions. Thus, African Americans (except those who provided the labor for low-paying menial positions or entertainment) and Hispanics were limited in employment occupations at the white-owned clubs. However, because of employment deals with black worker groups, many clubs favored black workers, and the Hispanic population actually decreased ninety percent from 2,275 to just 236 by the mid-1950s.

text: Organized crime-owned businesses saw an opportunity in not dividing their clientele by race and, despite property deeds and city and county codes barring such activities, made several attempts at desegregating their businesses in the hopes of putting out of operation the non-white owned clubs and expanding their own market share. An attempt was made at forming an all-integrated night-club modeled on the Harlem Clubs of New York City during the 1920s and 1930s, like those owned by German-Jewish gangster Dutch Schultz. On May 24, 1955, Jewish crime boss Will Max Schwartz, along with other investors, opened the Moulin Rouge. It was a very upscale and racially integrated casino that actually competed against the resorts on the Strip, especially the non-white owned strips on the west side. By the end of the year, the casino closed as Schwartz and his partners had a falling out, but the seeds for racial integration were sown.

text: Many sources have credited Frank Sinatra and the Rat Pack as a significant driving force behind desegregation in the casinos.[18] One famous story tells of Sinatra's refusal to perform at the Sands Hotel unless the hotel provided Sammy Davis Jr. with a room.[19] The famed performing group made similar demands at other venues, forcing owners to amend their policies over time.[20]

text: However, it took political action for racial desegregation to occur. In 1960, the NAACP threatened a protest of the city's casinos for their policies. A meeting between the NAACP, the mayor and local businessmen resulted in citywide casino desegregation, starting with the employees. Many whites were attritioned from positions and their jobs given to the black unions. Along with the rest of the country, Las Vegas experienced the struggle for civil rights. Activists like James B. McMillan, Grant Sawyer, Bob Bailey, and Charles Keller dragged Las Vegas to racial integration.

text: Aside from seeing no business advantage to excluding non-white customers from casinos and clubs, the organized crime groups themselves were composed of people of ethnicities (Jewish and Italian) that faced discrimination from WASP America and thus could understand the plight of blacks. This was also a driving force behind the integration advocated by ethnic performers such as Sinatra and Martin.

text: Another big force for equality was Mayor Oran Gragson. Spurred into local politics by a vigilante ring of cops who repeatedly broke into his appliance store, he implemented infrastructure improvements for the minority neighborhoods in Las Vegas, backed the NAACP in its actions, and promoted black workers for jobs. He also championed the cause of the Paiute tribe that owned a small portion of Las Vegas. Gragson stopped the U.S. government from evicting the tribe and actually made infrastructure improvements for them. His work helped reverse the decrease of minority populations in Las Vegas.

text: Local legislation kept up with the national legislation and integration was finally established. The only real violence came as a result of school integration, with violent riots and fights occurring in Clark High School when black gangs and youths began attacking the whites. Integration sparked white flight from the school district from 1965 to 1971. That school was then later destroyed.

text: 1970-1988: Explosive growth[edit]

text: On a percentage basis, Las Vegas and Clark County experienced incredibly high growth rates starting in the 1930s and lasting until the late 2000s recession. During that period, the population of the city more than doubled in most decades. The rate slowed down in the 1970s with the decrease of the white birth rate, but never dropped below 60% (1980–1990), and even accelerated after 1990 due to immigration. By 2000, Las Vegas was the largest city founded in the 20th century,[21] and by 2006 it was the 28th largest city in the US, with a population of 552,000 in the city and nearly 1.8 million in Clark County. The explosive growth resulted in rapid development of commercial and residential areas throughout the Las Vegas Valley. The strong boom in the resort business led to many new condominium developments all along the Strip and downtown area. Also urban sprawl development of single-family homes continued across the valley, building the areas of Henderson, North Las Vegas, Centennial Hills, and Summerlin. The rapid development and population growth both halted abruptly in the late 2000s recession.[22][23]

text: During this period of time, American author and journalist Hunter S. Thompson wrote and published his seminal novel, Fear and Loathing in Las Vegas, detailing the experience of his 1971 trip to the city.

text: On November 21, 1980 the MGM Grand Hotel and Casino, suffered a devastating fire. A total of 85 people died and 785 were injured in what remains the worst disaster in Nevada history. The property was eventually sold and reopened as Bally's Las Vegas, while MGM moved south to Tropicana Avenue.

text: Since 1989: the megaresort era[edit]

text: The "Mafia/Rat Pack" Las Vegas of the mid-20th century came to a gradual end in the 1980s with the aging out of the World War II generation, the decline of organized crime elements, and the rise of baby boomer entrepreneurs who began a new chapter in the city's history, the so-called megaresort era. Las Vegas began to become a more commercialized, family-oriented place with large corporations coming to own the hotels, casinos, and nightclubs in place of Mafia bosses. The megaresort era kicked off in 1989 with the construction of The Mirage. Built by developer Steve Wynn, it was the first resort built with money from Wall Street, selling $630 million in junk bonds. Its 3,044 rooms, each with gold tinted windows, set a new standard for Vegas luxury and attracted tourists in droves, leading to additional financing and rapid growth on the Las Vegas Strip. More landmark hotels and other structures were razed to make way for ever-larger and more opulent resorts including:

text:
1990: Rio and Excalibur
1993: MGM Grand, Treasure Island, and Luxor,
1996: Stratosphere Tower and Monte Carlo
1997: New York-New York
1998: Bellagio
1999: Mandalay Bay, Venetian, and Paris
2000: Planet Hollywood (Formerly Aladdin)
2001: Palms
2005: Wynn (opened in April by Wynn Resorts Limited opened its new flagship, the constructed at a cost of US$2.7 billion.)

text: The Helldorado Days festival was resumed in 2005 for the City of Las Vegas' centennial celebration.[13]

text: Since 2007: downturn and recovery[edit]

text: The home mortgage crisis (2007-2010) and the late 2000s recession affected Las Vegas' economic success. New home construction was stalled, and construction projects were either canceled, postponed, or continued with financial troubles. Some of these projects included the MGM Mirage property of CityCenter, Fontainebleau, Echelon, and The Plaza. The global financial situation also had a negative effect on gaming and tourism revenue, causing many of the companies to report net loss.

text: Nevertheless, new landmark hotels and resorts were still to arise, including:

text:
2007: Palazzo
2008: Encore
2009: CityCenter
2010: The Cosmopolitan

text: Starting in 2013, the sector began to turn around with the proposal of the Resorts World projects replacing the Echelon currently under construction. The Alon resort is planned to resume the site formerly the Frontier and originally planned for the Plaza. Fontainbleau is currently being on the process of being sold and resumed. Wynn Resorts is also planning an additional tower with a central lake planned for 2020 and a new arena opened near the New York New York hotel on 2016.

text: Las Vegas has still managed to host many conventions and major events, such as the annual Latin Grammy Awards, & the Consumer Electronics Show.

text: Many analysts agree that the Las Vegas economy is recovering, with improving conditions in tourism and the housing market for 2013.[24][25] Prices are rising and there has been a large increase in the million dollar home market, with many new custom homes being built. January 2013 marks the 19th consecutive month with home sales higher than the same month in the previous year.[26] In addition, Las Vegas was named America's Top Turn Around Market for 2012 by Trulia.[27]

text: In June 2017, a heat wave grounded more than 40 airline flights of small aircraft were grounded, with American Airlines reducing sales on certain flights to prevent the vehicles from being over the maximum weight permitted for safe takeoff and Las Vegas tying its record high at 117 degrees Fahrenheit.[28]

text: During the late evening of October 1, 2017, Las Vegas became the scene of the deadliest mass shooting committed by a single gunman in the history of the United States. A gunman opened fire on Route 91 Harvest festival-goers from the Mandalay Bay resort, killing 58 and injuring 851.[29][30]


document_title: Endometrium

question_text: the layer of the myometrium that is shed during menstruation is the

root

text: Endometrium

text: Structure[edit]

text: The endometrium consists of a single layer of columnar epithelium plus the stroma on which it rests. The stroma is a layer of connective tissue that varies in thickness according to hormonal influences. Simple tubular uterine glands reach from the endometrial surface through to the base of the stroma, which also carries a rich blood supply of spiral arteries. In a woman of reproductive age, two layers of endometrium can be distinguished. These two layers occur only in endometrium lining the cavity of the uterus, not in the lining of the uterine (Fallopian) tubes:[1][2]

tag: p

text:
The functional layer is adjacent to the uterine cavity. This layer is built up after the end of menstruation during the first part of the previous menstrual cycle. Proliferation is induced by estrogen (follicular phase of menstrual cycle), and later changes in this layer are engendered by progesterone from the corpus luteum (luteal phase). It is adapted to provide an optimum environment for the implantation and growth of the embryo. This layer is completely shed during menstruation.
The basal layer, adjacent to the myometrium and below the functional layer, is not shed at any time during the menstrual cycle, and from it the functional layer develops.

tag: ul

text: In the absence of progesterone, the arteries supplying blood to the functional layer constrict, so that cells in that layer become ischaemic and die, leading to menstruation.

text: It is possible to identify the phase of the menstrual cycle by reference to either the ovarian cycle or the uterine cycle by observing histological differences at each phase—for example in the ovarian cycle:

text:
Phase
Days
Thickness
Epithelium

Menstrual phase
1–5
Thin
Absent

Follicular phase
5–14
Intermediate
Columnar

Luteal phase
15–27
Thick
Columnar. Also visible are arcuate vessels of uterus

Ischemic phase
27–28

Columnar. Also visible are arcuate vessels of uterus

tag: table

text: Function[edit]

text: The endometrium is the innermost glandular layer and functions as a lining for the uterus, preventing adhesions between the opposed walls of the myometrium, thereby maintaining the patency of the uterine cavity. During the menstrual cycle or estrous cycle, the endometrium grows to a thick, blood vessel-rich, glandular tissue layer. This represents an optimal environment for the implantation of a blastocyst upon its arrival in the uterus. The endometrium is central, echogenic (detectable using ultrasound scanners), and has an average thickness of 6.7 mm.

text: During pregnancy, the glands and blood vessels in the endometrium further increase in size and number. Vascular spaces fuse and become interconnected, forming the placenta, which supplies oxygen and nutrition to the embryo and fetus.

text: Cycle[edit]

text: The endometrial lining undergoes cyclic regeneration. Humans and great apes display the menstrual cycle, whereas most other mammals are subject to an estrous cycle. In both cases, the endometrium initially proliferates under the influence of estrogen. However, once ovulation occurs, the ovary (specifically the corpus luteum) will produce much larger amounts of progesterone. This changes the proliferative pattern of the endometrium to a secretory lining. Eventually, the secretory lining provides a hospitable environment for one or more blastocysts.

text: Upon fertilization, the egg may implant into the uterine wall and provide feedback to the body with human chorionic gonadotropin (HCG). HCG provides continued feedback throughout pregnancy by maintaining the corpus luteum, which will continue its role of releasing progesterone and estrogen. The endometrial lining is either reabsorbed (estrous cycle) or shed (menstrual cycle). In the latter case, the process of shedding involves the breaking down of the lining, the tearing of small connective blood vessels, and the loss of the tissue and blood that had constituted it through the vagina. The entire process occurs over a period of several days. Menstruation may be accompanied by a series of uterine contractions; these help expel the menstrual endometrium.

text: In case of implantation, however, the endometrial lining is neither absorbed nor shed. Instead, it remains as decidua. The decidua becomes part of the placenta; it provides support and protection for the gestation.

text: If there is inadequate stimulation of the lining, due to lack of hormones, the endometrium remains thin and inactive. In humans, this will result in amenorrhea, or the absence of a menstrual period. After menopause, the lining is often described as being atrophic. In contrast, endometrium that is chronically exposed to estrogens, but not to progesterone, may become hyperplastic. Long-term use of oral contraceptives with highly potent progestins can also induce endometrial atrophy.[4][5]

text: In humans, the cycle of building and shedding the endometrial lining lasts an average of 28 days. The endometrium develops at different rates in different mammals. Various factors including the seasons, climate, and stress can affect its development. The endometrium itself produces certain hormones at different stages of the cycle and this affects other parts of the reproductive system.

text: Gene and protein expression[edit]

text: About 20,000 protein coding genes are expressed in human cells and some 70% of these genes are expressed in the normal endometrium.[6][7] Just over 100 of these genes are more specifically expressed in the endometrium with only a handful genes being highly endometrium specific. The corresponding specific proteins are expressed in the glandular and stromal cells of the endometrial mucosa. The expression of many of these proteins vary depending on the menstrual cycle, for example the progestorone receptor and thyrotropin-releasing hormone both expressed in the proliferative phase, and PAEP expressed in the secretory phase. Other proteins such as the HOX11 protein that is required for female fertility, is expressed in endometrial stroma cells throughout the menstrual cycle. Certain specific proteins such as the estrogen receptor are also expressed in other types of female tissue types, such as the cervix, fallopian tubes, ovaries and breast.[8]

text: Clinical significance[edit]

text: Chorionic tissue can result in marked endometrial changes, known as an Arias-Stella reaction, that have an appearance similar to cancer.[9] Historically, this change was diagnosed as endometrial cancer and it is important only in so far as it should not be misdiagnosed as cancer.

text:
Adenomyosis is the growth of the endometrium into the muscle layer of the uterus (the myometrium).
Endometriosis is the growth of endometrial tissue outside the uterus.
Endometrial hyperplasia
Endometrial cancer is the most common cancer of the human female genital tract.
Asherman's syndrome, also known as intrauterine adhesions occurs when the basal layer of the endometrium is damaged by instrumentation (e.g., D&C) or infection (e.g., endometrial tuberculosis) resulting in endometrial sclerosis and adhesion formation partially or completely obliterating the uterine cavity.

text: Thin endometrium may be defined as an endometrial thickness of less than 8 mm. It usually occurs after menopause. Treatments that can improve endometrial thickness include Vitamin E, L-arginine and sildenafil citrate.[10]

text: Gene expression profiling using cDNA microarray can be used for the diagnosis of endometrial disorders.[11] The European Menopause and Andropause Society (EMAS) released Guidelines with detailed information to assess the endometrium. [12]

text: Embryo transfer[edit]

text: An endometrial thickness (EMT) of less than 7 mm decreases the pregnancy rate in in vitro fertilization by an odds ratio of approximately 0.4 compared to an EMT of over 7 mm. However, such low thickness rarely occurs, and any routine use of this parameter is regarded as not justified.[13]

text: Observation of the endometrium by transvaginal ultrasonography is used when administering fertility medication, such as in in vitro fertilization. At the time of embryo transfer, it is favorable to have an endometrium of a thickness of between 7 and 14 mm with a triple-line configuration,[14] which means that the endometrium contains a hyperechoic (usually displayed as light) line in the middle surrounded by two more hypoechoic (darker) lines. A triple-line endometrium reflects the separation of the stratum basalis and functionalis layers, and is also observed in the periovulatory period secondary to rising estradiol levels, and disappears after ovulation.[15]

text: Microbiome[edit]

text: The endometrium was once thought to be sterile. Instead, a resident, non-pathogenic, and diverse population of microorganisms are present in healthy tissue. The uterus and its tissues are not sterile.[16][17][18][19]

text: The first studies of flora colonizing the human endometrium were published in 2015, were on special populations, and were too small from which to generalize. In one study of 58 women undergoing hysterectomy, investigators looked for 12 species of bacteria; Lactobacillus and Prevotella were the most commonly detected species and overall density was much lower than vaginal colonization. In another study of 22 infertile women undergoing fertility treatments, Lactobacillus and Flavobacterium were most prevalent, and characteristics of the flora were roughly similar in women who became pregnant and those who didn't.[3]

text: Additional images[edit]

text:
The initial stages of human embryogenesis

Vertical section of mucous membrane of human uterus.

Endometrioid adenocarcinoma from biopsy. H&E stain.

Micrograph of the endometrium.

Micrograph of decidualized endometrium due to exogenous progesterone. H&E stain.

Micrograph of decidualized endometrium due to exogenous progesterone. H&E stain.

Micrograph showing endometrial stromal condensation, a finding seen in menses.


document_title: Pork tenderloin

question_text: where does pork tenderloin come from on a pig

text: Pork tenderloin

text: This article does not cite any sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2012) (Learn how and when to remove this template message)

text: The pork tenderloin, also called pork fillet, is a long thin cut of pork.

text: As with all quadrupeds, the tenderloin refers to the psoas major muscle along the central spine portion, ventral to the lumbar vertebrae. This is the most tender part of the animal, because these muscles are used for posture, rather than locomotion.

text: American products and uses[edit]

text: In some countries, such as the US, pork tenderloin can be bought as a processed product, already flavored with a marinade. A common American dish is a pork tenderloin sandwich (also called simply a "tenderloin") – a very thinly sliced piece of pork, usually the larger, tougher loineye (longissimus) muscle, uniquely battered and breaded, which is deep fried and served in a hamburger bun, usually with garnishes such as mustard, ketchup, pickle and onions. This sandwich is generally sold in the US Midwest, especially in the state of Indiana. In the southern states, tenderloin is often prepared as a breakfast biscuit, usually with egg or cheese. It is quite common for pork tenderloin to be used as an alternative to beef tenderloin (usually called beef fillet in the UK), as it can be just as tender but costs significantly less.

text: Alton Brown's television show Good Eats includes an episode about pork tenderloin, "Tender is the Pork".


document_title: Macbeth

question_text: what is the setting of the play macbeth

question_tokens: what is the setting of the play macbeth

text: Macbeth

text: Characters[edit]

text:
Duncan – King of Scotland

Malcolm – Duncan's elder son
Donalbain – Duncan's younger son

Macbeth – a general in the army of King Duncan; originally Thane of Glamis, then Thane of Cawdor, and later King of Scotland
Lady Macbeth – Macbeth's wife, and later Queen of Scotland
Banquo – Macbeth's friend and a general in the army of King Duncan

Fleance – Banquo's son

Macduff – Thane of Fife

Lady Macduff – Macduff's wife
Macduff's son

Ross, Lennox, Angus, Menteith, Caithness – Scottish Thanes
Siward – general of the English forces

Young Siward – Siward's son

Seyton – Macbeth's armourer
Hecate – Queen of the witches
Three Witches
Captain – in the Scottish army
Three Murderers – employed by Macbeth

Third Murderer

Two Murderers – attack Lady Macduff
Porter – gatekeeper at Macbeth's home
Doctor – Lady Macbeth's doctor
Doctor – at the English court
Gentlewoman – Lady Macbeth's caretaker
Lord – opposed to Macbeth
First Apparition – armed head
Second Apparition – bloody child
Third Apparition – crowned child
Attendants, Messengers, Servants, Soldiers

text: Plot[edit]

text: Act I[edit]

text: The play opens amidst thunder and lightning, and the Three Witches decide that their next meeting shall be with Macbeth. In the following scene, a wounded sergeant reports to King Duncan of Scotland that his generals—Macbeth, who is the Thane of Glamis, and Banquo—have just defeated the allied forces of Norway and Ireland, who were led by the traitorous Macdonwald, the Thane of Cawdor. Macbeth, the King's kinsman, is praised for his bravery and fighting prowess.

text: In the following scene, Macbeth and Banquo discuss the weather and their victory. As they wander onto a heath, the Three Witches enter and greet them with prophecies. Though Banquo challenges them first, they address Macbeth, hailing him as "Thane of Glamis," "Thane of Cawdor," and that he shall "be King hereafter." Macbeth appears to be stunned to silence. When Banquo asks of his own fortunes, the witches respond paradoxically, saying that he will be less than Macbeth, yet happier, less successful, yet more. He will father a line of kings though he himself will not be one. While the two men wonder at these pronouncements, the witches vanish, and another thane, Ross, arrives and informs Macbeth of his newly bestowed title: Thane of Cawdor. The first prophecy is thus fulfilled, and Macbeth, previously sceptical, immediately begins to harbour ambitions of becoming king.

text: King Duncan welcomes and praises Macbeth and Banquo, and declares that he will spend the night at Macbeth's castle at Inverness; he also names his son Malcolm as his heir. Macbeth sends a message ahead to his wife, Lady Macbeth, telling her about the witches' prophecies. Lady Macbeth suffers none of her husband's uncertainty and wishes him to murder Duncan in order to obtain kingship. When Macbeth arrives at Inverness, she overrides all of her husband's objections by challenging his manhood and successfully persuades him to kill the king that very night. He and Lady Macbeth plan to get Duncan's two chamberlains drunk so that they will black out; the next morning they will blame the chamberlains for the murder. They will be defenceless as they will remember nothing.

text: Act II[edit]

text: While Duncan is asleep, Macbeth stabs him, despite his doubts and a number of supernatural portents, including a hallucination of a bloody dagger. He is so shaken that Lady Macbeth has to take charge. In accordance with her plan, she frames Duncan's sleeping servants for the murder by placing bloody daggers on them. Early the next morning, Lennox, a Scottish nobleman, and Macduff, the loyal Thane of Fife, arrive. A porter opens the gate and Macbeth leads them to the king's chamber, where Macduff discovers Duncan's body. Macbeth murders the guards to prevent them from professing their innocence, but claims he did so in a fit of anger over their misdeeds. Duncan's sons Malcolm and Donalbain flee to England and Ireland, respectively, fearing that whoever killed Duncan desires their demise as well. The rightful heirs' flight makes them suspects and Macbeth assumes the throne as the new King of Scotland as a kinsman of the dead king. Banquo reveals this to the audience, and while sceptical of the new King Macbeth, he remembers the witches' prophecy about how his own descendants would inherit the throne; this makes him suspicious of Macbeth.

text: Act III[edit]

text: Despite his success, Macbeth, also aware of this part of the prophecy, remains uneasy. Macbeth invites Banquo to a royal banquet, where he discovers that Banquo and his young son, Fleance, will be riding out that night. Fearing Banquo's suspicions, Macbeth arranges to have him murdered, by hiring two men to kill them, later sending a Third Murderer. The assassins succeed in killing Banquo, but Fleance escapes. Macbeth becomes furious: he fears that his power remains insecure as long as an heir of Banquo remains alive.

text: At a banquet, Macbeth invites his lords and Lady Macbeth to a night of drinking and merriment. Banquo's ghost enters and sits in Macbeth's place. Macbeth raves fearfully, startling his guests, as the ghost is only visible to himself. The others panic at the sight of Macbeth raging at an empty chair, until a desperate Lady Macbeth tells them that her husband is merely afflicted with a familiar and harmless malady. The ghost departs and returns once more, causing the same riotous anger and fear in Macbeth. This time, Lady Macbeth tells the lords to leave, and they do so.

text: Act IV[edit]

text: Macbeth, disturbed, visits the three witches once more and asks them to reveal the truth of their prophecies to him. To answer his questions, they summon horrible apparitions, each of which offers predictions and further prophecies to put Macbeth's fears at rest. First, they conjure an armoured head, which tells him to beware of Macduff (IV.i.72). Second, a bloody child tells him that no one born of a woman shall be able to harm him. Thirdly, a crowned child holding a tree states that Macbeth will be safe until Great Birnam Wood comes to Dunsinane Hill. Macbeth is relieved and feels secure because he knows that all men are born of women and forests cannot move. Macbeth also asks whether Banquo's sons will ever reign in Scotland: the witches conjure a procession of eight crowned kings, all similar in appearance to Banquo, and the last carrying a mirror that reflects even more kings. Macbeth realises that these are all Banquo's descendants having acquired kingship in numerous countries. After the witches perform a mad dance and leave, Lennox enters and tells Macbeth that Macduff has fled to England. Macbeth orders Macduff's castle be seized, and, most cruelly, sends murderers to slaughter Macduff, as well as Macduff's wife and children. Although Macduff is no longer in the castle, everyone in Macduff's castle is put to death, including Lady Macduff and their young son.

text: Act V[edit]

text: Meanwhile, Lady Macbeth becomes racked with guilt from the crimes she and her husband have committed. 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 Duncan, Lady Macduff, and Banquo, she tries to wash off imaginary bloodstains from her hands, all the while speaking of the terrible things she knows she pressed her husband to do. She leaves, and the doctor and gentlewoman marvel at her descent into madness. Her belief that nothing can wash away the blood on her hands is an ironic reversal of her earlier claim to Macbeth that "[a] little water clears us of this deed" (II.ii.66).

text: In England, Macduff is informed by Ross that his "castle is surprised; wife and babes / Savagely slaughter'd" (IV.iii.204–05). When this news of his family's execution reaches him, Macduff is stricken with grief and vows revenge. Prince Malcolm, Duncan's son, has succeeded in raising an army in England, and Macduff joins him as he rides to Scotland to challenge Macbeth's forces. The invasion has the support of the Scottish nobles, who are appalled and frightened by Macbeth's tyrannical and murderous behaviour. Malcolm leads an army, along with Macduff and Englishmen Siward (the Elder), the Earl of Northumberland, against Dunsinane Castle. While encamped in Birnam Wood, the soldiers are ordered to cut down and carry tree limbs to camouflage their numbers.

text: Before Macbeth's opponents arrive, he receives news that Lady Macbeth has killed herself, causing him to sink into a deep and pessimistic despair and deliver his "Tomorrow, and tomorrow, and tomorrow" soliloquy (V.v.17–28). Though he reflects on the brevity and meaninglessness of life, he nevertheless awaits the English and fortifies Dunsinane. He is certain that the witches' prophecies guarantee his invincibility, but is struck with fear when he learns that the English army is advancing on Dunsinane shielded with boughs cut from Birnam Wood, in apparent fulfillment of one of the prophecies.

text: A battle culminates in Macduff's confrontation with Macbeth, who kills Young Siward in combat. The English forces overwhelm his army and castle. Macbeth boasts that he has no reason to fear Macduff, for he cannot be killed by any man born of woman. Macduff declares that he was "from his mother's womb / Untimely ripp'd" (V.8.15–16), (i.e., born by Caesarean section) and is not "of woman born" (an example of a literary quibble), fulfilling the second prophecy. Macbeth realises too late that he has misinterpreted the witches' words. Though he realises that he is doomed, he continues to fight. Macduff kills and beheads him, thus fulfilling the remaining prophecy.

text: Macduff carries Macbeth's head onstage and Malcolm discusses how order has been restored. His last reference to Lady Macbeth, however, reveals "'tis thought, by self and violent hands / Took off her life" (V.ix.71–72), but the method of her suicide is undisclosed. Malcolm, now the King of Scotland, declares his benevolent intentions for the country and invites all to see him crowned at Scone.

text: Although Malcolm, and not Fleance, is placed on the throne, the witches' prophecy concerning Banquo ("Thou shalt get kings") was known to the audience of Shakespeare's time to be true: James VI of Scotland (later also James I of England) was supposedly a descendant of Banquo.[5]

text: Sources[edit]

text: A principal source comes from the Daemonologie of King James published in 1597 which included a news pamphlet titled Newes from Scotland that detailed the famous North Berwick Witch Trials of 1590. The publication of Daemonologie came just a few years before the tragedy of Macbeth with the themes and setting in a direct and comparative contrast with King James' personal experiences with witchcraft. Not only had this trial taken place in Scotland, the witches involved were recorded to have also conducted rituals with the same mannerisms as the three witches. One of the evidenced passages is referenced when the witches involved in the trial confessed to attempt the use of witchcraft to raise a tempest and sabotage the very boat King James and his queen were on board during their return trip from Denmark. This was significant as one ship sailing with King James' fleet actually sank in the storm. The following quote from Macbeth is one such reference:[7]

text: "purposely to be cassin into the sea to raise winds for destruction of ships." – Macbeth, I. iii. 15–25.

text: Macbeth has been compared to Shakespeare's Antony and Cleopatra. Both Antony and Macbeth as characters seek a new world, even at the cost of the old one. Both are fighting for a throne and have a 'nemesis' to face to achieve that throne. For Antony, the nemesis is Octavius; for Macbeth, it is Banquo. At one point Macbeth even compares himself to Antony, saying "under Banquo / My Genius is rebuk'd, as it is said / Mark Antony's was by Caesar." Lastly, both plays contain powerful and manipulative female figures: Cleopatra and Lady Macbeth.[8]

text: Shakespeare borrowed the story from several tales in Holinshed's Chronicles, a popular history of the British Isles well known to Shakespeare and his contemporaries. In Chronicles, a man named Donwald finds several of his family put to death by his king, King Duff, for dealing with witches. After being pressured by his wife, he and four of his servants kill the King in his own house. In Chronicles, Macbeth is portrayed as struggling to support the kingdom in the face of King Duncan's ineptitude. He and Banquo meet the three witches, who make exactly the same prophecies as in Shakespeare's version. Macbeth and Banquo then together plot the murder of Duncan, at Lady Macbeth's urging. Macbeth has a long, ten-year reign before eventually being overthrown by Macduff and Malcolm. The parallels between the two versions are clear. However, some scholars think that George Buchanan's Rerum Scoticarum Historia matches Shakespeare's version more closely. Buchanan's work was available in Latin in Shakespeare's day.[9]

text: No other version of the story has Macbeth kill the king in Macbeth's own castle. Scholars have seen this change of Shakespeare's as adding to the darkness of Macbeth's crime as the worst violation of hospitality. Versions of the story that were common at the time had Duncan being killed in an ambush at Inverness, not in a castle. Shakespeare conflated the story of Donwald and King Duff in what was a significant change to the story.[10]

text: Shakespeare made another important change. In Chronicles, Banquo is an accomplice in Macbeth's murder of King Duncan, and plays an important part in ensuring that Macbeth, not Malcolm, takes the throne in the coup that follows.[11] In Shakespeare's day, Banquo was thought to be an ancestor of the Stuart King James I.[12] (In the 19th century it was established that Banquo is an unhistorical character, the Stuarts are actually descended from a Breton family which migrated to Scotland slightly later than Macbeth's time.) The Banquo portrayed in earlier sources is significantly different from the Banquo created by Shakespeare. Critics have proposed several reasons for this change. First, to portray the king's ancestor as a murderer would have been risky. Other authors of the time who wrote about Banquo, such as Jean de Schelandre in his Stuartide, also changed history by portraying Banquo as a noble man, not a murderer, probably for the same reasons.[13] Second, Shakespeare may have altered Banquo's character simply because there was no dramatic need for another accomplice to the murder; there was, however, a need to give a dramatic contrast to Macbeth—a role which many scholars argue is filled by Banquo.[11]

text: Other scholars maintain that a strong argument can be made for associating the tragedy with the Gunpowder Plot of 1605.[4] As presented by Harold Bloom in 2008: "[S]cholars cite the existence of several topical references in Macbeth to the events of that year, namely the execution of the Rev. Henry Garnett for his alleged complicity in the Gunpowder Plot of 1605, as referenced in the porter's scene."[4]

text: Date and text[edit]

text: Macbeth cannot be dated precisely but it is usually dated as contemporaneous to the other canonical tragedies (King Lear, Hamlet, and Othello).[14] Some scholars have placed the original writing of the play as early as 1599.[4] As the play is widely seen to celebrate King James' ancestors and the Stuart accession to the throne in 1603 (James believed himself to be descended from Banquo),[15] most scholars believe that the play is unlikely to have been composed earlier than 1603 and suggest that the parade of eight kings—which the witches show Macbeth in a vision in Act IV—is a compliment to King James. Many scholars think the play was written in 1606 in the aftermath of the Gunpowder Plot because of possible internal allusions to the 1605 plot and its ensuing trials.[16] In fact, there are a great number of allusions and possible pieces of evidence alluding to the Plot, and, for this reason, a great many critics agree that Macbeth was written in the year 1606.[17][18][19][20] Lady Macbeth's instructions to her husband, "Look like the innocent flower, but be the serpent under't" (1.5.74–75), may be an allusion to a medal that was struck in 1605 to commemorate King James' escape that depicted a serpent hiding among lilies and roses.[21]

text: Particularly, the Porter's speech (2.3.1–21) in which he welcomes an "equivocator", a farmer, and a tailor to hell (2.3.8–13), has been argued to be an allusion to the 28 March 1606 trial and execution on 3 May 1606 of the Jesuit Henry Garnet, who used the alias "Farmer", with "equivocator" referring to Garnet's defence of "equivocation".[22][23] The porter says that the equivocator "committed treason enough for God's sake" (2.3.9–10), which specifically connects equivocation and treason and ties it to the Jesuit belief that equivocation was only lawful when used "for God's sake", strengthening the allusion to Garnet. The porter goes on to say that the equivocator "yet could not equivocate to heaven" (2.3.10–11), echoing grim jokes that were current on the eve of Garnet's execution: i.e. that Garnet would be "hanged without equivocation" and at his execution he was asked "not to equivocate with his last breath."[24] The "English tailor" the porter admits to hell (2.3.13), has been seen as an allusion to Hugh Griffin, a tailor who was questioned by the Archbishop of Canterbury on 27 November and 3 December 1607 for the part he played in Garnet's "miraculous straw", an infamous head of straw that was stained with Garnet's blood that had congealed into a form resembling Garnet's portrait, which was hailed by Catholics as a miracle. The tailor Griffin became notorious and the subject of verses published with his portrait on the title page.[25]

text: When James became king of England, a feeling of uncertainty settled over the nation. James was a Scottish king and the son of Mary, Queen of Scots, a staunch Catholic and English traitor. In the words of critic Jonathan Gil Harris, "Macbeth was a play for a post-Elizabethan England facing up to what it might mean to have a Scottish king. England seems comparatively benign while its northern neighbour is mired in a bloody, monarch-killing past...Macbeth may have been set in medieval Scotland, but it was filled with material of interest to England and England's ruler."[26] Critics argue that the content of the play is clearly a message to James, the new Scottish King of England. Garry Wills provides further evidence that Macbeth is a Gunpowder Play (a type of play that emerged immediately following the events of the Gunpowder Plot). He points out that every Gunpowder Play contains "a necromancy scene, regicide attempted or completed, references to equivocation, scenes that test loyalty by use of deceptive language, and a character who sees through plots—along with a vocabulary similar to the Plot in its immediate aftermath (words like train, blow, vault) and an ironic recoil of the Plot upon the Plotters (who fall into the pit they dug)."[17]

text: The play utilizes a few key words that the audience at the time would recognize as allusions to the Plot. In one sermon in 1605, Lancelot Andrewes stated, regarding the failure of the Plotters on God's day, "Be they fair or foul, glad or sad (as the poet calleth Him) the great Diespiter, 'the Father of days' hath made them both." Shakespeare begins the play by using the words "fair" and "foul" in the first speeches of the witches and Macbeth. In the words of Jonathan Gil Harris, the play expresses the "horror unleashed by a supposedly loyal subject who seeks to kill a king and the treasonous role of equivocation. The play even echoes certain keywords from the scandal – the 'vault' beneath the House of Parliament in which Guy Fawkes stored thirty kegs of gunpowder and the 'blow' about which one of the conspirators had secretly warned a relative who planned to attend the House of Parliament on 5 November...Even though the Plot is never alluded to directly, its presence is everywhere in the play, like a pervasive odor."[27]

text: Scholars also cite an entertainment seen by King James at Oxford in the summer of 1605 that featured three "sibyls" like the weird sisters; Kermode surmises that Shakespeare could have heard about this and alluded to it with the weird sisters.[28] However, A. R. Braunmuller in the New Cambridge edition finds the 1605–06 arguments inconclusive, and argues only for an earliest date of 1603.[29]

text: One suggested allusion supporting a date in late 1606 is the first witch's dialogue about a sailor's wife: "'Aroint thee, witch!' the rump-fed ronyon cries./Her husband's to Aleppo gone, master o' the Tiger" (1.3.6–7). This has been thought to allude to the Tiger, a ship that returned to England 27 June 1606 after a disastrous voyage in which many of the crew were killed by pirates. A few lines later the witch speaks of the sailor, "He shall live a man forbid:/Weary se'nnights nine times nine" (1.3.21–22). The real ship was at sea 567 days, the product of 7x9x9, which has been taken as a confirmation of the allusion, which if correct, confirms that the witch scenes were either written or amended later than July 1606.[30]

text: The play is not considered to have been written any later than 1607, since, as Kermode notes, there are "fairly clear allusions to the play in 1607."[28] One notable reference is in Francis Beaumont's Knight of the Burning Pestle, first performed in 1607.[31][32] The following lines (Act V, Scene 1, 24–30) are, according to scholars,[33][34] a clear allusion to the scene in which Banquo's ghost haunts Macbeth at the dinner table:

text:
When thou art at thy table with thy friends,
Merry in heart, and filled with swelling wine,
I'll come in midst of all thy pride and mirth,
Invisible to all men but thyself,
And whisper such a sad tale in thine ear
Shall make thee let the cup fall from thy hand,
And stand as mute and pale as death itself.[35]

text: Macbeth was first printed in the First Folio of 1623 and the Folio is the only source for the text. Some scholars contend that the Folio text was abridged and rearranged from an earlier manuscript or prompt book.[36] Often cited as interpolation are stage cues for two songs, whose lyrics are not included in the Folio but are included in Thomas Middleton's play The Witch, which was written between the accepted date for Macbeth (1606) and the printing of the Folio.[37] Many scholars believe these songs were editorially inserted into the Folio, though whether they were Middleton's songs or preexisting songs is not certain.[38] It is also widely believed that the character of Hecate, as well as some lines of the First Witch (4.1 124–31), were not part of Shakespeare's original play but were added by the Folio editors and possibly written by Middleton,[39] though "there is no completely objective proof" of such interpolation.[40]

text: Pronunciations[edit]

text: The 'reconstructive movement' was concerned with the recreation of Elizabethan acting conditions, and would eventually lead to the creation of Shakespeare's Globe and similar replicas. One of the movement's offshoots was in the reconstruction of Elizabethan pronunciation: for example Bernard Miles' 1951 Macbeth, for which linguists from University College London were employed to create a transcript of the play in Elizabethan English, then an audio recording of that transcription, from which the actors, in turn, learned their lines.[41]

text: The pronunciation of many words evolves over time. In Shakespeare's day, for example, "heath" was pronounced as "heth" ("or a slightly elongated 'e' as in the modern 'get'"[42]), so it rhymed with "Macbeth" in the sentences by the Witches at the beginning of the play:[43]

text:
Second Witch: Upon the heath.
Third Witch: There to meet with Macbeth.

text: A scholar of antique pronunciation writes, "Heath would have made a close (if not exact) rhyme with the "-eth" of Macbeth, which was pronounced with a short 'i' as in 'it'."[42]

text: In the theatre programme notes, "much was made of how OP [Original Pronunciation] performance reintroduces lost rhymes such as the final couplet: 'So thanks to all at once, and each to one, / Whom we invite to see us crowned at Scone'" (5.11.40–41) where 'one' sounds like 'own'. The Witches, the play's great purveyors of rhyme, benefited most in this regard. So, 'babe' (4.1.30) sounded like 'bab' and rhymed with 'drab' (4.1.31)..."[43]

text: Eoin Price wrote, "I found the OP rendition of Banquo's brilliant question 'Or have we eaten on the insane root / That takes the raison prisoner?' unduly amusing"; and he adds,

text: :... 'fear' had two pronunciations: the standard modern pronunciation being one, and 'fair' being the other. Mostly, the actors seemed to pronounce it in a way which accords with the modern standard, but during one speech, Macbeth said 'fair'. This seems especially significant in a play determined to complicate the relationship between 'fair' and 'foul'. I wonder, then, if the punning could be extended throughout the production. Would Banquo's lines, 'Good sir, why do you start and seem to fear / Things that do sound so fair?' (1.3.49–50) be fascinatingly illuminated, or merely muddled, by this punning? Perhaps this is a possibility the cast already experimented with and chose to discard, but, for sure, an awareness of the possibility of a 'fair/fear' pun can have interesting ramifications for the play.

text: Themes and motifs[edit]

text:
"Macbeth
The Prince of Cumberland! That is a step
On which I must fall down, or else o'erleap,
For in my way it lies. Stars, hide your fires;
Let not light see my black and deep desires.
The eye wink at the hand; yet let that be
Which the eye fears, when it is done, to see."

—Macbeth, Act I, Scene IV

tag: div

text: Macbeth is an anomaly among Shakespeare's tragedies in certain critical ways. It is short: more than a thousand lines shorter than Othello and King Lear, and only slightly more than half as long as Hamlet. This brevity has suggested to many critics that the received version is based on a heavily cut source, perhaps a prompt-book for a particular performance. That brevity has also been connected to other unusual features: the fast pace of the first act, which has seemed to be "stripped for action"; the comparative flatness of the characters other than Macbeth; and the oddness of Macbeth himself compared with other Shakespearean tragic heroes.[clarification needed]

text: As a tragedy of character[edit]

text: At least since the days of Alexander Pope and Samuel Johnson, analysis of the play has centred on the question of Macbeth's ambition, commonly seen as so dominant a trait that it defines the character. Johnson asserted that Macbeth, though esteemed for his military bravery, is wholly reviled. This opinion recurs in critical literature, and, according to Caroline Spurgeon, is supported by Shakespeare himself, who apparently intended to degrade his hero by vesting him with clothes unsuited to him and to make Macbeth look ridiculous by several nimisms he applies: His garments seem either too big or too small for him – as his ambition is too big and his character too small for his new and unrightful role as king. When he feels as if "dressed in borrowed robes", after his new title as Thane of Cawdor, prophesied by the witches, has been confirmed by Ross (I, 3, ll. 108–09), Banquo comments: "New honours come upon him, / Like our strange garments, cleave not to their mould, / But with the aid of use" (I, 3, ll. 145–46). And, at the end, when the tyrant is at bay at Dunsinane, Caithness sees him as a man trying in vain to fasten a large garment on him with too small a belt: "He cannot buckle his distemper'd cause / Within the belt of rule" (V, 2, ll. 14–15), while Angus, in a similar nimism, sums up what everybody thinks ever since Macbeth's accession to power: "now does he feel his title / Hang loose about him, like a giant's robe / upon a dwarfish thief" (V, 2, ll. 18–20).[44]

text: Like Richard III, but without that character's perversely appealing exuberance, Macbeth wades through blood until his inevitable fall. As Kenneth Muir writes, "Macbeth has not a predisposition to murder; he has merely an inordinate ambition that makes murder itself seem to be a lesser evil than failure to achieve the crown." Some critics, such as E. E. Stoll, explain this characterisation as a holdover from Senecan or medieval tradition. Shakespeare's audience, in this view, expected villains to be wholly bad, and Senecan style, far from prohibiting a villainous protagonist, all but demanded it.

text: Yet for other critics, it has not been so easy to resolve the question of Macbeth's motivation. Robert Bridges, for instance, perceived a paradox: a character able to express such convincing horror before Duncan's murder would likely be incapable of committing the crime. For many critics, Macbeth's motivations in the first act appear vague and insufficient. John Dover Wilson hypothesised that Shakespeare's original text had an extra scene or scenes where husband and wife discussed their plans. This interpretation is not fully provable; however, the motivating role of ambition for Macbeth is universally recognised. The evil actions motivated by his ambition seem to trap him in a cycle of increasing evil, as Macbeth himself recognises: "I am in blood/Stepp'd in so far that, should I wade no more,/Returning were as tedious as go o'er."

text: While working on Russian translations of Shakespeare's works, Boris Pasternak compared Macbeth to Raskolnikov, the protagonist of Crime and Punishment by Fyodor Dostoevsky. Pasternak argues that "neither Macbeth or Raskolnikov is a born criminal or a villain by nature. They are turned into criminals by faulty rationalizations, by deductions from false premises." He goes on to argue that Lady Macbeth is "feminine ... one of those active, insistent wives" who becomes her husband's "executive, more resolute and consistent than he is himself." According to Pasternak, she is only helping Macbeth carry out his own wishes, to her own detriment.[45]

text: As a tragedy of moral order[edit]

text: The disastrous consequences of Macbeth's ambition are not limited to him. Almost from the moment of the murder, the play depicts Scotland as a land shaken by inversions of the natural order. Shakespeare may have intended a reference to the great chain of being, although the play's images of disorder are mostly not specific enough to support detailed intellectual readings. He may also have intended an elaborate compliment to James's belief in the divine right of kings, although this hypothesis, outlined at greatest length by Henry N. Paul, is not universally accepted. As in Julius Caesar, though, perturbations in the political sphere are echoed and even amplified by events in the material world. Among the most often depicted of the inversions of the natural order is sleep. Macbeth's announcement that he has "murdered sleep" is figuratively mirrored in Lady Macbeth's sleepwalking.

text: Macbeth's generally accepted indebtedness to medieval tragedy is often seen as significant in the play's treatment of moral order. Glynne Wickham connects the play, through the Porter, to a mystery play on the harrowing of hell. Howard Felperin argues that the play has a more complex attitude toward "orthodox Christian tragedy" than is often admitted; he sees a kinship between the play and the tyrant plays within the medieval liturgical drama.

text: The theme of androgyny is often seen as a special aspect of the theme of disorder. Inversion of normative gender roles is most famously associated with the witches and with Lady Macbeth as she appears in the first act. Whatever Shakespeare's degree of sympathy with such inversions, the play ends with a thorough return to normative gender values. Some feminist psychoanalytic critics, such as Janet Adelman, have connected the play's treatment of gender roles to its larger theme of inverted natural order. In this light, Macbeth is punished for his violation of the moral order by being removed from the cycles of nature (which are figured as female); nature itself (as embodied in the movement of Birnam Wood) is part of the restoration of moral order.

text: As a poetic tragedy[edit]

text: Critics in the early twentieth century reacted against what they saw as an excessive dependence on the study of character in criticism of the play. This dependence, though most closely associated with Andrew Cecil Bradley, is clear as early as the time of Mary Cowden Clarke, who offered precise, if fanciful, accounts of the predramatic lives of Shakespeare's female leads. She suggested, for instance, that the child Lady Macbeth refers to in the first act died during a foolish military action.

text: Witchcraft and evil[edit]

text: In the play, the Three Witches represent darkness, chaos, and conflict, while their role is as agents and witnesses.[46] Their presence communicates treason and impending doom. During Shakespeare's day, witches were seen as worse than rebels, "the most notorious traytor and rebell that can be."[47] They were not only political traitors, but spiritual traitors as well. Much of the confusion that springs from them comes from their ability to straddle the play's borders between reality and the supernatural. They are so deeply entrenched in both worlds that it is unclear whether they control fate, or whether they are merely its agents. They defy logic, not being subject to the rules of the real world.[48] The witches' lines in the first act: "Fair is foul, and foul is fair: Hover through the fog and filthy air" are often said to set the tone for the rest of the play by establishing a sense of confusion. Indeed, the play is filled with situations where evil is depicted as good, while good is rendered evil. The line "Double, double toil and trouble," communicates the witches' intent clearly: they seek only trouble for the mortals around them.[49] The witches' spells are remarkably similar to the spells of the witch Medusa in Anthony Munday's play Fidele and Fortunio published in 1584, and Shakespeare may have been influenced by these.

text: While the witches do not tell Macbeth directly to kill King Duncan, they use a subtle form of temptation when they tell Macbeth that he is destined to be king. By placing this thought in his mind, they effectively guide him on the path to his own destruction. This follows the pattern of temptation used at the time of Shakespeare. First, they argued, a thought is put in a man's mind, then the person may either indulge in the thought or reject it. Macbeth indulges in it, while Banquo rejects.[49]

text: According to J. A. Bryant Jr., Macbeth also makes use of Biblical parallels, notably between King Duncan's murder and the murder of Christ:

text: No matter how one looks at it, whether as history or as tragedy, Macbeth is distinctively Christian. One may simply count the Biblical allusions as Richmond Noble has done; one may go further and study the parallels between Shakespeare's story and the Old Testament stories of Saul and Jezebel as Miss Jane H. Jack has done; or one may examine with W. C. Curry the progressive degeneration of Macbeth from the point of view of medieval theology.[50][51]

text: Superstition and "The Scottish Play"[edit]

text: While many today would say that any misfortune surrounding a production is mere coincidence, actors and other theatre people often consider it bad luck to mention Macbeth by name while inside a theatre, and sometimes refer to it indirectly, for example as "the Scottish play",[52] or "MacBee", or when referring to the character and not the play, "Mr. and Mrs. M", or "The Scottish King".

text: This is because Shakespeare (or the play's revisers) are said to have used the spells of real witches in his text, purportedly angering the witches and causing them to curse the play.[53] Thus, to say the name of the play inside a theatre is believed to doom the production to failure, and perhaps cause physical injury or death to cast members. There are stories of accidents, misfortunes and even deaths taking place during runs of Macbeth.[52]

text: According to the actor Sir Donald Sinden, in his Sky Arts TV series Great West End Theatres,

text: contrary to popular myth, Shakespeare's tragedy Macbeth is not the unluckiest play as superstition likes to portray it. Exactly the opposite! The origin of the unfortunate moniker dates back to repertory theatre days when each town and village had at least one theatre to entertain the public. If a play was not doing well, it would invariably get 'pulled' and replaced with a sure-fire audience pleaser – Macbeth guaranteed full-houses. So when the weekly theatre newspaper, The Stage was published, listing what was on in each theatre in the country, it was instantly noticed what shows had NOT worked the previous week, as they had been replaced by a definite crowd-pleaser. More actors have died during performances of Hamlet than in the "Scottish play" as the profession still calls it. It is forbidden to quote from it backstage as this could cause the current play to collapse and have to be replaced, causing possible unemployment.[54]

text: Several methods exist to dispel the curse, depending on the actor. One, attributed to Michael York, is to immediately leave the building the stage is in with the person who uttered the name, walk around it three times, spit over their left shoulders, say an obscenity then wait to be invited back into the building.[55] A related practice is to spin around three times as fast as possible on the spot, sometimes accompanied by spitting over their shoulder, and uttering an obscenity. Another popular "ritual" is to leave the room, knock three times, be invited in, and then quote a line from Hamlet. Yet another is to recite lines from The Merchant of Venice, thought to be a lucky play.[56] Other sources cite A Midsummer Night's Dream as being a similarly lucky play.[citation needed]

text: Legacy[edit]

text: Performance history[edit]

text: Shakespeare's day to the Interregnum[edit]

text: The only eyewitness account of Macbeth in Shakespeare's lifetime was recorded by Simon Forman, who saw a performance at the Globe on 20 April 1610.[57][58] Scholars have noted discrepancies between Forman's account and the play as it appears in the Folio. For example, he makes no mention of the apparition scene, or of Hecate,[59] of the man not of woman born, or of Birnam Wood.[60] However, Clark[61] observes that Forman's accounts were often inaccurate and incomplete (for instance omitting the statue scene from The Winter's Tale) and his interest did not seem to be in "giving full accounts of the productions."[59]

text: As mentioned above, the Folio text is thought by some to be an alteration of the original play. This has led to the theory that the play as we know it from the Folio was an adaptation for indoor performance at the Blackfriars Theatre (which was operated by the King's Men from 1608) – and even speculation that it represents a specific performance before King James.[62] The play contains more musical cues than any other play in the canon as well as a significant use of sound effects.[63]

text: Restoration and eighteenth century[edit]

text:
"The chill of the grave seemed about you when you looked on her; there was the hush and damp of the charnel house at midnight ... your flesh crept and your breathing became uneasy ... the scent of blood became palpable to you."

—Sheridan Knowles on Sarah Siddons' sleepwalking scene[64]

text: All theatres were closed down by the Puritan government on 6 September 1642. Upon the restoration of the monarchy in 1660, two patent companies (the King's Company and the Duke's Company) were established, and the existing theatrical repertoire divided between them.[65] Sir William Davenant, founder of the Duke's Company, adapted Shakespeare's play to the tastes of the new era, and his version would dominate on stage for around eighty years. Among the changes he made were the expansion of the role of the witches, introducing new songs, dances and 'flying', and the expansion of the role of Lady Macduff as a foil to Lady Macbeth.[66] There were, however, performances outside the patent companies: among the evasions of the Duke's Company's monopoly was a puppet version of Macbeth.[67]

text: Macbeth was a favourite of the seventeenth-century diarist Samuel Pepys, who saw the play on 5 November 1664 ("admirably acted"), 28 December 1666 ("most excellently acted"), ten days later on 7 January 1667 ("though I saw it lately, yet [it] appears a most excellent play in all respects"), on 19 April 1667 ("one of the best plays for a stage ... that ever I saw"), again on 16 October 1667 ("was vexed to see Young, who is but a bad actor at best, act Macbeth in the room of Betterton, who, poor man! is sick"), and again three weeks later on 6 November 1667 ("[at] Macbeth, which we still like mightily"), yet again on 12 August 1668 ("saw Macbeth, to our great content"), and finally on 21 December 1668, on which date the king and court were also present in the audience.[68]

text: The first professional performances of Macbeth in North America were probably those of The Hallam Company.[69]

text: In 1744, David Garrick revived the play, abandoning Davenant's version and instead advertising it "as written by Shakespeare". In fact this claim was largely false: he retained much of Davenant's more popular business for the witches, and himself wrote a lengthy death speech for Macbeth. And he cut more than 10% of Shakespeare's play, including the drunken porter, the murder of Lady Macduff's son, and Malcolm's testing of Macduff.[70] Hannah Pritchard was his greatest stage partner, having her premiere as his Lady Macbeth in 1747. He would later drop the play from his repertoire upon her retirement from the stage.[71] Mrs. Pritchard was the first actress to achieve acclaim in the role of Lady Macbeth – at least partly due to the removal of Davenant's material, which made irrelevant moral contrasts with Lady Macduff.[72] Garrick's portrayal focused on the inner life of the character, endowing him with an innocence vacillating between good and evil, and betrayed by outside influences. He portrayed a man capable of observing himself, as if a part of him remained untouched by what he had done, the play moulding him into a man of sensibility, rather than him descending into a tyrant.[73]

text: John Philip Kemble first played Macbeth in 1778.[74] Although usually regarded as the antithesis of Garrick, Kemble nevertheless refined aspects of Garrick's portrayal into his own.[75] However it was the "towering and majestic" Sarah Siddons (Kemble's sister) who became a legend in the role of Lady Macbeth.[76] In contrast to Hannah Pritchard's savage, demonic portrayal, Siddons' Lady Macbeth, while terrifying, was nevertheless – in the scenes in which she expresses her regret and remorse – tenderly human.[77] And in portraying her actions as done out of love for her husband, Siddons deflected from him some of the moral responsibility for the play's carnage.[74] Audiences seem to have found the sleepwalking scene particularly mesmerising: Hazlitt said of it that "all her gestures were involuntary and mechanical ... She glided on and off the stage almost like an apparition."[78]

text: In 1794, Kemble dispensed with the ghost of Banquo altogether, allowing the audience to see Macbeth's reaction as his wife and guests see it, and relying upon the fact that the play was so well known that his audience would already be aware that a ghost enters at that point.[79]

text: Ferdinand Fleck, notable as the first German actor to present Shakespeare's tragic roles in their fullness, played Macbeth at the Berlin National Theatre from 1787. Unlike his English counterparts, he portrayed the character as achieving his stature after the murder of Duncan, growing in presence and confidence: thereby enabling stark contrasts, such as in the banquet scene, which he ended babbling like a child.[80]

text: Nineteenth century[edit]

text:
"Everyone seems to think Mrs McB is a Monstrousness & I can only see she's a woman – a mistaken woman – & weak – not a Dove – of course not – but first of all a wife."

—Ellen Terry[81]

text: Performances outside the patent theatres were instrumental in bringing the monopoly to an end. Robert Elliston, for example, produced a popular adaptation of Macbeth in 1809 at the Royal Circus described in its publicity as "this matchless piece of pantomimic and choral performance", which circumvented the illegality of speaking Shakespeare's words through mimed action, singing, and doggerel verse written by J. C. Cross.[82]

text: In 1809, in an unsuccessful attempt to take Covent Garden upmarket, Kemble installed private boxes, increasing admission prices to pay for the improvements. The inaugural run at the newly renovated theatre was Macbeth, which was disrupted for over two months with cries of "Old prices!" and "No private boxes!" until Kemble capitulated to the protestors' demands.[83]

text: Edmund Kean at Drury Lane gave a psychological portrayal of the central character, with a common touch, but was ultimately unsuccessful in the role. However he did pave the way for the most acclaimed performance of the nineteenth century, that of William Charles Macready.[84] Macready played the role over a 30-year period, firstly at Covent Garden in 1820 and finally in his retirement performance. Although his playing evolved over the years, it was noted throughout for the tension between the idealistic aspects and the weaker, venal aspects of Macbeth's character.[85] His staging was full of spectacle, including several elaborate royal processions.[85]

text: In 1843 the Theatres Regulation Act finally brought the patent companies' monopoly to an end.[86] From that time until the end of the Victorian era, London theatre was dominated by the actor-managers, and the style of presentation was "pictorial" – proscenium stages filled with spectacular stage-pictures, often featuring complex scenery, large casts in elaborate costumes, and frequent use of tableaux vivant.[87] Charles Kean (son of Edmund), at London's Princess's Theatre from 1850 to 1859, took an antiquarian view of Shakespeare performance, setting his Macbeth in a historically accurate eleventh-century Scotland.[88] His leading lady, Ellen Tree, created a sense of the character's inner life: The Times' critic saying "The countenance which she assumed ... when luring on Macbeth in his course of crime, was actually appalling in intensity, as if it denoted a hunger after guilt."[89] At the same time, special effects were becoming popular: for example in Samuel Phelps' Macbeth the witches performed behind green gauze, enabling them to appear and disappear using stage lighting.[90]

text: In 1849, rival performances of the play sparked the Astor Place Riot in Manhattan. The popular American actor Edwin Forrest, whose Macbeth was said to be like "the ferocious chief of a barbarous tribe"[91] played the central role at the Broadway Theatre to popular acclaim, while the "cerebral and patrician"[83] English actor Macready, playing the same role at the Astor Place Opera House, suffered constant heckling. The existing enmity between the two men (Forrest had openly hissed Macready at a recent performance of Hamlet in Britain) was taken up by Forrest's supporters – formed from the working class and lower middle class and anti-British agitators, keen to attack the upper-class pro-British patrons of the Opera House and the colonially-minded Macready. Nevertheless, Macready performed the role again three days later to a packed house while an angry mob gathered outside. The militia tasked with controlling the situation fired into the mob. In total, 31 rioters were killed and over 100 injured.[92]

text: Charlotte Cushman is unique among nineteenth century interpreters of Shakespeare in achieving stardom in roles of both genders. Her New York debut was as Lady Macbeth in 1836, and she would later be admired in London in the same role in the mid-1840s.[93] Helen Faucit was considered the embodiment of early-Victorian notions of femininity. But for this reason she largely failed when she eventually played Lady Macbeth in 1864: her serious attempt to embody the coarser aspects of Lady Macbeth's character jarred harshly with her public image.[94] Adelaide Ristori, the great Italian actress, brought her Lady Macbeth to London in 1863 in Italian, and again in 1873 in an English translation cut in such a way as to be, in effect, Lady Macbeth's tragedy.[95]

text: Henry Irving was the most successful of the late-Victorian actor-managers, but his Macbeth failed to curry favour with audiences. His desire for psychological credibility reduced certain aspects of the role: He described Macbeth as a brave soldier but a moral coward, and played him untroubled by conscience – clearly already contemplating the murder of Duncan before his encounter with the witches.[96] (Similar criticisms were made of Friedrich Mitterwurzer in Germany, whose performances of Macbeth had many unintentional parallels with Irving's.[97]) Irving's leading lady was Ellen Terry, but her Lady Macbeth was unsuccessful with the public, for whom a century of performances influenced by Sarah Siddons had created expectations at odds with Terry's conception of the role.[98]

text: Late nineteenth-century European Macbeths aimed for heroic stature, but at the expense of subtlety: Tommaso Salvini in Italy and Adalbert Matkowsky in Germany were said to inspire awe, but elicited little pity.[99]

text: 20th century to present[edit]

text:
"And then Lady Macbeth says 'He that's coming / Must be provided for.' It's an amazing line. She's going to play hostess to Duncan at Dunsinane, and 'provide' is what gracious hostesses always do. It's a wonder of a line to play because the reverberations do the acting for you, make the audience go 'Aaaagh!'"

—Sinéad Cusack[100]

text: Two developments changed the nature of Macbeth performance in the 20th century: first, developments in the craft of acting itself, especially the ideas of Stanislavski and Brecht; and second, the rise of the dictator as a political icon. The latter has not always assisted the performance: it is difficult to sympathise with a Macbeth based on Hitler, Stalin, or Idi Amin.[101]

text: Barry Jackson, at the Birmingham Repertory Theatre in 1923, was the first of the 20th-century directors to costume Macbeth in modern dress.[102]

text: In 1936, a decade before his film adaptation of the play, Orson Welles directed Macbeth for the Negro Theatre Unit of the Federal Theatre Project at the Lafayette Theatre in Harlem, using black actors and setting the action in Haiti: with drums and Voodoo rituals to establish the Witches scenes. The production, dubbed The Voodoo Macbeth, proved inflammatory in the aftermath of the Harlem riots, accused of making fun of black culture and as "a campaign to burlesque negroes" until Welles persuaded crowds that his use of black actors and voodoo made important cultural statements.[103]

text: A performance which is frequently referenced as an example of the play's curse was the outdoor production directed by Burgess Meredith in 1953 in the British colony of Bermuda, starring Charlton Heston. Using the imposing spectacle of Fort St. Catherine as a key element of the set, the production was plagued by a host of mishaps, including Charlton Heston being burned when his tights caught fire.[104][105]

text: The critical consensus is that there have been three great Macbeths on the English-speaking stage in the 20th century, all of them commencing at Stratford-upon-Avon: Laurence Olivier in 1955, Ian McKellen in 1976 and Antony Sher in 1999.[106] Olivier's portrayal (directed by Glen Byam Shaw, with Vivien Leigh as Lady Macbeth) was immediately hailed as a masterpiece. Kenneth Tynan expressed the view that it succeeded because Olivier built the role to a climax at the end of the play, whereas most actors spend all they have in the first two acts.[107]

text: The play caused grave difficulties for the Royal Shakespeare Company, especially at the (then) Shakespeare Memorial Theatre. Peter Hall's 1967 production was (in Michael Billington's words) "an acknowledged disaster" with the use of real leaves from Birnham Wood getting unsolicited first-night laughs, and Trevor Nunn's 1974 production was (Billington again) "an over-elaborate religious spectacle".[108] But Nunn achieved success for the RSC in his 1976 production at the intimate Other Place, with Ian McKellen and Judi Dench in the central roles.[109] A small cast worked within a simple circle, and McKellen's Macbeth had nothing noble or likeable about him, being a manipulator in a world of manipulative characters. They were a young couple, physically passionate, "not monsters but recognisable human beings",[110] but their relationship atrophied as the action progressed.[111]

text: In Soviet-controlled Prague in 1977, faced with the illegality of working in theatres, Pavel Kohout adapted Macbeth into a 75-minute abridgement for five actors, suitable for "bringing a show in a suitcase to people's homes".[112]

text: Spectacle was unfashionable in Western theatre throughout the 20th century. In East Asia, however, spectacular productions have achieved great success, including Yukio Ninagawa's 1980 production with Masane Tsukayama as Macbeth, set in the 16th century Japanese Civil War.[113] The same director's tour of London in 1987 was widely praised by critics, even though (like most of their audience) they were unable to understand the significance of Macbeth's gestures, the huge Buddhist altar dominating the set, or the petals falling from the cherry trees.[114] Xu Xiaozhong's 1980 Central Academy of Drama production in Beijing made every effort to be unpolitical (necessary in the aftermath of the Cultural Revolution): yet audiences still perceived correspondences between the central character (whom the director had actually modelled on Louis Napoleon) and Mao Zedong.[115] Shakespeare has often been adapted to indigenous theatre traditions, for example the Kunju Macbeth of Huang Zuolin performed at the inaugural Chinese Shakespeare Festival of 1986.[116] Similarly, B. V. Karanth's Barnam Vana of 1979 had adapted Macbeth to the Yakshagana tradition of Karnataka, India.[117] In 1997, Lokendra Arambam created Stage of Blood, merging a range of martial arts, dance and gymnastic styles from Manipur, performed in Imphal and in England. The stage was literally a raft on a lake.[118]

text: The RSC again achieved critical success in Gregory Doran's 1999 production at The Swan, with Antony Sher and Harriet Walter in the central roles, once again demonstrating the suitability of the play for smaller venues.[119] Doran's witches spoke their lines to a theatre in absolute darkness, and the opening visual image was the entrance of Macbeth and Banquo in the berets and fatigues of modern warfare, carried on the shoulders of triumphant troops.[120] In contrast to Nunn, Doran presented a world in which king Duncan and his soldiers were ultimately benign and honest, heightening the deviance of Macbeth (who seems genuinely surprised by the witches' prophesies) and Lady Macbeth in plotting to kill the king. The play said little about politics, instead powerfully presenting its central characters' psychological collapse.[121]

text: The play has been translated and performed in various languages in different parts of the world, and Media Artists was the first to stage its Punjabi adaptation in India. The adaptation by Balram and the play directed by Samuel John have been universally acknowledged as a milestone in Punjabi theatre.[122] The unique attempt involved trained theatre experts and the actors taken from a rural background in Punjab. Punjabi folk music imbued the play with the native ethos as the Scottish setting of Shakespeare's play was transposed into a Punjabi milieu.[123]