The Three Witches: What is their purpose?
The Witches' purpose within 'Macbeth' is at first unclear; however, as the play develops these three supernatural beings appear to possess a large amount of purpose within the plot. For example:
- The Three Witches are a tool utilised by Shakespeare in order to accentuate the greed, desire and over-ambition of humanity from an external, detached perspective.
- The Witches are externalisations of Macbeth's "black and deep" desires, as well as his sense of inner conflict/guilt/ambition.
- The 'weird sisters' are composed by Shakespeare in order to introduce/consolidate an atmosphere of confusion, chaos and imbalance within the plot.
- The Witches are used by Shakespeare as a 'foreboding' tool (foreboding is a Gothic notion too) , subsequently, providing the audience with hints regarding the end of the plot.
- The Witches form a literary mechanism within 'Macbeth' in order to move the plot forward, after all, without their prophecies would Macbeth have continued, or even started, his murderous journey?
- From a feminist reading of 'Macbeth', it could even be argued that the Witches are seen as representations of the isolated female from the domestic sphere, due to their strange behaviours, appearance and personalities.
The Appearances of the Witches:
Act One, Scene One:
Instantly, within the opening of 'Macbeth, Shakespeare transports the audience to a world of confusion, chaos and imbalance; a place alien to human values, where darkness and foulness dominate ordinary and good values. Arguably, even before the witches have spoken, Shakespeare foreshadows the chaotic nature to their characters through the use of pathetic fallacy: "Open Ground. Thunder and Lightning." When analysing this use of pathetic fallacy, it is interesting to note that both "thunder and lightning" represent entirely the nature of the witches throughout the plot as a whole. For example, Shakespeare's use of "thunder" emphasises the domineering sense of power they evoke throughout the plot, not only as they ultimately control Macbeth like a puppet throughout the plot; but additionally, the way in which their prophecies inevitably lead to the disruption of the natural order. Furthermore, the addition of "lightning" may be exposing the abrupt, sudden appearances of the witches, and the way in which although their scenes are rather short in length - much like "lightning" itself - they still hold the potential to cause such a large amount of destruction within this amount of time. (I may be reading too much into this, oops! But still it is rather interesting to consider.) Notably, this use of pathetic fallacy later is affirmed by the Witches themselves, as they state: "When shall we three meet again? / In thunder, lightning, or in rain?" which further appears to align them with negativity and foulness. However, it may be important to note that the first two lines in which the Witches utter are in fact questions, which could serve as a subtle hint foreshadowing their intrinsic links to ambiguity and confusion throughout the plot as a whole.
Throughout the Witches' speech Shakespeare utilises paradoxes in order to align the 'weird sisters' with a sense of ambiguity and confusion throughout the plot. Notably, the Witches state that they will not return/meet again until "the hurly-burly's done;/ When the battle's lost and won."which instantly catalyses questions for the audience: How can a battle be both lost and won? However, it is important to note with this quotation the way in which it mirrors the later line: "What he hath lost, noble Macbeth hath won.", which further affirms the prophetic nature of the Witches, and the way in which they continually appear to utter the words of many of the other characters before they have even been spoken. When evaluating the plot as a whole, this particular line could be seen as foreshadowing the nature at which Macbeth loses the battle to Macduff, which leads to a sense of rebalance and order within nature and Scotland itself at the crowning of Malcolm.
However, despite the Witches appearing to obtain a strong sense of power and strength throughout 'Macbeth', it is important to note that they possess a series of weaknesses, which ultimately results in them appear less all-consuming and dangerous in their nature.
For example, within the previously mentioned extract: "When the battle's lost and won", it could be argued that the Witches appear to possess a subtle sense of weakness, as they seem to fear the battle; they must wait patiently in hiding before committing any acts of puppetry, away from the threat of war.
Finally, to conclude Act One, Scene One, the three Witches begin to chant in unison: "Fair is foul, and foul is fair;/ Hover through the fog and filthy air." Shakespeare's use of rhyming couplets within the Witches' speech brings to mind a sense of incantation and magical charms, which enhance their alignment with the typical expectations of supernatural witchcraft - thus, making them more fearful to a Jacobean audience, which I will elaborate on later in the post. Notably, there are many interpretations regarding this line; the first being that Shakespeare is intending to associate the witches with a sense of darkness and unhealthiness through his use of negative lexis such as: "foul, fog and filthy." However, it could be more strongly evaluated that in fact the Witches paradox within this scene foreshadows the nature at which all that appears "fair" within the opening of the play, will corrupt to become of a "foul" nature - much like Macbeth's descent to insanity, and many of the human relationships within the play. Act One, Scene Three:
Previously within 'Macbeth', the supernatural world of the Witches has been separated from the world of humanity/mankind, as they remained detached on a section of "open ground", immersed in a sense of darkness, chaos and unhealthiness. However, now the world of the supernatural and that of humanity are brought together upon a "barren heath" surrounded by the repeated pathetic fallacy of "thunder"; which further affirms the power of the Witches even in the sphere of mankind.
It is important to note that within Act One, Scene Three, Shakespeare composes the Witches to appear significantly more grotesque, violent and inherently evil in their nature, as they open the scene stating that they had previously been "killing swine". Thus, evoking a sense of violent, uncivilised behaviour. Furthermore, the recital of what the Witches plan to inflict upon the Sea Captain further affirms this sense of violence and corruption in association with the witches: "I'll drain him dry as hay;/ Sleep shall, neither night nor day.../Shall he dwindle, peak and pine."Notably, although this could be seen as an exposition of the crimes in which the Witches desire to inflict on men; it could more strongly interpreted as a foreboding image of Macbeth's descent into insanity/sleep deprivation - as he too portrayed to be a passive puppet under the manipulative control of the 'weird sisters.'
However, after the Witches state this particular extract regarding what punishment they will inflict on the Sea Captain, they appear to once again expose a subtle hint of weakness within their powers: "Though his bark cannot be lost,/ Yet it shall be tempest-tossed." Thus, accentuating that the Witches are unable to destroy the Sea Captain himself, but rather, can only utilise the natural world - such as storms, wind and lightning - in order to affect the ship on which he sails on. Subsequently highlighting that the Witches may not be all as powerful as they may seem, but rather than can only cause mayhem through secondary means; for example, they are only able to affect people with the aid of other means of destruction, such as Macbeth's weakness and character flaw, and the natural world to destroy the ship.
Throughout this scene, the Witches can be seen as strongly aligned with Macbeth's psychology; however, I will elaborate on this in more depth later in the blog post.
Finally, it is important to note within this extract one of the most important quotes in relation to the Witches: "The instruments of darkness tell us truths,/ Win us with honest trifles, to betray's/ In the deepest consequence." Within this extract, Banquo unknowingly unravels the entire purpose of the Witches, as well as the tale of events throughout the plot. Banquo appears entirely rational within this extract, in comparison to a "rapt withal" Macbeth, who appears to instantly become subservient to the prophecies of the Witches: "If chance will have me King, why, chance may crown me."Notably, it is important to consider the nature at which Banquo is murdered by Macbeth, which could add strength to the interpretation that the Witches are the puppeteers of Macbeth, as they decide to brutally murder Banquo before he develops his untrusting opinions of the Witches any further. However, this would be reliant on interpretation, as it could alternatively be seen as a much more tragic portrayal of Banquo, who is unaware that his predictions are true, and will ultimately lead to his downfall.
Act Three, Scene Five:
Within Act Three, Scene Five, Shakespeare introduces the role of Heccat in association with the three Witches. Heccat is the "mistress of [the Witches'] charms" and forms the Greek goddess of witchcraft, sorcery and the dead. Within 'Macbeth', Heccat is clearly malevolent and plans to secure the destruction of Macbeth. In Act Three, Scene Five, the audience are again made aware that the Witches obtain limitations to their powers, due to the arrival of Heccat, who reduces them to appear as naughty children who have acted without her authority, with their own intention being to have fun and cause chaos: "How did you dare / To trade and traffic with Macbeth / In riddles and affairs of death." Shakespeare's inclusion of Heccat entirely shifts the audiences' perceptions of the Witches, as they no longer seem to be an all-consuming, powerful force; but rather, naive and unaware in their lack of knowledge that Macbeth has no interest in benefitting witchcraft, but only "loves for his own end, not for you."
However, Heccat's purpose may alternatively be more broad than just to accentuate the limitations to the Witches' powers; but rather, Shakespeare's inclusion of this figurehead of witchcraft may be to accentuate the supernatural's detached/external perspective on humanity. For example, after Heccat states "loves for his own ends, not for you", she adds "(as others do)" which appears to accentuate the nature at which the supernatural regards humanity as a greedy, lustful and over-ambitious force, who takes advantage of unnatural powers in order to achieve their own ambition - much like Macbeth, and Lady Macbeth's callings to the "spirits". Thus, highlighting that Heccat's purpose may be to expose to the audience a sense of morality, making them reflect on their own greed from the detached state of the supernatural; proving Heccat's role to maybe further accentuate the moral of the play - do not give into greed and over-ambition.
Shakespeare's conclusion of this scene is particularly dramatic, as we see Heccat vow to secure the downfall of Macbeth with every shed of power she possesses, which places the audience in utter suspense and anticipation for the following scene:
"Shall raise such artificial sprites
As by the strength of their illusion
Shall draw him on to his confusion.
He shall spurn fate, scorn death, and bear
His hopes 'bove wisdom, grace, and fear.
And you all know, security
Is mortals' chiefest enemy."
The Witches & Macbeth's Psychology:
As previously mentioned, the Witches can be interpreted as a manifestation of Macbeth's psychological turmoil, which attempts to repress his "black and deep desires" to achieve Kingship through murderous acts. Instantly, in Act One, Scene Three of the play, when Macbeth utters his first line of the play, Shakespeare strongly aligns Macbeth with the Witches as he mirrors their earlier used paradox "fair is foul, and foul is fair" as he states: "So fair and foul a day I have not seen." Arguably, Shakespeare instantly composes an intrinsic link between Macbeth and the Witches, which creates the sense that either the Witches are entirely in control of Macbeth's psychology from the start, or are merely externalisations of his desires - stated in their prophecies.
When considering these interpretations, it is important to note the language used by Shakespeare when composing the lines of the Witches, for example, his use of synchronised speech and rhyming couplets (AO2), as the Witches chant in unison ambiguous riddles regarding their prophetic theories. Shakespeare's use of language here creates the sense that the Witches are a collective force/idea, as opposed to three individual characters; thus, affirming the interpretation that they are a manifestation of Macbeth's mind, with Macbeth being particularly vulnerable to their influence as they voice the desires of his heart. It is important to note the manner at which Macbeth appears suddenly afraid of the Witches upon seeing them - "Why do you start, and seem to fear / Things that do sound so fair?" - despite Banquo witnessing them too, it is only Macbeth who becomes consumed with a sense of terror and horror at the sight of the Witches. Thus, it could be interpreted that for a moment Macbeth recognises these figures to be rationalisations of his own desires; however, he continues to become "rapt withal" when they begin to utter the desires of his subconscious - unable to resist the temptation of power and glory through ambition and greed.
Contextual Points:
In regards to the audience reception of the three Witches, a Jacobean audience would have perceived the Witches entirely at face value, believing them to be a very real and potential threat to their every day values. To a Jacobean audience, witches were thought to be both political and spiritual traitors; thus, when anyone was suspected of conducting witchcraft or being associated with it in anyway, they were punished violently and brutally with death.
Notably, Shakespeare's writings of 'Macbeth' occurred directly after James VI became King James I of Scotland. James was strongly interested in witchcraft, so much so, that he wrote the book 'Daemonologie' in 1597, which highlighted his beliefs that witchcraft existed and obtained a strong sense of supernatural power. Therefore, when considering the purpose of the Witches, it could be argued that these three supernatural beings were only included to appease King James I; they in fact possess no true meaning, but to please King James' obsession with witchcraft. However, this would be a rather weak line of argument to pursue, so it's better to just either use it as a means of consideration or rejection, as the view may be seen as too narrow to use as your main argument.
In regards to the audience reception of the three Witches, a Jacobean audience would have perceived the Witches entirely at face value, believing them to be a very real and potential threat to their every day values. To a Jacobean audience, witches were thought to be both political and spiritual traitors; thus, when anyone was suspected of conducting witchcraft or being associated with it in anyway, they were punished violently and brutally with death.
Notably, Shakespeare's writings of 'Macbeth' occurred directly after James VI became King James I of Scotland. James was strongly interested in witchcraft, so much so, that he wrote the book 'Daemonologie' in 1597, which highlighted his beliefs that witchcraft existed and obtained a strong sense of supernatural power. Therefore, when considering the purpose of the Witches, it could be argued that these three supernatural beings were only included to appease King James I; they in fact possess no true meaning, but to please King James' obsession with witchcraft. However, this would be a rather weak line of argument to pursue, so it's better to just either use it as a means of consideration or rejection, as the view may be seen as too narrow to use as your main argument.
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