Three Witches
The Three Witches, also known as the Weird Sisters, Weyward Sisters or Wayward Sisters, are characters in William Shakespeare's play Macbeth. The witches eventually lead Macbeth to his demise, and they hold a striking resemblance to the three Fates of classical mythology. Their origin lies in Holinshed's Chronicles, a history of England, Scotland and Ireland. Other possible sources, apart from Shakespeare, include British folklore, contemporary treatises on witchcraft as King James VI of Scotland's Daemonologie, the Witch of Endor from the Bible, the Norns of Norse mythology, and ancient classical myths of the Fates: the Greek Moirai and the Roman Parcae.
Shakespeare's witches are prophets who hail Macbeth early in the play, and predict his ascent to kingship. Upon killing the king and gaining the throne of Scotland, Macbeth hears them ambiguously predict his eventual downfall. The witches, and their "filthy" trappings and supernatural activities, set an ominous tone for the play.
Artists in the 18th century, including Henry Fuseli and William Rimmer, depicted them variously, as have many directors since. Some have exaggerated or sensationalised the hags, or have adapted them to different cultures, as in Orson Welles's rendition of the weird sisters as voodoo priestesses.
Origins
The name "weird sisters" is found in most modern editions of Macbeth. However, the First Folio's text reads:In later scenes in the First Folio, the witches are described as "weyward", but never "weird". The modern appellation "weird sisters" derives from Holinshed's original Chronicles. The word weird was a borrowing from Middle Scots and had different meanings besides the modern common meaning 'eerie'.
One of Shakespeare's principal sources is the Holinshed account of King Duncan. Holinshed described the future King Macbeth of Scotland and his companion Banquo encountering "three women in strange and wild apparell, resembling creatures of elder world" who hail the men with glowing prophecies and then vanish "immediately out of their sight". Holinshed reported that "the common opinion was that these women were either the Weird Sisters, that is the goddesses of destiny, or else some nymphs or fairies endued with knowledge of prophecy by their necromantical science."
Another principal source was the Daemonologie of King James published in 1597 which included a news pamphlet titled Newes from Scotland that detailed the infamous North Berwick witch trials of 1590. Not only had this trial taken place in Scotland, witches involved confessed to attempt the use of witchcraft to raise a tempest and sabotage the very boat King James and Queen Anne were on board during their return trip from Denmark. The three witches discuss the raising of winds at sea in the opening lines of Act 1, Scene 3.
The news pamphlet states:
File:Three Witches, MacBeth, by James Henry Nixon, British Museum, 1831.png|thumb|right|Three Witches, MacBeth, by James Henry Nixon, British Museum
The concept of the Three Witches themselves may have been influenced by an Old Norse skaldic poem, in which twelve valkyries weave and choose who is to be slain at the Battle of Clontarf.
Shakespeare's creation of the Three Witches may have also been influenced by an anti-witchcraft law passed by King James nine years previously, a law that was to stay untouched for over 130 years. His characters' "chappy fingers", "skinny lips", and "beards", for example, are not found in Holinshed.
Macbeth's Hillock near Brodie, between Forres and Nairn in Scotland, has long been identified as the mythical meeting place of Macbeth and the witches. Traditionally, Forres is believed to have been the home of both Duncan and Macbeth.
However, Coleridge proposed that the three weird sisters should be seen as ambiguous figures, never actually calling themselves 'witches', nor are they called 'witches' by other characters in the play. Moreover, they were depicted as more fair than foul both in Holinshed's account and in the description of a contemporary play-goer Simon Forman.
Dramatic role
The Three Witches first appear in Act 1, Scene 1, where they agree to meet later with Macbeth. In Act 1, Scene 3, they greet Macbeth with a prophecy that he shall be king, and his companion, Banquo, with a prophecy that he shall generate a line of kings. The prophecies have great impact upon Macbeth. As the audience later learns, he has considered usurping the throne of Scotland.Several non-Shakespearean moments are thought to have been intruded into Macbeth sometime ; these include all of Act 3, Scene 5 and Act 4, Scene 1, ℓℓ 39–43 and ℓℓ 125–132, as well as two songs.
In Act 3, Scene 5, the Witches next appear and are reprimanded by Hecate for dealing with Macbeth without her participation. Hecate orders the trio to congregate at a forbidding place where Macbeth will seek their art.
In Act 4, Scene 1, the Witches gather and produce a series of ominous visions for Macbeth that herald his downfall. The meeting ends with a "show" of Banquo and his royal descendants. The Witches then vanish.
Analysis
The Three Witches represent evil, darkness, chaos, and conflict, while their role is as agents and witnesses. They appear to have a warped sense of morality, deeming seemingly terrible acts to be moral, kind or right, such as helping one another to ruin the journey of a sailor. Their presence communicates treason and impending doom. During Shakespeare's day, witches were seen as worse than rebels, "the most notorious traitor and rebel that can be". 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.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 remainder of the play by establishing a sense of moral confusion. Indeed, the play is filled with situations in which 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 to increase trouble for the mortals around them.
Though the witches do not directly tell Macbeth to kill King Duncan, they use a subtle form of temptation when they inform 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 attributed to the Devil in the contemporary imagination: the Devil was believed to be a thought in a person's mind, which he or she might either indulge or reject. Macbeth indulges the temptation, while Banquo rejects it.
Performance
Insertions by Davenant
In a version of Macbeth by William Davenant, a scene was added in which the witches tell Macduff and his wife of their future as well as several lines for the two before Macbeth's entrance in act 4. Most of these lines were taken directly from Thomas Middleton's play The Witch. David Garrick kept these added scenes in his eighteenth-century version.Walpole's political satire
created a parody of Macbeth in 1742 entitled The Dear Witches in response to political problems of his time. The witches in his play are played by three everyday women who manipulate political events in England through marriage and patronage, and manipulate elections to have Macbeth made Treasurer and Earl of Bath. In the final scene, the witches gather around a cauldron and chant "Double, double, Toil and Trouble / parties burn and Nonsense bubble." Into their concoction they throw such things as "Judgment of a Beardless Youth" and "Liver of a Renegade". The entire play is a commentary on the political corruption and irrationality surrounding the period.Welles' "voodoo Macbeth"
' stage production of Macbeth sets the play in Haiti, and casts the witches as voodoo priestesses. As with earlier versions, the women are bystanders to the murder of Banquo, as well as Lady Macbeth's sleepwalking scene. Their role in each of these scenes suggests they were behind Macbeth's fall in a more direct way than Shakespeare's original portrays. The witches encroach further and further into his domain as the play progresses, appearing in the forest in the first scene and in the castle itself by the end. Directors often have difficulty keeping the witches from being exaggerated and overly-sensational.Marowitz's and Ionesco's witches' secret identities
created A Macbeth in 1969, a streamlined version of the play which requires only eleven actors. The production strongly suggests that Lady Macbeth is in league with the witches. One scene shows her leading the three to a firelight incantation.In Eugène Ionesco's satirical version of the play Macbett, one of the witches removes a costume to reveal that she is, in fact, Lady Duncan, and wants to be Macbeth's mistress. Once Macbeth is King and they are married, however, she abandons him, revealing that she was not Lady Duncan all along, but a witch. The real Lady Duncan appears and denounces Macbeth as a traitor.
Felipe's adaption to Spanish
The Spanish poet and playwright León Felipe wrote a version of Shakespeare's play in Spanish which significantly changes the witches' role, especially in the final scene. After Macbeth's death, the Three Witches reappear in the midst of wind and storm, which they have been associated with throughout the play, to claim his corpse. They carry it to a ravine and shout, "Macbeth! Macbeth! Macbeth! / We have an appointment with you in Hell!"In the play, they also connect themselves to a painting by Francisco Goya called Volaverunt, in which three mysterious figures are flying through the air and supporting a more discernible royal female figure.