Character Analysis: The Witches in 'Macbeth'

Summary

This video script delves into the enigmatic presence of the three witches in Shakespeare's 'Macbeth', exploring their limited on-stage appearances and their role in the play. It discusses the historical context of witchcraft during Jacobean times and how the witches' supernatural theme was a significant draw for audiences. The script also examines the witches' language, their power dynamics, and the dramatic irony Shakespeare employs to reveal their true influence. Finally, it touches on the debate over their power and the deceptive apparitions they present to Macbeth, highlighting the play's enduring relevance and the complexity of its characters.

Takeaways

• 🎭 The three witches in 'Macbeth' are a central topic of discussion, despite their limited on-stage presence.
• 🔮 Shakespeare strategically opens the play with the witches to pique interest and establish the supernatural theme, which was a significant draw during the Jacobean era.
• 👑 The historical context of witchcraft being a capital crime, especially under King James, adds depth to the play's opening and its appeal to the king as a patron.
• 📚 The rapid shift in beliefs about witchcraft between the play's first performance and the 18th century is highlighted, showing how societal views evolve.
• 📖 Samuel Johnson's 1745 critique points out the changing attitudes towards the supernatural in literature, reflecting a move away from such themes in serious drama.
• 🎼 The witches' use of trochaic meter distinguishes them from other characters who use iambic pentameter, emphasizing their otherworldly and wicked nature.
• 🤔 The extent of the witches' power is debated; whether they are prophetic or directive remains ambiguous, with some scholars suggesting they are not as influential as they seem.
• 🎭 Dr. Emma Smith's lecture explores the idea that the witches may not be as powerful as Macbeth perceives, using dramatic irony to suggest their limited influence.
• 🌬️ An example of the witches' limited power is shown when one witch seeks revenge on a sailor but cannot cause his death, only turmoil.
• 👸 The scene with Hecate in Act 3 Scene 5 suggests a hierarchy among the witches, with Hecate as their superior, further undermining the idea of the witches' supreme power.
• 🔮 In Act 4 Scene 1, the apparitions shown to Macbeth are deceptive and open to interpretation, with Macbeth misinterpreting them to his own comfort, highlighting his downfall.
• 👻 The final appearance of the witches and their absence from the battle scenes raises questions about their true impact and power within the narrative.

Q & A

What is the significance of the witches' presence in 'Macbeth'?

The witches' presence is significant as they introduce the theme of the supernatural and are used by Shakespeare to grab the audience's interest, especially during the Jacobean era when there was a great deal of interest and belief in witchcraft.

Why does Shakespeare open 'Macbeth' with the witches?

Shakespeare opens with the witches to suggest their significant role in the play, pique the audience's curiosity, and also to appeal to the interests of King James, who had a fascination with witchcraft.

How does the audience's perception of the witches change over time?

Over time, the audience's perception of the witches changes from fear and belief in their power to skepticism and amusement, as seen in Samuel Johnson's 1745 commentary on the play.

What is the role of the witches in the play's structure?

The witches' role in the play's structure is to create intrigue and foreshadow events, as well as to highlight the limits of their power through dramatic irony.

How do the witches' speeches differ from those of the other characters in 'Macbeth'?

The witches speak in trochaic meter, which is characterized by stressed syllables followed by unstressed syllables, setting them apart from the iambic pentameter used by the other characters and emphasizing their otherworldliness.

What debate arises regarding the witches' power in 'Macbeth'?

The debate revolves around whether the witches have the power to directly cause events or if they merely possess the power of prophecy to predict the future.

According to Dr. Emma Smith, how does Shakespeare use dramatic irony to undermine the witches' power?

Dr. Smith suggests that Shakespeare uses dramatic irony by showing the audience the witches' limitations in power before Macbeth arrives, allowing the audience to see that Macbeth's infatuation with them reveals more about his character than their actual power.

What is the significance of the witches' discussion about the sailor in Act 1 Scene 3?

The discussion reveals the witches' limited power, as one witch can only cause the sailor's ship to be tempest-tossed but not sink it, indicating that they cannot control life and death.

Why do some scholars believe that Act 3 Scene 5 may not have been written by Shakespeare?

Scholars believe this scene may not be by Shakespeare due to the sudden introduction of Hecate with many lines and the change in the witches' behavior, suggesting it could have been added by actors for their benefit.

What do the apparitions shown to Macbeth in Act 4 Scene 1 actually signify, and how does Macbeth interpret them?

The apparitions are deceptive and can be interpreted in a way opposite to what Macbeth believes. For example, the 'armed Head' foretells Macbeth's decapitation, but he misunderstands it as a sign of safety for himself.

Why is the final vision of the 'eight kings' significant to Macbeth?

The vision of the 'eight kings' signifies that none of Macbeth's own descendants will inherit the throne, which is a devastating revelation for him, considering his actions to secure his reign.

Outlines

00:00

🧙‍♂️ The Enigmatic Role of the Witches in Macbeth

This paragraph introduces the mysterious presence of the three witches in Shakespeare's 'Macbeth', who despite appearing only four times, play a significant role. The witches' first appearance at the beginning of the play sets a supernatural tone, sparking curiosity about their influence on the story. The historical context of witchcraft during Jacobean times is highlighted, with King James's notorious witch trials adding a layer of intrigue and relevance to the play. The paragraph also touches on the shift in belief in witchcraft by the 18th century, reflecting changing societal attitudes and the genius of Shakespeare in capturing contemporary fixations.

05:05

🎭 The Dramatic Irony and Form of the Witches' Speech

This section delves into the linguistic and structural techniques Shakespeare uses to differentiate the witches from other characters. The witches' use of trochaic meter, as opposed to the iambic pentameter used by the nobles, accentuates their otherworldly and wicked nature. The debate over the witches' actual power is explored, with a 2010 Oxford University lecture by Dr. Emma Smith suggesting that they may not be as influential as they seem. The use of dramatic irony is highlighted, showing the audience that the witches' prophecies are more about interposing in human actions than directly controlling them.

🌪️ The Witches' Limited Power and Influence

This paragraph examines the limitations of the witches' power, as revealed through their interactions and the play's structure. An example is given where a witch seeks revenge on a sailor, demonstrating control over the winds but not over life and death. The witches' subordination to Hecate in Act 3 Scene 5, which some believe to be a non-Shakespearean addition, further undermines their perceived power. The scene also shows Hecate reprimanding the witches for not consulting her before interacting with Macbeth, suggesting a hierarchy that diminishes their autonomy.

🔮 Deceptive Apparitions and Macbeth's Misinterpretations

In this section, the focus is on the apparitions shown to Macbeth by the witches in Act 4 Scene 1, which he misinterprets as reassurance of his security. The apparitions, however, are deceptive and foreshadow his downfall. The 'armed Head'预示着Macbeth最终将被Macduff斩首，但Macbeth却错误地认为这指的是Macduff。The 'bloody child' is actually Macduff, who was born by Caesarean section, thus not 'born of woman', a fact Macbeth overlooks. The 'Child crowned with a tree in his hand' refers to Malcolm's approach to Dunsinane, which Macbeth interprets as an impossible event. The final vision of a line of eight kings, all descendants of Banquo, leaves Macbeth in despair, yet he still fails to question the reliability of the witches' prophecies.

👻 The Mysterious Disappearance of the Witches

The final paragraph ponders the absence of the witches after Act 4 Scene 1, questioning their supposed power and influence. Despite their significant on-stage impact, their disappearance during the climactic battle raises questions about their true role and the extent of their involvement in the unfolding tragedy. This absence invites analysis and interpretation, leaving the audience to reflect on the witches' overall contribution to the narrative and the fate of Macbeth.

Keywords

💡Witches

The witches in the script refer to the three supernatural beings who appear in Shakespeare's play 'Macbeth'. They are central to the theme of fate and prophecy, as they foretell Macbeth's rise to power. Their presence is mysterious and unsettling, setting the tone for the play's exploration of ambition and its consequences. In the script, the witches' first line, 'When shall we three meet again?', immediately draws the audience into their enigmatic world.

💡Supernatural

The term 'supernatural' is used to describe phenomena that are beyond the scope of natural laws or explanations. In the context of the video, it highlights the witches' abilities and their role in influencing the events of the play. The script mentions that the introduction of the supernatural theme would have been a significant draw for Jacobean audiences, who were fascinated by and fearful of witchcraft.

💡Jacobean Era

The Jacobean Era refers to the period in English history during the reign of King James I, who was known for his strong beliefs in and persecution of witchcraft. The script explains that during this time, there was a heightened interest in and fear of witchcraft, which Shakespeare capitalized on in 'Macbeth' to engage both the audience and the king.

💡Dramatic Irony

Dramatic irony is a literary device where the audience knows more than the characters in the play. In the script, it is used to suggest that the witches may not be as powerful as they initially appear to Macbeth. For example, the audience knows that Macbeth's promotion to Thane of Cawdor is due to political reasons, not the witches' influence, creating a contrast between Macbeth's perception and the reality.

💡Trochaic Meter

Trochaic meter is a type of poetic meter where a stressed syllable is followed by an unstressed one, as opposed to the more common iambic pentameter used by Shakespeare's characters. The witches in 'Macbeth' speak in trochaic meter, which sets them apart from the other characters and emphasizes their otherworldly and malevolent nature. The script provides the example 'Fair is foul, and foul is fair' to illustrate this form.

💡Prophecy

A prophecy is a prediction of future events, often of a mysterious or ominous nature. In the script, the witches' prophecies to Macbeth are a key element of the play, influencing his actions and decisions. The video discusses the debate over whether the witches have the power to make things happen or merely predict the future, with the script suggesting that they may be more limited in their abilities than they appear.

💡Hecate

Hecate is a character in the script who is believed by some scholars not to have been originally part of Shakespeare's 'Macbeth'. She is presented as the superior of the witches and reprimands them for speaking to Macbeth without consulting her first. This introduces the idea that the witches may be subordinate to a higher power, further undermining their perceived omnipotence.

💡Apparitions

Apparitions in the script refer to the visions shown to Macbeth by the witches in Act 4 Scene 1. These apparitions are deceptive and serve to mislead Macbeth, contributing to his downfall. The script explains that the apparitions are interpreted by Macbeth in a way that confirms his beliefs, while the audience is aware of their true, ominous meanings.

💡Riddles and Half-Truths

The witches in the script are described as speaking in riddles and half-truths, which is a way of communicating that is intentionally vague and misleading. This style of speech is used to create ambiguity and suspense in the play, as seen when they provide Macbeth with prophecies that he misinterprets to his detriment.

💡Duncan

Duncan is the king in 'Macbeth' who is murdered by Macbeth under the influence of the witches' prophecies. The script mentions that the audience learns in Act 1 Scene 2 that Duncan intends to promote Macbeth to Thane of Cawdor, which is later presented as a prophecy by the witches, demonstrating the use of dramatic irony.

💡Macduff

Macduff is a character in 'Macbeth' who is central to the play's climax. In the script, he is referred to as the 'bloody child' in one of the apparitions, which is a riddle that Macbeth fails to solve correctly. Macduff's role is significant as he is the one who eventually kills Macbeth, despite Macbeth's belief that he is invulnerable based on the witches' prophecies.

Highlights

Introduction of the three witches as a central yet mysterious element in Macbeth, appearing only four times on-stage.

Shakespeare's strategic opening with the witches to pique curiosity about their role in the play.

Historical context of witchcraft's popularity and its criminal status during Jacobean times, influencing the play's appeal.

King James I's personal interest in witchcraft, reflected in the play's opening to attract both audience and royal patronage.

Evolution of beliefs about witchcraft from the play's first performance to the 18th century, as discussed by Samuel Johnson.

Shift in penalties for witchcraft practice reflecting societal attitudes, from capital punishment to a maximum of one year imprisonment.

Shakespeare's use of trochaic meter for the witches' dialogue to emphasize their otherworldly and wicked nature.

Debate on the witches' power to influence or merely predict Macbeth's actions, as explored by Dr. Emma Smith.

Dramatic irony used by Shakespeare to suggest the witches' limited power in comparison to Macbeth's perception.

The witches' subordination to Hecate and the undermining of their power in Act 3 Scene 5, questioned for its authenticity.

Macbeth's misinterpretation of the witches' apparitions for reassurance, despite their deceptive nature.

Apparitions' double meanings, signposting the play's outcome and Macbeth's eventual downfall.

Macbeth's failure to recognize the deception in the witches' prophecies, particularly regarding his security and legacy.

The absence of the witches after Act 4 Scene 1, raising questions about their true power and role in the play's conclusion.

The witches' incantations and their shock value during the play's original production, reflecting contemporary obsessions.

Shakespeare's genius in tapping into contemporary ideas, making Macbeth relevant while also shocking its early audiences.

Transcripts

Hello everybody, and welcome to today's video. The presence of the three witches is one of

the most talked about elements in Macbeth, and yet they only appear on-stage four times.

In this video we’ll take a brief look at each appearance, considering what we learn

about these so called ‘weird sisters’. Shakespeare’s use of structure, with his

decision to open the play with the witches, suggests that they will take a significant

role in Macbeth. Act 1 Scene 1 is the first time the audience gets to see the witches,

and we are invited into a mysterious world made all the more enigmatic by the fact that

we arrive at the end of whatever it is they have been doing. The first line we hear is

‘When shall we three meet again?’ Their meeting is complete and whatever they were

up to, we can only guess. Shakespeare is clever in his construction here, prompting our curiosity

about what role the witches will take in the play. The structural decision to start with

the witches suggests that their role will be significant, but the fact that we have

missed the focus of their meeting leaves the audience unsure of what to think of them.

The witches introduce the theme of the supernatural which, in Jacobean times, would have been

a big draw for audiences because there was a huge amount of interest (and belief) in

witchcraft. Practising witchcraft was a crime punishable by death in Shakespeare’s time,

and during the Jacobean era King James is estimated to have been responsible for the

burning of 4,000 alleged witches in Scotland alone. King James actually wrote a book on

the subject (‘Daemonologie’), so beginning the play with this scene is therefore not

only a good way to grab the interest of the audience but also of the king, an important

source of revenue. Something interesting to note here is that

ideas about witchcraft changed quite rapidly in England. Macbeth was first performed in

1606. Writing in 1745 about the play, Samuel Johnson explained that:

‘In order to make a true estimate of the abilities and merit of a writer, it is always

necessary to examine the genius of his age, and the opinions of his contemporaries. A

poet who should now make the whole action of his tragedy depend upon enchantment, and

produce the chief events by the assistance of supernatural agents, would be censured

as transgressing the bounds of probability, he would be banished from the theatre to the

nursery, and condemned to write fairy tales instead of tragedies.’

In other words, just under 140 years after the play was first produced, audiences found

the idea of witches and spells laughable – much like we do today. And the 1735 witchcraft

act reduced the penalty for practising witchcraft from death to a maximum of one year in prison.

This law change reflected a shift from actual belief in witchcraft to punishing those who

made a pretence of having special powers. That’s the genius of Shakespeare: he taps

into contemporary obsessions and ideas to make his work relevant to his audience. But

make no mistake: when it was first produced, the witches and their incantations would have

been shocking to an audience. Shakespeare also uses form to set the witches

apart from other characters. Whilst all of the nobles in Macbeth speak in iambic pentameter,

with unstressed syllables followed by stressed syllables, the form used by the witches is

trochaic meter, with stressed syllables followed by unstressed syllables. For example:

Fair is foul, and foul is fair (I’ve put the stressed syllables in bold)

Now this use of trochaic meter heightens a sense of the witches’ otherworldliness and

makes them stand out from the rest of the characters, emphasising their wickedness.

Perhaps the biggest topic open for debate when it comes to the witches is just how much

power they possess – for example do they make Macbeth kill King Duncan, or was he was

going to do it anyway? This was a topic explored in a 2010 Oxford University lecture by Dr

Emma Smith. Smith points out that whilst In Act 1 Scene

1 the witches seem to know what is happening (‘When the battle’s lost and won’) and

also where to meet Macbeth, ‘upon the heath’. the question raised is does that mean they’re

able to draw him to them, or simply they know where he will be. Do they have the power of

direction, to make things happen, or the power of prophecy, to predict the future?

For Smith, Shakespeare’s use of dramatic irony is key in suggesting that the witches

aren’t as powerful as they might first appear to be.

When the witches prophesy to Macbeth, in Act 1 Scene 3, that he will become Thane of Cawdor,

it’s the first he’s heard of it, and so when he’s told of the promotion shortly

after by Ross, it could very well appear to Macbeth that the witches made it happen. However,

the audience is in a different position. We already know from Act 1 Scene 2 that Duncan

was going to promote Macbeth to Thane of Cawdor. As Smith puts it: To the audience, it seems

much more likely that the witches ‘interpose in a chain of human actions, rather than…direct

actions themselves’. Macbeth might see his promotion to thane of Cawdor as being linked

to the witches, but, Smith argues, an astute audience would judge that Macbeth’s promotion

is a result of a rational political reason- he has been a brave and loyal warrior whereas

Cawdor has been a traitor. This dramatic irony, then, allows the audience to view the witches

as not as powerful as they appear to Macbeth. As if to assist us in drawing this conclusion,

just before this happens, also In Act 1 Scene 3, we see the witches in discussion with each

other, a discussion which reveals the limitations of their power and influence. For example,

the audience finds out that one of the witches has been offended by a woman who wouldn’t

give her chestnuts, and has decided to take it out on the woman’s husband who is a sailor.

We learn that the witch has control over the winds and uses them to disrupt the ship’s

journey. It’s important to note, however, that the witch does not have the power to

take the sailor’s life ‘Though his bark cannot be lost, / yet it shall be tempest-tossed’.

Shakespeare’s use of structure is key here: he deliberately shows the audience the limits

of the witches’ power, so that when Macbeth arrives and is captivated by them, we can

see that his infatuation tells us more about him than it does about the witches.

The witches appear next in Act 3 Scene 5, but many scholars and editors believe that

this scene was not actually written by Shakespeare at all but inserted by actors either to give

themselves more lines or to excite the audience. Much of the evidence for this comes from the

fact that Hecate has so many lines despite not being introduced at any point previously.

It is also said that the witches appear different to when we first met them, even though they

don’t say much at all. Whatever the truth, we learn in this scene that the witches are

subordinate to Hecate, who is angry that they did not consult her first before speaking

to Macbeth. Hecate describes herself as ‘the mistress of your charms’, meaning ‘the

source of all your powers’. Again, the idea of the witches as powerful is undermined here,

as they are essentially reprimanded by their superior.

In Act 4 Scene 1, Macbeth has come looking for reassurance and comfort that what he has

done will keep him on the throne. The witches duly show him three apparitions, which Macbeth

interprets in his own way. These apparitions, while seeming to comfort him, are actually

entirely deceptive and symptomatic of how the witches speak - in riddles and half-truths.

The audience are shown a series of apparitions that are supposed to confirm one thing, but

in fact can be interpreted as the complete opposite. Shakespeare is flagging something

that becomes crucial to the final outcome of the play. He is, in a way, signposting

important details for his audience. The first of the apparitions is the ‘armed

Head’ which literally foretells Macbeth’s eventual decapitation at the hands of Macduff.

Macbeth, however, appears to believe that the head is representative of Macduff, and

seems thankful for having seen it, obviously misunderstanding its true meaning.

The second vision is of the ‘bloody child’, which is, in reality, Macduff. The advice

given to Macbeth is that he should feel completely safe and secure because no one who has been

‘born of woman’ can hurt him. The equivocation here is that the apparition is Macduff and

so clearly, he is alive despite not being born of woman. Macbeth fails to see the deception

here, and reads into the prophecy that he has nothing to fear.

The third vision is of ‘a Child crowned, with a tree in his hand’. This is Malcolm,

Duncan’s son, coming to Macbeth’s castle carrying a branch from a tree. The advice

here again is that Macbeth can’t be harmed until Birnam Wood moves to Dunsinane. Obviously

believing that it is impossible for a forest to move, Macbeth feels even more secure following

this prophecy. Essentially, he has come to the witches for reassurance; they’ve shown

him a vision of the future, and he has read into it what he wants to see.

Before he leaves, however, the witches, on Macbeth’s orders, show him a final vision.

Here he sees a line of ‘eight kings’ who are all descendants of Banquo. This leaves

him in an awful state considering that it means none of his own descendants will inherit

the throne. It’s very curious here that Macbeth sees this and, yet still doesn’t

doubt the earlier visions. It’s clear the witches are playing with him yet, in his state,

he either doesn’t seem to notice or care. And that’s the last time we see the witches

in the play, which in itself is worthy of analysis. If the witches are so powerful,

why do they not appear at all after Act 4 Scene 1? Their impact on-stage is unquestionable

when they do appear there, but the reality is that once the battle starts they are nowhere