To what extent can the witches in Macbeth be seen as actual

supernatural entities influencing the events of the play or as

projections of Macbeth's psyche?

INTRODUCTION :

● Explanation of the question

Considering the portrayal of the witches in Macbeth, examining two key aspects of the
text is important. First, the witches can be viewed as supernatural beings who influence
the characters and events in the play. In Elizabethan times, belief in the power of witches
was prevalent, and Shakespeare capitalises on this to create a sense of dark intrigue
and mystery within the play. This adds an element of fascination for the audience and
readers, drawing them into the narrative. Secondly, the witches may also represent
projections of Macbeth's subconscious mind. For instance, when Macbeth sees the
vision of the floating dagger with blood on its tip, leading him to King Duncan's chamber
to commit the murder, it could be interpreted as a manifestation of Macbeth's inner
turmoil and evil thoughts. This adds a layer of psychological complexity to the play and
raises questions about the nature of Macbeth's character and desires.

● Reason for choosing the text:

The reason why I decided to choose this particular text stems from my deep
interest in Macbeth. I am particularly drawn to this play by William Shakespeare
because of its multifaceted nature, encompassing elements such as references
to Greek gods, intricate murder mysteries, and the presence of supernatural
beings. My fascination with these themes contributes to my love for Macbeth.
Consequently, the focal point of this inquiry revolves around the existence of the
witches within the play, deliberating on whether their presence is tangible or
merely a manifestation of Macbeth's psyche.

● A brief explanation of how to interpret the chosen text and literary

materials used in the process:
When working on my assignment, I carefully read through my textbook to gain a
deeper understanding of the entire act and grasp the witches' importance within
it. This thorough reading allowed me to approach my study with a more
comprehensive understanding of the text. Additionally, I took the initiative to seek
out additional information about the Elizabethan era on the internet to enrich my
knowledge of the historical context surrounding the play.
 ● A brief overview of the plays and the introduction of the witches
along with the emerging statement of the central question.
Witches were believed to be in league with the devil, carrying out all his malevolent desires. The
prospect of a witch in the community would have made your blood run cold. They could fly,
disappear, and change into animals. They could predict the future, send people insane, and have
voracious sexual appetites. All the fears of 16th-century folk could be conveniently embodied by
little old Maggie next door, and when it came to fear, nobody was more petrified than one king in
particular.

It is Macbeth who needs the witches to tell him what is in his mind, but is too afraid to
acknowledge and he refers to them as the instruments of darkness. When Macbeth and Banquo
encounter the three witches, the three witches are observed to be either the goddesses of
destiny or else some nymphs or they might be some fairies filled with the knowledge of
prophesy by their necromantical science.
The three witches, first appear in Act I Scene I, where they assure Macbeth that they will meet
him later. In Act I Scene III the three witches meet Macbeth and Banquo and make a prophecy.
They prophesy about Macbeth saying that he would be the king of Scotland and that Banquo‟ 's
offspring‟s would be on the thrones of Scotland. The prophesy has a great impact on Macbeth,
as he works towards sitting on the throne of Scotland as a king.
 ● Historical and cultural context of witchcraft:
During Shakespeare's time, many people believed in witches, the devil, evil spirits, and magic.
Both in England and Scotland, women and men suspected of being witches were arrested and
questioned, often after being tortured into giving a confession. In England, witches were usually
sentenced to be hanged, while in Scotland they were strangled and then their bodies were
burned at the stake.

King James I of England (aka James VI of Scotland) was convinced that one perceived coven
of witches had, at some point, summoned a storm to drown him. He even had them try for it.
Thereafter this issue of the occult became an obsession for him. He proceeded to write a full
book about witchcraft, called Daemonologie and passed a parliamentary act to make it
punishable by death. With King James’ new laws, people devised cruel and illogical systems to
test the innocence of suspects, such as tying the accused’s thumbs to their toes behind their
backs and throwing them into water. If they sank, the now-deceased person was found innocent
– Hurrah! If they floated, they were considered guilty and were then killed by hanging -Double
hurrah! Because it was so easy to cry ‘witch’, people tended to abuse the system further, such as
by bumping off landowners to gain their coveted patches. Unlucky women whose babies were
stillborn were also often accused of witchcraft, and others who bore the ‘evil eye’ (a mole, a
freckle, a wart…) were in danger too. In fact, with the royal criminalisation of witchcraft in 1604
(and before its 1736 retraction), hundreds of thousands of people in Europe were tortured, hung,
and drowned.

Shakespeare, stage left. Ooh – does he instigate a petition to end this cruel practice? Write a
sonnet to commemorate the torture. Make soup for the orphans whose mothers have been
killed as witches? No. He exploits it at its peak. A talented writer, creative director, and canny
businessman, Shakespeare targets the king’s biggest weakness. In 1606, Macbeth is born,
capitalising on the monarch’s supernatural preoccupation. The curtain lifts. Three witches
dance, chant and plot, demonstrating to the witch-hating king that this Wills fella has his finger
on the button. And how does Shakespeare, much like the tabloid press, ensure his audience is
gripped by terror? Well, famously, three witches chant in trochaic meter, the rhythm of their
words in creepy, backwards opposition to the iambic meter of all the other characters: the
foregrounded stress of their lines is trance-like, angry and foreboding. Being in a three reinforces
the characters’ devilishness: they comprise an unholy trinity in direct contrast to the Father, the
Son and the Holy Spirit of James’ religious devotion. Finally, just to make sure the king is
whipped into a fervour, the witches rant and rave about using a storm to torture a near-drowned
sailor. Hmm, sound familiar?
Shakespeare is not just a gifted playwright: he also knows his target market and will
stop at nothing to reach it. Fair is foul and foul is fair, indeed!

● Evidence of the supernatural interruption :

Upon returning from battle, Macbeth and Banquo meet witches who make mysterious
predictions about Macbeth becoming the Thane of Glamis, Thane of Cawdor, and
eventually a king. Macbeth finds these greetings surprising and confusing because
although he is already Thane of Glamis, he is not yet Thane of Cawdor, and the idea of
becoming king seems unrealistic. The witches also deliver prophecies to Banquo,
stating:

"You will be lesser than Macbeth, and yet greater."

"You will not be as happy, but much happier."

"You will not be a king, but your descendants will be kings."

These predictions for Banquo are paradoxical, suggesting that although Banquo himself
will not be king, his descendants will inherit the throne.

Macbeth is intrigued by the witches' prophecies, particularly the one about him
becoming king, which has already captured his interest. His response shows a mix of
doubt and desire, as he is drawn to and troubled by the possibility of such power.
Banquo, in contrast, is more cautious and sceptical. This shows Banquo’s wariness with
the witches and his understanding that their words, while potentially true, might lead to
disastrous consequences.

Shakespeare's play Macbeth is known for its strong supernatural elements. The story
begins with three witches making predictions for Macbeth and Banquo, setting the stage
for what happens next. Throughout the play, Macbeth experiences supernatural events
like seeing a phantom dagger, hearing voices, and being haunted by the ghost of his
murdered comrade. These supernatural elements are not surprising considering that
Shakespeare likely wrote the play as a tribute to King James I, who strongly believed in
witchcraft. King James I even led witch hunts and wrote a text called Daemonologie,
which argued for the reality of witches and the study of witchcraft in legitimate
theological studies. When Shakespeare wrote Macbeth, England took supernatural
phenomena very seriously, with witches, ghosts, visions, dreams, postmortem bleeding
corpses, and devil possession all forming a part of Jacobean culture.

● Evidence for the psychological interpretation:

Macbeth's ambition is fueled by his desire for power, spurred on by outside forces such as
prophecies and the influence of Lady Macbeth. The witches' prophecies influence his actions,
while Lady Macbeth encourages him to act on his ambitions by pushing him to murder Duncan.
Macbeth himself is tormented by visions and hallucinations, haunted by the spectre of
his conscience. This internal conflict drives the entire plot as Macbeth's desire for power leads
him to commit heinous acts, setting off a chain of events that culminate in tragedy. His inner
battle between ambition and guilt is the engine that propels the narrative and ultimately results
in his downfall.

In Act 2, the turning point of the play and Macbeth's mental state occurs with the murder of King
Duncan. Before the act, Macbeth is tormented by visions, including a dagger leading him to
Duncan's chamber. After the murder, he feels immense guilt and refuses to reenter the room,
"afraid to think about" his actions. By the end of Act III, Macbeth has committed significant evil,
ordering the deaths of Banquo and Fleance without consulting Lady Macbeth, which shows his
isolation. Despite hoping to secure his throne, Fleance escapes, and Banquo's ghost appears at
a dinner party, revealing Macbeth’s mental unravelling. Lady Macbeth's attempts to regain
control are ineffective.

In *Macbeth*, the witches symbolize Macbeth's inner turmoil and amplify his ambition,
deepening his moral confusion. Their prophecies ignite his desires, leading him to actions that
betray his morals. Their cryptic language fosters paranoia, driving him toward violence and
accelerating his moral decay. Ultimately, the witches intensify Macbeth’s psychological struggle,
sealing his fate in his inner conflict.

CONCLUSION:
Macbeth has drawn significant scholarly interest, particularly regarding ambition, moral decay,
and the supernatural. Critics often see the witches as key to Macbeth's downfall, representing
fate, psychological projections, or moral ambiguity. Harold Bloom argues that the witches reflect
Macbeth's ambitions, amplifying his desires and highlighting his inner darkness, leading to his
psychological unravelling. Stephen Greenblatt, a prominent New Historicist, interprets the
witches as symbols of Jacobean political and religious turmoil. He views them as agents of
chaos that emphasize the instability of Macbeth’s reign and the dangers of unchecked ambition,
reflecting broader anxieties about power and legitimacy.

The psychoanalytic interpretation of Macbeth suggests that the witches awaken his latent
desires rather than impose ambition. It portrays the supernatural as a metaphor for his internal
conflict, highlighting that Macbeth’s greatest enemy is himself, deepening his character and
emphasizing the tragedy of his free will.

The witches’ dual nature enhances the themes of Macbeth, especially the tension between fate
and free will and the dangers of unchecked ambition. They blur the lines between external and
internal forces, illustrating how unrestrained ambition can distort morality and reality. This
complexity makes the witches essential to understanding the play; they are not just agents of
doom but catalysts for Macbeth’s vulnerabilities, highlighting that the most perilous forces often
reside in human desire and moral compromise.