What Three Things Did the Witches Tell Macbeth When He Visits Them Again

Macbeth

Delight see the lesser of the folio for full explanatory notes and helpful resources.
Act Iv SCENE I A cave. In the centre, a humid cauldron.
[Thunder. Enter the three Witches]
First Witch Thrice the brinded cat hath mew'd.
2d Witch Thrice and once the hedge-pig whined.
Third Witch Harpier cries 'Tis time, 'tis fourth dimension.
First Witch Round nearly the cauldron go;
In the poison'd entrails throw.
Toad, that nether common cold rock
Days and nights has 30-one
Swelter'd venom sleeping got,
Boil grand first i' the overjoyed pot.
ALL Double, double toil and problem; x
Fire fire, and cauldron bubble.
2nd Witch Fillet of a fenny snake,
In the cauldron boil and bake;
Eye of newt and toe of frog,
Wool of bat and natural language of canis familiaris,
Adder's fork and blind-worm's sting,
Lizard's leg and owlet's wing,
For a charm of powerful problem,
Like a hell-broth boil and bubble.
ALL Double, double toil and trouble; xx
Fire burn and cauldron bubble.
Third Witch Scale of dragon, molar of wolf,
Witches' mummy, maw and gulf
Of the ravin'd common salt-ocean shark,
Root of hemlock digg'd i' the dark,
Liver of blaspheming Jew,
Gall of goat, and slips of yew
Silver'd in the moon's eclipse,
Nose of Turk and Tartar'southward lips,
Finger of birth-strangled infant 30
Ditch-deliver'd by a drab,
Make the gruel thick and slab:
Add together thereto a tiger'south chaudron,
For the ingredients of our cauldron.
ALL Double, double toil and trouble;
Fire fire and cauldron bubble.
Second Witch Cool it with a baboon's blood,
And then the charm is business firm and good.
[Enter HECATE to the other three Witches]
HECATE O well done! I commend your pains;
And every ane shall share i' the gains; 40
And now about the cauldron sing,
Live elves and fairies in a band,
Enchanting all that you put in.
[Music and a vocal: 'Black spirits,' &c]
[HECATE retires]
Second Witch Past the pricking of my thumbs,
Something wicked this way comes.
Open, locks,
Whoever knocks!
[Enter MACBETH]
MACBETH How now, y'all secret, blackness, and midnight hags!
What is't yous do?
ALL A deed without a name.
MACBETH I conjure you, past that which y'all profess, fifty
Howe'er you come to know it, answer me:
Though y'all untie the winds and let them fight
Against the churches; though the yesty waves
Confound and consume navigation upwardly;
Though bladed corn be lodged and trees blown down;
Though castles topple on their warders' heads;
Though palaces and pyramids practise slope
Their heads to their foundations; though the treasure
Of nature's germens tumble all together,
Even till destruction sicken; answer me 60
To what I enquire you.
Showtime Witch Speak.
Second Witch Demand.
3rd Witch Nosotros'll respond.
Outset Witch Say, if thou'dst rather hear it from our mouths,
Or from our masters?
MACBETH Telephone call 'em; allow me see 'em.
First Witch Pour in sow's blood, that hath eaten
Her nine farrow; grease that's sweaten
From the murderer's gibbet throw
Into the flame.
ALL Come, high or depression;
Thyself and office deftly bear witness!
[Thunder. Offset Apparition: an armed Head]
MACBETH Tell me, thou unknown power,--
First Witch He knows thy thought:
Hear his speech, just say chiliad nought. 70
First Apparition Macbeth! Macbeth! Macbeth! beware Macduff;
Beware the thane of Fife. Dismiss me. Enough.
[Descends]
MACBETH Whate'er thou art, for thy proficient caution, thanks;
K hast harp'd my fear aright: but 1
word more,--
First Witch He will not be commanded: here's another,
More strong than the first.
[Thunder. 2nd Apparition: A bloody Child]
Second Apparition Macbeth! Macbeth! Macbeth!
MACBETH Had I 3 ears, I'ld hear thee.
Second Apparition Be bloody, bold, and resolute; laugh to contemptuousness
The power of human, for none of woman born 80
Shall harm Macbeth.
[Descends]
MACBETH Then alive, Macduff: what need I fear of thee?
But yet I'll brand balls double sure,
And accept a bail of fate: thou shalt not live;
That I may tell pale-hearted fearfulness it lies,
And sleep in spite of thunder.
[ Thunder. 3rd Bogeyman: a Kid crowned, with a tree in his hand ]
What is this
That rises like the event of a male monarch,
And wears upon his baby-forehead the round
And meridian of sovereignty?
ALL Heed, but speak non to't.
3rd Bogeyman Be lion-mettled, proud; and take no care 90
Who chafes, who frets, or where conspirers are:
Macbeth shall never vanquish'd be until
Great Birnam forest to loftier Dunsinane hill
Shall come confronting him.
[Descends]
MACBETH That will never be
Who can impress the forest, bid the tree
Unfix his globe-bound root? Sweet bodements! good!
Rebellion's head, rise never till the wood
Of Birnam rise, and our high-placed Macbeth
Shall live the lease of nature, pay his jiff
To time and mortal custom. Yet my heart 100
Throbs to know one thing: tell me, if your art
Can tell so much: shall Banquo'southward issue ever
Reign in this kingdom?
ALL Seek to know no more than.
MACBETH I will be satisfied: deny me this,
And an eternal curse fall on you! Let me know.
Why sinks that cauldron? and what dissonance is this?
[Hautboys]
First Witch Bear witness!
Second Witch Show!
Third Witch Evidence!
ALL Show his eyes, and grieve his heart; 110
Come up like shadows, so depart!
[ A show of Eight Kings, the concluding with a glass in his hand; GHOST OF BANQUO following ]
MACBETH Thou art besides like the spirit of Banquo: down!
Thy crown does sear mine eye-balls. And thy hair,
Thou other gold-bound brow, is similar the beginning.
A third is like the one-time. Filthy hags!
Why do you prove me this? A fourth! Start, eyes!
What, will the line stretch out to the crack of doom?
Some other yet! A seventh! I'll run into no more:
And yet the 8th appears, who bears a glass
Which shows me many more; and some I see 120
That 2-fold balls and treble scepters acquit:
Horrible sight! At present, I come across, 'tis true;
For the claret-bolter'd Banquo smiles upon me,
And points at them for his.
[Apparitions vanish]
What, is this so?
Kickoff Witch Ay, sir, all this is so: just why
Stands Macbeth thus amazedly?
Come, sisters, cheer we upwardly his sprites,
And evidence the best of our delights:
I'll charm the air to give a audio,
While you perform your caper round: 130
That this great king may kindly say,
Our duties did his welcome pay.
[ Music. The witches dance and and then vanish, with HECATE ]
MACBETH Where are they? Gone? Let this pernicious 60 minutes
Stand yeah accursed in the calendar!
Come in, without in that location!
[Enter LENNOX]
LENNOX What's your grace's will?
MACBETH Saw yous the weird sisters?
LENNOX No, my lord.
MACBETH Came they not by you?
LENNOX No, indeed, my lord.
MACBETH Infected be the air whereon they ride;
And damn'd all those that trust them! I did hear
The galloping of equus caballus: who was't came by? 140
LENNOX 'Tis two or iii, my lord, that bring you word
Macduff is fled to England.
MACBETH Fled to England!
LENNOX Ay, my good lord.
MACBETH Time, thou anticipatest my dread exploits:
The flighty purpose never is o'ertook
Unless the deed become with it; from this moment
The very firstlings of my middle shall exist
The firstlings of my mitt. And even now,
To crown my thoughts with acts, be it idea and done:
The castle of Macduff I volition surprise; 150
Seize upon Fife; requite to the edge o' the sword
His wife, his babes, and all unfortunate souls
That trace him in his line. No boasting like a fool;
This act I'll exercise before this purpose cool.
But no more sights!--Where are these gentlemen?
Come, bring me where they are.
[Exeunt]

Next: Macbeth, Act 4, Scene 2
_____ Explanatory Notes for Act 4, Scene 1
From Macbeth. Ed. Thomas Marc Parrott. New York: American Book Co.
(Line numbers have been altered.)

_____

The interest in this human action centres around Macbeth's relation to Macduff, who has been already pointed out equally his sole opponent among the Scottish nobles. In the start scene, Macbeth is warned against him by proper name and resolves to put him to death; in the second, assassins, who have come too late to find him in his castle, massacre by Macbeth's orders his entire household; in the third we detect him in England stirring up Malcolm to state of war against the tyrant, receiving the terrible news of the slaughter of his wife and children, and vowing revenge upon their murderer. We see less of Macbeth in this act than in any other, but we see plenty to show us how, by this time, he has wholly given himself over to evil.

The departure between the Macbeth whom the witches waylaid and the Macbeth who seeks them out has been already pointed out. Fifty-fifty more than terrible is the difference between the Macbeth who was "too full o' the milk of man kindness to catch the nearest way," and the Macbeth who orders the massacre of Macduff's wife and children. The wanton cruelty of this criminal offence, past which Macbeth has absolutely zilch to gain, marks the everyman point of his fall.

At the shut of the act, we join with Macduff in thinking of him as "this fiend of Scotland," and expect forward eagerly to the penalization that is most to be meted out to him. It volition be shown after on with what fine art the poet contrives to regain for him a certain portion of our sympathy.

The witches who know that Macbeth is coming to consult them are revealed in a cave preparing their enchantments. We may suppose that the caldron with all its horrible ingredients was necessary to think the apparitions which the witches mean to prove Macbeth. The student should note carefully the forms and utterances of these apparitions, and consider in what way their words confirm Macbeth in his evil purposes, and embolden him against repentance.

The speeches of the witches are thrown into the same trochaic metre that they have employed on their one-time appearances. The divergence betwixt this and the light iambic metre in which Hecate speaks, is one of the primary reasons for rejecting that character every bit the interpolation of some other poet than Shakespeare.

Delight click hither for detailed explanatory notes for the Witches' Chants (4.i.1-47) and analysis.

l. conjure, adjure. The accent is on the first syllable. The whole oral communication is very characteristic of the desperate recklessness of Macbeth. He is determined to have an respond from the witches, no matter what storms their enchantments raise, and no matter what devastation of life and property results.

50. profess, make claim to know.

53. yesty, frothy, like yeast.

54. navigation, ships.

55. bladed corn, corn in the green ear.

55. lodged, beaten down.

57. pyramids, towers, or steeples.

59. germens, seeds of life.

63. our masters, the evil spirits, whom the witches serve and who presently have shape as the three apparitions.

64. eaten. According to an former Scotch law a sow who ate her pigs was to be stoned to expiry as a monster.

65. ix farrow, litter of 9.

67. high or low, corking spirit or small-scale.

68. deftly, fitly.

68. The "armed," i.e. helmeted, head represents Macbeth's own head which was destined to be cut off by Macduff. The bloody child represents Macduff, who had been ripped from his mother'southward womb. Note the curtained meaning in the witch's statement that this apparition is more potent than the outset.

74. harp'd, touched.

78. Had I ... hear thee, if I had more than ears than I take, I'd listen to you with all of them; a figurative fashion of saying that Macbeth is listening with eager attention.

83. double, used here as an adverb.

84. take a bail of fate. "Fate" is probably used here in the sense of "Decease." Macbeth intends to kill Macduff, and by and so doing he volition obtain a "bond," a sure pledge, from Decease that Macduff will never damage him. Thus he will be doubly sure, first by the prediction only uttered, next by Macduff'due south death.

86. slumber in spite of thunder. Macbeth has already complained of his restless sleeplessness. It is natural to suppose that a stormy night, recalling to him the terrors of the nighttime in which he murdered Duncan, would all the same further enhance his distress. But he thinks that if he can get rid of his final fright by killing Macduff, he will exist able to rest over again.

86. The third bogeyman represents young Malcolm; the tree represents Birnam forest.

88, 89. round And acme, the crown and highest attainment.

93. Birnam wood, a woods twelve miles from Dunsinane. In this line "Dunsinane" is accented on the second syllable, elsewhere in the play on the outset.

95. impress, forcefulness into service.

96. bodements, predictions.

97. Rebellious head, an ground forces of rebels.

98. our high-placed Macbeth. The phrase seems rather awkward, coming from Macbeth himself. Possibly "our" has something of the force of the royal "We" in information technology. "High-placed" is thought by Dr. Liddell to refer to Macbeth's situation on Dunsinane hill.

99. the lease of nature the allotted span.

100. mortal custom, the custom of bloodshed, i.e. death.

106. noise, music.

111. Eight King, the eight sovereigns of the Scottish firm of Stuart, from Robert II to James VI, inclusive. Co-ordinate to Holinshed, this firm traced its descent back to Banquo.

118. I'll see, I wish to see.

119. a glass, a magic glass past ways of which 1 could foresee the time to come. The eighth king who bears the glass is James Half-dozen of Scotland, ruling in England as James I when this play was written. Shakespeare meant to pay him a compliment by declaring that many of his descendants should reign. The nowadays king of England is descended on the mother'south side from James I.

121. balls, the golden orb carried by the monarch at his coronation. James was twice crowned, once in Scotland, and once in England.

121. treble sceptres, indicating the official championship of the English monarchs from James I to George III, viz.: "King of Great Great britain, France, and Republic of ireland."

122. A syllable is wanting in the 3rd pes. Its identify is supplied by the interruption afterwards Macbeth's ejaculation, "Horrible sight!"

123. claret-bolter'd, with hair disordered with blood.

124. What, is this so? These words, and the following lines to 132, inclusive, are almost certainly interpolated. Macbeth has merely said, "I see 'tis true," and it is therefore out of keeping for him to inquire the witches, "is this so?" The metre of the witch's speech is like that of Hecate in iii. five, and different that which Shakespeare uses for the witches, and the suggestion of the witch that she and her sisters cheer up Macbeth by a dance, is too absurd to demand discussion. The passage is one of the spectacular interpolations with which the reviser sought to increment the drawing power of Macbeth.

132. Our duties ... pay, our dutiful service (shown in the trip the light fantastic toe) gave him a welcome; an bad-mannered and un-Shakespearean line.

134. Stand up ... calendar, became a day marked in the calendar as one of ill omen.

127. sprites, spirits.

130. caper, fantastic, grotesque.

135. Enter Lennox. Lennox, nosotros must imagine, had accompanied Macbeth on his visit to the witches, simply had been left outside the cave. At that place is a singled-out significance in the fact that the lord who, in the preceding scene, had called Macbeth a tyrant, appears hither as his confidential companion. In spite of his spies Macbeth did not know how his nobles hated him.

139. damn'd all those that trust them, Macbeth does not realize that he is pronouncing judgment on himself, for, in spite of the show of the kings, he still trusts in the predictions of the witches.

144. anticipatest, preventest.

145. flightly, fleeting.

147. firstlings, outset offsprings.

153. trace him in his line, his relatives.

155. sights, apparitions.

155. no more than sights. Macbeth has had more than than plenty of the witches and their apparitions.

________

How to cite the explanatory notes:
Shakespeare, William. Macbeth. Ed. Thomas Marc Parrott. New York: American Book Co., 1904. Shakespeare Online. 10 Aug. 2010. < http://www.shakespeare-online.com/plays/macbeth_4_1.html >.
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Points to Ponder ... "[The Witches'] relation to the play as a whole is no less important than to Macbeth as an individual. These creatures, whose proper element is the storm, whose chariot is the whirl-wind, whose religion is to do the evil, form a fit setting for a drama in which the very ground rocks below one's feet, in which the whole activity is a stormy struggle between the powers of skillful and the powers of evil." N. B. Bowman. Read on...


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