List 3 Events That Happened After Macbeth Visits the Three Witches Again

Characters in Macbeth

Three Witch / Wayward Sisters / Weird Sisters
Macbeth character
Scene from Macbeth, depicting the witches' conjuring of an apparition in Human action Four, Scene I. Painting by William Rimmer
Created by	William Shakespeare

The Three Witches, as well known as the Weird Sisters or Wayward Sisters, are characters in William Shakespeare's play Macbeth (c. 1603–1607). The witches somewhen lead Macbeth to his demise, and they concur a hit resemblance to the three Fates of classical mythology. Their origin lies in Holinshed's Chronicles (1587), a history of England, Scotland and Ireland. Other possible sources, aside from Shakespeare, include British folklore, contemporary treatises on witchcraft as Rex 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 ascension to kingship. Upon killing the rex 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 eighteenth century, including Henry Fuseli and William Rimmer, depicted the witches variously, equally have many directors since. Some have exaggerated or sensationalised the hags, or take adapted them to different cultures, as in Orson Welles'southward rendition of the weird sisters as voodoo priestesses.

Origins [edit]

Macbeth's Hillock, almost Brodie Castle, is traditionally identified as the "blasted heath" where Macbeth and Banquo first met the "weird sisters".

The proper noun "weird sisters" is found in most modernistic editions of Macbeth. Nevertheless, the Beginning Page's text reads:

The weyward Sisters, hand in hand,

Posters of the Sea and Land...

In later scenes in the First Page, the witches are described as "weyward", but never "weird". The modern appellation "weird sisters" derives from Holinshed'due south original Chronicles.^[1] Even so, modernistic English language spelling was only starting to become fixed past Shakespeare's time and besides the discussion weird (from Quondam English wyrd, fate) had connotations beyond the mod common connotation of "eerie". The Wiktionary etymology for weird includes this ascertainment:

"[The word] was extinct in English past the 16th century. Information technology survived in Scots, whence Shakespeare borrowed it in naming the "Weird Sisters", reintroducing it to English language. The senses "abnormal", "strange", etc. arose via reinterpretation of "Weird Sisters" and date from afterward this reintroduction."

One of Shakespeare's master sources is the Holinshed (1587)^{[2] [ total citation needed ]} account of Rex Duncan. Holinshed described the future King Macbeth of Scotland and his companion Banquo encountering

"3 women in strange and wild apparell, resembling creatures of elderberry world" who hail the men with glowing prophecies and and so vanish "immediately out of their sight".^[3]

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 noesis of prophecy by their necromantical scientific discipline."^[three]

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 merely had this trial taken place in Scotland, witches involved confessed to attempt the use of witchcraft to enhance a tempest and sabotage the very boat Male monarch James and the Queen of Scots were on board during their render trip from Denmark. The three witches discuss the raising of winds at ocean in the opening lines of Act ane, scene 3.^[4]

The news pamphlet states:

Moreover she confessed that at the time when his Majesty was in Denmark, she being accompanied with the parties earlier specially named, took a Cat and christened it, and afterward jump to each part of that True cat, the cheefest parts of a dead human being, and several joints of his body, and that in the night following the said Cat was conveyed into the midst of the sea by all these witches sailing in their riddles or Cues as aforesaid, and and so left the said Cat correct earlier the town of Leith in Scotland:

This done, at that place did arise such a tempest in the Ocean, as a greater has not been seen, which tempest was the cause of the perishing of a Boat or vessel coming over from the town of Brunt Island to the town of Leith, of which was many Jewels and rich gifts, which should have been presented to the current Queen of Scotland, at her Majesty's coming to Leith. Again it is confessed, that the said christened Cat was the cause that the King Majesty's Ship at his coming forth of Kingdom of denmark, had a contrary current of air to the rest of his Ships, then being in his visitor, which affair was most strange and truthful, as the King'southward Majesty acknowledges – Daemonologie, Newes from Scotland

The concept of the Three Witches themselves may accept been influenced past an Old Norse skaldic verse form,^[five] in which twelve valkyries weave and choose who is to be slain at the Battle of Clontarf (fought outside Dublin in 1014).^[6]

Shakespeare'due south creation of the Three Witches may have also been influenced by an anti-witchcraft police passed by Male monarch James ix years previously, a law that was to stay untouched for over 130 years.^[7] His characters' "chappy fingers", "skinny lips", and "beards", for instance, are not found in Holinshed.^[eight]

Macbeth'southward Hillock near Brodie, between Forres and Nairn in Scotland, has long been identified equally the mythical meeting place of Macbeth and the witches.^{[9] [10]} Traditionally, Forres^[11] is believed to have been the dwelling house of both Duncan and Macbeth.^[12]

Withal, 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 equally more fair than foul both in Holinshed's account and in the description of a contemporary play-goer Simon Forman.^[13]

Dramatic function [edit]

The Three Witches first appear in act 1, sc 1, where they agree to come across later with Macbeth. In human activity 1, sc 3, they greet Macbeth with a prophecy that he shall exist king, and his companion, Banquo, with a prophecy that he shall generate a line of kings. The prophecies have cracking impact upon Macbeth. As the audience later learns, he has considered usurping the throne of Scotland.

Several not-Shakespearean moments are thought to have been intruded into Macbeth sometime c.  1618; these include all of act 3, sc 5 and act 4, sc 1, ℓℓ 39–43 and ℓℓ 125–132, likewise as two songs.^[14]

In act 3, sc 5 (believed to not exist written past Shakespeare)^[xiv] 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 four, sc 1, the Witches get together 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 [edit]

The Iii 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 exist moral, kind or correct, such as helping one some other to ruin the journey of a sailor. Their presence communicates treason and impending doom. During Shakespeare'south day, witches were seen as worse than rebels, "the most notorious traitor and rebel that tin can be".^[15] They were non only political traitors, but spiritual traitors also. Much of the defoliation that springs from them comes from their power 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.^[fifteen]

The witches' lines in the kickoff act:

"Fair is foul, and foul is fair

Hover through the fog and filthy air"

are oft said to fix 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 every bit good, while adept is rendered evil. The line "Double, double toil and trouble," (oft sensationalised to a betoken that information technology loses meaning), communicates the witches' intent clearly: they seek only to increase problem for the mortals around them.^[16]

Though the witches do not directly tell Macbeth to kill Rex Duncan, they utilize a subtle course of temptation when they inform Macbeth that he is destined to be king. Past placing this thought in his mind, they finer 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 idea in a person'southward listen, which he or she might either indulge or turn down. Macbeth indulges the temptation, while Banquo rejects information technology.^[16]

Performance [edit]

Insertions past Davenant [edit]

In a version of Macbeth by William Davenant (1606–1668) a scene was added in which the witches tell Macduff and his wife of their future as well as several lines for the 2 before Macbeth'south entrance in human activity 4. Nigh of these lines were taken straight from Thomas Middleton'south play The Witch. David Garrick kept these added scenes in his eighteenth-century version.^[17]

Walpole's political satire [edit]

Horace Walpole 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 iii everyday women who manipulate political events in England through marriage and patronage, and manipulate elections to have Macbeth fabricated Treasurer and Earl of Bath. In the final scene, the witches gather around a cauldron and chant "Double, double, Toil and Problem / parties fire and Nonsense bubble." Into their batter they throw such things equally "Judgment of a Beardless Youth" and "Liver of a Renegade". The unabridged play is a commentary on the political corruption and insanity surrounding the catamenia.^[18]

Welles' "voodoo Macbeth" [edit]

Orson Welles' 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'south 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 interlope further and further into his domain as the play progresses, actualization in the forest in the first scene and in the castle itself past the end. Directors often accept difficulty keeping the witches from being exaggerated and overly-sensational.^[19]

Marowitz's and Ionesco's witches' hole-and-corner identities [edit]

Charles Marowitz created A Macbeth in 1969, a streamlined version of the play which requires but xi actors. The product strongly suggests that Lady Macbeth is in league with the witches. I scene shows her leading the three to a firelight incantation.

In Eugène Ionesco's satirical version of the play Macbett (1972), one of the witches removes a costume to reveal that she is, in fact, Lady Duncan, and wants to exist Macbeth'southward mistress. Once Macbeth is King and they are married, however, she abandons him, revealing that she was not Lady Duncan all forth, but a witch. The real Lady Duncan appears and denounces Macbeth as a traitor.^[20]

Felipe's adaption to Spanish [edit]

The Spanish poet and playwright León Felipe wrote a version of Shakespeare's play in Spanish which significantly changes the witches' office, especially in the final scene. Afterwards Macbeth'south decease, the Iii 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 accept an appointment with yous in Hell!"

In the play, they also connect themselves to a painting by Francisco Goya called Volaverunt, in which three mysterious figures are flight through the air and supporting a more than discernible royal female person figure.^[21]

Other representations [edit]

In art [edit]

Drawings contained in Holinshed's Chronicles, one of the sources Shakespeare used when creating the characters, portray them as members of the upper form. They are wearing elaborate dresses and hairstyles and appear to be noblewomen as Macbeth and Banquo arroyo. Shakespeare seems to have diverted quite a scrap from this image, making the witches (equally Banquo says):

"withered, and so wild in their attire,

That look not like th' inhabitants o' th' globe ...

each at once her inclement fingers laying

upon her skinny lips. Y'all should be women,

and yet your beards forbid me to translate

that you are then."^{[viii] [22]}

The Three Witches of Macbeth take inspired several painters over the years who have sought to capture the supernatural darkness surrounding Macbeth's encounters with them. For example, by the eighteenth century, belief in witches had waned in the United Kingdom. Such things were thought to be the elementary stories of foreigners, farmers, and superstitious Catholics. However art depicting supernatural subjects was very popular.

Runciman

John Runciman, as one of the starting time artists to utilise Shakespearean characters in his piece of work, created an ink-on-newspaper drawing entitled The Iii Witches in 1767–68. In information technology, three ancient figures are shown in close consultation, their heads together and their bodies unshown. Runciman's blood brother created some other drawing of the witches called The Witches evidence Macbeth The Apparitions painted circa 1771–1772, portraying Macbeth's reaction to the power of the witches' conjured vision. Both brothers' piece of work influenced many later artists by removing the characters from the familiar theatrical setting and placing them in the world of the story.^[23]

Füssli

Henry Fuseli would afterward create i of the more than famous portrayals of the Iii Witches in 1783, entitled The Weird Sisters or The Three Witches. In information technology, the witches are lined up and dramatically pointing at something all at once, their faces in contour. This painting was parodied by James Gillray in 1791 in Weird Sisters; Ministers of Darkness; Minions of the Moon. Three figures are lined up with their faces in profile in a way like to Fuseli'due south painting. However, the three figures are recognisable every bit Lord Dundas (the dwelling secretary at the time), William Pitt (prime minister), and Lord Thurlow (Lord Chancellor). The 3 of them are facing a moon, which contains the profiled faces of George III and Queen Charlotte. The drawing is intended to highlight the insanity of Male monarch George and the unusual alliance of the three politicians.^[23]

Fuseli created two other works depicting the Three Witches for a Dublin fine art gallery in 1794. The kickoff, entitled Macbeth, Banquo and the Three Witches was a frustration for him. His earlier paintings of Shakespearean scenes had been done on horizontal canvases, giving the viewer a film of the scene that was like to what would have been seen on phase. Woodmason requested vertical paintings, shrinking the infinite Fuseli had to work with. In this detail painting he uses lightning and other dramatic effects to separated Macbeth and Banquo from the witches more clearly and communicate how unnatural their coming together is. Macbeth and Banquo are both visibly terrified, while the witches are confidently perched atop a mound. Silhouettes of the victorious ground forces of Macbeth can be seen celebrating in the groundwork, just lack of space necessitates the removal of the barren, open landscape seen in Fuseli's earlier paintings for the Boydell Shakespeare Gallery of the same scene.^[24]

Macbeth and the Armed Head past Fuseli

Fuseli'southward other Macbeth Woodmason painting Macbeth and the Armed Caput depicts a later scene in which Macbeth is shown MacDuff and warned to be wary of him. Fuseli patently intended the two paintings to exist juxtaposed. He said, "when Macbeth meets with the witches on the heath, it is terrible, because he did not expect the supernatural visitation; merely when he goes to the cave to define his fate, it is no longer a subject of terror." Fuseli chose to make MacDuff a near-likeness of Macbeth himself, and considered the painting i of his most poetic in that sense, request,

"'What would exist a greater object of terror to you if, some night on going home, yous were to detect yourself sitting at your own table ... would not this make a powerful impression on your listen?"^[24]

In music [edit]

Verdi

At least fifteen operas have been based on Macbeth,^[25] but but 1 is regularly performed today. This is Macbeth, composed by Giuseppe Verdi to a libretto by Francesco Maria Piave and premièred in Florence in 1847. In the opera, the Three Witches became a chorus of at least xviii singers, divided into three groups. Each grouping enters separately at the start of the opera for the scene with Macbeth and Banquo; later on the men'south deviation, they have a chorus of triumph which does non derive from Shakespeare. They reappear in act iii, when they conjure upward the 3 apparitions and the procession of kings. When Verdi revised the opera for functioning in Paris in 1865, he added a ballet (rarely performed nowadays) to this scene. In it, Hecate, a not-dancing graphic symbol, mimes instructions to the witches before a final trip the light fantastic toe and Macbeth'due south arrival.^[26]

Purcell

In Henry Purcell's opera Dido and Aeneas with libretto by Nahum Tate, the Sorceress addresses the two Enchantresses as "Wayward Sisters," identifying the iii of them with the fates, equally well equally with the malevolent witches of Shakespeare'south Macbeth.^[27]

In literature [edit]

Stoker

In Dracula, three vampire women who live within in Dracula's castle are often dubbed the "Weird Sisters" past Johnathan Harker and van Helsing, though it'southward unknown if Bram Stoker intended them to be intentionally quoting Shakespeare. About media these days just refer to them every bit the Brides of Dracula, likely to differentiate the characters.

Pratchett

In Wyrd Sisters, a Discworld fantasy novel by Terry Pratchett these iii witches and the Earth Theater now named "The Disc" are featured.

In motion picture [edit]

Welles

Orson Welles created a film version of the play in 1948, sometimes called the Übermensch Macbeth, which altered the witches' roles past having them create a voodoo doll of Macbeth in the first scene. Critics take this as a sign that they command his actions completely throughout the film. Their voices are heard, simply their faces are never seen, and they bear forked staves as night parallels to the Celtic cross. Welles' voiceover in the prologue calls them "agents of anarchy, priests of hell and magic". At the finish of the film, when their piece of work with Macbeth is finished, they cut off the head of his voodoo doll.^{[28] (pp 129-130)}

Kurosawa

Throne of Claret, a Japanese version filmed in 1958 by Akira Kurosawa, replaces the 3 Witches with the Forest Spirit, an old hag who sits at her spinning bike, symbolically entrapping Macbeth's equivalent, Washizu, in the web of his own ambition. She lives outside "The Castle of the Spider's Web", some other reference to Macbeth's entanglement in her trap.^{[28] (pp 130-131)} Behind her hut, Washizu finds piles of rotting bones. The hag, the spinning wheel, and the piles of bones are direct references to the Noh play Adachigahara (also called Kurozuka), one of many artistic elements Kurosawa borrowed from Noh theatre for the film.

Polanski

Roman Polanski's 1971 motion picture version of Macbeth contained many parallels to his personal life in its graphic and tearing depictions. His wife Sharon Tate had been murdered two years earlier by Charles Manson and iii women. Many critics saw this as a clear parallel to Macbeth'southward murders at the urging of the Three Witches inside the film.^[29]

Morrissette

Scotland, PA, a 2001 parody motion picture directed by Baton Morrissette, sets the play in a restaurant in 1970s Pennsylvania. The witches are replaced by iii hippies who give Joe McBeth drug-induced suggestions and prophecies throughout the moving picture using a Magic 8-Ball. After McBeth has killed his boss, Norm Duncan, one of them suggests, "I've got it! Mac should impale McDuff's entire family!" Some other hippie sarcastically responds, "Oh, that'll work! Maybe a thousand years ago. Yous can't go around killing everybody."^[30]

Coen

In Joel Coen'southward 2022 picture show The Tragedy of Macbeth, British actress Kathryn Hunter plays all three witches. Though mostly depicted as iii personalities inside a single body, there are several instances where the witch divides into three distinct figures. Hunter worked extensively with Coen to develop a physicality for the witches, describing them as a intermediate forms, in between human women and crows (crows are also frequently shown flying through scenes in the film).^[31]

In tv set [edit]

The Doctor Who episode "The Shakespeare Code" (2007) features the inspiration for the three witches, members of an conflicting species called the Carrionites. Different humans or Time Lords, Carrionite science is based on words instead of numbers, thus their "witchcraft" is actually avant-garde technology.

The 2010s Netflix series Chilling Adventures of Sabrina depicts three teenage witches named Prudence, Agatha, and Dorcas, who are referred to every bit the Weird Sisters.

In reckoner games [edit]

In the computer game The Witcher 3: Wild Hunt (2015), the Three Crones of Crookback Bog brand an appearance, referred to every bit the "ladies of the wood" or "the good ladies", called Whispess, Brewess and Weavess. Portrayed as old, grossly plain-featured women who wield ancient, powerful magic, they are malicious characters, able to shapeshift, and pose challenges to the game's protagonists. Within the first one-half of the game, they confront the titular figure with a prophecy about his ill fate, hinting at the consequence of the game if the histrion fails at the overarching quest.

Influence [edit]

Beckett

Come up and Become, a brusk play written in 1965 by Samuel Beckett, recalls the Three Witches. The play features merely three characters, all women, named Flo, Vi, and Ru. The opening line: "When did nosotros three concluding meet?"^[32] recalls the "When shall we iii see once more?" of Macbeth human action 1, sc 1.^[33]

Reisert

The Third Witch, a 2001 novel written by Rebecca Reisert, tells the story of the play through the optics of a young girl named Gilly – one of the witches. Gilly seeks Macbeth's decease out of revenge for killing her father.^[34]

Rowling

J. K. Rowling has cited the Three Witches equally an influence in her Harry Potter series. In an interview with The Leaky Cauldron and MuggleNet, when asked, "What if [Voldemort] never heard the prophecy?", she said, "It'south the 'Macbeth' idea. I absolutely adore 'Macbeth'. Information technology is perchance my favourite Shakespeare play. And that's the question isn't it? If Macbeth hadn't met the witches, would he have killed Duncan? Would whatsoever of it have happened? Is information technology fated or did he make it happen? I believe he fabricated it happen."^[35] On her website, she referred to Macbeth once again in discussing the prophecy: "the prophecy (like the one the witches make to Macbeth, if anyone has read the play of the same proper name) becomes the catalyst for a situation that would never have occurred if it had not been made."^[36]

The soundtrack to the third Harry Potter film features a song by John Williams called "Double Problem", a reference to the witches' line, "Double double, toil and problem". The lyrics were adapted from the Three Witches' spell in the play. More playfully, Rowling likewise invented a musical band popular in the Wizarding world called The Weird Sisters that appears in passing in several books in the series as well as the film accommodation of Harry Potter and the Goblet of Fire.

See also [edit]

• Baba Yaga, who can manifest herself equally a trio of identical figures
• Les Lavandieres, the Night Washerwomen of Celtic mythology
• Triple Goddess

References [edit]

1. ^ Urmson, J.O. (1981). "Tate'southward 'Wayward Sisters'". Music & Letters. 62 (2): 245.
2. ^ Holinshed, R. (1587). The Chronicles of England, Scotland, and Ireland.
3. ^ ^{a b} Nicoll, Allardyce; Muir, Kenneth (2002). Shakespeare Survey. Cambridge Academy Press. p. 4. ISBN0-5215-2355-9.
4. ^ Warren, Brett (xiv May 2016). The Annotated Daemonology of Rex James. A critical edition in modernistic English. p. 107. ISBN978-1-5329-6891-4. If this sounds familiar, Shakespeare took inspiration from this very passage and applied the same methods of witchcraft to his play Macbeth just a few years after the publication of Dæmonologie. All of the inhabitants of England and Scotland would have been familiar with this case and as the play of Macbeth is as well ready in Scotland, many quotes from King James' dissertation are taken as inspiration.
5. ^ "Njáls saga". Darraðarljóð. chapter 157.
6. ^ Simek, R. (2007). Dictionary of Northern Mythology. Translated by Hall, Angela. Woodbridge, UK: D.Southward. Brewer. p. 57. ISBN0859915131.
7. ^ Tolman, Albert H. (1896). "Notes on Macbeth". Publications of the Modern Language Association. xi (2): 200–219. doi:10.2307/456259. JSTOR 456259.
8. ^ ^{a b} "Witches: Those well-dressed women are witches?". Internet Shakespeare Editions. University of Victoria and the Social Sciences and Humanities Research Council of Canada. Retrieved 10 May 2008.
9. ^ "Hail, Macbeth, savoiur of Scots tourism". The Scotsman. seven October 2014.
10. ^ Shaw, Lachlan; Gordon, James Skinner (1882). The History of the Province of Moray: Comprising the counties of Elgi Nairn, the greater part of the County of Inverness and a portion of the County of Banff, all called the Province of Moray before there was a division into counties. Vol. two. London, Uk: Hamilton, Adams. pp. 173–174, 218–219 – via Cyberspace Archive (archive.org).
11. ^ Forres. ordnancesurvey.co.uk (map).
12. ^ Ayto, John; et al. (2005). Brewer'due south United kingdom of great britain and northern ireland & Ireland. London, U.k.: Weidenfeld & Nicolson. p. 435. ISBN9780304353859.
13. ^ Bate, Jonathan. "The Instance for the Folio" (PDF). rscshakespeare.co.uk. pp. 34–35.
14. ^ ^{a b} Evans, G. Blakemore, ed. (1974). The Riverside Shakespeare. Boston, MA: Houghton and Mifflin. pp. 1340–1341.
15. ^ ^{a b} Coddon, Karin S. (October 1989). "'Unreal Mockery': Unreason and the problem of spectacle in Macbeth". ELH. 56 (3): 485–501.
16. ^ ^{a b} Frye, Roland Mushat (July 1987). "Launching the Tragedy of Macbeth: Temptation, deliberation, and consent in human activity I". The Huntington Library Quarterly. fifty (3): 249–261.
17. ^ Fiske, Roger (April 1964). "The Macbeth music". Music & Messages. 45 (2): 114–125.
18. ^ Alexander, Catherine M.S. (May 1998). "The Dear Witches: Horace Walpole'due south Macbeth". The Review of English Studies. 49 (194): 131–144.
19. ^ McCloskey, Susan (January 1985). "Shakespeare, Orson Welles, and the 'voodoo' Macbeth". Shakespeare Quarterly. 36 (4): 406–416.
20. ^ Rozett, Martha (1994). Talking Back to Shakespeare. Newark: University of Delaware Press. pp. 127–131. ISBN087413529X.
21. ^ Kliman, Bernice; Santos, Rick (2005). Latin American Shakespeares. Madison: Fairleigh Dickinson University Press. pp. 103–105. ISBN0838640648.
22. ^ Shakespeare, W. The Tragedy of Macbeth. act 1, scene 3, lines 39–47.
23. ^ ^{a b} "Room v: Witches and apparitions" (Museum exhibit). Gothic nightmares: Fuseli, Blake, and the romantic imagination. Tate U.k. Art Museum. Archived from the original on 30 April 2008. Retrieved 10 May 2008.
24. ^ ^{a b} Hamlyn, Robin (August 1978). "An Irish Shakespeare gallery". The Burlington Magazine. Vol. 120, no. 905. pp. 515–529.
25. ^ Sadie, Southward., ed. (1992). The New Grove Dictionary of Opera. Vol. 4. Oxford, UK: Oxford Academy Press. p. 344. ISBN978-0-xix-522186-2.
26. ^ Budden, J. (1973). The Operas of Verdi. Vol. 1. London, Great britain: Cassell. pp. 277, 300–302. ISBN0-304-93756-eight.
27. ^ "Dido and Aeneas" (libretto). Palo Alto, CA: Stanford University.
28. ^ ^{a b} Jackson, Russell (2007). The Cambridge Companion to Shakespeare on Film. Cambridge, UK: Cambridge University Press. pp. 129–131. ISBN052168501X.
29. ^ Holland, Peter (2004). Shakespeare Survey: An annual survey of Shakespeare studies and production. Cambridge, U.k.: Cambridge Academy Press. pp. 145–146. ISBN0521841208.
30. ^ Leitch, Thomas (2007). Pic Adaptation and its Discontents. Baltimore, Doc: The Johns Hopkins Academy Press. pp. 117–118. ISBN0801885655.
31. ^ Lenker, Maureen Lee (14 January 2022). "The Tragedy of Macbeth: Kathryn Hunter on conjuring a new take on Shakespeare's iii witches". Entertainment Weekly . Retrieved 2 March 2022.
32. ^ Beckett, Due south. (1984). "Come and Go". Collected Shorter Plays of Samuel Beckett. London, United kingdom of great britain and northern ireland: Faber and Faber. p. 196.
33. ^ Beckett, Due south. (2006). Roche, A. (ed.). Samuel Beckett: The Bully Plays after Godot / Samuel Beckett – 100 Years. Dublin, IE: New Island. p. 69.
34. ^ Reisert, Rebecca (2001). The Third Witch: A novel. New York, NY: Washington Square Press. ISBN0-7434-1771-ii.
35. ^ "The Leaky Cauldron and MN interview Joanne Kathleen Rowling". The Leaky Cauldron. 28 July 2007. Retrieved 8 February 2022.
36. ^ "What is the significance of Neville being the other boy to whom the prophecy might have referred?". J.Thou.Rowling official site (jkrowling.com). Archived from the original on 5 Feb 2012. Retrieved 26 June 2007.

Sources [edit]

• Blossom, Harold, 1987. William Shakespeare'due south Macbeth. Yale University: Chelsea House.
• Bernice W, Kliman, 200. Macbeth. Manchester: Manchester University Press, second rev ed. ISBN 0-7190-6229-ii
• Shakespeare, William; Cross, Wilbur Lucius (Ed); (2007). Macbeth. Forgotten Books.

External links [edit]

• Macbeth: Full-text online

vollexate1941.blogspot.com

Source: https://en.wikipedia.org/wiki/Three_Witches

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