85. The next writer to bring forward a view of this character was the Rev. F.G. Fleay, the well-known Shakspere critic, whose ingenious efforts in iconoclasm cause a curious alternation of feeling between admiration and amazement. His argument is unfortunately mixed up with a question of textual criticism; for he rejects certain scenes in the play as the work of the inferior dramatist Middleton.[1] The question relating to the text will only be noticed so far as it is inextricably involved with the argument respecting the nature of the weird sisters. Mr. Fleay's position is, shortly, this. He thinks that Shakspere's play commenced with the entrance of Macbeth and Banquo in the third scene of the first act, and that the weird sisters who subsequently take part in that scene are Norns, not witches; and that in the first scene of the fourth act, Shakspere discarded the Norns, and introduced three entirely new characters, who were intended to be genuine witches.
[Footnote 1: Of the witch scenes Mr. Fleay rejects Act I. sc. i., and sc. iii. down to l. 37, and Act III. sc. v.]
86. The evidence which can be produced in support of this theory, apart from question of style and probability, is threefold. The first proof is derived from a manuscript entitled "The Booke of Plaies and Notes thereof, for Common Pollicie," written by a somewhat famous magician-doctor, Simon Forman, who was implicated in the murder of Sir Thomas Overbury. He says, "In 'Macbeth,' at the Globe, 1610, the 20th April, Saturday, there was to be observed first how Macbeth and Banquo, two noblemen of Scotland, riding through a wood, there stood before them three women fairies, or nymphs, and saluted Macbeth, saying three times unto him, 'Hail, Macbeth, King of Codor, for thou shalt be a king, but thou shalt beget no kings,'" etc.[1] This, if Forman's account held together decently in other respects, would be strong, although not conclusive, evidence in favour of the theory; but the whole note is so full of inconsistencies and misstatements, that it is not unfair to conclude, either that the writer was not paying marvellous attention to the entertainment he professed to describe, or that the player's copy differed in many essential points from the present text. Not the least conspicuous of these inconsistencies is the account of the sisters' greeting of Macbeth just quoted. Subsequently Forman narrates that Duncan created Macbeth Prince of Cumberland; and that "when Macbeth had murdered the king, the blood on his hands could not be washed off by any means, nor from his wife's hands, which handled the bloody daggers in hiding them, by which means they became both much amazed and affronted." Such a loose narration cannot be relied upon if the text in question contains any evidence at all rebutting the conclusion that the sisters are intended to be "women fairies, or nymphs."
[Footnote 1: See Furness, Variorum, p. 384.]
87. The second piece of evidence is the story of Macbeth as it is narrated by Holinshed, from which Shakspere derived his material. In that account we read that "It fortuned as Makbeth and Banquho journied toward Fores, where the king then laie, they went sporting by the waie togither without other companie, saue onlie themselues, passing thorough the woods and fields, when suddenlie in the middest of a laund there met them three women in strange and wild apparell, resembling creatures of elder world, whome when they attentivelie beheld, woondering much at the sight, the first of them spake and said; 'All haile, Makbeth, thane of Glammis' (for he had latelie entered into that dignitie and office by the death of his father Sinell). The second of them said; 'Haile, Makbeth, thane of Cawder.' But the third said; 'All haile, Makbeth, that heereafter shall be King of Scotland.' … Afterwards the common opinion was that these women were either the weird sisters, that is (as ye would say) the goddesses of destinie, or else some nymphs or feiries, indued with knowledge of prophesie by their necromanticall science, because everiething came to passe as they had spoken."[1] This is all that is heard of these "goddesses of Destinie" in Holinshed's narrative. Macbeth is warned to "beware Macduff"[2] by "certeine wizzards, in whose words he put great confidence;" and the false promises were made to him by "a certeine witch, whome he had in great trust, (who) had told him that he should neuer be slaine with man borne of anie woman, nor vanquished till the wood of Bernane came to the castell of Dunsinane."[3]
[Footnote 1: Holinshed, Scotland, p. 170, c. 2, l. 55.]
[Footnote 2: Macbeth, IV. l. 71. Holinshed, p. 174, c. 2, l. 10.]
[Footnote 3: Ibid. l. 13.]
88. In this account we find that the supernatural communications adopted by Shakspere were derived from three sources; and the contention is that he has retained two of them—the "goddesses of Destinie" and the witches; and the evidence of this retention is the third proof relied on, namely, that the stage direction in the first folio, Act IV. sc. i., is, "Enter Hecate and the other three witches," when three characters supposed to be witches are already upon the scene. Holinshed's narrative makes it clear that the idea of the "goddesses of Destinie" was distinctly suggested to Shakspere's mind, as well as that of the witches, as the mediums of supernatural influence. The question is, did he retain both, or did he reject one and retain the other? It can scarcely be doubted that one such influence running through the play would conduce to harmony and unity of idea; and as Shakspere, not a servile follower of his source in any case, has interwoven in "Macbeth" the totally distinct narrative of the murder of King Duffe,[1] it is hardly to be supposed that he would scruple to blend these two different sets of characters if any advantage were to be gained by so doing. As to the stage direction in the first folio, it is difficult to see what it would prove, even supposing that the folio were the most scrupulous piece of editorial work that had ever been effected. It presupposes that the "weird sisters" are on the stage as well as the witches. But it is perfectly clear that the witches continue the dialogue; so the other more powerful beings must be supposed to be standing silent in the background—a suggestion so monstrous that it is hardly necessary to refer to the slovenliness of the folio stage directions to show how unsatisfactory an argument based upon one of them must be.
[Footnote 1: Ibid. p. 149. "A sort of witches dwelling in a towne of
Murreyland called Fores" (c. 2, l. 30) were prominent in this account.]