The relation of form to substance—of the letter to the spirit—of the real to the ideal. But the different aspects in which this idea is presented are multiform; as empty, superfluous words; ambiguities, equivocations, irony, riddles, formality, prescription, superstition; witches, ghosts, dreams, omens, etc., etc.
The reason and the propriety of the introduction of the witches in Macbeth, has often been a subject of speculation. It may be remarked in general, that Shakspeare always follows very closely the original story on which his plot is founded. The question as to any given circumstance, therefore, generally is rather why he has retained than why he has introduced it. In the history of Macbeth, as he read it in the old chronicles, he found the weird sisters, and also their equivocal predictions; and it was upon these predictions as a “ground-idea,” (as has already been observed,) that he constructed the play. The witches, therefore, were not introduced for the sake of the play, but it might rather be said the play was written for the sake of the witches.
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ACT I.
The prevailing modification of the theme, in the early part of the play, is “the ambiguity of appearances.” The 1st scene merely introduces the witches, who are themselves ambiguous, and so is their language; “fair is foul, and foul is fair.” They appear amidst thunder and lightning, and a hurly-burly of empty words.
In the 2d Scene a bleeding soldier enters, and gives an account of the battle, and of the achievements of Macbeth and Banquo. Mark how he dwells on the doubtful aspect of the fight:
“Doubtfully it stood;
As two spent swimmers that do cling together,
And choke their art.”
He represents fortune as smiling at first on Macdonwald’s cause; but brave Macbeth, “disdaining fortune,” soon turned the tide of victory. But another revulsion follows, “and from the spring whence comfort seemed to come, discomfort flows.” The Norweyan lord suddenly renews the assault, but victory at last falls on Macbeth and Banquo. Ross now enters and describes the fight, dwelling in like manner on the uncertainty which attended it; and Duncan, declaring that the Thane of Cawdor shall no more deceive him, orders his execution. It is worthy of remark also, that the view here presented of Macbeth’s character is purely formal or sensual. Physical strength and bull-dog courage are alone spoken of. Swords “smoking with bloody execution,” “reeking wounds,” and “heads fixed on battlements,” compose the staple of his eulogy.