When Shall We Three Meet Again Mit Vodoo

Characters in Macbeth

3 Witch / Wayward Sisters / Weird Sisters
Macbeth character
Scene from Macbeth, depicting the witches' conjuring of an bogeyman in Human activity IV, Scene I. Painting by William Rimmer
Created past	William Shakespeare

The Iii Witches, too known every bit the Weird Sisters or Wayward Sisters, are characters in William Shakespeare'due south play Macbeth (c. 1603–1607). The witches eventually pb Macbeth to his demise, and they hold a striking resemblance to the 3 Fates of classical mythology. Their origin lies in Holinshed'south Chronicles (1587), a history of England, Scotland and Republic of ireland. Other possible sources, aside from Shakespeare, include British folklore, gimmicky treatises on witchcraft as Male monarch James Half dozen of Scotland's Daemonologie, the Witch of Endor from the Bible, the Norns of Norse mythology, and aboriginal 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 rise to kingship. Upon killing the king and gaining the throne of Scotland, Macbeth hears them ambiguously predict his eventual downfall. The witches, and their "filthy" trappings and supernatural activities, set up an ominous tone for the play.

Artists in the eighteenth century, including Henry Fuseli and William Rimmer, depicted the witches variously, as have many directors since. Some have exaggerated or sensationalised the hags, or have adapted them to different cultures, as in Orson Welles'southward rendition of the weird sisters as voodoo priestesses.

Origins [edit]

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

The proper name "weird sisters" is found in most modern editions of Macbeth. However, the First Page'due south text reads:

The weyward Sisters, hand in mitt,

Posters of the Ocean 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'south original Chronicles.^[1] However, modern English spelling was only starting to become fixed past Shakespeare'south time and besides the word 'weird' (from Erstwhile English wyrd, fate) had connotations beyond the common modern significant. The Wiktionary etymology for "weird" includes this observation: "[The word] was extinct by the 16th century in English. Information technology survived in Scots, whence Shakespeare borrowed it in naming the Weird Sisters, reintroducing it to English. The senses "abnormal", "foreign" etc. arose via reinterpretation of "Weird Sisters" and appointment from after this reintroduction."

I of Shakespeare'south principal sources is found in the business relationship of King Duncan in Raphael Holinshed's history of Britain, The Chronicles of England, Scotland, and Ireland (1587). In Holinshed, the future Rex Macbeth of Scotland and his companion Banquo run into "three women in strange and wild apparell, resembling creatures of elderberry world" who hail the men with glowing prophecies and then vanish "immediately out of their sight". Holinshed observes 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 science."^[2]

Some other principal source was the Daemonologie of King James published in 1597 which included a news pamphlet titled Newes from Scotland that detailed the infamous N Berwick witch trials of 1590. Non merely had this trial taken place in Scotland, witches involved confessed to endeavour the utilise of witchcraft to raise a storm and sabotage the very boat King James and the Queen of Scots were on lath during their return trip from Denmark. The 3 witches discuss the raising of winds at sea in the opening lines of Act i Scene 3.^[3]

The news pamphlet states:

Moreover she confessed that at the time when his Majesty was in Denmark, she beingness accompanied with the parties earlier specially named, took a Cat and christened it, and afterwards bound to each function of that Cat, the cheefest parts of a dead man, and several joints of his trunk, and that in the night following the said Cat was conveyed into the midst of the ocean by all these witches sailing in their riddles or Cues as aforesaid, and and then left the said Cat right before the Town of Leith in Scotland: this washed, in that location did ascend such a tempest in the Ocean, as a greater has not been seen: which storm 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. Once more it is confessed, that the said christened Cat was the cause that the Rex Majesty's Ship at his coming along of Denmark, had a reverse wind to the residue of his Ships, then beingness in his visitor, which matter was most strange and true, every bit the King's Majesty acknowledges – Daemonologie, Newes from Scotland

The concept of the 3 Witches themselves may take been influenced past the Old Norse skaldic poem Darraðarljóð (found in chapter 157 of Njáls saga), in which twelve valkyries weave and cull who is to be slain at the Boxing of Clontarf (fought exterior Dublin in 1014).^[4]

Shakespeare's cosmos of the Three Witches may have also been influenced by an anti-witchcraft constabulary passed by King James 9 years previously, a law that was to stay untouched for over 130 years.^[5] His characters' "chappy fingers", "skinny lips", and "beards", for example, are not found in Holinshed.^[6] Macbeth's Hillock almost Brodie, between Forres and Nairn in Scotland, has long been identified equally the mythical coming together place of Macbeth and the witches.^{[7] [8]} (Map) Traditionally, Forres is believed to have been the home of both Duncan and Macbeth.^[nine]

However, Samuel Taylor Coleridge proposed that the three weird sisters should be seen as ambiguous figures, never actually being called witches by themselves or other characters in the play. Moreover, they were depicted as more than fair than foul both in Holinshed's account and in that of contemporary playgoer Simon Forman.^[10]

Dramatic function [edit]

The Three Witches get-go appear in Act 1.one where they agree to come across afterward with Macbeth. In i.3, they greet Macbeth with a prophecy that he shall exist rex, and his companion, Banquo, with a prophecy that he shall generate a line of kings. The prophecies have groovy impact upon Macbeth. As the audience later learns, he has considered usurping the throne of Scotland. The Witches side by side announced in what is mostly accustomed to be a non-Shakespearean scene,^{[ citation needed ]} 3.5, where they are reprimanded by Hecate for dealing with Macbeth without her participation. Hecate orders the trio to besiege at a forbidding place where Macbeth will seek their fine art. In 4.1, the Witches assemble as Hecate ordered and produce a serial 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.

Assay [edit]

The Three Witches represent evil, darkness, anarchy, and conflict, while their function is equally agents and witnesses. They appear to accept a warped sense of morality, deeming seemingly terrible acts to be moral, kind or right, such as helping one another to ruin the journey of a sailor. Their presence communicates treason and impending doom. During Shakespeare's day, witches were seen every bit worse than rebels, "the nearly notorious traitor and rebel that can be".^[eleven] They were not only political traitors, merely spiritual traitors as well. Much of the confusion that springs from them comes from their power to straddle the play's borders between reality and the supernatural. They are and 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.^[11]

The witches' lines in the start human action: "Fair is foul, and foul is fair / Hover through the fog and filthy air" are oft said to set the tone for the residuum of the play past establishing a sense of moral defoliation. Indeed, the play is filled with situations in which evil is depicted every bit good, while expert is rendered evil. The line "Double, double toil and trouble," (ofttimes sensationalised to a point that it loses meaning), communicates the witches' intent clearly: they seek only to increase problem for the mortals around them.^[12]

Though the witches do not deliberately tell Macbeth to kill Male monarch Duncan, they utilize a subtle class of temptation when they inform Macbeth that he is destined to be king. By placing this idea in his mind, they effectively 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'south heed, which he or she might either indulge or reject. Macbeth indulges the temptation, while Banquo rejects it.^[12]

Several not-Shakespearean moments are thought to have been added to Macbeth around 1618 and include all of iii.v and 4.one.39–43 and 4.1.125–32, as well as ii songs.^[13]

Performance [edit]

In a version of Macbeth past 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 ii before Macbeth's entrance in Deed 4. Most of these lines were taken directly from Thomas Middleton's play The Witch. David Garrick kept these added scenes in his eighteenth-century version.^[14] Horace Walpole created a parody of Macbeth in 1742 entitled The Dearest Witches in response to political problems of his time. The witches in his play are played by three everyday women who manipulate political events in England through union and patronage, and manipulate elections to have Macbeth fabricated Treasurer and Earl of Bath. In the final scene, the witches assemble around a cauldron and chant "Double, double, Toil and Problem / parties burn and Nonsense chimera." Into their concoction they throw such things as "Judgment of a Beardless Youth" and "Liver of a Renegade". The entire play is a commentary on the political corruption and insanity surrounding the period.^[15]

Orson Welles' phase product of Macbeth sets the play in Haiti, and casts the witches as voodoo priestesses. Every bit with before versions, the women are bystanders to the murder of Banquo, as well as Lady Macbeth'southward sleepwalking scene. Their part in each of these scenes suggests they were behind Macbeth's fall in a more direct fashion than Shakespeare'due south 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 by the end. Directors often have difficulty keeping the witches from being exaggerated and overly-sensational.^[16]

Charles Marowitz created A Macbeth in 1969, a streamlined version of the play which requires merely 11 actors. The production strongly suggests that Lady Macbeth is in league with the witches. One scene shows her leading the three to a firelight incantation. In Eugène Ionesco's satirical version of the play Macbett (1972), ane of the witches removes a costume to reveal that she is, in fact, Lady Duncan, and wants to be Macbeth's mistress. Once Macbeth is King and they are married, notwithstanding, she abandons him, revealing that she was not Lady Duncan all along, just a witch. The real Lady Duncan appears and denounces Macbeth as a traitor.^[17]

The Spanish poet and playwright León Felipe wrote a version of Shakespeare's play in Spanish which significantly changes the witches' part, especially in the concluding scene. After Macbeth's death, the Three Witches reappear in the midst of wind and storm, which they accept been associated with throughout the play, to claim his corpse. They carry it to a ravine and shout, "Macbeth! Macbeth! Macbeth! / We have an appointment with you in Hell!" In the play, they also connect themselves to a painting by Francisco Goya chosen Volaverunt, in which three mysterious figures are flying through the air and supporting a more than discernible royal female effigy.^[18]

Other representations [edit]

In art [edit]

Drawings contained in Holinshed'south Chronicles, one of the sources Shakespeare used when creating the characters, portray them equally members of the upper course. They are wearing elaborate dresses and hairstyles and appear to be noblewomen every bit Macbeth and Banquo approach. Shakespeare seems to have diverted quite a bit from this image, making the witches (every bit Banquo says) "withered, and then wild in their attire, / That look not like th' inhabitants o' th' earth. . . each at in one case her choppy fingers laying / Upon her skinny lips. You should be women, / And yet your beards forestall me to interpret / That you are so."^{[6] [19]}

The Three Witches of Macbeth take inspired several painters over the years who have sought to capture the supernatural darkness surrounding Macbeth'southward encounters with them. For example, past the eighteenth century, belief in witches had waned in the Britain. Such things were thought to be the unproblematic stories of foreigners, farmers, and superstitious Catholics. Nevertheless art depicting supernatural subjects was very pop. John Runciman, equally one of the kickoff artists to use Shakespearean characters in his piece of work, created an ink-on-paper drawing entitled The Three Witches in 1767–68. In it, three ancient figures are shown in close consultation, their heads together and their bodies unshown. Runciman'south brother created another drawing of the witches called The Witches evidence Macbeth The Apparitions painted circa 1771–1772, portraying Macbeth'southward reaction to the ability of the witches' conjured vision. Both brothers' work influenced many after artists by removing the characters from the familiar theatrical setting and placing them in the globe of the story.^[xx]

Henry Fuseli would later create one of the more famous portrayals of the Three Witches in 1783, entitled The Weird Sisters or The Iii Witches. In it, the witches are lined up and dramatically pointing at something all at in one case, their faces in profile. This painting was parodied by James Gillray in 1791 in Weird Sisters; Ministers of Darkness; Minions of the Moon. Iii figures are lined up with their faces in contour in a way similar to Fuseli's painting. However, the three figures are recognisable as Lord Dundas (the home secretary at the time), William Pitt (prime minister), and Lord Thurlow (Lord Chancellor). The three of them are facing a moon, which contains the profiled faces of George Three and Queen Charlotte. The drawing is intended to highlight the insanity of Rex George and the unusual alliance of the three politicians.^[xx]

Fuseli created ii other works depicting the Three Witches for a Dublin art gallery in 1794. The first, 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 motion picture of the scene that was similar to what would have been seen on stage. Woodmason requested vertical paintings, shrinking the space Fuseli had to work with. In this particular painting he uses lightning and other dramatic effects to separated Macbeth and Banquo from the witches more clearly and communicate how unnatural their meeting is. Macbeth and Banquo are both visibly terrified, while the witches are confidently perched atop a mound. Silhouettes of the victorious regular army of Macbeth can exist seen celebrating in the background, but lack of space necessitates the removal of the barren, open landscape seen in Fuseli's earlier paintings for the Boydell Shakespeare Gallery of the aforementioned scene.^[21]

Macbeth and the Armed Head past Fuseli

Fuseli's other Macbeth Woodmason painting Macbeth and the Armed Head depicts a later on scene in which Macbeth is shown MacDuff and warned to be wary of him. Fuseli manifestly intended the two paintings to be juxtaposed. He said, "when Macbeth meets with the witches on the heath, it is terrible, because he did not expect the supernatural visitation; but when he goes to the cave to ascertain his fate, it is no longer a subject of terror." Fuseli chose to make MacDuff a nearly-likeness of Macbeth himself, and considered the painting one of his most poetic in that sense, asking, "'What would be a greater object of terror to you if, some night on going home, yous were to find yourself sitting at your own table . . . would not this make a powerful impression on your mind?"^[21]

In music [edit]

At least fifteen operas have been based on Macbeth,^[22] but only one 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 3 Witches became a chorus of at least xviii singers, divided into iii groups. Each grouping enters separately at the beginning of the opera for the scene with Macbeth and Banquo; later the men's departure, they take a chorus of triumph which does not derive from Shakespeare. They reappear in Human activity 3, when they conjure up the three apparitions and the procession of kings. When Verdi revised the opera for operation in Paris in 1865, he added a ballet (rarely performed nowadays) to this scene. In it, Hecate, a non-dancing character, mimes instructions to the witches earlier a final dance and Macbeth's arrival.^[23]

In Henry Purcell'south opera Dido and Aeneas with libretto by Nahum Tate, the Sorceress addresses the two Enchantresses as "Wayward Sisters," identifying the 3 of them with the fates, also every bit with the malevolent witches of Shakespeare's Macbeth.^[24]

In literature [edit]

In Dracula, three vampire women who live within in Dracula'south castle are oftentimes dubbed the "Weird Sisters" by Johnathan Harker and Van Helsing, though information technology's unknown if Bram Stoker intended them to be intentionally quoting Shakespeare. Well-nigh media these days but refer to them every bit the Brides of Dracula, probable to differentiate the characters.

In Wyrd Sisters, a Discworld fantasy novel past Terry Pratchett these three witches and the Globe Theater now named "The disc" are featured.

In film [edit]

Orson Welles created a film version of the play in 1948, sometimes called the Übermensch Macbeth, which altered the witches' roles by having them create a voodoo doll of Macbeth in the first scene. Critics take this as a sign that they control his actions completely throughout the motion-picture show. Their voices are heard, merely their faces are never seen, and they carry forked staves as dark parallels to the Celtic cross. Welles' voiceover in the prologue calls them "agents of chaos, priests of hell and magic". At the stop of the moving-picture show, when their piece of work with Macbeth is finished, they cut off the head of his voodoo doll.^[25]

Throne of Claret, a Japanese version filmed in 1958 past Akira Kurosawa, replaces the Three Witches with the Wood Spirit, an old hag who sits at her spinning cycle, symbolically entrapping Macbeth'south equivalent, Washizu, in the web of his ain ambition. She lives outside "The Castle of the Spider'southward Web", some other reference to Macbeth's entanglement in her trap.^[26] Backside her hut, Washizu finds piles of rotting basic. The hag, the spinning wheel, and the piles of bones are direct references to the Noh play Adachigahara (as well called Kurozuka), one of many artistic elements Kurosawa borrowed from Noh theatre for the flick.

Roman Polanski's 1971 film version of Macbeth contained many parallels to his personal life in its graphic and violent depictions. His wife Sharon Tate had been murdered two years earlier by Charles Manson and three women. Many critics saw this as a articulate parallel to Macbeth'due south murders at the urging of the Iii Witches inside the film.^[27]

Scotland, PA, a 2001 parody pic directed past Billy Morrissette, sets the play in a restaurant in 1970s Pennsylvania. The witches are replaced by three hippies who give Joe McBeth drug-induced suggestions and prophecies throughout the film using a Magic 8-Brawl. After McBeth has killed his dominate, Norm Duncan, ane of them suggests, "I've got information technology! Mac should kill McDuff's unabridged family!" Another hippie sarcastically responds, "Oh, that'll work! Perhaps a m years ago. You can't go around killing everybody."^[28]

In Joel Coen's 2021 film The Tragedy of Macbeth, British extra Kathryn Hunter plays all three witches. Though commonly represented equally 3 personalities inside a single body, in that location are several instances where the witch divides herself into 3 components. Hunter worked extensively with Coen to develop a physicality for the witches, describing them as a hybrid between human women and crows.^[29]

In television [edit]

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

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

In computer games [edit]

In the computer game The Witcher 3: Wild Hunt (2015), the Three Crones of Crookback Bog brand an advent, referred to as the ladies of the woods or the adept 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 half of the game, they face up the titular figure with a prophecy about his ill fate, hinting at the consequence of the game if the player fails at the overarching quest.

Influence [edit]

Come and Become, a short play written in 1965 by Samuel Beckett, recalls the 3 Witches. The play features only three characters, all women, named Flo, Vi, and Ru. The opening line: "When did we three final encounter?" ^[30] recalls the "When shall we three run across over again?" of Macbeth: Human activity 1, Scene 1.^[31] 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, i of the witches. Gilly seeks Macbeth's death out of revenge for killing her father.^[32]

J. K. Rowling has cited the 3 Witches as 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'due south the 'Macbeth' thought. I admittedly admire 'Macbeth.' Information technology is peradventure my favourite Shakespeare play. And that's the question isn't information technology? If Macbeth hadn't met the witches, would he have killed Duncan? Would any of it have happened? Is information technology blighted or did he brand it happen? I believe he made it happen."^[33] On her website, she referred to Macbeth again in discussing the prophecy: "the prophecy (similar the one the witches brand to Macbeth, if anyone has read the play of the same name) becomes the goad for a state of affairs that would never have occurred if it had not been made."^[34] More than playfully, Rowling likewise invented a musical band popular in the Wizarding globe called The Weird Sisters that appears in passing in several books in the serial equally well equally the flick adaptation of Harry Potter and the Goblet of Burn. The soundtrack to the third Harry Potter film features a song by John Williams called "Double Trouble", a reference to the witches' line, "Double double, toil and problem". The lyrics were adjusted from the Iii Witches' spell in the play.

See also [edit]

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

References [edit]

1. ^ Urmson, J. O. "Tate's 'Wayward Sisters'." Music & Letters 62.2 (1981): 245.
2. ^ Nicoll, Allardyce; Muir, Kenneth. "Shakespeare survey". Cambridge University Press, 2002. 4. ISBN 0-5215-2355-nine
3. ^ Warren, Brett (14 May 2016). The Annotated Daemonology of King James. A Disquisitional Edition. In Modern English. 2016. p. 107. ISBN978-i-5329-6891-four. If this sounds familiar, Shakespeare took inspiration from this very passage and practical the aforementioned methods of witchcraft to his play Macbeth but a few years later on the publication of Dæmonologie. All of the inhabitants of England and Scotland would have been familiar with this case and every bit the play of Macbeth is also set in Scotland, many quotes from King James' dissertation are taken equally inspiration.
4. ^ Simek (2007:57).
5. ^ Tolman, Albert H. (1896). "Notes on Macbeth". Publications of the Modern Language Association. 11 (2): 200–219. doi:x.2307/456259. JSTOR 456259.
6. ^ ^{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 x May 2008.
7. ^ "Hail, Macbeth, savoiur of Scots tourism" The Scotsman, 7 October 2014
8. ^ Shaw (1882), p.173-174, p.218-219.
9. ^ Ayto, John et al. Brewer's Britain & Ireland. London: Weidenfeld & Nicolson, 2005. ISBN 9780304353859 pp. 435.
10. ^ Bate, Jonathan The Case for the Folio, pp 34–35
11. ^ ^{a b} Coddon, Karin S. "'Unreal Mockery': Unreason and the Problem of Spectacle in Macbeth." ELH 56.3 (Oct 1989), pp. 485–501.
12. ^ ^{a b} Frye, Roland Mushat. "Launching the Tragedy of Macbeth: Temptation, Deliberation, and Consent in Human activity I." The Huntington Library Quarterly 50.3 (Jul 1987), pp. 249–261.
13. ^ Evans, Thousand. Blakemore, textual editor. The Riverside Shakespeare (Boston: Houghton and Mifflin, 1974), pp. 1340–ane.
14. ^ Fiske, Roger. "The 'Macbeth' Music." Music & Letters. (Apr 1964) 45.2 pp. 114–125
15. ^ Thousand. S. Alexander, Catherine. "The Dear Witches: Horace Walpole's Macbeth." The Review of English language Studies. (May 1998) 49.194 pp. 131–144
16. ^ McCloskey, Susan. "Shakespeare, Orson Welles, And the 'Voodoo' Macbeth." Shakespeare Quarterly. (Jan 1985) 36.4 pp. 406–416
17. ^ Rozett, Martha. Talking Back to Shakespeare. Newark: University of Delaware Press, 1994. ISBN 087413529X pp. 127–131
18. ^ Kliman, Bernice and Rick Santos. Latin American Shakespeares. Madison: Fairleigh Dickinson Academy Printing, 2005. ISBN 0838640648 pp. 103–105.
19. ^ Macbeth Human action 1 Scene 3 lines 39–47.
20. ^ ^{a b} "Room five: Witches and Apparitions". Gothic Nightmares: Fuseli, Blake, and the Romantic Imagination (Museum Exhibit). Tate Britain Fine art Museum. Archived from the original on 30 April 2008. Retrieved 10 May 2008.
21. ^ ^{a b} Hamlyn, 515–529
22. ^ Sadie, Stanley, ed. (1992). The New Grove Lexicon of Opera. Oxford: Oxford Academy Printing. pp. Vol four, p. 344. ISBN978-0-19-522186-2.
23. ^ Budden, Julian (1973). The Operas of Verdi, Volume 1. London: Cassell. pp. 277, 300–two. ISBN0-304-93756-8.
24. ^ Dido and Aeneas libretto http://opera.stanford.edu/iu/libretti/dido.html
25. ^ Jackson, Russell. The Cambridge Companion to Shakespeare on Picture show. Cambridge: Cambridge University Printing, 2007. ISBN 052168501X pp. 129–130.
26. ^ Jackson, Russell. The Cambridge Companion to Shakespeare on Movie. Cambridge: Cambridge University Press, 2007. ISBN 052168501X pp. 130–131.
27. ^ Holland, Peter. Shakespeare Survey: an Annual Survey of Shakespeare Studies and Product. Cambridge: Cambridge University Press, 2004. ISBN 0521841208 pp. 145–146
28. ^ Leitch, Thomas. Moving-picture show Adaptation and Its Discontents. Baltimore: The Johns Hopkins University Printing, 2007. ISBN 0801885655 pp. 117–118.
29. ^ Lenker, Maureen Lee. "The Tragedy of Macbeth: Kathryn Hunter on Conjuring a New Take on Shakespeare's three Witches." Entertainment Weekly. 14 January 2022. Archived from the original March 2, 2022.
30. ^ Beckett, South., Collected Shorter Plays of Samuel Beckett (London: Faber and Faber, 1984), p 196
31. ^ Roche, A., Samuel Beckett:The Great Plays After Godot, Samuel Beckett – 100 Years (Dublin: New Isle, 2006), p 69
32. ^ Reisert, Rebecca. The Tertiary Witch : a Novel. New York: Washington Square Printing, 2001. ISBN 0-7434-1771-two
33. ^ "The Leaky Cauldron and MN Interview Joanne Kathleen Rowling". The Leaky Cauldron. 28 July 2007. Retrieved eight Feb 2022.
34. ^ "What is the significance of Neville being the other boy to whom the prophecy might have referred?". J.K.Rowling Official Site. Archived from the original on 5 February 2012. Retrieved 26 June 2007.

Sources [edit]

• Bloom, Harold. William Shakespeare's Macbeth. Yale University: Chelsea Firm, 1987.
• Bernice Due west, Kliman. Macbeth. Manchester: Manchester University Printing, 2Rev Ed edition, 200. ISBN 0-7190-6229-2
• Hamlyn, Robin. "An Irish Shakespeare Gallery". The Burlington Mag. Vol 120, Issue 905. 515–529.
• Shakespeare, William; Cross, Wilbur Lucius (Ed). Macbeth. Forgotten Books.
• Simek, Rudolf (2007) translated past Angela Hall. Lexicon of Northern Mythology. D.S. Brewer ISBN 0859915131

• 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. 2. London, England: Hamilton, Adams.

External links [edit]

• Macbeth: Full-text online

martinwartn1991.blogspot.com

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