Macbeth: Act 1 Scene 1 Analysis

Summary:

The play begins with thunder and lightning, and the witches are on a heath somewhere in Scotland.

The Scene:

Thunder and lightning. Enter three witches.

First Witch

When shall we three meet again —

In thunder, lightning, or in rain?

Second Witch

When the hurlyburly's done,

When the battle's lost, and won.

Third Witch

That will be ere the set of sun.

First Witch

Where the place?

Second Witch

Upon the heath.

Third Witch

There to meet with Macbeth.

First Witch

I come, Graymalkin.

Second Witch

Paddock calls.    

Third Witch

Anon.

All

Fair is foul, and foul is fair.

Hover through the fog and filthy air.

[Exit]

Unfamiliar Words:

• 'hurlyburly' – chaos or turmoil

• 'ere' – before

• 'heath' – wasteland

• 'Greymalkin' – a grey cat

• 'Paddock' – a toad

• 'Anon' – I'm coming

Analysis:

The play begins with the titular character absent from the scene. This is to set the mood for the rest of the play; how does this scene present ideas about power? Does it seem like Macbeth or the Weird Sisters? How does this link to Appearance vs. Reality?

The scene begins in the middle of a storm: Thunder and lightning. Enter three witches. The stage directions here introduce the idea of chaos and foreshadow the turbulent events of the rest of the play. The setting of the barren heath suggests the baseless morals of both the witches and Macbeth himself.

In thunder, lightning, or in rain?

This also reinforces the same ideas as above but also suggests the witches' power over the weather, begging the question: do the witches have this much power over Macbeth, and what does this mean for the theme of fate vs. free will?

The storm at the start of Macbeth would have had a dual significance for Jacobean audiences. First, storms were often seen as symbolic of upheaval or divine wrath—a physical manifestation of the chaos and disorder that occurs when moral or natural order is disturbed. In the context of Macbeth, the storm might have been interpreted as a sign of the moral corruption that is about to unfold in the play. The violent storm mirrors the violent acts that will occur, such as the murder of King Duncan, and would have been understood as a sign that the natural world is in disarray, reflecting the moral disintegration within the play.

Additionally, storms were often linked to witchcraft in popular beliefs of the time. Witches were thought to have the power to control the weather, and storms were sometimes considered evidence of their magic. The opening storm in Macbeth would therefore have been read as a manifestation of the witches' power, heightening their malevolent presence and reinforcing their association with supernatural forces.

Moreover, in 1590, James had been personally involved in the investigation and execution of several people accused of witchcraft in Scotland, a series of events that later became known as the North Berwick witch trials. These trials were highly publicised and contributed to the hysteria surrounding witchcraft in England. Given these events, Jacobean audiences would have been acutely aware of the fear surrounding witches and would likely have viewed the supernatural elements in Macbeth through a lens of fear and suspicion.

When the hurlyburly's done,

When the battle's lost, and won.

Trochaic tetrameter: DUM-da, stressed syllable followed by an unstressed. This meter is also 8 syllables per line and sounds more musical.

Iambic pentameter: da-DUM, an unstressed syllable followed by a stressed syllable; this meter has 10–12 syllables per line. This meter is more conversational and closer to normal speech; it sounds refined.

There are two ways (and more!) to look at this quote. The witches could be referring to the battle between Scotland and Norway, or the moral battle Macbeth will be entering into in the next two scenes. The paradoxical language here also introduces the main themes of the play: deception and turmoil, foreshadowing the change and chaos the country is going to go through.

This phrase evokes a sense of confusion and paradox, mixed with anticipation. The word "hurlyburly" suggests noise, disorder, and chaos, while "done" implies resolution or completion. The contradiction between "lost" and "won" evokes feelings of ambiguity and contradiction, creating an unsettling effect. One might feel perplexed at the idea that a battle can both be lost and won, which conveys the play’s themes of ambiguity, fate, and moral complexity.

The word "hurlyburly" is an old term meaning a noisy commotion or confusion, which immediately brings to mind images of war, chaos, or disorder. The idea of "lost and won" suggests a duality, indicating that outcomes are not always clear-cut and that victories or defeats may not always be what they seem. This paradoxical phrase can remind readers of the concept of fate in Macbeth, where events unfold in ways that defy simple interpretation.

The use of contradictory phrases like "lost and won" is a common literary device to illustrate complex themes. Similar phrases can be found in other works, such as in Shakespeare’s own King Lear, where the notion of duality is present in themes of power, fate, and identity. The paradox of "lost and won" is also reminiscent of the concept of "the turning wheel of fortune," seen in medieval literature, where what is gained can just as easily be lost.

Shakespeare may have used this paradoxical line to reflect the central themes of Macbeth, particularly the blurred lines between good and evil, and fate and free will. The phrase "lost and won" captures the confusion and moral ambiguity that pervades the play. In the witches’ speech, it implies that victory and defeat are not straightforward; the battle may have both winners and losers in different ways, reflecting the larger theme of moral uncertainty. The idea that the "hurlyburly" is "done" once the battle is over suggests that chaos leads to resolution, but the outcome of that resolution may not be as clear as it seems. The line encapsulates the play’s overall tension between appearance and reality, where nothing is truly as it seems.

Fair is foul, and foul is fair.

Hover through the fog and filthy air.

"Fair is foul, and foul is fair" evokes a strong sense of unease and disorientation. By inverting traditional opposites, Shakespeare introduces a paradox that challenges the audience’s understanding of morality and truth. This creates a feeling of uncertainty, as the audience is forced to confront the possibility that what they perceive as good may be bad, and what they consider bad could be good. The second part of the phrase, "Hover through the fog and filthy air," intensifies this unease, suggesting an atmosphere of corruption and confusion. It creates an image of being trapped in a world where clarity is obscured, leaving one with a sense of foreboding.

The phrase immediately brings to mind the idea of moral ambiguity and deception. This phrase suggests a world where appearances can no longer be trusted, and truth is subjective. It's reminiscent of the theme of equivocation in Macbeth, where characters constantly wrestle with what is real and what is illusion. The "fog" and "filthy air" further emphasize this, evoking associations with a polluted environment that obscures vision and clarity. These images might also make us think of an eerie, supernatural realm, in which the natural laws of the world are bent or broken—a hallmark of the witches' influence in the play.

The concept of moral inversion, where good and evil become indistinguishable, is not unique to Macbeth, but rather a recurring motif in works exploring the supernatural and human corruption. Similar ideas appear in Shakespeare's King Lear, where the boundaries between loyalty and betrayal, madness and wisdom, are constantly in flux. The fog imagery, too, has appeared in other literary works to symbolize confusion and the blurring of boundaries. However, Shakespeare’s use of these devices in Macbeth is particularly potent because they align with the witches' supernatural presence, emphasizing the destabilizing effect of their influence. Unlike other plays where moral clarity is eventually restored, Macbeth embraces uncertainty from beginning to end.

Shakespeare’s use of "Fair is foul, and foul is fair" sets the tone for the entire play, illustrating the central theme of equivocation. The phrase highlights the tension between appearance and reality, a recurring conflict in Macbeth as characters deceive themselves and others in pursuit of power. By associating the witches with a "fog" and "filthy air," Shakespeare suggests that they exist in a world where moral boundaries are blurred, and their influence spreads chaos and confusion. This creates a narrative where decisions and actions cannot be easily categorised as purely good or evil, reflecting the play's exploration of ambition, guilt, and fate. The witches' chant introduces a world in which nothing is as it seems, forcing both the characters and the audience to navigate a labyrinth of moral complexity and supernatural manipulation.