Macbeth · Act 1, Scene 3
Temptation or hidden desire?
The witches help create Macbeth’s future by making kingship seem certain.
THIRD WITCHAll hail, Macbeth! that shalt be king hereafter!
Predict or create? ‘shalt’ makes kingship sound certain, planting a future Macbeth can chase.
MACBETHStay, you imperfect speakers, tell me more. By Sinel’s death I know I am Thane of Glamis; …
His plea, ‘tell me more’, suggests their promise has already hooked his desire.
THIRD WITCHAll hail, Macbeth! that shalt be king hereafter!
In Holinshed’s Chronicles, too, the witches’ royal prediction prompts Macbeth’s plans to seize power.
The witches predict events, but Macbeth supplies the murderous ambition.
ROSSAnd, for an earnest of a greater honour, He bade me, from him, call thee Thane of Cawdor: In which addition, hail, most worthy thane, For it is thine.
Cawdor is Duncan’s grant of a Scottish title, not something the witches create.
MACBETH… Are less than horrible imaginings. My thought, whose murder yet is but fantastical, Shakes so my single state of man …
And ‘My thought’ makes murder Macbeth’s contribution. Their greeting promises kingship, not killing.
BANQUOGood sir, why do you start and seem to fear Things that do sound so fair?—I’ th’ name of truth, …
His instant fear could reveal a wish he already carries, rather than something newly planted.
Their promise may awaken his desire without deciding his actions.
MACBETHIf chance will have me king, why, chance may crown me Without my stir.
‘Without my stir’ leaves another route open: becoming king need not mean choosing murder.
He may fear the supernatural, the upheaval needed to become king, or his own violent response. Banquo notices that he ‘start[s]’, while Macbeth admits that a ‘horrid image’ has seized him.
Banquo warns that ‘instruments of darkness’ use truths to cause harm. However, he asks for his own prophecy and later repeats that his children will be kings, showing real interest in it.
The image makes Macbeth’s new title feel strange and not yet his own; Banquo later develops it through ‘strange garments’. It can suggest innocent discomfort, unstable identity, or ominously that Macbeth is taking another man’s place.