# Stories as a mode of thinking/2

II
To some it might appear that Witchcraft was not a subject worth thinking about seriously. But the Witchcraft itself is the temporary form given by certain ages to what is a permanent interest—the conception of a Supernatural World [other than the Supreme Being] capable of affecting (1) the conduct of those who believe in it, (2) or perhaps the actual course of events. It will be interesting to see how such a topic is embodied in a dramatic story of Shakespeare.
THE SUPERNATURAL ELEMENT IN MACBETH.
Shakespeare introduces into his dramas supernatural agents and phenomena of a kind not usually recognized at the present day: such as Ghosts and Witchcraft, &c.
    The chief plays are Macbeth, Hamlet, Richard III, Julius Cæsar.—The two plays, The Tempest and Midsummer Night’s Dream, stand in a different class, as they are wholly divorced from reality.
The question arises. How is this supernatural element to be regarded by the student of Shakespeare, in accordance with sound principles of analysis?
1. Beware of the temptation to explain away the supernatural character of such portions of Shakespeare's plays out of zeal for the poet's 'rationality'—there may be scenes in which an apparition may be resolved into an hallucination (e.g. Macbeth 3.4, where no one sees the ghost except Macbeth)—but there are cases in which the apparitions are unquestionably objective and supernatural (e.g. Witches in Macbeth, Ghost in first act of Hamlet)—and a single example is sufficient to establish the assumption by Shakespeare of such supernatural phenomena for his dramatic world.
2. Shakespeare seems to assume for any story he presents whatever was believed in by the age to which the story belongs—but the poet is himself responsible for the interpretation underlying the story, in this case for the use made of the supernatural agency—thus the true 'rationalisation' enquires how the operation of the supernatural element in a play harmonises with reason and morals.
(1) The Beings of Evil have no power over man except by his own consent. 'Compare instruments of darkness' (1.3. 124).
    Macbeth has long harboured treacherous designs on the crown [1.7.47-59: this must refer to a date anterior to the opening of the play]—connect with this his start and Banquo's surprise (1.3.51).
    In the second interposition of the Witches he forces them to speak [3.4.132-6; 4.1.50-61, 103-5].
    This is further brought out by placing alongside of Macbeth the uncorrupted Banquo, subjected to the same temptation. [Compare 1.3; 2.1.1-30; 3.1.1-72].
(2) Similarly, what the Witches reveal as Destiny confirms orassists, not alters, the natural working of events.
    E.g. Macbeth's succession to the crown depends upon a train of natural events of which the most important is the flight of Duncan's sons (2.4.21-32). Macduff is the natural leader of an insurrection against Macbeth [compare 2.3.56 &c.; 3.4.128; 4.1.74]—and as the most deeply wronged is bound to be the slayer of the tyrant [5. 7. 15: and compare 4. 3. 11 1-4 with 4. 3. 201-40]. Banquo was a natural rival of Macbeth (3.1. 50-7).
3. The main function of the supernatural element in a play is to add dramatic force to the working of events. By the interposition of the Witches the 'working of events' takes the form of a 'destiny' which appears
(1) irresistible:
    Throughout, obstacles thrown in the way of the 'destiny' become the means by which it is worked out. E.g. proclamation of Malcolm as heir apparent [1. 4. 38-42: compare 1. 4. 48-53 with 1. 3. 143-7]—flight of Duncan's sons [compare 2. 3. 141 with 2. 4. 24-32]—oracle about Dunsmane castle leads Macbeth to shut himself in that castle, without which 5. 4 would not have taken place.
(2) dark and unintelligible, till explained by fulfilment:
    Of the two oracles pronounced by the Witches in 1. 3. one is clear, the other mysterious—mystery drags on Macbeth (3. 1. 57-72) to a deed which at once explains and fulfils it. [Compare 3. 1. 134; 3. 4. 20-31; 4. 1. 100-124.]
(3) flavoured with personal mockery.
    The supernatural aids up to a certain point and then deserts: seeking unholy support finds a nemesis in losing it where most wanted. Effect of the Witches vanishing [1. 3. 78, and compare 4. 1. 133].
    The "honest trifles" principle (1. 3. 122): prying into forbidden knowledge finds a fitting nemesis in obtaining only half truths.
    The gods punish men by granting their prayers. [Macbeth's Vision of King's in 4. 1.; especially note 103.—Compare in 3. 4 apparition of Banquo in response to invitations.]
To sum up: Macbeth was the actor in the scene of his destiny: did the Witches do more than turn the (coloured) footlights on it?
Suggestions for Further Study,
Students who have followed out the matter of this Syllabus will have had suggested to them in the course of it various lines of study, some of which they may care to work out for themselves.
2. The Antithesis of the Practical and Inner Life may be worked out in many characters and stories: it is specially applicable to Shakespeare's plays of Hamlet and Julius Caesar.
3. The treatment of supernatural beings and phenomena in plays and novels. A list of Shakespeare's plays that deal with these is given above.