Act 1 scene 1:
Shakespeares dramatic blaze is especially to be noted in the art with which he opusages his beginnings. The first scene of Macbeth strikes the keynote of the play. The desert place, the wild storm, the sort of the witches, the wayward pulse of their songs, all help to prepare us for a drama in which a humanity thought succumbs to the supernatural suggestions of evil and ranges itself along with the witches on the devils side.
We hear of a battle that is even now being fought, we hear of the trysting-place of the witches at the conclusion of the fray, and run of all we hear the name of the man they are planning to meet. No sooner has the name Macbeth been uttered than the calls of the attendant spirits are heard and the witches hurry off. The fill of the scene is over with the naming of the man against whose soul these ministers of phantasm are plotting.
1. The dialogue of the witches is a sort of chant. It is thrown into a verse form, trochaic tetrameter, which Shakespeare rarely uses except for supernatural beings, witches, fairies, or the like. In run to bring out the rhyme the last syllable is dropped from the end of all(prenominal) occupation. In line 2 the rhythm is reversed and the stress falls on the second syllable of each foot.
In line 8 the stressed syllable in the 3rd foot is omitted. This forces us to pause in the middle of the line and so secures additional emphasis for the closing word, Macbeth. We may depend the Third Witch pausing for a moment while her sisters get together round her and then shrieking out the name of the shooter in an ecstasy of devilish joy.
12, 13. The couplet with which the witches take their release is a confession of their creed. All that is good, fair, to others is evil, foul, to them, and vice versa. This applies to both the forcible and the moral world; they revel in the fog and black air, and in every sort of mischief and evil-doing from killing swine to entrapping human souls.
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