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“To Meet with Macbeth,” given by tutor Louis ... - St. John's College

“To Meet with Macbeth,” given by tutor Louis ... - St. John's College

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counterpoint to rising internal storms. The thunder of this Scottish world comes suddenly, proof that<br />

our exquisite senses that we rely upon to prepare us to meet the world are inadequate informers of<br />

what comes to inhabit our world. There is no way to close the gates of hearing to this thunder, as we<br />

can close or turn away our eyes from ugliness, and no shields will serve as defense. Its loudness is an<br />

unavoidable blow that upsets our confident repose in civilization, and its lightning is no sign of a link to<br />

heaven that we would like to believe holds us in its hands.<br />

Three strange forms are summoned into our presence three times in this play, not <strong>by</strong> human<br />

action or voice, which serve as cues to summon the other characters, but <strong>by</strong> the thunder. Thus they are<br />

not under the causation of the human mind— there are no human minds yet on this stage; whatever<br />

they are, they are already out there. They call themselves “Weird Sisters,” as do <strong>Macbeth</strong> and Banquo,<br />

the only characters to meet them. This word “Weird” can be mono- or disyllabic as in “weyard” (similar<br />

to our “wayward”). This word occurs nowhere else in Shakespeare’s plays, and thus the ambiguity of<br />

their identities and purposes is authoritative. We may be tempted to call them “witches,” as does the<br />

sailor’s wife, who has chestnuts in her lap:<br />

1. And mounched, and mounched, and mounched.<br />

”Give me,” quoth [the first Sister].<br />

“Aroint thee, witch!” the rump-fed ronyon cries.<br />

Her husband’s to Aleppo gone, master o’ th’ Tiger:<br />

But in a sieve I’ll thither sail,<br />

And, like a rat <strong>with</strong>out a tail<br />

I’ll do, I’ll do, and I’ll do.<br />

(I.iii.4-10)<br />

The big-butted, scab<strong>by</strong> sailor’s wife names what she does not know, while denying the outstretched<br />

hand of the first Sister. (This is the signature gesture of the play, as we shall see.) The chestnuts that<br />

she guards in her lap (and “mounches” greedily) are her seeds of future potential that she keeps secure<br />

in her most personal place <strong>by</strong> pronouncing an easy moral judgment on the owner of the hand: “witch.”<br />

Let us not make her mistake <strong>by</strong> keeping safely to our sedentary reading laps our seeds of becoming in a<br />

2

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