Supernatural in Macbeth.

In Shakespeare’s Macbeth, the supernatural plays a crucial role in shaping events and influencing characters. For GCSE English Literature revision, understanding how Shakespeare presents the supernatural is essential, as it links to key themes such as ambition, fate vs free will, and moral corruption. From the witches’ prophecies to visions, ghosts, and unnatural events in nature, the supernatural in Macbeth is used to disturb the natural order and tempt characters into making destructive choices. This section of the website explores important quotations and provides clear, in-depth analysis to help GCSE students revise effectively and write confident, high-level exam responses.

Context:

The people in the Jacobean era strongly believed in the supernatural. Shakespeare drew on the popular traditions of his time and used them for his own purposes. In Macbeth he used popular beliefs about witches and witchcraft.

During his reign as King of England, James I authored a book called “Demonology” which was published in 1597. Before his reign, being a witch was not considered a capital offence. However, King James changed that in 1604, making witchcraft punishable by death. Anyone suspected of having connections with evil spirits could be punished by drowning, hanging, or burning. Shakespeare cleverly incorporated supernatural elements into his plays to cater to the audience’s interests and, more importantly, to please the King.

King James’s beliefs were thought to be misogynistic. He promoted the view that women were far more likely to be involved in witchcraft than men. He commissioned a new version of the Bible in which all references to witches were rewritten in the female gender, which meant that women were the majority assassinated.

The Gunpowder Plot happened in 1605,adding to a new mood of fear and intolerance in society. Macbeth was a response to this fear in society. First performed before the king in 1606, the drama was driven forward by the witches’ prophesy that Macbeth would one day succeed to the throne of Scotland, inspiring a series of gruesome murders by the title character and his vicious wife, before their eventual downfall. As such Macbeth made a deep and horrifying impression on its audiences.

In Shakespeare’s day people thought that the Devil represented itself in the form of witches. Not having scientific explanations or access to even basic education meant that people looked to religion and ideas of the supernatural to explain things around them.

The Great Chain of Being

Elizabethans believed that God set out an order for everything in the universe. This was known as the Great Chain of Being. On Earth, God created a social order for everybody and chose where you belonged. The witches planted the seed in Macbeth’s mind, which enabled him to transgress and go against God- defy the natural order.

Sir Francis Bacon- A Famous Renaissance Philosopher.

“In superstition, wise men follow fools… without a veil, it is a deformed thing, that destroys and corrupts”
Sir Francis Bacon

Francis Bacon suggests that superstition is dangerous as it weakens rational thought and encourages people to trust false beliefs rather than logic.

How does this link to Macbeth, you may ask?

1. Macbeth’s Trust in the Supernatural

Macbeth, a noble, places increasing trust in the witches and their prophecies instead of reason or morality.

He seeks them out in Act 4.
He believes their predictions guarantee his safety.
This mirrors Bacon’s warning that superstition overrides rational thinking.

2. Superstition Creates False Security

Bacon believed superstition made people feel falsely protected.

This directly links to Hecate’s line:

“Security is mortals’ chiefest enemy.”

Macbeth’s belief in supernatural protection leads him to:

Underestimate Macduff
Ignore political threats
Rule recklessly

3. Loss of Moral Responsibility

Bacon argued superstition allows people to shift blame away from themselves.

Macbeth does this by:

Blaming fate and prophecy
Seeing himself as “destined” to be king
Ignoring his own choices

This supports Shakespeare’s message that superstition is morally corrupting.

Pathetic fallacy:

Thunder and lightning. Enter three Witches
Stage direction

This stage direction is presented whenever the witches are on stage.
It symbolises chaos and danger, creating an ominous feeling; a sense of foreboding.

The witches are otherworldly:

‘A desolate place.’
Stage Direction

Shakespeare highlights that the witches are obviously different from ordinary people, as they are seen where humans are not. .
The adjective ‘desolate’ shows that the witches only meet in uninhabited, barren, empty areas.

The Witches as Supernatural Figures

“Fair is foul and foul is fair”
Witches, Act 1

This line suggests that good and evil are being confused or reversed. What appears “fair” (good, right, or beautiful) may actually be “foul” (evil or corrupt), and what seems “foul” may appear “fair”. Shakespeare immediately establishes a world where normal moral rules no longer apply.

Paradoxical Language: A paradox is a statement that appears contradictory but reveals a deeper truth.
This quote is paradoxical because it claims that opposite ideas (fair and foul) are the same.
Shakespeare uses paradox to show that the supernatural world of the witches distorts reality and morality. This prepares the audience for Macbeth’s moral confusion later in the play.
Chiasmus is a language technique where words or ideas are repeated in reverse order to mirror or reflect each other.

In this quote:

“Fair” → “foul”
“Foul” → “fair”

This creates a criss-cross structure, reinforcing the idea of reversal and inversion. The structure itself mirrors the chaos the witches bring into the natural order.
The witches speak in riddles and contradictions, showing their supernatural and deceptive nature.
This line becomes a key phrase linked to the supernatural in Macbeth, influencing how characters interpret events.
Macbeth later echoes this idea, showing how the witches’ language infects his thinking.
Context: Jacobean audiences believed witches worked for the devil and aimed to corrupt moral order.
The confusion of good and evil would have been seen as dangerous and sinful.
Shakespeare warns that listening to the supernatural leads to moral disorder and destruction.

Trochaic Tetrameter

‘Double, double toil and trouble; Fire burn, and cauldron bubble.’
Witches, Act 1

The witches chant this line while brewing a spell in their cauldron. On the surface, they are preparing dark magic.

“Double, double”: The repetition of “double” has several effects:
Suggests intensified evil or suffering multiplied.
Creates a hypnotic, spell-like rhythm, reinforcing the witches’ supernatural power.
Incantatory Language: The line is written in trochaic tetrameter, not iambic pentameter (which most noble characters use).
This makes the witches’ speech sound unnatural and chant-like.
The rhythm mimics a spell or curse, emphasising their separation from normal human society.

The Witches’ Prophecies to Macbeth

“All hail, Macbeth! Hail to thee, Thane of Glamis!
All hail, Macbeth! Hail to thee, Thane of Cawdor!
All hail, Macbeth, that shalt be King hereafter!”
(Act 1, Scene 3)

The structure of this prophecy is crucial. The witches begin with facts (Glamis), move to verified but unknown truth(Cawdor), and end with a future promise (king). This progression is psychologically manipulative:

The fulfilment of the second title lends credibility to the third.
Macbeth’s trust is earned, not forced.
Shakespeare shows how the supernatural exploits human logic.

Juxtaposing in description:

“they look not like the inhabitants of earth”
“Should be women, yet your beards forbid me to interpret that you are so”
Banquo, Act 1

The appearance of the witches transgresses boundaries. Their appearance is juxtaposing- confusing.
The beard represents masculinity- although they look like, ‘women’, they have masculine powers to destroy.

Prophecies to Banquo

“Lesser than Macbeth, and greater”
“Not so happy, yet much happier”
“Thou shalt get kings, though thou be none”
Witches, Act 1

Shakespeare deliberately avoids clarity to show how ambiguity invites interpretation. Crucially, Banquo does not attempt to force a meaning onto it.

Paradoxical Prophecies:

“Lesser than Macbeth, and greater”

Banquo will not be king (lesser in rank), but he will not become a corrupt tyrant, making him morally greater.

“Not so happy, yet much happier.”

This line contrasts immediate happiness with lasting contentment.

Macbeth gains power but becomes miserable.
Banquo gains no crown but retains peace of conscience.

The witches redefine happiness away from pleasure or status and toward moral wholeness, even though they themselves are agents of evil. This irony suggests the supernatural understands virtue but cannot embody it.

Legacy Without Power

“Thou shalt get kings, though thou be none.”

This is the most important prophecy given to Banquo.

Banquo is denied personal authority.
His bloodline will rule Scotland.

In Jacobean terms, this is deeply significant:

Kingship was tied to God’s will.
A pure lineage implied divine approval.

Unlike Macbeth, Banquo’s reward is deferred, testing his patience and morality.

Banquo knows:

“To win us to our harm,
The instruments of darkness tell us truths,
Win us with honest trifles, to betray’s
In deepest consequence.”
Banquo, Act 1

The metaphor is used to suggest that the witches are instruments that lead people towards “darkness”.
This darkness is associated with corruption and is believed to be influenced by the devil’s work. Banquo’s intelligence is shown as he recognizes that the witches use partial truths to manipulate people.
The use of the superlative “deepest” indicates that following the witches will lead someone to their worst possible situation – the darkest place, which is often associated with hell.

Paranoid and Plagued by Guilt

‘Is this the dagger I see before me?’
Macbeth Act 2, Scene 1.

Macbeth is about to murder King Duncan to take the throne. He is under extreme psychological stress and hallucinates a dagger floating in the air, with its handle pointing toward his hand.

Hallucination as psychological conflict: The question “Is this…?” immediately creates uncertainty. Macbeth cannot distinguish between reality and illusion.

Shakespeare presents Macbeth as psychologically divided: one part of him desires power and another fears the consequences

The dagger becomes a physical symbol of ambition, pulling him toward murder– a symbol of temptation and fate: the dagger appears to “lead” Macbeth toward Duncan’s chamber.
This suggests two possible readings: that supernatural influence. the witches’ evil may be guiding him or internal desire:
His own ambition creates the vision.
This ambiguity is crucial — Shakespeare leaves open whether Macbeth is controlled by fate or by his own desires.

Violent imagery and foreshadowing: later in the soliloquy, the dagger is covered in blood.
Blood foreshadows Duncan’s murder
It also symbolises guilt, which will haunt Macbeth
Before the murder even happens, Shakespeare shows Macbeth mentally anticipating its horror.

Metaphor for Mental Torment

“O, full of scorpions is my mind”
Macbeth Act 3, Scene 2

Macbeth is now King, but he is paranoid and plagued by guilt after murdering Duncan and contemplating the murder of Banquo and his son, Fleance.

Scorpions are poisonous, dangerous creatures.
The metaphor suggests his thoughts are toxic, painful, and deadly
Earlier, Macbeth feared committing murder.
Now, he fears losing power.

The “scorpions” represent:

Anxiety about Banquo
Fear of prophecy
Obsessive suspicion
Macbeth’s ambition has transformed into paranoia.

Unlike the dagger, which may seem external, the scorpions are inside his own mind.

This is important:

Macbeth’s punishment is psychological
He carries his torment within himself
Shakespeare suggests evil corrupts from the inside.

Context

For a Jacobean audience, Macbeth’s mental collapse would reinforce the danger of violating the Divine Right of Kings:

Killing Duncan breaks natural and moral law
Macbeth’s madness becomes a consequence of that violation

Hecate- a pivotal role in Macbeth’s tragic fate:

Hecate appears angry that the Weird Sisters acted without involving her. She criticises Macbeth as reckless and overconfident, then instructs them to lure him into false security because “security” will lead to his downfall.

Illusion as a weapon

“As by the strength of their illusion / Shall draw him on to his confusion”
Hecate, Act 3

This is one of Shakespeare’s most sophisticated statements about the supernatural.

“Illusion” implies deception, false appearances, and manipulation of perception.
“Draw him on” suggests Macbeth will willingly follow.
“Confusion” means both disorder and destruction.
Macbeth’s downfall will come because he misreads reality.
The supernatural does not force Macbeth to act- it distorts his judgement so he destroys himself.

One of the play’s central warnings

“Security is mortals’ chiefest enemy”
Hecate, Act 3

This line is profoundly thematic.

“Security” means false confidence, not safety.
“Mortals” reminds us Macbeth is still human despite his ambitions.
“Chiefest enemy” suggests overconfidence is more dangerous than external threats.
Shakespeare implies Macbeth’s real weakness is not fate, witches, or enemies -it is his own arrogance.

He is now part of the supernatural world

“Something wicked this way comes”
Second Witch

The witches call Macbeth “wicked” because he is no longer just a tragic hero — he has become morally evil.

He has already murdered King Duncan and taken the throne.
He has arranged the murders of Banquo and Fleance.
He is now acting without hesitation or guilt.
The word “wicked” suggests he has crossed a line and is now as evil as the witches themselves.
At the start of the play: Macbeth is described as “brave” and “noble.”
Now: He is introduced as “wicked.”
This contrast highlights his dramatic downfall– a key tragic theme.

Macbeth Commands the Supernatural

Conjure you, by that which you profess,
Howe’er you come to know it, answer me:
Though you untie the winds and let them fight
Against the churches; though the yesty waves
Confound and swallow navigation up;
Though bladed corn be lodged and trees blown down; Though castles topple on their warders’ heads;
Though palaces and pyramids do slope
Their heads to their foundations; though the treasure
Of nature’s germens tumble all together,
Even till destruction sicken; answer me To what I ask you.
Hecate, Act 4

Macbeth begins with “I conjure you”, which is forceful, commanding language.

“Conjure” suggests summoning spirits, showing he now speaks their language.
The imperative “answer me” (repeated) shows urgency and authority.

This is a huge shift:

Earlier, Macbeth was curious and hesitant.
Now he tries to control the supernatural, showing overconfidence and arrogance.

Imagery of unnatural chaos and destruction

Macbeth lists extreme events using repeated “Though…” clauses:

“untie the winds” → nature is unleashed and uncontrollable
“waves / swallow navigation” → destruction of human exploration and order
“castles topple”, “palaces… slope” → collapse of political power and civilisation
“churches” attacked → even religion is not safe
This creates a semantic field of total destruction, suggesting:
The supernatural has limitless, apocalyptic power
Macbeth is willing to risk complete chaos for answers

Attacking religion and the natural order

The line “Against the churches” is especially significant:

Churches symbolise God, morality, and order.
The idea of winds attacking them suggests unnatural, almost blasphemous power.

For a Jacobean audience:

This would be deeply shocking.
It presents the supernatural as anti-God and dangerous.

What this reveals about Macbeth

This speech shows that Macbeth is:

Obsessed → he will accept any cost for knowledge
Arrogant → he believes he can command supernatural forces
Morally detached → indifferent to destruction of nature, religion, and humanity
Tyrannical → his language mirrors a ruler demanding obedience
Crucially, he now sounds as dangerous as the forces he is invoking.

Grade 9 insight:

Shakespeare presents Macbeth’s mind as the true battleground, where the supernatural first enters through illusion and temptation, then takes root as psychological corruption. The dagger can be seen as a supernatural manifestation, whether sent by the witches or shaped by their influence, symbolising how evil invades Macbeth’s thoughts before any physical crime is committed. By the time his mind is “full of scorpions,” the supernatural is no longer just an external force represented by prophecy or visions; it has been internalised, transforming Macbeth into a vessel of unnatural evil. In this way, Shakespeare suggests that the greatest power of the supernatural is not direct control, but its ability to exploit human ambition, distort moral judgment, and poison the mind from within. Macbeth’s tragedy lies in how he allows supernatural temptation to override conscience, showing Jacobean audiences that engaging with dark forces threatens both the soul and the natural order.

Hecate transforms the supernatural from prophecy into calculated psychological warfare. Shakespeare presents her as the unseen strategist who weaponises illusion to exploit Macbeth’s tragic flaw, ambition. Her plan is not simply to predict Macbeth’s downfall, but to engineer it by making him “spurn fate” and trust appearances over wisdom. Through Hecate, Shakespeare suggests the supernatural’s greatest danger lies in its power to corrupt perception, inflate pride, and lead humans to become agents of their own destruction. In Jacobean terms, this would serve as a warning that evil works most effectively not by overpowering people, but by persuading them they are invincible.