came to passe as they had spoken."[1] This is all that is heard of these “goddesses of Destinie” in Holinshed’s narrative.  Macbeth is warned to “beware Macduff"[2] by “certeine wizzards, in whose words he put great confidence;” and the false promises were made to him by “a certeine witch, whome he had in great trust, (who) had told him that he should neuer be slaine with man borne of anie woman, nor vanquished till the wood of Bernane came to the castell of Dunsinane."[3]

[Footnote 1:  Holinshed, Scotland, p. 170, c. 2, l. 55.]

[Footnote 2:  Macbeth, IV. l. 71.  Holinshed, p. 174, c. 2, l. 10.]

[Footnote 3:  Ibid. l. 13.]

88.  In this account we find that the supernatural communications adopted by Shakspere were derived from three sources; and the contention is that he has retained two of them—­the “goddesses of Destinie” and the witches; and the evidence of this retention is the third proof relied on, namely, that the stage direction in the first folio, Act IV. sc. i., is, “Enter Hecate and the other three witches,” when three characters supposed to be witches are already upon the scene.  Holinshed’s narrative makes it clear that the idea of the “goddesses of Destinie” was distinctly suggested to Shakspere’s mind, as well as that of the witches, as the mediums of supernatural influence.  The question is, did he retain both, or did he reject one and retain the other?  It can scarcely be doubted that one such influence running through the play would conduce to harmony and unity of idea; and as Shakspere, not a servile follower of his source in any case, has interwoven in “Macbeth” the totally distinct narrative of the murder of King Duffe,[1] it is hardly to be supposed that he would scruple to blend these two different sets of characters if any advantage were to be gained by so doing.  As to the stage direction in the first folio, it is difficult to see what it would prove, even supposing that the folio were the most scrupulous piece of editorial work that had ever been effected.  It presupposes that the “weird sisters” are on the stage as well as the witches.  But it is perfectly clear that the witches continue the dialogue; so the other more powerful beings must be supposed to be standing silent in the background—­a suggestion so monstrous that it is hardly necessary to refer to the slovenliness of the folio stage directions to show how unsatisfactory an argument based upon one of them must be.

[Footnote 1:  Ibid. p. 149.  “A sort of witches dwelling in a towne of Murreyland called Fores” (c. 2, l. 30) were prominent in this account.]