How Does 'Enter Three Witches' Differ From 'Macbeth'?

As someone who's read both 'Enter Three Witches' and 'Macbeth' multiple times, the differences are striking. 'Macbeth' is Shakespeare's classic tragedy about ambition and guilt, focusing on the titular character's descent into madness after hearing the witches' prophecy. 'Enter Three Witches' flips the script by giving voices to the female characters who were sidelined in the original—Lady Macbeth, the witches, even minor characters like Lady Macduff. It explores their motivations and struggles in a patriarchal society, making it feel more like a feminist reimagining than a straight retelling. The language is modern but keeps the dark, ominous tone of the original. The biggest change? The witches aren't just mysterious figures; they're fully fleshed-out characters with their own agendas.

The core difference lies in perspective and depth. 'Macbeth' is a tight, focused narrative about one man's moral collapse, while 'Enter Three Witches' expands the world to show how his actions ripple through others' lives. The novel gives Lady Macbeth far more agency—her ambition isn't just a catalyst for Macbeth; it's her own survival strategy in a world that dismisses women. The three witches become complex figures with backstories, explaining why they manipulate events instead of just being cryptic plot devices.

Another major shift is the pacing. Shakespeare's play moves at breakneck speed, especially in the second half. The novel slows down to explore emotional consequences, like how Fleance copes with his father's murder or how Donalbain processes the chaos. The themes also diverge slightly—where 'Macbeth' is about unchecked ambition, 'Enter Three Witches' questions power structures and how women navigate (or subvert) them. The supernatural elements are more detailed too; the witches' magic has rules and costs, making their interventions feel weightier than in the play.

If 'Macbeth' is a storm, 'Enter Three Witches' is the aftermath—muddy, lingering, and full of uncovered secrets. The novel digs into corners Shakespeare left shadowed. Take the weird sisters: in the play, they're almost theatrical constructs, but here they’re given names—Morag, Madron, and Calypso—and distinct personalities. Morag’s chapters reveal how she uses prophecy as revenge against noble families, while Madron’s sections show magic as a burden. Lady Macbeth’s sleepwalking scene? Expanded into a full psychological unraveling, with her guilt manifesting as visions of children she never had.

The tone shifts too. Shakespeare’s work thrives on dramatic irony and tension, but the novel embraces gothic horror. The murder of Macduff’s family isn’t offstage; it’s rendered in chilling detail, emphasizing the cost of Macbeth’s tyranny. Even the ending differs—no Malcolm restoring order. Instead, it hints that the witches’ influence persists, suggesting cycles of violence rather than resolution. For fans of 'Macbeth', it’s less a replacement and more a dark companion piece.