Hs Dfshgfh

The witches constitute our introduction to the realm of maternal malevolence unleashed by the loss of paternal protection; as soon as Macbeth meets them, he becomes. . . their "wayward son" [III. v. 11]. This maternal malevolence is given its most horrifying expression in Shakespeare in the image through which Lady Macbeth secures her control over Macbeth:
I have given suck, and know
How tender 'tis to love the babe that milks me:
I would, while it was smiling in my face,
Have pluck'd my nipple from his boneless gums,
And dash'd the brains out, had I so sworn
As you have done to this.
[I. vii. 54-9]
This image of murderously disrupted nurturance is the psychic equivalence of the witches' poisonous cauldron; both function to subject Macbeth's will to female forces. For the play strikingly constructs the fantasy of subjection to maternal malevolence in two parts, in the witches and in Lady Macbeth, and then persistently identifies the two parts as one. Through this identification, Shakespeare in effect locates the source of his culture's fear of witchcraft in individual human history, in the infant's long dependence on female figures felt as all-powerful: what the witches suggest about the vulnerability of men to female power on the cosmic plane, Lady Macbeth doubles on the psychological plane.
Lady Macbeth's power as a female temptress allies her in a general way with the witches as soon as we see her. The specifics of that implied alliance begin to emerge as she attempts to harden herself in preparation for hardening her husband: the disturbance of gender that Banquo registers when he first meets the witches is played out in psychological terms in Lady Macbeth's attempt to unsex herself. Calling on spirits ambiguously allied with the witches themselves, she phrases this unsexing as the undoing of her own bodily maternal function:
Come, you Spirits
That tend on mortal thoughts, unsex me here.
And fill me, from the crown to the toe, topfull
Of direst...