(Lock them out and bar the door..
…Cursing heart and cursing mind.)²
Doğdun ve öldün, yeniden doğurdum ³
Kazanı kaynatın kızlar, gebesi o bu oyunun ⁴
kentin ötesinde⁵, anın gölgesinde⁶
Bir köşede buluşalım, alabora⁷ savuralım. ⁸
Tenhâda buluşalım⁹, savaşalım anlaşalım.¹⁰
Aydınlatıp karartalım¹¹, sisi pusu taşıyalım¹²
Şu sırrın eshâbı, sarrafı azâsı¹³
Yaşamın hudutlarını sürgüleyen kapıların¹⁴
Sabbath’ın¹⁵ izinde sisin üzerinde¹⁶
Çatı gıcırdatan gecenin rüzgârı¹⁷ Sühanıyım.
Çatı gıcırdatan gecenin rüzgârı, Eşrafıyım.
Sühanın eshâbı¹⁸, Eşrârın sehhârı
(Gök gürültüsü ve yağmur)¹⁹
(Cüce baykuş)²⁰
Süzeriz şu alemi, ben Lilith'in öğrencisi²¹
(The charm’s wound up)²²
Notes:
1. It is related with ‘’the three weird sisters’’ derives from the Hollinshed’s Chronicles (1587). The word weird connotes to the Anglo-Saxon word of fate which is ‘wyrd’.
2. Opening sequence from the 1968 version of Benjamin Christensen’s Häxan (1922) The Witchcraft Through the Ages
3. Relates to the Greek Goddess Hecate, the queen of the three realms, nights, spirits, and witchcraft, who has control over birth, death and rebirth.
4. As Diana Purkiss states, the cauldron is resembled to the womb, it is a symbol of transformation and associated with death and tomb as well as life, birth, rebirth, nourishment and womb.
5. A line of Doreen Valiente’s ‘’The Witch’s Ballad’’
6. The time itself is an umbrella that people live under, consists of repressive ethical rules and phallocentric social environment.
7. Lilith in Hebrew mythology lives in wild.
8. The word alabora is chosen deliberately to associate ‘hurlyburly’ . ‘’When the hurlyburly's done’’
9. It is written in James I’s Deamonologie (1597) that the witches of North Berwick Trials of 1590 admitted to raising a tempest and sabotaging the boat of James I as returning from Denmark
10. A mention to the line of the very first scene of Macbeth ’’when the battle is lost and won’’
11. As Akgün states that equating binary opposite words is a negation of phallocentric discourse based on dichotomies, favoring on over the other.
12. Becoming wind. ‘’Upon the sightless couriers of the air / Shall blow the horrid deed in every eye’’ Macbeth act I scene VII
13. Alliteration with the ‘s’ sound mentions the snake, as a companion of witches, associated with Lilith.
14. A line of Doreen Valiente’s ’’The Witch’s Ballad’’
15. According to the Malles Maleficarum(1486) and many other contemporary sources, the meeting of witches with the demons sets on Sabbath.
16. As Akgün states, flying metaphors in literatüre delineate stealing the language since the French word for fly ‘voler’ means both to steal and to fly. Furthermore flying breaks the physical boundaries of the World and associated with the criture fminine by Helene Cixous, Catherina Clement, Susan Rubin Suleiman and Ann-Janine Morey.
17. The witches in Macbeth are called ‘’night’s black agent’’ ‘’the instrument of darkness’’
18. As Akgün says, in BBC’s cult classic TV series Doctor Who’s season3episode2, titled ‘’The Shakespeare Code’’ the Carrionites employ words to create signs and turn the phallocentric universe upside down by playing the role of witches, who, like their species, oppressed and persecuted.
19. In Orson Welles’s movie adaptation of Macbeth and Akira Kurosawa’s the Throne of Blood the natural elements such as thunder, rain, and lightning serves as a substitute of witches.
20. Lilith in Hebrew means screech owl.
21. Buket Akgün is associated with Lilith, in this very perilous line.
22. The closing scene of Orson Welles’s Macbeth adaptation film.
References
Akgün, B. (2014) Karanlık Ana Tanrıça’nın soyundan gelmek: Edebiyat ve sanatta cadılar ve ölüm. In Gevher Gökçe Acar (ed.), Ölüm, Sanat, Mekan III (pp. 315-329). İstanbul: Dakam.
Akgün, Buket. The Reception of the Weird Sisters in Welles's Macbeth and Kurusowa's The Throne of Blood. Proc. of The Asian Conference on Film & Documentary.2016. Print.
Barr, Jason, and Camille D. G. Mustachio. The Language of Doctor Who: From Shakespeare to Alien Tongues. Lanham: Rowman & Littlefield, 2014. Print.
Cixous, H. (1976). The laugh of the Medusa. 1975. (K. Cohen & P. Cohen, Trans). Signs, 1 (4), 875-893.
James I, King of England (2002). Daemonologie. 1597. San Diego: The Book Tree.
Mackay, C. S. (2009). The hammer of witches: A complete translation of the Malleus Maleficarum. Cambridge: Cambridge University Press.
Purkiss, D. (2003). The witch in history: Early modern and twentieth-century representations. London: Routledge.
Shakespeare, W., & Muir, K. (2004). Macbeth. London: Arden Shakespeare
Welles, O., Feldman C. K., & Wilson, R. (Producers), & Welles, O. (Director) (1948). Macbeth [Motion Picture]. USA: Republic Pictures Home Video.
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