It is also significant that the play opens with the objective presence of supernatural forces. The witches are not the figment of someone else’s imagination because there is nobody else present to witness them. They are alone, and therefore they stand alone, utterly independent. We are in the real presence of evil, an evil that really exists whether we like it or not, an evil that is not merely the product of our fetid fetishes or our fevered imaginations. In its formal structure, therefore, Macbeth places us unequivocally in a supernatural cosmos, rendering implausible all materialistic interpretations of the play’s intrinsic meaning.
فرومیر، آی، ای شمعک، فرومیر، آی، که نباشد زندگانی هیچ الّا سایه‌ای لغزان و بازی‌های بازی‌پیشه‌ای نادان که بازد چندگاهی پرخروش و جوش نقشی اندرین میدان و آنگه هیچ! زندگی افسانه‌ای‌ست کز لبِ شوریده‌مغزی گفته آید سربه‌سر خشم و خروش و غرّش و غوغا، لیک بی‌معنا!( مکبث - ویلیام شکسپیر - ترجمه‌ی داریوش آشوری - صفحه‌ی 112 )
Thus, Macbeth’s nihilism, which will come to bitter and futile fruition in the final act with his dismissal of life as a tale / Told by an idiot, full of sound and fury, / Signifying nothing, is seen to have its roots in the play’s opening act with his turning away from fides et ratio toward infidelity and irrationality.