Háskóli Íslands

School of Humanities Department of English

Terry Pratchett’s Discworld

The Evolution of Witches and the Use of Stereotypes and Parody in Wyrd Sisters and Witches Abroad

B.A. Essay

Claudia Schultz Kt.: 310395-3829

Supervisor: Valgerður Guðrún Bjarkadóttir May 2020

Abstract This thesis explores Terry Pratchett’s use of parody and stereotypes in his witches’ series of the Discworld novels. It elaborates on common clichés in literature regarding the figure of the witch. Furthermore, the recent shift in the stereotypical portrayal from a maleficent being to an independent, feminist woman is addressed. Thereby Pratchett’s witches are characterized as well as compared to the Triple Goddess, meaning Maiden, Mother and Crone. Additionally, it is examined in which way Pratchett adheres to stereotypes such as for instance of the Crone as well as the reasons for this adherence. The second part of this paper explores Pratchett’s utilization of different works to create both Wyrd Sisters and Witches Abroad. One of the assessed parodies are the fairy tales of the Brothers Grimm as well as the effect of this parody. In Wyrd Sisters the presence of Grimm’s fairy tales is linked predominantly to Pratchett’s portrayal of his wicked witches. Whereas the parody of “Cinderella” and the fairy tale’s trope is central to Witches Abroad. Additionally, to the Brothers Grimm’s fairy tales, Pratchett’s parody of Shakespeare’s plays is central to the paper. The focus is hereby on the tragedies of Hamlet and Macbeth, which are imitated by the witches’ novels. While Witches Abroad can solely be linked to Shakespeare due to the main protagonists, Wyrd Sisters incorporates both of the aforementioned Shakespeare plays. It is examined in which way Pratchett parodies the plays as well as which aspects of them are used. Finally, the different effects of the parody are assessed, stating the distinct reasons of imitation such as the infusion of humor and familiarity into the novels.

Table of Contents

1. Introduction ...... 1 2. Background ...... 2 2.1. Discworld ...... 2 2.2. Lancre and Genua ...... 2 3. Stereotypes in Literature ...... 3 3.1. The Stereotypical Witch and Her History in Literature ...... 3 3.2. The Shift in Stereotypes ...... 5 3.3. The Stereotype of Maiden, Mother and Crone ...... 7 3.4. The Witches in Wyrd Sisters and Witches Abroad ...... 8 3.4.1. Magrat Garlick ...... 9 3.4.2. Gytha ‘Nanny’ Ogg ...... 10 3.4.3. Esmeralda ‘Granny’ Weatherwax ...... 11 3.4.4. The Wicked Witches: Black Aliss and Lily Weatherwax ...... 12 4. Parody and Pastiche in Wyrd Sisters and Witches Abroad...... 14 4.1. Pratchett, Parody and Pastiche ...... 14 4.2. Parody One: Grimm’s Fairytales ...... 15 4.2.1. Witches Abroad ...... 15 4.2.2. Wyrd Sisters ...... 18 4.3. Parody Two: Shakespeare’s Hamlet and Macbeth ...... 18 4.3.1. Hamlet in Wyrd Sisters ...... 19 4.3.2. Macbeth in Wyrd Sisters ...... 20 5. Conclusion ...... 22 Works Cited ...... 24

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1. Introduction The use of satire and parody as literary devices in fiction but also as features of movies are omnipresent. Thus, Terry Pratchett’s love for those literary devices is not surprising. His Discworld series is a highly creative universe, filled with unique ideas, characters and settings. However, Pratchett like many other authors is influenced by past myths and other established writers. Kramer states that “[T]raditionally, the genre of fantasy has been understood as stemming from Medieval Romance and fairy tales, and, even further back, from myths and legends of the ancients” (153). Satirical use of past fantasies and fairytales can be observed in for instance Lev Grossman’s The Magicians (2009) referencing J.K. Rowling’s Harry Potter series (Kramer 154). However, Lev Grossman does not just parody Harry Potter, he indebted C.S. Lewis Narnia into his own work. Like Grossman, Terry Pratchett’s works are inspired by more than one source. Pratchett states, that he is convinced that in the genre of the Tolkien dominated fantasy literature “things needed livening up a bit” (Pratchett, 00:35-00:45). Therefore, he utilizes parodies to create a new work with a familiar scaffolding. Pratchett himself describes the Disc on which his works are set as a “world and mirror of worlds” (Pratchett, Guards! Guards!). The major influences of the witches’ series, which is going to be central to this paper, are the Brothers Grimm and William Shakespeare. Particularly Shakespeare is according to Lanier “omnipresent in pop culture and, indeed, pop culture has helped produce the various Shakespeares whose cultural meanings loom so large for us” (19-20). Thus, Pratchett’s applies grandiose works of literature to his own fairy tales Wyrd Sisters as well as Witches Abroad. The main protagonists of these novels are witches; however, they are not adhering to the common Brothers Grimm stereotype of the classical necromancer that comes to most people’s minds when thinking of witches. On the contrary, it becomes evident that Pratchett consciously parodies certain aspects of both Shakespeare and the Brother Grimm and thereby, distinguishes his witches from what was and is commonly believed to be the character of a supernatural magical being. It is apparent that Terry Pratchett’s use of humor and parodies as well as his play with stereotypes makes both Wyrd Sisters and Witches Abroad timeless pieces of satire as well as ironic approaches towards the mainstream stereotypes of witches.

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2. Background 2.1. Discworld Terry Pratchett’s Discworld is at first glance nothing like Earth. It seems closer to a humorous take on flat earthers, people believing that the Earth is flat. Though Earth is not, Pratchett’s Discworld is indeed a disc. The flatness, which is scientifically false, has been proved by a journey to the Edge of the disc in The Colour of Magic. The disc is situated on the back of four large elephants which are themselves standing on the back of a large turtle, Great A’Tuin. In Equal Rites, the first novel starring the witches of Lancre and the third novel in the Discworld series, Pratchett describes the world as well as its background as:

A turtle, ten thousand miles long. … [o]ne of the rare astrochelonians from a universe where things are less as they are and more like people imagine them to be, and it carries on its meteor-pocked shell four giant elephants who bear on their enormous shoulders the great round wheel of the Discworld. (1)

Discworld is not an ordinary world. It is not comparable to Earth but rather a world removed from scientific explanations. Things happen due to magic and the power of story, the so-called narrative imperative (Pratchett et al., The Science of Discworld). The only science that exists on Discworld is there because it was put there. The Science of Discworld explains that witches and wizards create their own science, “some kind of pocket universe in which magic no longer works, but rules do” (Pratchett et al.). It becomes evident that Discworld possesses its own folklore with its own rules and beings determining the life in the many monarchies of the world.

2.2. Lancre and Genua The two main settings of Wyrd Sisters and Witches Abroad are Lancre and Genua, regions separated by the Überwald and more than three thousand miles. Pratchett’s anti-stereotypical portrayal becomes evident already in the simple summary of the plots and the willingness of the witches to travel great distances to help and protect others. One of Discworld’s monarchies and the setting for the aforementioned novels is Lancre, a small kingdom in the Ramtop Mountains.

Behind it, knife-edge peaks and dark winding valleys climbed into the massive Schultz 3

backbone of the central ranges. In front, the land dropped abruptly to the Sto plains, a blue haze of woodlands, a broader expanse of ocean and, somewhere in the middle of it all, a brown smudge known as Ankh-Morpork. (Pratchett, Witches Abroad 60)

Though, geographically Lancre occupies little space in the world, A Tourist Guide to Lancre calls it the “jewel of the Ramtops and centre of its flourishing witchcraft industry” (Pratchett and Briggs). This industry flourishes mainly in Lancre’s villages and small towns of which Bad Ass is a meaningful one, although according to Turtle Recall, it is not even big enough to be seen on a map. Nevertheless, it is the village that Granny Weatherwax, one of the protagonists in both Wyrd Sisters and Witches Abroad, protects and therefore in many scenes the setting of Pratchett’s novels. However, Granny and the other witches, Nanny and Magrat do not just protect the village, they try to defend the whole kingdom. Whereas the action of Wyrd Sisters is set mainly in Lancre, Witches Abroad Granny, Magrat and Nanny in travel to the city of Genua. Genua is located in a swamp, more precisely the Vieux river delta and is also called the Magical Kingdom or Diamond City, which is based on the shape of the city from afar, looking like a diamond that grows from the swamp. (Turtle Recall). Being located to the East of Überwald the protagonists must travel more than three thousand miles to reach Genua and to protect Emberella from a forced marriage. It becomes evident that though the witches are mainly responsible for the protection of Lancre, they do not hesitate to travel far to fulfil their duty. Additionally, the simple description of the plot of both Wyrd Sisters as well as Witches Abroad exemplifies Pratchett’s play with stereotypes. Witches are portrayed as helpers as well as dark, villainous leaders.

3. Stereotypes in Literature 3.1. The Stereotypical Witch and Her History in Literature Witches occur in several literary works from Old English poetry to modern children’s literature. Fantasy literature, nevertheless, is one of the main mediums used to depict witches. In literature, witches are stereotypically evil, hideous beings or beautiful and conning. Purkiss calls them “shrieking hag[s] on a broomstick” (276). For many centuries they used to be the villain of whichever work of literature one regarded. Michelle Boyd states that “[F]or hundreds of years witches were the original terrorists, Schultz 4 wreaking havoc with their terrible powers wherever they went, from destroying crops to stealing children” (97). In “Witches and Witchbusters” Jacqueline Simpson defines four characteristics of stereotypes generally associated with witches throughout the past centuries (12). Witches are maleficent, get “their magical power from the devil,” are part of a Satanist sect and are “not entirely human (Simpson 12). The appearance of the stereotypical witch is central to the characterization of almost any witch. They are known for having warts on their noses, riding on a broomstick through the sky as well as wearing pointy hats and old cloaks. Thus, usually, the appearance is the one of an ugly hag. In Shakespeare’s Macbeth (1608) his Weird Sisters are described as unattractive, repulsive beings. Baum’s The Wonderful Wizard of Oz’s Wicked Witch of the West is described as particularly nasty having green skin and only one eye, and “Hansel and Gretel’s” witch as having red ones and an exceptional sense of smell (Grimm 66). Another classic stereotype of a witch can be seen in the character generally associated with them. Classic witches are depicted as evil, which becomes apparent in Grimm’s Fairy Tales. Those tales shaped the image of the witch as a conning, evil creature with the cannibal witch in “Hansel and Gretel” and Snow White’s evil stepmother. Similarly, Baum’s the Wicked Witch of the West makes slaves out of almost anyone in the Land of Oz who is useful as a worker (Baum 44). Even recent works of literature such as J.K. Rowling’s Harry Potter feature wicked, dark witches. Though few of them are named, Bellatrix Lestrange occupies a major role in the novels. She commits deeds that are truly evil such as killing Harry’s godfather Sirius Black. Nevertheless, though appearance oftentimes classifies witches as ugly and though most deeds are obviously evil, there are also stereotypes depicting witches as good-looking, independent seductresses. Morgan le Fay, the enchantress in Arthurian legends is oftentimes depicted as a seductress. Though not necessarily evil, her self- interest: namely her unrequited love for Sir Lancelot, as well as her willingness to plot against others are described to be of the greatest importance to her. Another example can be seen in John Keats’ La Belle Dame Sans Merci (“The Beautiful Lady Without Mercy”) from 1819. A beautiful enchantress seduces the hero and takes him to her grotto where he eventually realizes that he is surrounded by princes and kings that also had fallen for the witch. A third example of a beautiful, powerful and evil witch is C.S. Lewis’ White Witch Jadis. She is the feared Queen of Narnia since she has brought an everlasting winter over the country. Though the beautiful yet evil witch exists Schultz 5 throughout many literary works, the main cliché is still the one of the unattractive, evil witch. G.R.R. Martin’s A Song of Ice and Fire features unreal beauty as essential to Melisandre’s powers. She is capable of seducing men who do not have sexual interests and thereby brings on their downfall. It becomes evident that many authors work with and utilize common clichés associated with witches. However, this stereotypical image has shifted in the past hundred years with fewer authors depicting witches in the aforementioned way or with authors such as Pratchett using stereotypes to emphasize the character of his novel as a parody as well as to create humor.

3.2. The Shift in Stereotypes Modern witches, removed from the stereotype of evilness and sexuality, can be classified into several categories which are greatly removed from the classic image of a witch. Anti-stereotypical witches are oftentimes young, intelligent and independent heroines such as J.K. Rowling’s Hermione Granger or Jill Murphy’s Mildred Hubble. Furthermore, instead of wreaking havoc witches of all ages are portrayed as helpers, activists and even feminists. According to Boyd, “[T]he female witch is a figure who can terrify and disrupt, as well as empower and inspire” (99). The ideal and most famous modern witch can probably be seen in Hermione Granger, who is described by Remus Lupin as the “cleverest witch of [her] age” in Harry Potter and the Prisoner of Azkaban (Rowling). Being just a teenager, Hermione takes initiative and becomes an activist defending the rights of House Elves starting the S.P.E.W., the Society for the Promotion of Elfish Welfare. Though she is depicted as a pretty girl, her deeds were not in any way related to sexuality or appearance. The classic stereotype would have focused much more on looks. Appearance, however, is less relevant in modern day witches. Though the Wicked Witch of the West adhered to stereotypes of appearance and character in The Wizard of Oz, Gregory Maguire’s Wicked (1995) portrays the same witch in a more modern, less labeled way. Elphaba tells her own story removed from looks and thus becomes more humanized and less villainous. She has never been intentionally evil but simply the victim of racism and intolerance towards her green skin (Boyd 98). Therefore, it becomes evident that instead of focusing on the visual aspect of witches, many authors use their works to criticize this hyper focus. In Granny’s case for instance, Pratchett adheres to aspects of certain stereotypes, but he does so to point out the obscurity of these stereotypes and to highlight the parody of his works which are obviously meant to be understood in a Schultz 6 sarcastic way. Though Granny is portrayed as an older witch, she is still beautiful. However, instead of using her beauty to disguise a maleficent character, Pratchett makes Granny lament her good looks.

It was one of the few sorrows of Granny Weatherwax’s life that, despite all her efforts, she’d arrived at the peak of her career with a complexion like a rosy apple and all her teeth. No amount of charms could persuade a wart to take root on her handsome if slightly equine features, and vast intakes of sugar only served to give her boundless energy. (Wyrd Sisters 41)

Granny wishes for hideousness to possibly look more like the stereotype. With this depiction Pratchett exemplifies excellent use of clichés to support their inherent humor. He depicts characters that are aware of stereotypes and that in certain aspects would like to adhere to them. Thus, it becomes evident that he does not disregard antiquated stereotypes on witches but instead embraces them particularly in his witches of Lancre. Another commonly mentioned characteristic of modern witches is their return to feminism (Davis 231). In Pratchett’s witches’ novels, Nanny Ogg’s sexuality is neither conventional nor restricted. Her bosom is described as “a large and experienced bosom, and not one that was subject to restraint” (Witches Abroad 292). It becomes evident that Nanny does not mind using her female qualities. According to Marion Rana “Nanny Ogg represents female sexuality as powerful, natural and something to be celebrated.” Similarly, Granny Weatherwax is independent and does not bind herself to a man. In Maskerade Pratchett states:

Granny Weatherwax made a great play of her independence and self-reliance. But the point about that kind of stuff was that you needed someone around to be proudly independent and self-reliant at. People who didn't need people needed people around to know that they were the kind of people who didn't need people.

Granny desires to be regarded as an independent woman. Pratchett’s depiction does not simply depict her as autonomous but as a feminist. Even Magrat, Pratchett’s most fragile witch is a feminist. She likes to fall in love. Nevertheless, she wants more from life than a simple happily ever after. It is apparent that Pratchett’s witches can indeed be Schultz 7 associated with a return to feminism. Furthermore, they are not the only ones, being distanced from appearances and suppression. J.K. Rowling’s Hermione Granger is independent from her male friends and is depicted as a character who does not accept abuse from anyone. Being mistreated by Draco Malfoy in Harry Potter and the Prisoner of Azkaban, she hits him in the face and thereby demonstrates her strong sense of feminism as well as equality. Whereas Hermione depicts feminism’s positive side, A Song of Ice and Fire’s Melisandre’s use of her powers portrays feminism in another extreme. The stereotype of the beautiful witch attracting men to eventually ruin them is still present in the modern witch. However, particularly in Melisandre’s case, Martin has provided her with more depth as opposed to past folktales. Her feminism is connected to sexuality, which is deadly. Nevertheless, though dangerous, she is strong, powerful and a feminist. Similarly, Pratchett’s witches can also be identified as independent, liberal and while facing the right people, dangerous women.

3.3. The Stereotype of Maiden, Mother and Crone Jane Ellen Harrison is the mother of the literary classification of witches into three aspects of one Earth Goddess; the Maiden, the Mother and the Crone or as she is called in Discworld novels: the third one which remained unnamed (The Folklore of Discworld). The myth of the Great Goddess has been in existence for the past twenty to thirty thousand years (Conway 3). Conway states that she originally symbolized “unity, cooperation and participation with all creation,” though with the increase in technologies, people became more interested as well as more confronted with myths and spirituality (3). The Triple Goddess, which is another name for the Great Goddess, has first been thought of as the moon and the moon phases (Conway 4). Graves classifies the three phases into the new moon, which is represented by the “white goddess of birth and growth,” the full moon or the “red goddess of love and battle” and the old moon, which symbolizes “the black goddess of death and divination” (70). However, over the course of the past centuries, this myth has evolved. People started comparing the Goddess to more approachable aspects of life and womanhood. Conway states that the Triple Goddess is a symbol for different stages in life, “youth and puberty, parenthood and maturity, old age and wisdom” which evolved into Maiden, Mother and Crone (4). The Maiden represents the first stage in life. A woman is still young, innocent and anticipating life (Conway 5). Common characteristics of the Maiden can be seen in their position amongst other women. She is not very respected by others but rather used Schultz 8 as the help or messenger. Oftentimes, like in Pratchett’s novels, the Maiden is portrayed as a romantic person, who is optimistic and embraces life due to a lack of experience. In both Wyrd Sisters as well as Witches Abroad the figure of the Maiden is Magrat Garlick, however, in later novels she evolves into the Mother. The Mother, the second stage in womanhood, revolves around mature emotions. She has a family, takes care of children and possibly grandchildren and has a great sense of responsibility and therefore represent the middle between the innocent, naïve Maiden and the almighty Crone. Due to her extended family, Nanny Ogg is Pratchett’s most applicable witch for this role. Finally, the third stage of the Triple Goddess is the Crone. She is “the most frightening, ...for she represents death and dissolution” (Conway 5). The Crone, whether good or evil in character, has the most life experience and is thus an honest and direct person. According to Graves, she can be malicious, however, this is not necessarily the case (68). Pratchett depicts his Crone, Granny Weatherwax, as a serious yet not evil being. Though she is feared as well as respected, Granny eventually helps almost anyone that needs it. It is evident that Pratchett utilizes stereotypes in order to present the reader with a certain type of witch, without having to give too many details on her general character. However, when it comes to special characteristics of the individual witches, he diverges from the stereotype.

3.4. The Witches in Wyrd Sisters and Witches Abroad Wyrd Sisters and Witches Abroad revolve around some of Pratchett’s most famous witches. Although he bases Granny Weatherwax, Nanny Ogg and Magrat Garlick on the stereotype of the Maiden, the Mother and the Crone, they are the anti- stereotypical protagonists in both books. With witches in Lancre being solitary beings, the three aforementioned women diverge from the norm and instead form a sort of coven and work together throughout several of the Discworld novels. It is evident that Pratchett composes several stereotypes in their portrayal. Nevertheless, Granny, Nanny and Magrat are all depicted in some way or another as a modernized witch. Stereotypes only underline this. However, contrary to most other literary witches, Pratchett’s witches avoid magic most of the time. In Wyrd Sisters Nanny states that “once we use magic, … it’d never stop” (Pratchett 135). Furthermore, while the witches might adhere to the stereotype of Maiden, Mother and Crone in general, they possess more depth. The role of the evil witch from old folktales is indeed only a representation of maleficent beings in Discworld, not of all witches in general. Schultz 9

3.4.1. Magrat Garlick Magrat can be likened to the role of the Maiden, though Pratchett portrays her with much more depth and many more qualities than the stereotypical Maiden. She is the youngest of the three main protagonist in both Wyrd Sisters and Witches Abroad. Her romantic nature is very stereotypical for the Maiden: “Magrat believed in Nature’s wisdom and elves and the healing power of colors and the cycle of the seasons” (Wyrd Sisters 24). Moreover, she possesses and believes in “silver occult jewelry with octograms, bats, spiders, dragons and other symbols of everyday mysticism” (Wyrd Sisters 130). It becomes evident that she is a rather innocent witch with a close connection to the natural world, herbology and more spiritual magic, which supports her gentle character and the stereotype of the Maiden. Moreover, Magrat has not earned the respect of the elders yet and is therefore oftentimes treated like a child. In Witches Abroad she is described as having:

just a slightly watery-eyed expression of hopeless goodwill wedged between a body like a maypole and hair like a haystack after a gale. A relentless doer of good works. A worrier. The kind of person who rescued small lost baby birds and cried when they died, which is the function kind old Mother Nature usually reserves for small lost baby birds. (Pratchett 39)

It is apparent that Magrat likes to do good, which counteracts the stereotype of the evil witch. Therefore, though Magrat can be classified as a Maiden based on certain overarching features, Pratchett depicts her removed from stereotypes. Though innocent, Magrat is openminded which provides her with intellect as well as a certain degree of maturity. According to Turtle Recalls “[N]o mind could be more open without special surgical implements. As a result, it fills up with all sorts of things.” Her strongmindedness and self-assertiveness become evident. In Witches Abroad Magrat “refuses to be a sex object” (Pratchett 32). She gives self-defense classes to other women in Lancre. Her skills are also demonstrated by her turning a door into a rising oak (Pratchett, Wyrd Sisters 166). Finally, she is also a rather good fighter. In Wyrd Sisters she frees herself from captivity by fighting a guard and in a later novel called Lords and Ladies, Magrat even fights the elves and saves the kingdom before she eventually becomes Queen. It is evident that though Magrat can roughly be defined as a Schultz 10

Maiden, she is her own person without adhering to most stereotypes commonly associated with witches in literature.

3.4.2. Gytha ‘Nanny’ Ogg Gytha ‘Nanny’ Ogg is the oldest of the trio with fifteen grandchildren, three former marriages and a general respectability among the people of Lancre. She inherited a cottage in Lancre Town “where she brought to the craft of witchery an honest, earthy outlook, a non-judgemental [sic] understanding of human nature, and the ability to crack walnuts with her knees” (Turtle Recall). Pratchett and Briggs even state that most elder witches in Discworld are more serious and reserved as opposed to Nanny. It is evident that Pratchett deliberately plays with of stereotypes associated with witches to infuse humor into his novels. The depiction of Nanny as liberal and not shy to both prescribe alcohol to her patients instead of medicine as well as to drink it herself supports this (Pratchett, Wyrd Sisters 73, 197). Overall, Nanny is a modern woman, which particularly shows in the design of her house. Whereas the stereotypical witch lives in a small, old shack, Nanny does not adhere to traditions. She lives in a “knick- knack crammed cottage in the middle of Lancre town” (Pratchett, Wyrd Sisters 73). Stereotypical herbs, flaks or other ingredients are not present in Nanny’s home. Thus, the way she behaves and the places in which she lives are atypical. Nevertheless, she is still symbolizing the role of the Mother. This role, however, appears to be parodied considering the explicit way in which Pratchett explains most of Nanny’s relatives. This way of overly detailed depiction points out the irony of her character. Nanny might have a lot of children, she is however more than a conservative, selfless mother figure throughout the novels. Nevertheless, it becomes apparent that Pratchett adheres to stereotypes of witches when suited and does not exclusively parody them. He, for instance, gives Nanny the familiar companion, Greebo the shapeshifting tomcat. In mythology, cats have always been associated with the devil and the underworld. The Greek goddess Hecate for instance is generally depicted as a cat. Pratchett depicts this by describing Nanny’s special attitude towards her tomcat as well as Greebo’s behavior. In Nanny’s eyes, he is a fluffy pet, though “everyone else in the kingdom [knows] that the only thing that might slow Greebo down was a direct meteorite strike” (Pratchett, Wyrd Sisters 141). He chases wolves up trees and even surprises bears. Therefore, there might be some devilish character within Greebo that Pratchett utilizes to characterize Nanny as Schultz 11 a stereotypical witch. It becomes evident, that Pratchett does not reinvent the stereotypical Mother witch. Instead, he utilizes certain cliché characteristics to underline the more modern and unique features present in his characters.

3.4.3. Esmeralda ‘Granny’ Weatherwax Esmerelda ‘Granny’ Weatherwax is the most competent witch in Discworld. She is the witch that would like to adhere most to stereotypes herself, particularly regarding appearances. Though, Pratchett depicts her as the Crone: elderly, wearing a black hat and a cloak, Granny has beautiful features, which she dislikes, since she wants to be feared and respected rather than desired. Therefore, Granny prefers to look like a Crone, “because ugliness engenders fear in the beholder and someone who is frightened of you is already in your power” (Pratchett and Briggs, Turtle Recall). Her need for respectability is immense. While entering a village Granny refuses to wear a leather hood; she prefers her pointy hat. She does not want other people to know her real personality but rather see her as a witch and thus regard her with awe (Pratchett, Equal Rites). In Wyrd Sisters she states that “it was no good being a witch unless you let people know” (Pratchett 73). Thus, Granny’s desire to be disliked can be seen as a trait that is closest to the stereotypically evil witch. However, it is evident that Granny cares greatly about other people’s opinions, which characterizes the depiction of modern witches over the stereotype. Granny, as opposed to Magrat, is not an empathetic witch, but rather a practical one. When someone asks for medicine, Granny usually hands “people a bottle of colored water and [tells]them they [feel] a lot better” (Pratchett, Witches Abroad 103). Nevertheless, she is very knowledgeable regarding herbs and does not always resort to water. Her herb garden “contained plants seen nowhere else in the mountains” (Pratchett, Wyrd Sisters 63). It becomes apparent that Granny though being less emotional, likes to help and adheres to the medieval image of the witch as a healer. Furthermore, Granny is interested in saving the kingdom of Lancre from an unsuitable ruler though motivated by reasons of self-protection. Whereas the Crone or the stereotypical witch is more interested in her own affairs, Granny considers the wellbeing not only of a whole kingdom but also individual people such as for instance Nanny and her gambling debt (Pratchett, Witches Abroad 126-127). Though Granny likes to think of herself as the most respectable witch free of gossip and meddling, she does occasionally meddle in other people’s lives herself. This aspect of her character, as Schultz 12 opposed to the Crone she would like to be, is ironic and depicts a more modern witch with a well-rounded character contrary to the rather one-dimensional stereotype. In fact, regarding certain aspects, Granny behaves more like a contemporary woman than a medieval witch. Nevertheless, Pratchett frames Granny’s home in a stereotypical way. Her cottage is likened to traditional witches’ cottage. According to Turtle Recall it is so typical, that “if there were any kind of tourist organization [sic] in the Ramtops, it would be given a grant.” Inside her cottage Granny collects different memorabilia such as interesting stones, fossils and other artifacts. Furthermore, witches in Discworld indeed use broomsticks to fly through the air. However, those are details which characterize the witch exclusively in a superficial way as opposed to adhering to the stereotype.

3.4.4. The Wicked Witches: Black Aliss and Lily Weatherwax Although the main protagonists of Pratchett’s witches’ novels do not fully adhere to the aforementioned stereotypes, he has included wicked witches into the series. Throughout the narratives it becomes evident that in Witches Abroad nearly any bad deed has been committed by a witch or villain resembling the witches of the Brothers Grimm. In Wyrd Sisters, anecdotes about maleficent exploits correspond to Grimm’s fairy tales. Aliss Demurrage, called Black Aliss, is a witch and an amalgamation of several of the Grimm’s fairy tales’ villains. She gets princesses to make gold out of straw, lives in a Gingerbread house and has been locked inside an oven by two children (Pratchett, Witches Abroad 144-145). She is indeed powerful enough to “send a whole palace to sleep for a hundred years” (Pratchett, Wyrd Sisters 204). Whenever something cruel or remotely fairy tale related happens, Black Aliss is usually considered the perpetrator. She is the stereotypical evil witch with magical powers she uses for maleficent deeds. In Maskerade Pratchett describes her as “a wicked ole witch” who “was an unholy terror.” Her surname Black is not derived from her dark character however, but rather her bad teeth which support the appearance of the stereotypical witch. Nevertheless, Pratchett’s other witches are indirectly characterized as modern, anti-stereotypical by their reaction towards Black Aliss. Instead of considering her as scary and dangerous, Nanny states that “[S]he went a bit funny at the finish, you know. Poisoned apples and suchlike.” (Pratchett, Wyrd Sisters 286). It becomes evident, that although the protagonists might not think of Aliss as a truly Schultz 13 wicked witch, she fulfills most aspects of the stereotype of the historical witch as well as the one of the Crone. Furthermore, the novels feature another villainous witch adhering to this cliché. Lily ‘Lilith’ Weatherwax, Granny’s sister, is the villain of Witches Abroad. She changes her name from Lily to Lilith, who was according to Turtle Recall “the name of a terrible female demon, noted for pride as well as cruelty.” Thus, her name indicates her character. She is the evil ruler of Genua, controlling people’s minds and making them act like fairy tale characters. Due to her obsession with stories, she can be seen as a mixture of certain villains of the folk tales, being for instance the Wicked Godmother of “Sleeping Beauty” or “Snow White’s” Evil Stepmother. However, she is above all another type of maleficent witch standing above Grimm’s witches. She is the manipulator behind the fairy tales, who she directs based on the ideology of Discworld. The universe in which both Wyrd Sisters and Witches Abroad are set, is run by the “narrative imperative.” According to The Science of Discworld, the narrativium is the power of the story, it “is part of the spin of every atom, the drift of every cloud. It is what causes them to be what they are and continue to exist and take part in the ongoing story of the world” (Pratchett et al.). In Discworld, stories are alive and desire to be repeated. Witches Abroad describes this phenomenon:

Stories, great flapping ribbons of shaped space-time, have been blowing and uncoiling around the universe since the beginning of time. And they have evolved. The weakest have died and the strongest have survived and they have grown fat on the retelling…stories, twisting and blowing through the darkness. … Stories don’t care who takes part in them. All that matters is that the story gets told, that the story repeats. (Pratchett 13)

Stories are not just alive, they are also fed. In Witches Abroad, Pratchett makes Lily feed them the fairy tales of the Brothers Grimm. However, she becomes obsessed with the tales and with her role as the directors. Moreover, Lily, who is comparable to the stereotype of the enchantress, uses her own beauty to seduce men and kills babies to feed on their blood (Pratchett and Simpson, The Folklore of Discworld). She frequently transforms humans into animals and vice versa, which underlines her powerful evil character and is known for turning snakes into slender women, a prince into a frog and mice into a coach. Therefore, although dark magic is not a term used in Discworld, Lily Schultz 14 can be classified as making use of magic for selfish, maleficent causes comparable to the deeds of the stereotypical witch as well as the Crone. According to Turtle Recall, Lily is “a good example of a Discworld ‘wicked witch’ – the criterion here being less what it is that you do and far more what you had in mind when you did it.” It becomes evident that though Pratchett enjoys defying the stereotype of the classic witch, he like to adhere to it regarding the maleficent witches.

4. Parody and Pastiche in Wyrd Sisters and Witches Abroad 4.1. Pratchett, Parody and Pastiche Terry Pratchett’s Discworld series is marked by the use of various literary devices as well as inspirations from authors of the past. Parody, however, is one of the most striking aspects of Pratchett’s works, particularly of his witches’ novels. Sinclair states that in both Wyrd Sisters as well as Witches Abroad he finds inspiration in “different established imaginary worlds” predominantly based on works by either William Shakespeare or the Brothers Grimm (7). The Oxford English Dictionary defines a parody as “an imitation of the style of a particular writer … with deliberate exaggeration for comic effect” (Parody 1293). Pratchett, however, does not solely imitate for humor but rather to create familiarity for the reader as well as the possibility of reference. Thus, the definition of the OED is only partly accurate. Pratchett does not simply use other works to ridicule them. However, according to Linda Hutcheon, the common definition of parody is too narrow. Consequently, in A Theory of Parody she describes the aspect of ridicule as optional (Hutcheon 32). Instead of widening the definition of the word parody, pastiche is another literary device which can be considered to be used by Pratchett. Margaret A. Rose defines pastiche as “describing a more neutral practice of compilation which is neither necessarily critical of its sources, nor necessarily comic” (72). Hutcheon states that “pastiche is imitative” and further removed from the original than parody (38). Additionally, she characterizes parody as restricted and being dependent on another text (Hutcheon 43). It becomes evident that the definition of both parody and pastiche can be subjective and is closely linked. However, since Pratchett does not solely use imitation to invoke humor, it can be asserted that he uses both parody and pastiche or an extended form of parody respectively.

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4.2. Parody One: Grimm’s Fairytales Jacob and Wilhelm Grimm wrote more than two hundred fairytales in the nineteenth century. Their collections of Children’s and Household Tales contain tales such as “Cinderella,” Snow White” and “Hansel and Gretel.” Many of the fairytales involve mystical beings such as witches. The Brothers Grimm’s witches thereby adhere to the aforementioned stereotype of the maleficent witch transforming princes into frogs or locking up children in a gingerbread house to eat them. According to Candace Savage, witches in Grimm’s fairytales “stand as a warning of the evil that women can do if they strayed too far from the straight and narrow” (110). It becomes evident that the nineteenth century folk tales have had a great impact on the perception of stereotypical character in modern fantasy literature. Terry Pratchett imitations of Grimm’s Fairytales becomes evident particularly in his witches’ series, with “Cinderella” being the central trope of Witches Abroad. Though the witches are the main group of characters he parodies by using aspects of the folk tales, he also depicts other figures as being derived from the stereotype given by the Brothers Grimm.

4.2.1. Witches Abroad The predominant parody in Witches Abroad can be seen in Emberella ‘Ella’ as Pratchett’s version of Cinderella. Nevertheless, there are several other fairy tale references apparent throughout the novel, which Pratchett utilizes to characterize his witches but also to infuse humor and familiarity into the narrative. Ella is supposed to marry a prince, which she does not want to marry. Though he is “a prince of blood royal,” he is also a frog (Pratchett, Witches Abroad 311). This reference evidently refers to the Brother Grimm’s “The Frog King, or Iron Henry.” Furthermore, with this plot Pratchett parodies the general pattern of fairy tales and “Cinderella’s” plot in particular in which the girl usually wants to marry the prince. Ella’s desire not to marry him, however, characterizes her as a strong woman removed from the damsel in distress. Thus, Pratchett’s parody creates humor based on the strongminded heroine of the novel as opposed to common stereotypical princess lacking a well-rounded characterization. Just like Cinderella, Witches Abroad contains a ball in the castle. However, since Ella does not want to marry the prince, she also does not want to attend the ball (Pratchett, Witches Abroad 226). Pratchett imitates the storyline of “Cinderella,” however, he changes main aspect of the narrative by depicting Ella as an independent woman who is not interested in fairy tale endings. The utilization of this parody recalls memories Schultz 16 within the reader while at the same time creating an entirely new experience in which the fairy tale only functions as a frame for a modern narrative. Even Magrat is integrated into the reverse-Cinderella parody. Being Ella’s Fairy Godmother, Magrat ironically cannot utilize her wand for anything other than transforming items into pumpkins. Cinderella’s godmother on the contrary, can make a carriage out of pumpkins. It becomes evident that the parody of “Cinderella” moves away from the original text and starts to include Charles Perrault’s similar fairy tale “Cinderella; or, The Little Glass Slipper” that includes a fairy, which transforms a pumpkin into a golden carriage. Additionally, Pratchett imitates more modern versions of the narrative such as the Disney adaptation which is based on both the original story as well as Perrault’s. Whereas the original tale did not include a magical human helper, both Perrault’s and the Disney version do. Thus, though Pratchett digresses from the Brothers Grimm tale, the connection to “Cinderella” is nevertheless worth mentioning since all three adaptations are closely connected and revolve around the same trope. Throughout the novel, Pratchett generates humor by creating absurd situations or flaws for the characters while at the same time trying to stay close to the original story. The most successful method to achieve humor is the integration of his character into the idea and realism of the parody. Pratchett has Desiderata and Death speak about the lacking realism of Cinderella’s mode of transportation. It is stated that “[t]here’s a coach made out of a pumpkin. And that’s impossible. And there’s coachmen made out of mice, which is unlikely. And there’s a clock striking midnight, and something about a glass slipper” (Pratchett, Witches Abroad 22). According to the stereotype Magrat’s position as the Fairy Godmother, however, included the creation of a coach. While combining a Fairy Godmother with the Cinderella story, Pratchett parodies another fairy tale, since the concept of the Fairy Godmother, stems primarily from the Brothers Grimm’s “Sleeping Beauty.” With Magrat inheriting the title she depicts the good Godmother. However, Witches Abroad does also have a wicked Fairy Godmother, who is the ruler of the main location of the novel, Genua. “Genua was a fairytale city. People smiled and were joyful the livelong day. Especially if they wanted to see another livelong day” (Pratchett, Witches Abroad 96). The city’s ruler is the fairytale-loving witch, Lilith Weatherwax, who herself is depicted as a unification of more than just one of Grimm’s villains. She is Ella’s Wicked Godmother. However, she is also depicted as Snow White’s evil stepmother. Turtle Recall describes her as “an expert at mirror magic.” Eventually, Lilith is defeated by her sister, Granny, and trapped in the mirror. Schultz 17

During her lifetime, Lilith is not just depicted as a fairy tale character, she is also obsessed with fairy tales. Therefore, she controls the will of the people in her city and forces them to act as characters of her favorite fairy tales. In Witches Abroad Granny states that “[Lily] wants the girl to marry the prince because that’s what the story demands” (Pratchett 246). Magrat’s question of what Lily is feeding the stories she is obsessed with, is answered by Granny with “people” (Pratchett, Witches Abroad 247). It becomes evident that Pratchett is not hiding his parody but rather implements and subverts the original authors and their works into his novels. The greatest impact of the parody, however, is achieved by the characters referencing fairy tales themselves. Entering the castle, the witches find the entire castle in a slumber which is a direct imitation of “Sleeping Beauty.” After a more thorough examination Nanny references the tale in a sarcastic way by expecting to see “a spinning wheel at the bottom of all this” (Pratchett, Witches Abroad 144). On talking to a grandmother through a gap in her door, Granny refers to “Little Red Riding Hood” since the witches are certain that grandmother is actually a wolf (Pratchett, Witches Abroad 156). Pratchett’s statement in Witches Abroad that “[a] thousand wolves have eaten grandmother” underlines the familiarity of the Discworld with the fairytale (13). This familiarity becomes especially humorous when the main protagonists comment on it. Regarding the wolf and grandmother story, Nanny states that she “always hated that story” and that “[N]o one ever cares what happens to poor defenseless old women” (Pratchett, Witches Abroad 155). It becomes evident that the main characters have a strong opinion on the general plot of Grimm’s fairy tales. Pratchett’s characters mock certain aspects of the typical fairy tale such as the happy ending policy of the Brothers Grimm. Granny calls it “fairy godmotherly thinking … . Goin’ around inflicting happy endings on people whether they wants [sic] them or not” (Pratchett, Witches Abroad 105). However, Pratchett’s adherence to certain stereotypes connected to the Triple Goddess contrast the individuality of the protagonists. It becomes evident that Witches Abroad is truly a Brothers Grimm parody novel filled with stereotypical characters. Nevertheless, Pratchett’s use of imitation and humor transforms the novel into more than just a parody. He gives the narrative background information and creates a plot filled with references to many aspects of historical and modern literature. His incorporation of commentary from his main protagonists creates a unique world filled with unique characters.

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4.2.2. Wyrd Sisters Similarly, the previous book in the witches’ series, Wyrd Sisters extends and continues the inclusion of parodies in Pratchett’s novels. However, as opposed to Witches Abroad, Grimm’s fairy tales are not the main parody of Wyrd Sisters, which was written and published before Witches Abroad. Nevertheless, there are references to the folk tales which are utilized to create a fast and recognizable image of the evil witch in the minds of the readers. Furthermore, similarly to Witches Abroad, parodies of Grimm’s witches induce humor and familiarity into the narrative by describing childhood villains as wicked witches in modern novels. The primary connection to the fairy tales can be seen in Aliss Demurrage. As aforementioned, Black Aliss is a witch associated with many of the villainous deeds of the Brothers Grimm’s tales. In Wyrd Sisters she appears to be the embodiment of the wicked witch. However, Nanny Ogg calls her very powerful rather than evil (Pratchett, Wyrd Sisters 203). Therefore, Black Aliss almost seems to be a combination of all of Grimm’s witches, wicked and good since she is described to be not necessarily evil. According to Turtle Recall her “her exploits, … were the result of bad temper rather than actual malice.” Nonetheless, her acting as the Evil Godmother of “Sleeping Beauty” by casting a spell to make the entire palace sleep including growing rose bushes and spinning wheels, appears to be more than bad temper (Pratchett, Wyrd Sisters 203). Another one of her exploits is the poisoning of apples comparable to “Snow White’s” evil stepmother (Pratchett, Wyrd Sisters 286). Thus, by connecting the exemplary wicked witch of Lancre to the magical, oftentimes evil characters in Grimm’s fairy tales, Pratchett plays with the stereotypical image of the witch. However, it becomes evident that parodies of the Brothers Grimm are not the central imitation in Wyrd Sisters.

4.3. Parody Two: Shakespeare’s Hamlet and Macbeth William Shakespeare can be considered one of the most famous playwright in western literature, having written at least thirty-seven plays and numerous poems and sonnets until his death in 1616. Among those plays are The Tragedy of Hamlet, Prince of Denmark, written between 1599 and 1601, as well as The Tragedy of Macbeth (1606). Both plays and their tropes are central to Pratchett’s Wyrd Sisters. Pratchett’s desire to incorporate Shakespeare into his novels becomes apparent in his integration of the playwright himself as the dwarf Hwel. Though never officially mentioning William Shakespeare, the author is invoked through Hwel, who is depicted as “a playwright at Schultz 19 the mercy of the voices in his head, who also happens to be a dwarf” (Clement 2). This incorporation supports the general presence of Shakespearean plays in Pratchett’s works and thus prepares and reminds the reader of the central parody and one of the important elements of the novel. Nevertheless, both Hamlet and Macbeth are the predominant plays parodied by Terry Pratchett in Wyrd Sisters. Though Pratchett includes more direct quotations from Macbeth, both plays are equally present. However, whereas Hamlet delivers the main trope as well as a partly presence of characters, Macbeth is responsible for a deeper characterization as well as the presence of the main protagonists.

4.3.1. Hamlet in Wyrd Sisters Hamlet is one of the Shakespearean plays parodied by Pratchett. Particularly the trope of Wyrd Sisters appears to be based upon Hamlet, though Macbeth’s plot is a similar one. The first parody of Hamlet’s trope can be seen in the underlying crime in Wyrd Sisters. King Verence I was murdered by Duke Felmet. However, instead of directly depicting the king as dead, Pratchett describes King Verence’s ghost as unknown of his fate. “He sat up, and was surprised to find that while someone he was certainly inclined to think of as himself was sitting up, something very much like his body remained lying on the floor” (Pratchett, Wyrd Sisters 14-15). The self-discovery of the ghost, rather than an initial statement of the king’s passing, infuses the novel with humor from the beginning. It also supports a closer likening of this scene to Hamlet rather than Macbeth, since Hamlet depicts the murder in a more mysterious way, similarly to Wyrd Sisters. Another aspect of Hamlet’s basic plot that is parodied in Wyrd Sisters is the murderer and his relationship to the former king. The murderer in both works is a close relative, the brother of the king in Hamlet and a cousin of the king in Wyrd Sisters. Both men become king after the previous one has passed away instead of the King’s legitimate son. Furthermore, the ending of Wyrd Sisters imitates the sword fight in the final act of Hamlet. Due to the play, Duke Felmet goes insane towards the end of Wyrd Sisters, and stabs the Fool and “several of the nearest actors in a dreamy, gentle way, and then held up the blade” stating at the same time that it was not him who stabbed them (Pratchett 333). In Pratchett’s finale both the weapon of choice as well as the character of the scene differ from Shakespeare’s original. The parody removed the tragic aspect almost entirely and instead infuses the narrative with dark humor, depicting Duke Felmet as a pathetic person. It becomes apparent that the parody of the Schultz 20 plot gives Wyrd Sisters a recognizable scaffolding for the story to unfold. Furthermore, the familiarity of the play facilitates a greater contrast between the Shakespearean play and Pratchett’s witty writing style as well as his modern characters. One of the most striking aspects of the parody can be considered the play- within-the-play. In Hamlet a play about the murder of a king and the seduction of a queen is organized by Prince Hamlet, who hopes in vain for the murderer to confess his crime. The play in Wyrd Sisters is suggested by the murderer himself, Duke Felmet, who wants to the people of his kingdom to like him better than Granny, Nanny and Magrat. Therefore, Duke Felmet sent the Fool to Ankh-Morpork to find a group of travelling actors to bring back to Lancre. The Fool finds the actors in the unfinished Dysk Theatre, which is obviously an allusion to Shakespeare’s Globe Theatre in London. As opposed to Hamlet, the play is unsuccessful for Duke Felmet who confesses his murder of King Verence I due to the witches’ spell. The different ending of a very similar plot can be explained with the character of Wyrd Sisters. Whereas Shakespeare wrote his play as a tragedy, Pratchett’s novel is supposed to be more lighthearted. The parody of Hamlet is not supposed to infuse tragedy into the story but rather recognizability as well as a feeling of relief in the reader. It also pokes fun at the absurdity prevalent in the play. Parodies of sentences such as Hamlet’s “[t]he play’s the thing / Wherein I’ll catch the conscience of the King” support the creation of humor as well as a connection to twenty-first century capitalism (Shakespeare, Hamlet 2.2 1679- 80). Pratchett’s actor Vitoller states that “[t]he pay’s the thing,” which exemplifies the humorous quality of the parody with a modern motif (Wyrd Sisters 260). Additionally, to the parody of the trope and dialogues in Hamlet, Pratchett includes several short references to the play throughout Wyrd Sisters such as “[H]e punched the rock-hard pillow, and sank into a fitful sleep. Perchance to dream” (Wyrd Sisters 266). This sentence is a reference to Hamlet’s soliloquy “To be, or not to be.” However, those references do not really partake in the parody itself. Instead they are utilized to remind the reader of Shakespeare’s presence and the ongoing parody. It becomes evident that the trope of Hamlet is mirrored in Pratchett’s parody Wyrd Sisters.

4.3.2. Macbeth in Wyrd Sisters Whereas Hamlet is the play responsible for the main trope and the general setting of Wyrd Sisters, Macbeth is utilized to parody interpersonal relationships as well as characterizations in addition to certain aspects of the plot. A first parody of Macbeth Schultz 21 becomes apparent in the meeting at the beginning of Wyrd Sisters. Shakespeare opens with his ‘Weird Sisters’ meeting in a thunderstorm, discussing the question “when shall we three meet again / In thunder, lightning, or in rain?” (1.1.). Pratchett plays with Shakespeare’s stereotypically dark setting, placing his Wyrd Sisters, alluding to Shakespeare’s trio, in a similar environment. “The wind howled, lightning stabbed … and eldritch voice shrieked: ‘When shall we meet again?” (Pratchett, Wyrd Sisters 9) The parody becomes evident; Pratchett breaks this comparability of the witches with an ironic, almost chipper reaction “well, I can do next Tuesday” (Wyrd Sisters 9). The parody thus tries to change the portrayal of the stereotypical witch from the beginning by infusing their character with humor while humanizing the witches at the same time with for instance the depiction of Nanny Ogg as a babysitter. According to Miller, “Pratchett revokes the myth of the malevolent witch of mayhem, using the iconic imagery of the first scene of Macbeth to create a very opposite effect” (17). Thus, Pratchett’s opening scene refutes the stereotype and at the same time juxtaposed the classic scene of Macbeth. Another refutation of the stereotype of the classic hag becomes evident in the conjuring cauldron scene. Whereas it is a big, ancient ceremony in Macbeth, Pratchett depicts it as a rather odd and non-frightening event, creating humor as part of a stereotype. As opposed to a cauldron, Pratchett’s witches us Nanny Ogg’s old boiler (Pratchett, Wyrd Sisters 102). Furthermore, instead of adding the “eye of newt and toe of frog” or the “wool of bat and tongue of dog” like Shakespeare’s witches (Macbeth 4.1), they use “rather old washing soda and some extremely hard soap flakes” (Pratchett, Wyrd Sisters 106). It becomes evident that Pratchett’s parody creates humor as well as ridicule of antiquated rituals. Additionally, his witches appear contemporary and appealing to the reader due to a certain relatability. Thus, Pratchett utilizes the parody to change familiar characters. Lady Felmet, though representing the same role that Lady Macbeth does, is depicted as “what is culturally understood as evil incarnate” (Miller 15). Whereas Lady Macbeth is striving for masculinity, Lady Felmet remains true to her femininity. Nevertheless, both character share the same desire to be evil. Lady Macbeth wishes to be “fill[ed] … from the crown to the toe top-full of direst cruelty” (Shakespeare, Macbeth 1.5 37-38). However, over the course of the play, Lady Macbeth returns to sensibility and guilt, whereas Lady Felmet states that “I’ve seen exactly what I am…and I’m proud of it! I’d do it all again, only hotter and longer! I enjoyed it, and I did it because I wanted to!” (Pratchett, Wyrd Sisters 338). It becomes evident that Pratchett oftentimes uses familiar character from past literary works to Schultz 22 create familiarity within the reader as well as to reference a work. However, he changes characteristics and gives his characters unique, almost opposite traits to the parodied work. Respectively, he shifts character traits from one character of the parodied work to another. By depicting Lady Felmet in such a maleficent way, she appears to be more like one of Macbeth’s witches than a lady. Therefore, his parody creates a distinction of his work from the inspiration and thus draws the reader in due to the experienced surprise. However, Pratchett does not solely parody Macbeth to entertain the reader. In Wyrd Sisters, Terry Pratchett addressed important motifs of Macbeth such as guilt. According to Miller, “[w]hile Shakespeare does construct the concept of guilt within a religious framework, he, like Pratchett, allows for the characters to make their own choices, and Macbeth in the end turns his back on his faith in favor of greed and hubris” (12). Terry Pratchett parodies Shakespeare’s representation of guilt in his imitation of Macbeth and Lady Macbeth (Miller 13). However, similarly to the shift in character of Lady Felmet being depicted more like one of Macbeth’s witches, regarding guilt, she represents Macbeth whereas Duke Felmet embodies Lady Macbeth. Both Lady Macbeth as well as Duke Felmet feel a certain responsibility for the deaths and happenings under their watch. Finally, they also share a similar fate, insanity due to their guilt, which can be underlined by one of Lady Macbeth’s last utterances “[H]ere's the smell of the blood still” (Shakespeare, Macbeth 5.1). Lady Felmet and Macbeth however, become elevated by the deeds done. Pratchett removes the sensibility and guilt from Lady Felmet, depicting her as an almost one dimensionally evil person without remorse. It becomes evident, that Pratchett’s parody of Macbeth focuses on more interpersonal issues in comparison to Hamlet. Nevertheless, Wyrd Sisters is a novel of many influences. Both Shakespearean plays contribute to the success of the novel as well as to its familiarity and relatability.

5. Conclusion In Wyrd Sisters and Witches Abroad, Terry Pratchett uses humor as well as parodies to create a familiar yet innovative piece of literature. Furthermore, he plays with stereotypes of witches to change the image of the classic necromancer. Whereas literature generally used to depict witches as evil, hideous beings or beautiful and conning, Pratchett’s characterization differs. The three main protagonists of his witches’ series cannot be classified as the stereotypical witch from history and folktales. They also do not adhere to the classification of Maiden, Mother and Crone. Though certain Schultz 23 features of the stereotypes are present within Nanny, Granny and Magrat to underline the obscurity as well as overuse of them, Pratchett’s witches are modern beings marked by independence, feminism as well as intelligence. Nevertheless, Terry Pratchett does include clichés into his novels. His wicked witches are generally exactly like the stereotype demands them to be. Thus, they adhere to the examples given by the Brothers Grimm’s fairy tales. Besides the characterization of his witches, Pratchett also utilizes both Grimm’s fairy tales as well as Shakespeare’s plays as the major parodies in both Wyrd Sisters and Witches Abroad. Whereas Witches Abroad is predominantly a parody of “Cinderella” without greatly incorporating Shakespeare, Wyrd Sisters can be considered a mixture of parodies of both Grimm’s fairy tales as well as Shakespearean plays. Nevertheless, in Wyrd Sisters, Pratchett places more emphasis on Hamlet and Macbeth as opposed to the folk tales. It becomes evident that he utilizes parodies for many different reasons among which are the creation of familiarity for the reader, the distinction of his own work as well as his ideals from past works of fantasy. Pratchett’s use of imitation creates humor and unique characters removed from stereotypical depictions and makes his Discworld series a highly imaginative world.

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