Macbeth by William Shakespeare has a long history of translation in Japan. After Ogai Mori first translated the play in 1913, 19 versions followed in these 100 years. Through a comparative study of the 20 different translations, especially by focusing on a single noun ‘Witch’, this essay aims to highlight the use of Kanji （Japanese written characters） that could effectively express the ambiguous language of Shakespeare. Among these 20 translations, there are 4 different ways to call the witches. The simplest and the most common one is ‘Majo (魔女)’, the direct translation of the word. Others are ‘Yoba (妖婆)’, an old lady with black magic, ‘Yojo (妖女)’, a lady with black magic, and Shoyo Tsubouchi’s unique use of ‘Witch / Youfu (妖巫)’, meaning a shrine maiden with black magic. Tsubouchi’s might be the most adventurous case to transfer the meaning of Macbeth into Japanese language, by mixing the original English pronunciation and the physical image of Kanji. This essay will point out his inventive way of placing the rubies, different from the common use, in search of their possibility to be successful in expanding the meaning of Japanese and adjusted it to cohere with Shakespeare’s English.