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 PRINTED INU.I. A. 
 
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 tine Cornell University Library. 
 
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 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924013140458 
 
MACBETH. 
 
 LINES PRONOUNCED CORRUPT RESTORED, 
 
 AND 
 
 MUTILATIONS BEFORE UNSUSPECTED AMENDED, 
 ALSO SOME NEW RENDERINGS. 
 
 WITH PREFACE AND NOTES. 
 
 ALSO PAPBB8 ON SHAKBSPBABB'S STTPPOSBD NEGATIONS, 
 THB APPABITIOKS, AND THE TEMPTATION 01? MACBETH. 
 
 By MATTHIAS MULL, 
 
 LATE PHOPRIETOR AHD SOMETIME EDITOR OP "THB TIMES Off INDIA,' 
 EDITOR OF " HAMLET," ALSO OE "PARADISE LOST." 
 
 ,«^£<-^€<t-^wS^'-^-^^ iJ_ 
 
 " Eternal numberB to outlive long date." 
 
 Sonn£i xxxvlii. 
 
 LONDON: 
 KEGAN PAUL, TBENCH, & CO., 1 PATEENOSTEB SQUARE. 
 
 1889. 
 
 Do 
 
^rS3 
 /^^ 
 
 Though Shakespeare charmed the ear with the music of his 
 numbers, the mind with the unequalled strength and sweetness 
 of his images, with the depth, the beauty, and propriety of his 
 ideas ; though aU this, and more, he could and did bring home to 
 men's apprehensions, yet does it not foUow that, hecoMse that which 
 was Tiniversally and at once understood put him at the head of all 
 names past and to come, he would not be read with even higher 
 pleasure and deeper admiration when obscurities were cleared up, 
 and hidden excellences brought out to the light of day? just as 
 the sun, though shaded by clouds, is brighter stiU. when the clouds 
 are driven away.' — Qua/rterhj Review, March 1847, p. 812. 
 
 ' Mr. Collier and Mr. Knight are partisans of different editions ; 
 and whereas Mr. Knight is resolved, if possible, to torture into sense 
 the merest nonsense of the folio- [1623] rather than adopt a reading 
 from a quarto, Mr. Collier, whenever he can venture, puts up with 
 a doubtful, or worse than doubtful, reading from a quarto rather than 
 admit the version of the folio. In one point they are agreed — 
 they often prefer an obvious mispriut to the substitution of a 
 conjecture which is too certain to deserve the name.' — Id., p. 313, 
 814. 
 
 'The punctuation of the old editions is beyond the defence of 
 antiquarian idolatry.' — Id., p. 314. 
 
 ' Serious doubt [as to the meaning] is equivalent to ignorance.' — 
 J^., p. 315. 
 
 ' The editors of Shakespeare . have deserved the gratitude 
 
 of the public. " Not one," said Dr. Johnson, "has left Shakespeare 
 without improvement, nor is there one to whom I have not been 
 indebted for assistance and information." The observation continues 
 true. Shakespeare is like a vast country from which no persevering 
 voyager returns without affixing his name to an islet or a creek which 
 had eluded former explorers. , . . Though no one can hope to gather 
 the whole harvest into his own garners, it seems possible that every 
 
 fresh step" should be taken in advance, or not retrograde at worst.' 
 
 Id., p. 317. 
 
CONTENTS. 
 
 Pbepace .... 
 
 The Appaeitions .... 
 
 " SiHGLE " AND " SINGLE " . 
 
 Shaeespeabe's supposed Negations 
 " And," use op : meanings developed 
 The "Temptation" of Macbeth 
 Gebvin0s' Defence of Shakespeabe's Abt 
 Human Kindness and Humankind-ness 
 Physical Objects — The Daggebs . 
 Db. Johnson on Witchcraft . 
 
 page 
 vii 
 xiii 
 
 XV 
 
 xvii 
 xxiv 
 
 XXV ^ 
 
 xxix 
 
 xxxi 
 
 xxxiii 
 
 xxxiv 
 
 EMENDATIONS. 
 
 " Till he faced the slave ; tJien laid on, nor ceased " 
 " To give thee from onr royal master thanks only " . 
 " Which should he — thine or his- — silenced with that " 
 " See, see ! — Our honour'd hostess " . 
 
 " Tou are and do not know 't ? " 
 
 " Well may you see things well done there " . 
 " To us and afl^ unsafe the while that we " 
 " Thrice and once " [And once "] • 
 " Of Bimam rise. And our high-placed Macbeth " 
 
 " And points at them for his What, is this so ? " 
 
 " All ready, at a point " . 
 
 " They were all struck for thee, naught that I am ! " 
 * Is ripe for shaking " 
 
 " Cleanse the stuff'd bosom of that perilous stuff " . 
 " Are hired to bear their staves : hither thou " . 
 " Yet I will try the cast " , , . . 
 
 
 XXX vu 
 
 
 xxxviii 
 
 
 xxxviii 
 
 
 xl 
 
 
 xl 
 
 
 xli 
 
 
 xli 
 
 
 xlii 
 
 
 xliii 
 
 
 xliv 
 
 
 xliv 
 
 
 xlv 
 
 
 xlv 
 
 
 xlvi 
 
 
 xlviii 
 
 
 xlviii 
 
CONTENTS. 
 
 EXPLANATIONS AND BENDEBING8. 
 
 The First Witch's Question 
 
 "Bain" = Mist ..... 
 
 " Pair is fonl, and foul is fair " 
 
 " And Fortune, on his damned quarry smiling " 
 
 " As thick as tale can post with post " 
 
 " Shakes so my single state of man " . 
 
 " And (=yet) nothing is but what is not " 
 
 " Time and the hour " . 
 
 " The rest is labour " . . . . 
 
 " Thou'ldst have, great Glamis " 
 
 " Give him tending," &c. 
 
 " This ignorant present "... 
 
 " Time " used for a person or persons 
 
 Duncan's apology to Lady Macbeth . 
 
 " If the assassination," &c. 
 
 " They hare made themselves, and that their fitness 
 
 " Each corporal agent " . 
 
 " A heavy summons lies like lead upon me " . 
 
 Professor Henry Morley's treatment of this episode 
 
 Macbeth's hesitation .... 
 
 " The cursed thoughts " of Banquo — a Vindication 
 
 " If you cleave to my consent, when 'tis '- " 
 
 " That which hath made them drunk " . 
 
 The cry of the " voice " 
 
 "And (=<feere/ore) prophesying " 
 
 " In the great hand of God I stand " . 
 
 " The undivulged pretence " . , 
 
 " Fears and scruples shake us " 
 
 Banquo, not Macbeth, speaks 
 
 " "Why may they not set me up in hope ? " . 
 
 Banquo's fealty to Macbeth 
 
 " To be thus is nothing "... 
 
 " My genius is rebuked " . 
 
 " Come, Fate, champion me " . 
 
 Macbeth's instructions to the Murderers . 
 
 " Must lave our honours " . . 
 
 " Nature's copy 's not eterne " . 
 
 " His horses go about "... 
 
 " 'Tis better thee without than he within " 
 
 " You make me strange "... 
 
 " If trembling I inhabit then " . 
 
 " Augurs and understood relations " . 
 
 " Loves for his own ends "... 
 
 " Who [You ?] cannot want the thought " 
 
 PAGE 
 
 li 
 
 li 
 
 lii 
 
 liii 
 
 It 
 
 Ivi 
 
 Ivi 
 
 vii 
 
 viii 
 
 Iviii 
 
 Ix 
 
 Lxi 
 
 Ixii 
 
 Ixiii 
 
 _ Ixiv 
 
 bcv 
 
 Ixvi 
 
 Ixvi 
 
 Ixx 
 
 Ixxi 
 
 Ixsiii 
 
 Ixxv 
 
 Ixxvi 
 
 Ixxvii 
 
 Ixxx 
 Ixxx 
 
 Ixxxi 
 Ixxxi 
 
 Ittti'i'i' 
 
 Isxxiv 
 Ixxxiv 
 
 Ixxxvi 
 
 bcxxix 
 
 Ixxxix 
 
 xc 
 
 xci 
 
 xciii 
 
 xcv 
 
 xcvii 
 
 xcviii 
 
 xcix 
 
CONTENTS. 
 
 " Time " used for Mankind 
 
 " Two-fold balls and treble sceptres carry " . 
 
 " You must have patience, madam " . 
 
 " I dare not speak much further " . , 
 
 " And do not know ourselves " to be traitors 
 
 " Each way we move " . 
 
 " Was my father a traitor, mother 1" . 
 
 " I am perfect " . 
 
 "Find the time (=i)eqpte) to friend" . . 
 
 " You may disoeme of him through me ; and (= therefore) wisdom 
 
 " Sununer-seeming " . . . . 
 
 " He has no children " . 
 
 " Dispute it like a man " . 
 
 " My way of life " " the sear, the yellow leaf " . 
 
 Speculation on the issue of the Battle 
 
 Macheth's reception of the news of Lady Macbeth's death — a Vindication 
 
 " Have lighted fools " ........ 
 
 cui 
 
 ciii 
 
 civ 
 
 cv 
 
 cv 
 
 cvii 
 
 oviii 
 
 ox 
 
 ex 
 
 cxii 
 
 cxiii 
 
 cxiv 
 
 Opimons of Scholars on my edition of " Samlet ' 
 
 91 
 
the lofty grave tragedians 
 
 teachers best 
 
 Of moral prudence, with delight reoeiv'd 
 In brief sententious precepts, while they treat 
 Of fate, and chance, and change in human life, 
 High actions and high passions best describing. 
 
 MniTON. 
 
PEEEACB. 
 
 " Of the thousands who read Shakespeare and enjoy his plays, 
 there are comparatively few who attempt to determine the 
 meaning of every line they read. An apprehension of the 
 general drift of the passage, and a perception of its exquisite 
 melody, frequently suffices the reader. The students in our 
 Indian Colleges are not so readily contented ; they are not con- 
 tent to be told that so and so is the purport of a given sentence : 
 they must be shown how the words are qualified to convey the 
 alleged purport. Among commentators, Bacon observes, ' It is 
 over-usual to blanch the obscure places, and to discourse upon the 
 plain,' and the commentators of Shakespeare do not form an ex- 
 ception to the rule." These are interesting and striking state- 
 ments, which come from the pen of the late James R. Ballantyne, 
 LL.D., Principal of the Government College, Benares. And the 
 Rev. John Hunter writes, " The kind of pleasure felt by many 
 readers of Shakespeare is one into which they are beguiled by a 
 magic tone that breathes in the very syllables of the mighty 
 genius, and that is accompanied with too vague conceptions of 
 the import of his language." It is a matter of common know- 
 ledge, that Shakespeare is read very much in the indolent manner 
 above stated ; that no adequate intellectual effort is put forth to 
 master him in detail, to sound him in his profound depths, and 
 to trace him through his many subtle yet exquisite settings of 
 
PREFACE. 
 
 his " fine frenzy," his imagery, his allusions, his fancy. " Shake- 
 speare's compositions,'' says Schlegel, "from the very depth of 
 purpose displayed in them, have been exposed to the misfortune 
 of being misunderstood-" It is a remarkable testimony to the 
 power and genius of the master, that he can so string together 
 the counters of language as to produce irresistible charm by their 
 mere perusal or expression. When, however, the plays come to 
 be seriously handled, so as " to determine the meaning of every 
 line," — an indispensable duty, so at least Indian students rightly 
 consider it, — we realise how essential for all is the procedure 
 demanded before any true mastery can be attained or legitimate 
 satisfaction can be experienced in reading those great productions. 
 " Unless one can read Shakespeare easily," says Dr. Ballantyne, 
 " the greatest beauty of his plays, the artistic structure of each 
 as a whole, is unperceived." He then sets forth the well-spring 
 of all that is noble and elevating to be found in those precious 
 legacies ; and the accomplished writer has done it in a few sen- 
 tences of such truth and force as to justify their reproduction. 
 He says, "We would deprecate the use of these plays for the 
 special purpose of verbal discipline. They are so imbued with 
 wisdom, with knowledge of the human heart, with inspiring and 
 ennobling views of virtue, and with appalling warnings against 
 vice, that come with the aspect of seemingly actual example, 
 that we would reserve his plays as one of our most valuable aids 
 in the inculcation of practical ethics, in the formation of the 
 taste, and the development of the moral sense. There is no 
 reason why they should not at the same time give exercise to 
 other mental faculties, this they will always do abundantly ; but 
 it is desirable that they should be loved, and they will be more 
 . loved the more readily and perfectly their acquaintance can be 
 made." 
 
 " Shakespeare's style," says Cowden Clarke, " so masterly in 
 power of effect, so vigorous in expression, so full of varied re- 
 
PREFACE. IX 
 
 source, so marked with bold originality, yet so accordant with 
 pure English diction, oflFers supreme advantage in its careful 
 study to the thinkers, the writers, and the orators in his native 
 language. A man possessed of good intellect and eduoation, who 
 moulds his composition and speech on the model afforded by 
 Shakespeare's works, can hardly fail of being an able writer and 
 speaker ; and even a moderately gifted and moderately educated 
 man, who is in the habit of reading and thoughtfully appreciating 
 Shakespeare, is likely to become capable of expressing himself 
 with strength and clearness — ^the best eloquence — whether in 
 writing or speaking." 
 
 Since Dr. Ballantyne wrote, commentators of Shakespeare 
 have continued to deal with obscure passages, and several satis- 
 factory emendations of palpably corrupt words have since passed 
 into the text of every edition. Some are uninformed of this fact, 
 and regard the present text as strictly " original," both verbally 
 and in the punctuation ; they consequently resent, in their igno- 
 rance, any correction of other pronounced or suspected corruptions, 
 which are obviously repugnant to all conception of sense or 
 reason. The presumption of such persons has recently been re- 
 buked by an able and discerning critic, who says, " The breed of 
 dilettanti is the blight of art in every form ; they scrupulously 
 reprint a poet's works with all the typographical errors of his 
 first editions, by way of ' honouring his memory.' " The Clarendon 
 editor of " K. Richard III." says, upon I. ii. 244, " It is hard to 
 believe that this is what Shakespeare wrote ; " but some find it 
 easy to believe any nonsense that may be in a corrupt line, and 
 protest against any suggestion in substitution, in defiance of many 
 proved and egregious mutilations. 
 
 All the corrections of erroneous passages that I have ventured 
 to make, will be found set forth and treated in pp. xxxvii. to Ixix. 
 Some of the difficulties have tested the skill of nearly all the past 
 as well as present commentators ; others which I point out are 
 
X PREFACE. 
 
 doubtless corruptions, that have hitherto passed without notice. 
 They all possess considerable interest, especially the troublesome 
 and awkward utterance of the Witch, 
 
 Thrice and once the hedge-pig whined, 
 
 which I alter thus, 
 
 And once the hedge-pig whined. 
 
 " Thrice " in this line is obviously a printer's repetition from the 
 previous line, " Thrice the brinded cat hath mewed ; " it is so 
 obnoxious, that there should be no hesitation in obliterating 
 it. I take it to be. one of the many " meaningless misprints of 
 the first Folio." The Clarendon editor of " K. Richard III." pro- 
 poses a similar operation with the superfluous word " kindly " in 
 II. ii. 24, "And hugg'd me in his arm, and kindly kiss'd my 
 cheek." See the passage in " K. Henry V.," III. vi. 30, " Fortune 
 is painted blind, with a muffler afore her eyes, to signify to you 
 that Fortune is blind." The first " blind " is probably copied 
 from the subsequent line ; and the Cln. edr. says, " Warburton 
 with great probability leaves out ' blind.' " 
 
 The interpretation of the " Apparitions," as universally ac- 
 cepted, I venture to think is profoundly erroneous. The instances 
 are not a few in the plays of Shakespeare where speeches have 
 been attributed to wrong characters, and in " Macbeth " there is 
 an undoubted case, as I point out at p. Ixxxi. In my " Supple- 
 mentary Notes " to my edition of " Hamlet," I disclose a similar 
 error, in the general misapprehension that certain instructions of 
 Polonius to Reynaldo refer to Laertes, whereas it is another in- 
 dividual who is pointed to. So with the Apparitions, the true 
 interpretation has not been apprehended. My treatment will be 
 seen on p. xiii. 
 
 Among my " Explanations and Renderings " will be found 
 treated the opening lines of the play, as uttered by the first 
 Witch, lines that may not be thought to possess any interest or 
 any latent significance— which have, in fact, always passed as 
 
PREFACE. XI 
 
 idle or silly words, having only an air of perhaps trivial mystery. 
 See p. li. 
 
 Banquo's surprising encounter with Macbeth in the dead of 
 night, I have treated in a totally different aspect from other com- 
 mentators, which I offer to the judgment of my readers. My 
 reading of the episode is, that Macbeth was about at so unearthly 
 a time with the design to despatch Banquo, presuming that he 
 would then be asleep ; and that the latter was overborne with 
 the conviction that such a design was impending. I discard, too, 
 the accepted notion that Banquo avows secret inclinations to 
 anticipate Macbeth in his foul deed, and that he has any struggle 
 whatever to overcome wicked thoughts. " There's no such thing " 
 in the text. Macbeth's hatred of Banquo's noble and loyal cha- 
 racter is avowed, and that is incitement enough to put away 
 Banquo if possible. Without any reference to this particular 
 episode, W. B,ichardson ("Essay on Macbeth," p. 61) with truth 
 remarks, " By suspicion and distrust, the necessary offspring of 
 treachery, the soul is for ever tormented. Perfidious ourselves, 
 we repose no confidence in mankind, and are incapable of friend- 
 ship. We are fearful of all to whom eminent virtue and integrity 
 have given a strong sense of injustice, and to whom wisdom and 
 intrepidity have given power to punish. Prompted by our fears, 
 we hate every amiable and exalted character, we wage war with 
 the virtuous, and endeavour, by their destruction, to prevent our 
 own." This melancholy perversity in human nature is touchingly 
 set forth by Shakespeare himself, as expressed by the devoted 
 Adam in " As You Like It," II. iii. 10-15 : 
 
 Know you not, master, to some kind of men 
 
 Their graces serve them but as enemies ? 
 
 No more do yours : your virtues, gentle master, 
 
 Are sanctified and holy traitors to you. 
 
 0, what a world is this, when what is comely 
 
 Envenoms him that bears it I 
 
 Banquo's character I have thus tried to clear from what I con- 
 
PREFACE. 
 
 sider the unfounded aspersions that have been cast upon him. 
 See pp. lxvi.-lxxv., and Ixxxi.-lxxxiii. I endeavour also to 
 destroy the settled belief in the heartless reception by Macbeth 
 of his wife's death. See p. cxiii. 
 
 Celebrated is the line, " Who cannot want the thought," for its 
 supposed misplaced negation. The true solution does not, I think, 
 lie here, but in " Who " as a corruption for Tou. If we retain 
 " Who," the line might be treated thus, 'The thought cannot be 
 wanting to any who think, how monstrous 'twas ior Duncan to 
 be killed by his sons.' This may be regarded as a simple and 
 legitimate solution, and in accordance with Shakespeare's method 
 of inverted cojistructions. See p. xcix., and p. xvii. 
 
 The singular misconception of the uses of the word " single," 
 will be found noticed, with illustrations, on p. xv. 
 
 The cry of the " Voice," which has hitherto presented much 
 difficulty, I treat in a manner that I hope reveals the clearest 
 meaning. See p. Ixxvii. 
 
THE APPAEITIONS. 
 
 Act IV. Sc. i. 
 I. interpret the Apparitions as follows : 
 
 FIRST. 
 First Apparition : an armed Head. 
 Macbeth. Tell me, thou unknowii power, — 
 
 This Apparition is intended to prefigure Sjmard, as commander 
 of the English force about to operate against Macbeth, and which 
 he naturally addresses as an " unknown power." , '' i> 
 
 SECOND. 
 Second Apparition : a iloody Child. 
 First Witch. Here's another, 
 
 More potent than the first. 
 
 I understand " more potent " as ' bearing a message of more 
 potency,' more impressive and significamt. Whately, in treating 
 of the word potent, says that " it is occasionally used for reason- 
 ing." The " bloody Child " doubtless prefigures the murdered son 
 of Macduflf. 
 
 THIRD. 
 
 Malcolm is represented in the 
 
 Third Apparition : u Child crowned. 
 
 There is, I think, a serious misconception prevalent among all 
 the commentators as to the interpretation of these spectres. 
 
 Regarding the first, the Cln. eds. say, " The ' armed Head ' 
 represents, as Uptoii first remarked, Macbeth's own head, which 
 Macduff cuts off after slaying him in fight. This gives additional 
 force to the words, ' He knows thy thought.' " The assignment 
 here set forth is disposed of by the context ,• 
 
 1st, It is absurd to apply "thou unknown power" to the 
 speaker's own " Head," for surely it would then be a known power. 
 Macbeth instantly recognizes the " Head " as an Armed force. 
 
XIV THE APPARITIONS. 
 
 2nd, " Thou hast harp'd my fear aright "■ must be addressed 
 to another object than himself to have any applicability, for 
 Macbeth does not harp or reveal his fear to the same Macbeth, 
 to himself. 
 
 3rd, " He knows thy thought " cannot, as claimed, give any 
 force, as the thought has no relation whatever to Macduflf and 
 the fight in which Macbeth has his head cut off. The thought 
 plainly is, " Shall Banquo's issue ever reign ? " The " Tell me " 
 (1. 69) is impatiently re- presented in " But one word more " (1. 74) ; 
 and his " heart throbs '' still to be told, until he is at length per- 
 mitted to utter his " thought " after' the appearance of the third 
 Apparition. The significance, then, of " warlike Si ward " being 
 indicated in the first Apparition must be manifest. 
 
 In the second Apparition is appropriately represented Mac- 
 duffs son, and it is here, in his " potent " and impressive message, 
 that we have foreshadowed the fate of Macbeth. The Cln. eds. 
 say, "The 'bloody child' represents Macduff; observe, too, that 
 he, Macduff, is ' more potent than the first,' Macbeth.'' 
 
 My interpretations, as will be seen, are entirely at variance 
 with these and all the editors ; and the evidence with which I 
 endeavour to sustain my contention seems conclusive — especially 
 note further confirmation in the element of revenge which marks 
 each Apparition : 
 
 1st. Siward (not Macbeth), to overthrow the usurper. 
 
 2nd. The Child of Macduff, for his massacre, now deludes 
 Macbeth, ending in mental torture and overthrow. 
 
 3id. The Child of Duncan, avenging his father's massacre, 
 deludes Macbeth in a similar manner. 
 
 As a singular misconception of the child Apparitions, the 
 Pugby editor says, " These may refer to the passage, ' A naked 
 new-bom babe,' I. vii. 21 " ; on which he has this mistaken com- 
 ment, " Either like a mortal babe terrible in helpl^sness, or like 
 heaven's child-angels, mighty in love and compassion." The 
 simple meaning is, 'like the wailings of a babe,' as the context 
 shows. 
 
"SINGLE" AND "SINGLE." 
 
 Shakes so my single state of man. I. iii. 140. 
 
 Were poor and siagle business. I. vi. 16. 
 
 The opposite senses in which the word single is used, it is 
 desirable more fully to illustrate than I have done on p. Ivi. 
 
 See "The Tempest," V. i. 247-250 : 
 
 at pick'd leisure, 
 Which shall be shortly, single I'll resolve you. 
 Which to you shall seem probable, of every 
 These happened accidents. 
 
 The Oln. edr. explains ' by myself ' : Rev. J. Hunter, ' in private I 
 will give yoii explanation ' : ' when alone ' says another. ■ This 
 mistake is universal; and Mr. J. O. HalKwell-PhiUipps says, "I 
 greatly doubt the correctness of the ordinary text in a, comma 
 being placed after ' shortly ' : see ed. 1623. The word single may 
 be used in a somewhat peculiar sense.'' 
 
 " Single " is used here as entire, ' to the fullest I will inform 
 you ' ; as Macbeth above, " Shakes so my single state of man," 
 and as in " Comus," 1. 204, " yet nought but single (= eninn-e) 
 darkness do I find." Prospero tells Alonso, that 'at a con- 
 venient chosen hour, I will inform yovi fully of every circumstance 
 in this strange business.' 
 
 Again is the word used in " The Tempest," I. ii. 432, but now 
 in its other sense, as Lady Macbeth uses it, " poor and single 
 business." Ferdinand intimates that he is King of Naples now 
 that his father is drowned, as is beb'eved ; ' but as I am now, I am 
 » single thing,' i.e. stinted thing, reduced to nothing, for were he 
 in Naples he would be "the best of them," the highest in the 
 gtate as King. The Cln. edr. says, " Ferdinand plays upon the 
 word," in what way is not apparent ; " he believes that himself and 
 the King of Naples [his father being supposed dead] are one find 
 
XVI " SINGLE AND " SINGLE. 
 
 the same person ; he therefore uses this epithet with a reference 
 to its farther sense of ' solitary,' and so ' feeble and helpless.' " 
 But in his edition of " Coriolanus," this editor, quoting this 
 instance, explains it as insignificant. Ferdinand's direct reference 
 is to his opposite, his reduced condition to that which he by birth 
 should be enjoying, and not to his solitariness or feebleness. The 
 same editor says, " Compare ' poor and single business,' " which is 
 explained as simple, weak ; I take it to be stinted return. 
 
 Again the word recurs in three instances in " Coriolanus '' : 
 the first is, II. i. 34, " your helps are many, or else your actions 
 would grow wondrous single ;" the next, III. ii. 102, "Yet, were 
 there but this single plot [his person] to lose " — in both cases the 
 meaning plainly being insignificant. The remaining instance is 
 this : IV. i. 40-44, Cominius addresses Coriolanus, urging that he 
 should accompany the latter in his exile for a short time, that he 
 ihay know the abode of his banished friend, Cominius anticipating 
 the crisis when the state will again welcome him back with 
 eagerness in its defence against its enemies : 
 
 if the time thrust forth 
 
 A cause for thy repeal, we shall not send 
 
 O'er the vast world to seek a single man, 
 
 And lose advantage, which doth ever cool 
 
 r the absence of the needer. 
 
 Here the word is used in a widely opposite sense to the other two 
 cases. Cominius says that 'if Rome decree thy repeal, and I 
 know your abode, the citizens will then be saved the trouble and 
 danger of seeking over the whole empire for a leader and general 
 of our forces' — "a single man." The word here conv^a full, 
 entire, Jit, an accomplished and experienced man. 
 
 The Cln. edr. has no remark on this instance of its use, and 
 judging by the rendering he gives of the lines following, it may 
 be misunderstood by him. He renders those lines, ' In the 
 absence of him who wants to avail himself of the advantage ' ; 
 but Cominius says the contrary, ' If we are compelled to seek 
 some other general, we shall lose precious time ("advantage") 
 in the search for him, and our cause will decline in the absence 
 of him who is needed to meet the crisis that may befall us,' 
 
SHAKESPEARE'S SUPPOSED NEGATIONS. 
 
 Men must not walk too late. 
 Who [3'ba?] cannot want the thought, how monstrous III. vi. 7, 8. 
 
 It is desirable that the question of " Shakespeare's Nega- 
 tions "—on which the Rugby editor has a short Appendix — should 
 be analysed, at least as far as the alleged negations are presented, 
 in connection with this passage, by this and by the Oln. eds. The 
 former says that the usual punctuation (as above printed) "makes 
 it mean, ' People must not walk too late, who, like you and me, 
 cannot do away with the thought that it was, as Macbeth said, 
 monstrous for the King's sons to kill their father.' The tone of 
 the actor's voice would give an ironical turn to the word 
 ' monstrous,' so as to make it too monstrous for belief." The 
 irony is in " Men must not walk too late." He then says, " The 
 maximum of confusion on the passage appears to be attained by 
 a writer in the Edinburgh Review, July, 1869. The Cambridge 
 editors admit that the passage, as generally punctuated, gives a 
 sense opposite to that which is required, but consider that this 
 arises from a confusion like that which leads to the use of the 
 pleonastic negatives in Greek, and to such expressions in Shake- 
 speare as ' he denied that you had in him no right ' : " Comedy of 
 Errors," IV. ii. 7. They quote as parallel instances " Winter's 
 
 Tale," III. ii. 55, 
 
 I ne'er heard yet 
 That any of these bolder vices wanted 
 Less impudence to gainsay what they did, 
 Than to perform it first. 
 
 ' Before reading this paper, my treatment of this passage on p. xcix. 
 should be considered. 
 
XVIU SHAKBSPEARES SUPPOSED NEGATIONS. 
 
 the same play, I. ii. 260, 
 
 Whereof the execution did cry out 
 Against the non-performance. 
 
 "King Lear," II. iv. 140, 
 
 I have hope 
 You less know how to value her desert 
 Than she to scant her duty. 
 
 " In the first passage the parallel appears close, as ' wanted ' 
 seems to stand for 'had.' [Mark the 'seems.'] But is not the 
 expression modified by an idea also present in the writer's mind, 
 'I never heard that these bolder vices wanted the less degree of 
 impudence which is required to deny a crime, when they had the 
 greater impudence to do it.' " 
 
 The above criticisms betray entire forgetfulness of Shake- 
 speare's constructions ; there is no sense " opposite to that which 
 is required," a charge attributed so lightly to the poet. What 
 he says is, ' I ne'er yet heard that any of these bolder vices wanted 
 the element of impudence to gainsay less what they did, than to 
 first perform it.' " Less '' does not qualify " impudence," but the 
 phrase as I here place it ; to explain it as " degree of impudence " 
 is- to darken the whole passage. 
 
 The Cln. edr. of " Lear " instances this passage as to its 
 alleged obscurity, and says, " where, as Johnson remarks, either 
 ' wanted ' should be ' had,' or ' less ' should be ' more.' " I refer 
 the reader to my explanation. 
 
 The Rugby editor continues, " So in the third passage, the 
 idea implied in the words ' you less know ' is, ' it is rather you 
 who do not know how to value her desert, than she who thinks 
 of scanting her duty.' " Again is the same mistake made, for 
 "less " does not qualify " know," it relates to the phrase following : 
 thus, ' you know less how to value her, than that she would scant 
 her duty.' 
 
 "In the second passage," he says, " 'the execution' seems to 
 be used in a legal sense for the warrant for ' fiat, or execution ' : 
 the meaning therefore being, 'If I have ever delayed to do a 
 thing because I doubted as to its issue, so that the full legal 
 
SHAKESPEARE S SUPPOSED NEGATIONS. xixr 
 
 warrant which you gave me to complete it should cry out against 
 my slackness in not doing so.' " The meaning clearly is, ' Whereof 
 the delay in execution did cry out because of the non-perfor- 
 mance ' : there is no " illogical negative " here. 
 
 The remaining so-called negative is this, " He denied that you 
 had in him no right : " treat it thus, ' you had no right in him, 
 that [right] he denied ; ' so we discover a logical asseveration, only 
 repeated. 
 
 Many parallel instances occur in Shakespeare and the poets, 
 which hardly need to be mentioned ; but these two are pre- 
 sented : 
 
 he truly found 
 It was against your highness. Samlet, II. ii. 64. 
 
 i.e. he found it was truly against. 
 
 they are portentous things 
 Unt o the climate that they point upon. J. CcBsar, I. iii. 31 . 
 i.e. they are things portentous unto the climate. 
 
 Shakespeare's "negations," then, are, I think, disposed of so 
 far ; and the Rugby editor, too, thinks that, after all, like Macbeth's 
 vision of the dagger, " there's no such thing," for he finally says, 
 " The conclusion to which these passages thus reviewed appear to 
 lead us is, that the supposed illogical negatives in Shakespeare 
 have not this character really, but originate in the wish to express 
 a subordinate idea, as well as the principal one, without making 
 a second sentence for the purpose of conveying it." This ex- 
 planation he does not put forth with any confidence, so it may, 
 in the face of the above solutions, pass without comment. 
 
 In the Cln. edn. of " Lear," the editor treats as follows of the 
 passage quoted above : " This is one of the many passages in 
 Shakespeare of which the sense is clear, but which is almost im- 
 possible to paraphrase. Regan wishes to say, 'she hopes it is 
 more possible that Lear has undervalued her sister's merit than 
 that Goneril should have come short in her duty.' But although 
 the meaning is obvious, there is a confusion in the expression : 
 we should have expected some word the very opposite of ' scant.' 
 Other instances of a similar obscurity are to be found." I ana 
 
XX SHAKESPEABES SUPPOSED NEGATIONS. 
 
 unable to see any confusion in expression, or any difficulty in 
 paraphrasing (see my treatment above) ; it is a question of recog- 
 nising the dramatist's manner in his constructions, and also his 
 extreme elliptical compression at times. "With the metrical 
 exigencies of rhythm and rhime," says a writer, " we are accus- 
 tomed to associate a straining of phraseology and inversion of 
 ideas ; " but which may be rendered perfectly clear by the course 
 just stated. 
 
 Eeference is made by the editor, in the same play of " Lear," 
 to another supposed absurdity, I. i. 271, 
 
 And well are worth the want that you have wanted. 
 There is plainly scorn and contempt cast by GonerU at Cordelia ; 
 and she says, ' you are richly endowed with the absence of obedi- 
 ence that you do not possess,' viz. obedience. This is quite in 
 Shakespeare's manner, playing upon the same words or those simi- 
 lar'in sound. But the editor remarks, " The difficulty seems to arise 
 from the imperfect connexion of the relative with its antecedent. 
 The use of the word ' want ' has apparently the effect of always 
 making Shakespeare's constructions obscure." If my explanation 
 commends itself, then there is no obscurity. The editor offers his 
 rendering : " Goneril says, ' You have come short in your obedi- 
 ence and well deserve the want of that affection in which you 
 yourself have been wanting ' ; otheiTvise we must regard ' the 
 want that you have wanted ' as an instance of the combination 
 of a verb with its cognate accusative." The phrase I have 
 italicized is the opposite of the sense expressed in the text. 
 
 In connection with the treatment of this line, the editor 
 refers to line 222, which also presents to him some obscurity. 
 Cordelia says : 
 
 for want of that for which I am richer, 
 [Such as] A still-aoliciting eye (i.e. constantly seeking favours) 
 
 — the rendering is, ' for not possessing (" want ") of that self- 
 seeking on account of (" for ") which I am richer in character.' 
 The editor remarks, " The construction is imperfect though the 
 sense is clear. We should have expected 'even the want' as 
 Hanmer reads ; but Shakespeare was probably guided by what 
 
SHAKESPEARES SUPPOSED NEGATIONS. XXI 
 
 he had written in the line preceding, and mentally supplied ' I 
 am deprived.' There is an obscurity about ' for which ' ; it 
 would naturally mean ' for having which,' but here it must sig- 
 nify ' for wanting which.' " Hanmer would alter the text, which 
 is rendered the more unnecessary, though the Cln. edr. gives 
 partial countenance to doing so, because the true meaning of 
 the whole passage is given by the latter scholar himself, though it 
 requires to be fully set out in this manner : ' I am deprived of my 
 father's favour for want of that covetous disposition for wanting 
 which covetous disposition I am richer.' 
 
 Upton, in his " Critical Observations on Shakespeare," says, 
 "Instances of our poet's using words contrary to the modern 
 acceptation of them are numberless " (p. 303). " Some of Shake- 
 speare's rules of writing, which savour of peculiarity, I shall 
 here mention, because when these are known we shall be less 
 liable to give a loose to fancy in indulging the licentious spirit 
 of criticism ; nor shall we then so much presume to judge what 
 Shakespeare ought to have written, as endeavour to discover and 
 retrieve what he did write " (p. 284). This wise counsel should 
 be borne in mind in treating of Shakespeare's use of words, and 
 of his constructions, as in the cases noticed above ; for some high 
 authorities have told us that he was at a loss how to use some 
 simple words in their right senses ! Recently a communication 
 on this subject was published, wherein the writer (a non- 
 Baconian) said, ' Cowden Clarke, in his commentary on ' Cym- 
 beline,' I. v., says that Malone accuses Shakespeare of using 
 words which express the very contrary of what he means. And 
 Clark on ' Coriolanus,' I. iv., quotes the same critic as say- 
 ing, ' Our author almost always entangles himself when he uses 
 les3 and more.' Could a scholar of commanding intellect have 
 done this ? " This is a logical question, after having convinced 
 oneself that Shakespeare did not know the difference between 
 some of the simplest words in his own mother tongue ; only 
 the writer is landed, observe, in the comforting conclusion, that 
 Shakespeare's was not " a commanding intellect." 
 
 Malone, in treating of the passage at the opening of this ' 
 
XXll SHAKESPEARES SUPPOSED NEGATIONS. 
 
 paper, says, " The sense requires ' who can,' yet I believe the text 
 is not corrupt. Shakespeare is sometimes incorrect in these 
 minuticB." Here the critic charges upon Shakespeare absolute 
 contradiction, if not stupidity ; and the use of cannot for can is 
 alleged to be not of much account with the greatest writer in the 
 English language, it is only one of his minute blunders ! 
 
 Before we charge upon the dramatist such extraordinary 
 ignorance, we might reflect that such words as are instanced, 
 from their being used in what appears to us to savour of pecu- 
 liarity, may be capable of explanation as coming under some 
 perfectly legitimate rule of Shakespeare's own, or of some relation 
 in construction to the whole passage in which they appear ; and 
 that very probably it is our want of discovering such rule, or the 
 absence of penetration on our part, that baffles our attempts at 
 solving the question. So far as the above cases are concerned, 
 the true solutions perhaps are as I have set them forth ; and if so, 
 a vindication of Shakespeare will follow, as well as some cause 
 of perplexity removed. 
 
 Another passage is instanced as exhibiting Shakespeare's un- 
 skilfulness ; it is in " Coriolanus," I. iv. 13-15 : 
 
 Mav. TuUus Aufidius, is he within yonr walls ? 
 First Sen. No, nor a man that fears you less than he, 
 That's lesser than a little. 
 
 Shakespeare must use " less " in a sense conveying slightly, or not 
 at all, the comparative degree not being recognised. See Matt, 
 xiv. 31, " O thou of little faith," having none. The reading 
 would then be, ' No, nor any man that has the slightest fear of 
 you, as he has none ; ' or thus, ' No, nor any other man whose fear 
 of you is as little as his,' i.e. fears you nothing. The next clause, 
 "That's lesser than a little," shows that "little" is used as 
 equivalent to nothing, not at all. 
 
 The next instance the editor gives is in " T. and Cressida ' 
 I. i. 28, 
 
 Patience herself . . . 
 Doth lesser blench at suflEerance than I do. 
 
 i.e. ' Patience doth shrink at suffering lesser than I do shrink at 
 
SHAKESPEABES SUPPOSED NEGATIONS. XXIU 
 
 all.' As in the instance preceding, the explanation I give there 
 will apply to this. Shakespeare must have supplied words in the 
 way of ellipsis, or he treated the comparative form in an elastic 
 manner, that is in an absolute sense. As a parallel, see the use 
 of " more " in " As You Like It," II. iii. 12, " No more do yours," 
 i.e. ' no otherwise.' 
 
 There remains only to notice the use of nor, as in the following 
 line (" Hamlet," I. ii. 158), 
 
 It is not, nor it cannot come to, good. 
 
 There will be no difficulty felt if we recognise the perfectly legiti- 
 mate principle, that in these cases the repeated negative is 
 intended merely to emphasise the asseveration made, not as per- 
 forming the function of reversing its meaning. Upton says 
 "Nor do two negatives always make an affirmative, but deny 
 more strongly, as is well known from the Greek and modern 
 French languages." See these instances from Chaucer 
 
 " He never yet no villany ne (not) said." 
 
 " So that the wolfe ne made it not miscarry.' 
 
"AND," USE OF. 
 
 Some clear developments o£ meaning will be found in the various 
 use of " And," in the following instances : 
 
 " And ( = lyei) oftentimes, to win us to our harm," . . . I. iii. 123. 
 
 " Lay it to thy heart : and ( = but) farewell." . . . . I. v. 12. 
 
 " They have made themselves, and ( =yet) their fitness now," . I. vii. 53. 
 
 " And ( = therv/vre) prophesying, with accents terrible," . . IT. iii. 38. 
 
 "and( = y«^), Ifear," m. i. 2. 
 
 "Augurs and ( = roi*/i) understood relations," . . . . III. iv. 124. 
 " Of Birnam rise 1 And ( = therefore) our high-placed Mac- 
 beth" IV. i. 97. 
 
 •'And ( = yei) do not know ourselves" . ... IV. ii. 19. 
 
 " And (^ = tlierefore) what will you do now? " , . . . IV. ii. 31. 
 
 "and ( = <Aere/we) wisdom" IV. iii. 15. 
 
 See also pp. lix., Ixviii. 
 
THE "TEMPTATION" OF MACBETH. 
 
 The source of Macbeth's crime was his ambition to wear the crown, and 
 
 ;; his determination exhibited itself in fullest revelation of his purpose to 
 his wife and in exulting tones in his correspondence with her. The 
 dreadful secret was theirs alone — so they believed ; but when he is all- 
 hailed as " king that shalt be," he is startled at the announcement, not 
 conceiving that any creature could harp his design aright. This con- 
 sternation, however, soon passes away, and exultation succeeds at the 
 supernatural countenance which that design apparently receives. 
 
 Professor Henry Morley says that "the hour of Macbeth's temptation 
 was born of his victory." It may be more truly said, that his victory 
 fixed his resolution to destroy Duncan. The communication of the 
 Witches " is a full revelation of Macbeth's criminal aptitudes," says Mr. 
 Hudson, " that so startles and surprises him into a rapture of meditation ; " 
 and " besides this," says Professor Dowden, " Macbeth is startled to find 
 that there is a terrible correspondence established between the baser 
 instincts of his own heart and certain awful external agencies of evil." 
 In the remarks of the two latter commentators are doubtless embodied 
 the true relations of Macbeth with the weird sisters. They allure him 
 on to prosecute his design, they stimulate his imagination, and they 
 inflame his determined purpose ; they, 
 
 by the strength of their illusion, 
 Shall draw him on to his confusion. 
 Temptation, then, has not initiated his action, for none was needed to 
 win him from loyalty and integrity; what royalty of nature he may 
 
 have possessed at one time, he surrendered to gratify his ambition; 
 
 recklessly he plunged into violent courses to fulfil his guilty passion ; he 
 
 bore 
 
 His hopes 'bove wisdom, grace, and fear. 
 
 Professor Henry Morley treats Macbeth as one dreadfully tempted, 
 
Xxvi THE " TEMPTATION " OP MACBETH. 
 
 and thus impelled to crime. He says, the theme of the play is "the 
 working of Satan for temptation and destruction of a soul." " On his 
 homeward way he is met by the temptation that shall wreck his life ; " 
 the first meeting with the Witches " is the foul day of the temptation 
 that will destroy his soul : " hut is any presented ? what they really do 
 is to unveil his purpose to himself. The Professor says further, that 
 " Shakespeare marks the instant efiect of the entrance of the poison — 
 ' that shalt be king hereafter '■ — by the immediate question of Banquo, 
 ' Good sir, why do you start ? ' " There is no poisonous infection ; and 
 it must be repeated, that it is his own purposed evil, which is harped 
 aright, that produces so startling an effect. It is a case where " the 
 instruments of darkness tell us trutfis," that which we have already 
 purposed, not tell us lies by which to tempt us from innocence, poison us, 
 and so " betray us in deepe'st consequence." Professor Morley seems to 
 contradict himself as to the part Satan had in Macbeth's ruin, for he 
 subsequently lays it rather upon Lady Macbeth than the weird sisters. 
 He says, " The first Act of ' Macbeth,' having for its whole theme the 
 Temptation, ends with the triumph of the tempter [Lady Macbeth]. . . . 
 The last touch, closing the Act with triumph of the tempter, shows 
 that Macbeth is satisfied when he is led to believe that he will be quite 
 safe if he kills three men instead of one." The dominating influence of 
 Lady Macbeth is also thus expressed by Professor Dowden: "Beside 
 the vague yet mastering inspiration of crime received from the Witches, 
 there is the more definite inspiration received from his wife." 
 
 Fletcher, in his " Studies of Shakespeare," baa rightly stated the rela- 
 tions of these creatures with Macbeth : he says, " It is most important, 
 in order to judge aright of Shakespeare's metaphysical, moral, and 
 religious meaning in this great composition, that we should not mistake 
 him as having represented that spirits of darkness are here permitted 
 absolutely and gratuitously to seduce his hero from a state of perfectly 
 innocent intention. It is plain that such an error at the outset vitiates 
 and debases the moral to be drawn from the whole piece. Macbeth does 
 not project the murder of Duncan because of his encounter with the 
 weird sisters ; the weird sisters encounter him because he has projected 
 the murder. . . . These ministers of evil are privileged to see the mind's 
 construction where human eye cannot penetrate — in the mind itself. They 
 repair to the blasted heath because, as one of them says afterwards of 
 Macbeth, ' something wicked this way comes.' " 
 
THE " TEMPTATION " OF MACBETH. Xxvil 
 
 " The very starting-point for an inquiry into the real, inherent, and 
 habitual nature of Macbeth, independent of those particular circumstances 
 which form the action of the play, lies manifestly in the question, with 
 whom does the scheme of usurping the Scottish crown by the murder of 
 Duncan actually originate ? We sometimes find Lady Macbeth talked 
 of as if she were the first contriver of the plot, and suggester of the 
 assassination ; but this notion is refuted, not only by implication, in the 
 whole tenor of the piece, but most explicitly in I. vii. 48-52. Most 
 commonly, however, the Witches (as we find the ' weird sisters ' perti- 
 naciously miscalled by all sorts of players and of critics) have borne the 
 imputation of being the first to put this piece of mischief in the hero's 
 mind. Yet the prophetic words in which the attainment of royalty is 
 promised him contain not the remotest hint as to the means by which he 
 is to arrive at it. They are simply ' All hail, Macbeth ! that shalt be 
 king hereafter ' — an announcement which, it is plain, should have rather 
 inclined a man who was not abeady harbouring a scheme of guilty 
 ambition to wait quietly the course of events. According to Macbeth's 
 own admission, the words of the weird sisters on this occasion convey 
 anything rather than an incitement to murder to the mind of a man who 
 is not meditating it already. This supernatural soliciting is only made 
 such to the mind of Macbeth by the fact that he is already occupied 
 with a purpose of assassination. This ia the true answer to the question 
 which he put to himself in I. iii. 132-142." — George Fletcher, p. 109. 
 
 " Banquo goes on wondering, like any common spectator, 
 Were such things here as we do speak about ? 
 while Macbeth persists in recurring to the self-concerning, 
 Tour children shall be kings. 
 Banquo. You shall be king. 
 
 MacbetTi. And thane of Cawdor too : went it not so ? 
 So surely is the guilt in its germ anterior to the supposed cause and 
 immediate temptation I "^S. T. Coleridge. 
 
 " Enlightened criticism and universal opinion have so completely set 
 the seal of celebrity on this tragedy, that it will stand whilst our language 
 exists as a monument of English genius. No drama in any national 
 theatre, taking that of Greece into account, has so wonderfully amal- 
 gamated the natural and the supernatural, or made the substances of 
 truth appear more awful by their superstitious shadows, than has the 
 
XXviii THE " TEMPTATION " OP MACBETH. 
 
 tragedy of ' Macbeth: The progress of Macbeth in crime is an un- 
 paralleled lecture in ethical anatomy. The heart of a man naturally 
 prone to goodness, is exposed so as to teach us clearly through what 
 avenues of that heart the black drop of guilt foxmd ita way to expel the 
 more innocent blood." — Thomas Campbell. 
 
 " We need hardly tell our readers, whom we imagine to be more and 
 more initiated into the mind of our poet, that his spirit>-world signifies 
 nothing but the visible embodiment of the images conjured up by a 
 lively fancy, and that their apparition only takes place with those who 
 have this excitable imagination." — Oervinus, p. 691. The Witches, then, 
 are not of the spirit-world, for Banquo — who had, in this particular, no 
 lively fancy to stimulate him — saw them as well as Macbeth ; and the 
 Apparitions were conjured up, not by his lively fancy, but by the 
 Witches. 
 
GEEVINUS' DEFENCE OF SHAKESPEAEE'S 
 ART. 
 
 " Those who from a childish nicety would find fault with the truth of 
 Nature, the poet would have set to rights as Bacon did the fastidious 
 persons who turned away from what was naked and ugly in natural 
 science ; testifying that the sun of art shines on the cloaca as well as the 
 palace without being soiled by it, that what is worthy of existence may 
 also be worthy of art, and that the stage is not an empty show-place for 
 human pride, but a market for the commerce of life as it is. [" Should 
 any one object that we descend to things which appear trivial and low, 
 let him look upon the effects to which these things contribute." — Harris's 
 "Sermes."] 
 
 "The few blemishes, belonging to the poetic style of the times, 
 which adhere to Shakespeare, vanish into nothing in the whole healthy 
 body, that arose in its own strength out of this diseased state ; it is the 
 same with those remains of stage customs, which bear witness to the 
 cruel and blood-thirsty mind of the age. We have neither denied nor 
 palliated these harsh passages ; we may wish them away in some places, 
 and must without hesitation omit them on the stage ; but we have not 
 been able to conceal from ourselves that it was an advantage to Shake- 
 speare, as it was to Homer, to work for a public of iron nerves. We 
 have shown that this very peculiarity also is made subservient to the 
 poet's art of characterisation, and that such passages are not found in 
 plays that represent peaceful and cheerful circumstances. We refer to 
 the remarks that even in this respect Shakespeare far outstepped his 
 contemporaries and his early works, as Goethe and Schiller did theirs ; 
 from ' Titus Andronicus,' where he indulged in this practice, to ' Lear,' 
 in which he only used it freely for the grandest ends, what an advance is 
 made ! In our remarks upon ' Lear ' we have attempted to explain that 
 Shakespeare, in this and similar horrible subjects, did not descend to the 
 taste of the people, but that he took hold of his generation by their 
 weakness and strength, and elevated them to the great schemes of his 
 art."— p. 834. 
 
XXX GEKVINUS' DEFEKCE OF SHAKESPEARE S ART. 
 
 " If for the next century we would only see Shakespeare acted, instead 
 of reading him alone as we have hitherto done, perhaps all that appeared 
 to us unsuitahle would stand forth, if not as beauties of art, yet as truths 
 of Nature. For numbers of the [supposed] errors of taste in Shakespeare 
 have turned out to be striking touches of character; the aesthetic de- 
 formities imputed to Shakespeare's poetry proved to be the moral de- 
 formities of certain of his characters, and what had been denounced as a 
 fault was found to be an excellence." 
 
 " In an ethical point of view we have already seen him taking the 
 lead in the direction of Teutonic Art, which does not credulously acquiesce 
 in the customs of the age and the manners of the day, but rather strives 
 after an original purity of life, and endeavours to restore the true nature 
 of human relations, which is lost amid the arbitrary laws of convention. 
 Schiller's declaration, that poets are the guardians of Nature, or the 
 searchers for it if lost, is the peculiar manifesto of modern Teutonic Art; 
 it is only true of the ancient and modern poetry of a Homer or a Shake- 
 speare ; the romantic poets of the middle ages were, in this sense, neither 
 guardians nor searchers of Nature. In an aesthetic point of view, on the 
 other hand, we see Shakespeare everywhere, with his generalizing views, 
 putting forward those subjects to which a general truth is inherent; it 
 did not satisfy him that his poetry possessed a substantial matter, with 
 which its outward form was in harmony ; it was essential to him that 
 this matter should be purely human, true, and necessary. With this 
 matter of general value, as independent as possible of time, place, and 
 taste, . purified from everything accidental and arbitrary, Shakespeare's 
 poetry possesses the True ; with his inimitable gift of description and 
 representation, of making truth sensible and comprehensible, clothing it 
 with the appearance of reality, it possesses the Beautiful, which we can- 
 not imagine apart from the appearance ; so far is the True identical with 
 the Beautiful, and idea with the ideal. The poet who gives form and 
 appearance to the abstract and true, and he who, on the other hand, 
 spiritualises common reality, animates matter, generalizes the particular, 
 and makes the incidental obedient to laws ; both of these meet in the 
 same operation, in the representation of the beautiful, in the union of the 
 real and the ideal. 
 
 " Thus, then, Shakespeare, viewed in reference to this combining of 
 real and ideal elements, appears so many-sided that we should in vain 
 attempt to exhaust his poetic merits by any exclusive description." — 
 p. 873. 
 
XXXI 
 
 HUMAN KINDNESS OR HUMANKIND-NESS. 
 
 Lady Ufaobeth. I fear thy nature ; 
 
 It is too full o' the milk of human kindness 
 To catch the nearest way. Iv v. 17. 
 
 Mr. R. J. Moulton, in his " Shakespeai'e as a Dramatic Artist,'' pp. 
 149, 150, throws an interesting light upon this phrase, and he treats his 
 contention for an alteration in a manner difficult to resist. He says : — 
 
 "I believe that this phrase, the 'milk of human kindness,' divorced 
 from its context and become the most familiar of all commonplaces, has 
 done more than anything else towards giving a false twist to the general 
 conception of Macbeth 's character. The words kind, kindness are amongst 
 the most diiBcult words in Shakespeare. The wide original signification 
 of the root, natural, nature, still retained in the noun kind, has been lost 
 in the adjective, which has been narrowed by modern usage to one sort 
 of naturalness, tender-heartedness ; though in a derivative form the 
 original sense is still familiar to modern ears in the expression ' the kindly 
 fruits of the earth.' In Elizabethan English, however, the root significa- 
 tion still remained in all usages of kind and its derivatives. In Schmidt's 
 analysis of the adjective, two of its four -significations agree with the 
 modern use, the other two are ' keeping to nature, natural,' and ' not 
 degenerate and corrupt, but such as n, thing or person ought to be.' 
 Shakespeare delights to play upon the two senses of this family of words : 
 tears of joy are described as a 'kind overflow of kindness'; the Fool saj'S 
 of Regan that she will use I^ar 'kindly,' i.e. according to her nature; 
 ' the worm will do his kind,' i.e. bite. How far the word can wander 
 from its modern sense is seen in a phrase of the present play, ' at your 
 kind'st leisure,' whei?e it is simply equivalent to ' convenient.' Still 
 more will the wider signification of the word obtain when it is associated 
 with the word human ; ' humankind ' is still an expression for human 
 nature, and the sense of the passage we are considering would be more 
 obvious, if the whole phrase were printed as one word, not 'human 
 
XXxii HUMAN KINDNESS. OR HUMANKIND-NESS. 
 
 kindness,' but 'bumankind-ness' — that shrinking from what is not 
 natural, which is a marked feature of the practical nature. The other 
 part of the clause, milk of bumankind-ness, no doubt suggests absence of 
 hardness, but it equally connotes natural, inherited, traditional feelings, 
 imbibed at the mother's breast. The whole expression of Lady Macbeth, 
 then, I take to attribute to her husband an instinctive tendency to shrink 
 from whatever is in any way unnatural. 
 
 " That this is the true sense further appears, not only from the facta 
 — for nothing in the play suggests that Macbeth, ' Bellona's bridegroom,' 
 was distinguished by kindness in the modern sense — but from the context. 
 The form of Lady Macbeth's speech makes the phrase under discussion a 
 summing up of the rest of her analysis, or rather a general text which 
 she proceeds to expand into details. Not one of these details has any 
 connection with tender-heartedness : on the other hand, if put together 
 the details do amount to the sense for which I am contending, that 
 Macbeth's character is a type of commonplace morality, the shallow, 
 unthinking and unfeeling man's lifelong hesitation between God and 
 Mammon." 
 
 Bodenstedt's comments (quoted byFumeas) may appropriately accom- 
 pany Mr. Moulton's remarks : — 
 
 " We are somewhat astonished to learn this [kindness] about Mac- 
 beth, for throughout the drama we find no trace of this ' milk of human 
 kindness.' We must presume that the lady has too high an opinion of 
 her husband. . . . ^We already know him as a quickly determined 
 murderer in thought, and as an accomplished hypocrite ; and this nature 
 of his is not belied by his letter, it appears only thinly disguised. The 
 lady knows at once what he is after ; she knows and openly acknowledges 
 that his ' milk of human kindness ' will not deter him from attempting 
 the life of the King, but only from ' catching the nearest way ' ; that is, 
 from laying his own hand to it." 
 
PHYSICAL OBJECTS— THE DAGGEES. 
 
 " The mere exhibition of physical objects seldom adds to the interest of an 
 affecting story. On the contrary, it requires no small art to make them 
 supportable ; for if they were displayed alone, and without the passions 
 which accompany them, they would never fail of exciting painful im- 
 pressions. The bloody daggers which Macbeth, returning from the mur- 
 der of Duncan, holds in his hands, would be shocking of themselves ; and 
 his taking them out of Duncan's room at all, would appear absurd in a 
 man of sound mind, as they might lead to a discovery of his crime. But 
 no sooner do they begin to disclose the state of his soul— to show his 
 want of presence of mind amid the novelty of vice — his agonizing re- 
 morse, that dares neither to think nor look on what he had done — all 
 that is uttered, all that is not uttered by him and Lady Macbeth, in that 
 terrific scene, — give those daggers a moral meaning, which they had not 
 before ; and the disgust, which they would otherwise have inspired, is 
 subdued into its proper feeling. The skulls with which, according to 
 Voltaire, Hamlet plays in the churchyard, would, like all other skulls, 
 excite disagreeable sensations ; but as soon as they become subjects for 
 him to moralise upon — when he sees the grave-digger 'jowling them to 
 the ground,' and thoughtlessly singing — when he finds rolling at his feet 
 the skull of that Yorick who had borne him on his back a thousand 
 times, — the heart must allow that those heads, disgusting as they at first 
 appear, bring home to it more satisfaction, because they individualize the 
 sentiment, than any vague declamations upon the terrors of the church- 
 yard, and the humiliating changes after death. The racks and wheels 
 exhibited in ' Venice Preserved ' are among the least interesting things 
 in that tragedy. The parting between Jaffier and Belvidera, when he 
 takes leave of her for ever, and goes out to die with Pierre, is the heart- 
 rending event of the play ; and, after it, the engines of death are nothing. 
 Nay, deaths are not always tragic in themselves. When Tybalt kills 
 Mercutio in a duel, the exclamations of the dying ' Gentleman, the 
 Prince's near ally,' usually excite merriment. But the murder of 
 Mercutio. is the cause of Romeo's banishment, of Juliet's sleeping potion, 
 and of the entire catastrophe." — Quarterly Review, July 1823, p. 429. 
 
 b 
 
WITCHCRAFT. 
 
 By Dr. S. Johnson. 
 
 In order to make a true estimate of the abilities and merit of a writer, 
 it ia always necessary to examine the genius of his age, and the opinions 
 of his contemporaries. A poet who should now make the whole action of 
 his tragedy depend upon enchantment, and produce the chief events by 
 the assistance of supernatural agents, would be censured as transgressing 
 the bounds of probability, he would be banished from the theatre to the 
 nursery, and condemned -to write fairy tales instead of tragedies; but a 
 survey of the notions that prevailed at the time when this play was 
 written, will prove that Shakespeare was in no danger of such censures, 
 since he only turned the system that was then universally admitted to his 
 advantage, and was far from overburthening the credulity of his audience. 
 
 The reality of witchcraft or enchantment, which, though not strictly 
 the same, are confounded in this play, has in all ages and countries been 
 credited by the common people, and in most by the learned themselves. 
 These phantoms have indeed appeared more frequently, in proportion as 
 the darkness of ignorance has been more gross ; but it cannot be shown 
 that the brightest gleams of knowledge have at any time been sufficient to 
 drive them out of the world. The time in which this kind of credulity 
 was at its height, seems to have been that of the Holy War, in which the 
 Christians imputed all their defeats to enchantments or diabolical opposi- 
 tion, as they ascribed their success to the assistance of their military saints ; 
 and the learned Dr. Warburton appears to believe (' Supplement to the 
 Introduction to Don Quixote ') that the first accounts of enchantments 
 were brought into this part of the world by those who returned from their 
 Eastern expeditions. But there is always some distance between the 
 birth and maturity of folly as of wickedness : this opinion had long 
 existed, though perhaps the application of it had in no foregoing age been 
 so frequent, nor the reception so general. 
 
 A remarkable proof of the antiquity of this notion may be found in 
 St. Chrysostom's book < de Sacerdotio,' which exhibits a scene of enchant- 
 
WITCHCRAFT XXXV 
 
 ments not exceeded by any romance of the middle age ; he suppoees a 
 spectator over-looking a field of battle attended by one that points out all 
 the various objects of horror, the engines of destruction, and the arts of 
 slaughter. Whether St. Ohrysostom believed that such performances 
 were really to be seen in a day of battle, or only endeavoured to enliven 
 his description by adopting the notions of the vulgar, it is equally certain 
 that such notions were in his time received, and that therefore they were 
 not imported from the Saracens in a later age ; the wars with the Saracens 
 however gave occasion to their propagation, not only as bigotry naturally 
 discovers prodigies, but as the scene of action was removed to a great 
 distance, and distance either of time or place is sufficient to reconcile 
 weak minds to wonderful relations. 
 
 The Reformation did not immediately arrive at its meridian, and 
 though day was gradually increasing upon us, the goblins of witchcraft 
 still continued to hover in the twilight. In the time of Queen Elizabeth 
 was the remarkable trial of the witches of Warbois, whose conviction is 
 still commemorated in an annual sermon at Huntingdon. But in the 
 reign of King James, in which this tragedy was written, many circum- 
 stances concurred to propagate and confirm this opinion. The King, who 
 was much celebrated for his knowledge, had, before his arrival in Eng- 
 land, not only ^amined in person a woman accused of witchcraft, but had 
 given a very formal account of the practices and illusions of evil spirits, the 
 compacts of witches, the ceremonies used by them, the manner of detecting 
 them, and the justice of punishing them, in his dialogues of ' Dsemonologie ' 
 written in the Scottish dialect, and published at Edinburgh. This book 
 was, soon after his accession, reprinted at London, and as the ready way 
 to gain King James's favour was to flatter his speculations, the system of 
 ' Dsemonologie ' was immediately adopted by all who desired either to 
 gain preferment or not to lose it. Thus the doctrine of witchcraft was 
 very powerfully inculcated, and as the greatest part of mankind have no 
 other reason for their opinions than that they are in fashion, it cannot be 
 doubted but this persuasion made a rapid progress, since vanity and cre- 
 dulity co-operated in its favour, and it had a tendency to free cowardice 
 from reproach. The infection- soon reached the Parliament, who, 
 in the first year of King James, made a law by which it was enacted. 
 Oh. xii., that ' if any person should use any invocation or conjuration of 
 any evil or wicked spirit ; 2. Or shall consult, covenant with, entertain, 
 employ, fee or reward any evil or cursed spirit to or for any intent or 
 purpose ; 3. Or take up any dead man, woman, or child out of the grave, 
 or the skin, bone, or any part of the dead person, to be employed or used 
 in any manner of witchcraft, sorcery, charm, or enchantment : 4. Or 
 
 b2 
 
XXXVl WITCHCEAPT 
 
 shall use, practise, or exercise any sort of witchcraft, sorcery, charm or 
 enchantment ; 6. Whereby any person shall be destroyed, killed, wasted, 
 consumed, pined, or lamed in any part of the body ; 6. That every such 
 person being convicted shall suffer death.' This law was repealed in our 
 own time. 
 
 Thus, in the time of Shakespeare, was the doctrine of witchcraft at 
 once established by law and by the fashion, and it became not only un- 
 polite, but criminal to doubt it ; and as prodigies are always seen in pro- 
 portion as they are expected, witches were every day discovered, and 
 multiplied so fast in some places, that Bishop Hall mentions a village in 
 Lancashire where their number was greater than that of the houses. 
 
MY EMENDATIONS. 
 
 ACT I. 
 
 Scene I. 
 
 For brave Macbeth .... 
 Like valour's minion, carved out his passage 
 Till he faced the slave ; then laid cm, nor oeased — 20 
 
 And(_= yet) ne'er shook hands nor bade farewell to him — 
 Till he unseam'd him from the nave to the chaps. 
 And iix'd his head upon our battlements. 
 
 The mutilated text is as follows : 
 
 Till he faced the slave ; 
 
 WMoh ne'er shook hands, nor bade farewell to him, 
 
 — Which, says Dyce, "being evidently repeated, by a mistake 
 of the scribe or compositor, from the commencement of the third 
 line above." 
 
 " There is some incurable corruption of the text here," say the 
 Cln. eds. The mangled passage I have endeavoured to knit up ; 
 but Capell's emendation, 'And ne'er,' possesses great merit, it 
 requires, however, to be treated as yet. For illustrations, see 
 p. lix. 
 
 It may be mentioned, that in " Hamlet," IV. i. 40, where 
 half a line had dropped away, Theobald made so judicious a 
 suggestion to fill the void (supplying, " so, haply, slander ") that 
 it has been generally adopted. 
 
XXXviii MY EMENDATIONS. [aCT I. 
 
 Scene III. 
 
 We are sent 
 To give thee from our royal master thanks 
 Only ; to herald thee into his sight, 102 
 
 Not pay thee. 
 
 This is doubtless the right punctuation; for " only " is mani- 
 festly required emphatically to qualify " thanks,'' as the corre- 
 sponding clause " Not pay thee " qualifies- " to herald thee into 
 his sight.'' It wUl be found, however, that all the editions print 
 the passage thus : 
 
 To give thee from our royal master thanks ; 
 
 Only to herald thee into his sight, 
 
 Scene III. 
 
 and when he reads 
 Thy personal venture in the rebels' fight; 
 His wonders and his praises do contend 
 Which should be — thine or his — silenced with that. 93 
 
 In viewing o'er the rest o' the selfsame day, 
 He finds thee in the stout Norweyan ranks, 
 
 This is my treatment, that of all the other editions being 
 thus : 
 
 Which should be thine or his : silenced with that. 
 In viewing o'er the rest o' the selfsame day, 
 
 punctuation which is inimical to all sense, the integrity of both 
 sentences being destroyed. The first passage I close at line 93. 
 
 The meaning is, 'Wonders and praises contended which 
 should be silenced by the other (" that "), the utterance of thy 
 praises or his wonders ' — or simply, which impulse should over- 
 come that impulse in first uttering. Then observe with what 
 freshness, according to my punctuation, line 94 opens, com- 
 mencing, as it properly does, with a further report of the King's 
 appreciation of Macbeth's valour. Compare III. iv. 126, 127 :— 
 
 Macbeth. What is the night ? 
 
 Zady M. Almost at odds vrith morning which is tiihich. 
 
 i.e. night and morning are contending which shall be overcome 
 
SCENE III.] MY EMENDATIONS. XXxix 
 
 (" silenced ") with that. Compare also II. ii. 7, 8, which is an 
 
 exactly similar construction. Also "Lear," IV. iii, 16, 
 
 patience and sorrow strove 
 Who should express her goodliest. 
 
 And "Lucrece," 1298, "Conceit and grief an eager combat 
 fight." 
 
 All the commentators, not seeing the obnoxious punctuation, 
 have been completely misled in their rendering. The Rugby 
 editor explains " silenced with that," ' when he had done speaking 
 of that.' The Cln. eds. say (others following them), "There is a 
 conflict in the King's mind between his astonishment at the 
 achievement and his admiration of the achiever ; he knows not 
 how sufficiently to express his own wonder and to praise Macbeth, 
 so that he is reduced to silence.'' There is no conflict expressed 
 in the text asTjetween 'astonishment' and 'admiration,' it is 
 only in giving voice to each ; further, Macbeth does know how to 
 express both his wonder and his praise ; and finally, it is not the 
 King who is reduced to silence. Ross declares that the two 
 emotions contended which should silence the other, i.e. struggle 
 for first utterance. These editors remark, that " that " (93) refers 
 to "the mental conflict just described" — it refers, as I above 
 shoWj to the other impulse. Dalgleish is curiously astray : ' there 
 is a contest whether most wonder should be his, or praise thine — 
 a most felicitous compliment : ' he mistakenly adds, " The alter- 
 native form resembles that of lines 59, 60." Strange is his 
 interpretation of " silenc'd with that " — ' struck dumb by that 
 thought.' When corruptions of the text are not suspected, and 
 they are blindly taken for good Shakespearian phraseology and 
 the dramatist's own punctuation, meanings are suggested that 
 furnish no explanation whatever. 
 
 The following sentence in an official letter recently published 
 contains a similar construction to that in the text, and sets it 
 forth plainly : " The Commission could not possibly ha,ve known 
 for certain which statements, his or mine, contained the truth." 
 
■xl MY EMENDATIONS. [aCT II. 
 
 Scene VI. 10. 
 
 The accepted punctuation is, 
 
 " See, see, our honour'd hostess I " 
 
 This exhibits the King as wanting in ordinary courtesy to Lady 
 Macbeth, in not prefacing his address by a proper and indispen- 
 sable personal recognition. The treatment demanded is this : 
 
 See, see ! —Our honour'd hostess. 
 The love that follows us sometime is our trouble, 
 
 The repeated exclamation is all that is necessary to express his 
 delight; it is preposterously marred by extending it further. 
 Besides, the royal use of the plural pronoun as personal to him- 
 self is diverted by the accepted punctuation. 
 
 See an exact illustration to prove the necessary change I have 
 
 made, in iv. 14, 
 
 O worthiest cousin 1 
 The sin of my ingratitude even now 
 
 ACT II. 
 
 Scene III. 
 
 You are and do not know 't 1 98 
 
 The spring, the head, the fountain of your blood 
 Is stopp'd, the. very source of it is stopp'd ! 
 
 The opening line of this speech is surely uttered in an assumed, 
 crafty strain of amazement, as I have here punctuated it. The 
 usual punctuation, I submit, is misleading, which is thus. 
 
 You are, and do not knpw't : 
 The true rendering I conceive to be, 
 
 You are [his son], and do not know [what is amiss] 1 
 There seems a plain though bungling attempt by Macbeth to 
 throw suspicion of the murder on Donalbain, by the suggestive, 
 
 broken words, " You are ," and bythe interrogative form (as 
 
 I treat it) of the rest of the clause. 
 
 See similar ironical reference, III. vi. 7. 
 
SCENE IV.] MY EMENDATIONS. xK 
 
 Scene IV. 
 
 Moss. WeU, I will thither. 37 
 
 Maoduff. Well may you see things well done there. 
 
 The " Well " of Ross is obviously played upon by Macduff, 
 and is turned significantly to a definite reference ; but the mis- 
 taken punctuation of all the copies extinguishes thJs effect— they 
 all, by printing a comma after it, treat Macduff's " Well " as Ross 
 does, elliptically for 'if all be well.' By omitting the intruding 
 comma, the play upon the word is revealed with all the impres- 
 siveness that is intended. 
 
 Compare " K. John," IV. ii. 45 : 
 
 but ask 
 What you would have refonn'd that is not well, 
 And well shall you perceive how willingly 
 I will both hear and grant you your requests. 
 
 And " Hamlet," II. ii. 368, " Well [may it] be with you, gentle- 
 men." 
 
 Professor Morley does not improve the line by punctuating it 
 thus : " Well, — may you see things well done there." 
 
 ACT III. 
 
 Scene II. 
 
 Let your remembrance apply to Banquo ; 
 
 Present him eminence, both with eye and tongue : 
 
 Unsafe the while, that we 32 
 
 Must lave our honours in these flattering streams, 
 
 All the editors agree that there is some deficiency or corrup 
 tion in line 32 ; Steevens suggested, 
 
 Unsafe the while it is for us, that we 
 but this has met with no favour. I venture to suggest the 
 following treatment : — 
 
 Present him eminence, both with eye and tongue, 
 
 To us and all ; unsafe the while that we 
 
 Must lave our honours in these flattering streamSj 
 
 Completeness and a fit sense may at least be found in the clause 
 
xlii MY EMENDATIONS. [aCT IV. 
 
 I furnish. See p. Ixxxix. for the rendering, and p. xxxvii. for 
 similar emendation. 
 
 ACT IV. 
 
 Scene I. 
 
 IH Witch. Thrice the brinded cat hath mew'd. 
 2nd „ ThHce and once the hedge-pig whined. 
 3rd „ Harpier cries, 'Tis time, 'tis time. 
 
 This is the reading of all the copies. I submit the follo\ping 
 treatment : 
 
 Vst Witch. Thrice the brinded cat hath mew'd. 
 2nd „ And once the hedge-pig whined. 
 Srd „ Harpier cries 1 'Tis time, 'tis time I 
 
 The awkward phrase " Thrice and once " seems to suggest 
 that there is a repetition here, by printer's mistake, "Thrice" 
 having been brought down from the previous line. If " Thrice " 
 be struck out, the sense and smoothness of the line are both 
 revealed; and "once" uttered with emphasis wUl lengthen it 
 metrically into a quasi-dissyllable, as " cold " in 1. 6, and " hear " 
 and " dear " in " K. Lear," I. iv. 266. As it stands it is generally 
 regarded as very unsatisfactory, and to meet the difficulty some 
 editors punctuate it thus, "Thrice; and once," &c. Theobald 
 ' proposed to read ' Twice and once.' The Cln. eds. say, " ' Thrice 
 and once ' is the witch's way of saying ' four times.' Conjurors, 
 like other people who are no conjurors, believed in the luck of 
 odd numbers." True, but the editors' rendering does not fit in 
 with the belief stated, for the number 4 being even, is not one in 
 which witches believed. They had faith in absolutely odd num- 
 bers, not simply in expressing such and then, when added, for 
 the result to come out in even numbers. " There is divinity in 
 odd numbers " (" M. W. of Windsor," V. i. 3), i.e. there is the 
 property of divination in odd numbers. 
 
 The dramatic delivery of the passage should be one of hurried- 
 ness, culminating in "Tis time to commence our rites of divina- 
 tion. Harpier summons us ! ' See Note, p. 59. 
 
SCENE I.] MY EMENDATIONS. xliii 
 
 The Cln. ed. of " Coriolanus " remarks on line 42, I. iv., that 
 " the word ' followed ' is superfluous, and has probably crept in 
 from another line; I have therefore omitted it." A similar 
 instance of words creeping in he points out in III. i. 324, which 
 were omitted by Pope; and more instances might be cited. 
 
 Scene I. 
 
 Kebellion's head, rise never till the wood 
 
 Of Bimam rise, and our high-placed Macbeth 98 
 
 Shall live the lease of nature, 
 
 There is a corruption here in the punctuation, which has passed 
 into all the editions, marring both the construction and the sense. 
 This has arisen from overlooking the use of "and "^therefore, of 
 which several instances are to be found in Shakespeare ; one is 
 in the next Scene, line 31, where Lady Macdufi' says, 
 
 Sirrah, your father's dead ; 
 And ( = therrfore) what will yon do now ? 
 
 The punctuation in the above passage should be treated in 
 this manner : 
 
 Eebellion's head, rise never till the wood 
 
 Of Birnam rise I And our high-placed Macbeth 
 
 Observe Macbeth's exultation : ' Who can impress the forest ? 
 No conspiracy can touch me until a certain urdikely phenomenon 
 occurs ! ' the consequence is, ' Therefore I shall live the natural 
 term of my existence.' 
 
 How lame the accepted punctuation renders the passage, must 
 be obvious. 
 
 Difficulty is seriously expressed over "our high-placed Mac- 
 beth.'' The Cln. eds. say, " Walker proposed ' your ' ; in either 
 case the words seem strange in Macbeth's mouth." Moberly only 
 suggests, ' he who is so called by his subjects.' Fleay startles us, 
 " It cannot be said by Macbeth himself ; it must be part of a 
 speech of a witch." Eolfe, "We have seen no satisfactory 
 explanation of it." Here are admissions of positive unknowing- 
 
xliv MY EMENDATIONS. L'^*^''' ^^• 
 
 ness. The explanation simply is, that Macbeth uses the royal 
 style owr, and in his elation he apostrophises himself—' our high- 
 placed self.' 
 
 Scene I. 
 
 Now I see 'tis true, 122 
 
 For the blood-bolter'd Banquo smiles upon me, 
 And points at them for his What, is this so 1 
 
 The sentence closing with " his " should doubtless be treated 
 as incomplete. By placing a full stop there, as all the editions 
 print it, a startling and proper dramatic effect as well as the 
 sense are lost. Macbeth no doubt was about to utter 'his 
 issue,' thus supplying the answer to his own question (1. 102), 
 " Shall Banquo's issue ever reign ?" but some gesture or sign on 
 the part of the witches, as we may presume (see I. iii. 44, 45), 
 made him break off and impatiently express — in the question, 
 "is this so?" — the truth made conclusively apparent in this 
 dismal procession. 
 
 Warburton has indicated a similar interruption in " Hamlet," 
 V. ii. 96, which has been adopted by some editors. 
 
 Scene IIT. 
 
 with ten thousand warlike men, 
 All ready, at a point, was setting forth. 135 
 
 Some editors print " Already," which is a mistake, not seeing 
 that " ready " is here used for equipped : and " at a point " (Fr. a 
 point, complete) means assembled, mobilized. The word ready, 
 often signifies clothed. See Note, p. 36. 
 
 Another serious mistake is in all the editions, by making one 
 phrase of " All ready at a point " : there are here, as I show, two 
 separate announcements, and a comma is therefore required for 
 the sense —as I print it. The meaning is, 
 
 ' All equipped, and mobilized,' for marching. 
 
 The Cln. eds. print thus : " Already at a point," and explain 
 
SCENS III.] MY EMENDATIONS. xlv 
 
 it as resolved, prepared. It is used as resolved in other instances 
 but not here. 
 
 Scene III. 
 
 Sinful Macduff, 
 They were all struck for thee 1 naught that I am, 226 
 
 Not for their own demerits, but for mine, 
 Fell slaughter upon their souls. 
 
 There are two distinct and impressive self-accusations in 
 these lines, but they are confused by the erroneous punctuation 
 in 1. 226, printed as above in all the editions. I punctuate as 
 
 follows : 
 
 Sinful Macduif, 
 They were all struck for thee, naught [ = cursed] that I am ! 
 
 Here a full close of the first self-reproach should be made, and 
 not before the imprecation he invokes. " Be naught awhile " 
 (" As You Like It," I. i. 32) is said by Warburton to be a north- 
 country proverbial curse, equivalent to ' a mischief on you ' ; and 
 see "A Mid. N. Dream," IV. ii. 14, "a paramour is, God bless 
 us, a thing of naught," i.e. a wicked, accursed thing. 
 
 MacdufFs " demerits " were, his known disloyalty to Macbeth ; 
 and the latter wreaked his vengeance on the innocent rather 
 than be disappointed of any satisfaction in blood by Macdufi 
 being out of his reach. Gervinus (" Commentaries," p. 607) says, 
 " Macduff returns to his self-reproach, that they were all struck 
 for his sake, the sinful man " ; true, for his sake, but the reproach 
 implies no wicked culpability, only that as being righteously 
 disloyal to a usurper the consequences fall upon his family. 
 
 Scene III 
 
 Macbeth 
 Is ripe for shaking, and the powers above 239 
 
 Put on their instruments. 
 
 A writer in the British Quarterly Beview (April, 1864) sus- 
 pected that there was an error somewhere in these lines, which led 
 
xlvi MY EMENDATIONS. [ACT V. 
 
 him to suggest tha;t Shakespeare wrote, " ripe to shaking." The 
 error, if any, may not be in the preposition, but in the participle. 
 The following line is by an Elizabethan poet : 
 
 " Bind fast, sTwek apace, have an eye to thy corn." — Tusser. 
 
 Will this illustration reconcile us to reading, " Macbeth is ripe 
 for shocking " 1 However unfamiliar the use of this verb may 
 appear, it will be seen that it conveys a completeness in the 
 object sought that is wanting in the received reading. Then, 
 also, its perfect relation to " ripe " and " instruments " must be 
 manifest. But justification may be drawn from Shakespeare 
 himself for regarding " shaking " as an error, and in substituting 
 "shocking" — 'to gather in.' In "King John" this verb is 
 used, and under circumstances exactly similar to the Macbeth 
 
 episode : 
 
 Come the three corners of the world in arms, 
 And we shall ithook them. 
 
 See " K. Lear," II. ii. 128, "Stocking his messenger;" and 
 "As You Like It," III. ii. 96, "must sheaf a.nd bind." 
 
 I submit the above reading as a conjectural emendation only ; 
 I have not adopted it in the text. Compare for " instruments," 
 
 Destiny, 
 That hath to instrument this lower world. 
 
 The Tempest, III. iii. 53, 64, 
 I and my fellows 
 Are ministers of Fate. Id., 60, 61. 
 
 ACT V. 
 Scene III. 
 
 And with some sweet oblivious antidote 
 
 Cleanse the stuff'd bosom of that perilous ttvff 44 
 
 Which weighs upon the heart ? 
 
 A strong belief exists that there is a corruption here, and a 
 variety of words have been suggested by commentators to meet the 
 diificulty. For "stuff'd" they suggest 'full,' 'foul,' 'clogg'd,' 
 
SCENE III. J MY EMENDATIONS. xlvii 
 
 ' fraught,' ' press'd,' none of which have found acceptance. The Cln. 
 eds. say, " stuff' d .... stuff— t\as can hardly be right; one or other 
 must be due to a mistake of transcriber or printer. Some, re- 
 taining stuff d, would alter stuff to ' grief,' or ' matte'r,' or ' slough,' 
 or ' freight.' " The line as it stands would seem to be very 
 unpalatable to most editors from so many substitutes being 
 oifered. 
 
 If any alteration be necessary, I would ask consideration for 
 the word steep'd, which coiiveys the meaning of saturated or 
 choked with, and this corresponds to the metaphor which Macbeth 
 uses immedately after in lines 50, 51 : 
 
 If thou couldst, doctor, cast 
 ' The water of my laud, find her disease, 
 
 that is, ' disperse the water which steeps or chokes my land.' ' The 
 royal patient was steeped in guilt, so that there is an exact corre- 
 spondence here calculated to confirm my conjectural emendation. 
 The following are some of the instances of the use of the word : 
 " Hamlet," II. ii. 516, " tongue in venom steeped " ; " Henry V.," 
 II. ii. 30, " steeped their galls in honey " ; " 2 Henry IV.," III. 
 i. 8, "steep my senses.'' Compare "This inundation of mis- 
 temper'd humour," in " K. John," V. i. 12. 
 
 The play upon words, however, such as appears in this line, is 
 in our author's manner, though it is hardly agreeable in this 
 instance ; but if it be a mutilation, then the substitution of 
 steep'd which I tender may meet with acceptance. Compare 
 " Othello," I. ii. 2, " Yet do I hold it very stuff oi the conscience,'' 
 i.e. the essential matter ; and see also " R. and Juliet," II. 
 
 iii. 37 : 
 
 where care lodges sleep will never lie, 
 But where unbruised youth with tmstuff'd brain 
 Doth couch his limbs, 
 
 and " K. John," IV. ii. 133, "stuff my head." 
 
 ' Steevens regards " cast the water " as an Inspection of the water for 
 finding out disorders. 
 
xlviii MY EMENDATIONS. [aCT V. 
 
 Scene Y. 
 I have supp'd full with horrors : 13 
 
 Direness, familiar to my slaughterous thoughts, 
 Cannot once start me. 
 
 This is the punctuation of all the copies. The treatment, 
 I think, should be as follows, as the passage is extremely eUip- 
 
 tical : 
 
 I have supp'd [so] full with horrors, [that] 
 Direness, familiar to my slaughterous thoughts. 
 Cannot once start me. 
 
 Scene VII. 
 
 I cannot strike at wretched kerns, whose arms 
 
 Are hired to bear their staves : hither thou, Macbeth, 18 
 
 Or else my sword with an unbatter'd edge 
 
 I sheathe again undeeded. 
 
 The corrupt word is thus printed : 
 
 Are hired to bear their staves : either thou, Macbeth, 
 
 The Cln. eds. remark, " The word thou is not in grammatical 
 construction ; we must supply some words like ' must be my an- 
 tagonist.' " The change of one letter, such as I have made, seems 
 all that is required ; the grammatical construction is then perfect, 
 and requires no words to be supplied. See IV. iii. 232-4. 
 
 Similar impatient demands of Macduff in the same speech — ' 
 " Tyrant, show thyself ! " " Let me find him ! " — support my 
 emendation ; so does the immediate dramatic connection of 
 '• hither thou, Macbeth," with " There thou shouldst be." Com- 
 pare I. V. 23, " Hie thee hither ! " 
 
 Scene VIII. 
 
 Though Birnam wood be come to Dunsinane, 29 
 
 And thou opposed, being of no woman born, 
 Yet I will try the cast. 
 
 The mutilated word in all the editions is " last," whch is 
 repugnant to all sense. Compare " Richard III.," V. iv. 9, 
 
SCENE VIII.] MY EMENDATIONS. xKx 
 
 " I have set my life upon a cast ; " and "K. Henry IV.," IV. i. 47, 
 " to set all at one cast." 
 
 The rendering of ' last time ' has been uncritically accepted, 
 Schmidt so rendering it, no mutilation having been suspected ; 
 the context furnishes no ground whatever for " last," as there is 
 no first or any series of that which Macbeth determines to " try.'' 
 When all hope of safety has vanished, the desperation of the 
 gambler has seized upon him ; he will fly in the face of the Witches' 
 equivocation, and " try the cast " even with one whom he knows 
 is destined to crush him. The situation corresponds to that of 
 Cassius (" J. Csesar," V. i. 68) when he shouts, " The storm is 
 up, and all is on the hazard." 
 
 As an alternative suggestion, list might be an appropriate 
 word to substitute, for which support could be found in III. i. 17, 
 " Come Fate into the list," but cast will no doubt be considered as 
 having a greater recommendation. 
 
 This corruption is one of several instances in the plays, where 
 another word of similar sound has been carelessly substituted by 
 the early printers for the genuine one. 
 
EXPLANATIONS AND EENDERINGS. 
 
 The First Witch's Question. 
 Act I. Sc. i. 
 
 When shall we three meet again 1 
 In thimder, lightning, or in rain. 
 
 Hanmer removed the interrogation point which is to be found 
 at the end of the first line in all the Folios, but this may be re- 
 garded as a doubtful service done to the sense. All the editors 
 have since followed him. The simple question of the Witch is, 
 " When again shall we meet ? " The other two Witches, observe, 
 respond only to the first line, the question as to the time. 
 
 It was believed that witches had power to raise and direct 
 the winds, and to command thunder and lightning, which may be 
 mentioned as supporting the suggestion that line 2 is a separate 
 and subsidiary matter. This particular storm was their handi- 
 work. Possessing this power, which they had at command to 
 aid them in their nefarious purposes, it is inconceivable that one 
 would ask the other as to meeting again in their own thunder, &c. 
 
 " Bain "=Mist. 
 
 Schmidt, quite superfluously, explains " rain" as ' water falling 
 in drops from the clouds.' He did not see, and it has escaped 
 general notice, that " rain " is used here for mist, power of raising 
 which by witches being a universal popular belief; in this cloudy 
 envelope they awed their victims, and passed from sight with 
 impressiveness. Macbeth in his letter to his wife says, that the 
 
 c2 
 
Hi EXPLANATIONS AND RENDERINGS. [ACT I. SC. i. 
 
 witches he met on the heath " made themselves air, into which 
 they vanished," i.e. they raised a mist, " into which " they were 
 lost to sight. The following is a notable instance of the once 
 prevalent belief in witches' mists. In 1675, a British frigate in 
 the Mediterranean had on board a chaplain, named Henry 
 Teonge, whose diary was published sixty years ago. He relates 
 that on August 8 of that year his vessel arrived off Tripoli, where 
 the enemy's ships were seen lying ia harbour ; but soon after 
 " some of them escape to sea under cover of mists, brought on for 
 that purpose by the Marabott sorcerers." ' 
 
 The second line has of itself a simple meaning, not forming 
 any integral part whatever of the first. Failing to see this, 
 Hanmer and those who have copied bim, have seriously marred 
 the text. The meaning is this ; 
 
 ' We'll enter in thunder and lightning, ere we show ourselves in mist.' 
 
 Here " or " is not used as in. ' one or two,' but as in the fol- 
 lowing instances: " Cymbeline,'' II. iv. 14, "he'U grant the 
 tribute or [ere he] look upon our Romans " ; and '' Hamlet," V. 
 ii. 30, " or I could make a prologue to my brains " (the Fohos 
 have ere). See lY. iii. 73, " Dying or ere," before. 
 
 " Hover through the fog and filthy air,'' means their mist in 
 which the Witches will depart ; and III. v. 35, " 3its in a foggy 
 cloud," 
 
 '' Fair is foul, and foul is fair." 
 
 Act I. Sc. i. 11. 
 
 The general interpretation attributes to this utterance the 
 admission of certain personal attributes by the Witches them- 
 selves : ' Perverse and malignant as we are, what is good it is our 
 function to render foul, and what is foul we regard as good ' : 
 this expresses the belief entertained as to witches' power of moral 
 perversion. And the Cln. eds. say, "The witches, whose moral 
 
 ' Regarded among the Berbers as a kind of saints, who dealt in sorcery, 
 and affected to work miracles. 
 
ACT I. SC. ii.] EXPLANATIONS AND RENDEEINGS. liii 
 
 sense is thoroughly perverted, who choose the devil for their master 
 and do evil instead of good, love storm and rain as others love 
 sunshine and calm." It is hardly conceivable, however, that the 
 Witches are here, quite purposely, expressing and parading their 
 own odious character. An interpretation of a different purport 
 may, I think, be found. 
 
 This line should be regarded as the key-note of the whole 
 play. Shakespeare, with his fine subtlety, associates with the 
 turbulent condition of things set forth in this Scene a moral con- 
 dition of things, not however having relation to the Witches at 
 all, but to the central figure of the tragedy ; that here, in this 
 pithy paradox, the whole inner world of Macbeth is projected 
 before' us, and expressed later on in these terms, 'Appear like the 
 innocent flower, but be the serpent under it.' 
 
 False face must hide what the false heart doth know. 
 
 And make our faces vizards to our hearts. 
 
 Disguising what they are. 
 Coleridge said, " The true reason for the first appearance of 
 the witches is to strike the key-note of the character of the 
 whole drama." Plainly it is ; but the note sounded in this line 
 manifests a marked concentration, 
 
 " Fair is foul, and foul is fair." 
 
 " So fair and foul a day" — (Sc. iii. 38.) 
 
 Schmidt explains " fair " as clear, fine ; and " foul " as cloudy, 
 trovhled, stormy. But Macbeth alludes not to the weather — a 
 matter then of very small moment to him, but to the fearful 
 contests in which he had just been engaged and had secured 
 glorious victories. 
 
 " And Fortune, on his damned qua/rry smiling.'' 
 
 Act I. Sc. ii. 14. 
 
 In all the copies ' quarry ' was printed until Hanmer substi- 
 tuted ' quarrel,' but which was suggested independently by War- 
 burton and Johnson. Knight, however, objects to the change, 
 and says, " We conceive that the original word is that used by 
 
liv EXPLANATIONS AND EENDERINGS. L-*-CT I. SC. ii. 
 
 Shakespeare, the 'damned quarry' being the doomed a/rmy of 
 kernes and gallowglasses, who, although fortune deceitfully smiled 
 upon them, fled before the sword of Macbeth and became his 
 qua/rry, his prey ; " i.e. the army of Macdonwald, on which, say 
 the Cln. eds., " fortune smiled deceitfully while betraying them, 
 like Delilah, to their enemies." When it is remembered that 
 Shakespeare denounces at every opportunity the fickle goddess, 
 and sometimes characterizes her in terms the reverse of poUte 
 but exactly befitting the deceit, Knight contends, indicated here, 
 there is reason to consider whether he is not right in retaining 
 the original word ; otherwise, where is the point of the clause 
 following — ' she showed the duplicity appertaining to that which 
 she is ' ? Knight could, by this clause, have fortified his conten- 
 tion ; also by the following illustration, " K. Henry V.," IV. ii. : 
 
 Ora/nd. Yon island carrions, desperate of their bones . . . 
 their executors, the knavish crows, 
 Fly o'er them, all impatient for their hour. 
 Con. They have said their prayers, and they stay for death. 
 
 The same editors further remark, " The word ' quarrel ' occurs 
 in HoUnshed's account, and is doubtless the right word here ; " 
 but not conclusively for the reason that it is in the chronicles, 
 for Shakespeare as little trammelled himself by scrupulous ad- 
 herence to phrases as he did to historical accuracy in consulting 
 histories or tales from which to gather the materials for his 
 creations. Either word supplies a suitable meaning, but much 
 greater is the claim for retaining " quariy " (literally, the game 
 hunted) — a word applicable to living as well as dead game, and 
 so to an army that was doomed. See " Coriolanus," I. i. 192 : 
 
 And let me use my sword, I'ld make a quarry 
 With thousands of these quarter'd slaves. 
 
 And Cleveland the poet, in a letter to Cromwell, "Can that 
 towering spirit that hath quarried upon kingdoms make a stoop 
 at us, who are the rubbish of these ruins ? " See also " Julius 
 Caesar," V. i. 84-88. 
 
 Phelps says, " the original word is much more forcible than 
 ' quarrel,' " and he agrees with Knight's interpretation. 
 
ACT I. SC. iii.] EXPLANATIONS AND EENDERINGS. Iv 
 
 " As thick as tale," 
 
 Act I. Sc. iii. 97. 
 
 As thick as tale 
 Can post with post, and every one did bear 
 Thy praises in his kingdom's great defence. 
 
 This passage is one of the many that has perplexed every 
 editor, and all moderns have changed the text so as to import a 
 meaning, not seeing any in the original. It has eluded the grasp 
 of all. Rowe altered it thus : 
 
 As thick as hail 
 Came post with post. 
 
 Johnson accepted ' Came,' retaining " tale," and suggested as the 
 meaning, ' the posts arrived as fast as they could be counted ' ; 
 but " tale," in this sense, must be rejected here. The Cln. eds. 
 adopt and defend Rowe's changes ; they say, " ' thick as haU ' is an 
 expression of common occurrence, while for 'thick as tale' no 
 parallel instance can be given ; " but that reason alone is not valid 
 for altering the text, and the metaphor adopted is extravagant 
 and inappropriate here. The Rugby editor has adopted this in- 
 defensible change without remark, and it is passing into general 
 acceptance. Dalgleish says, " The obvious meaning is, that the 
 posts came thick as hail." Let us see if it be so obvious. 
 
 The original is good Shakesperian phraseology, and is of the 
 purest of his mintage. The meaning is, ' One after another (i.e. 
 "post with post," coming from the battle-field) as quick as speech 
 could (report of Macbeth's successes).' 
 
 (a). For thick = quick, see " Cymbeline," III. ii. 55, " Then 
 say, and speak thick"; and "Macbeth," V. iii. 38, "thick-coming 
 fancies." Schmidt explains thick, ' following each other in quick 
 succession.' 
 
 (6). Tale = taal (Dutch), tal (Icelandic),^ speech. Schmidt 
 stumbles upon the true meaning, yet expresses himself in doubt : 
 ' perhaps as thick as words, or speech, can utter it. 
 
Ivi EXPLA^ATIOS^S AND RENDERINGS. [ACT I. SC. iii. 
 
 (c). Can = to be able (to do anything we]l or skilfully). See 
 
 the following : 
 
 Wliat can man's wisdom 
 In the restoring of his bereaved sense ? K. Lem; IV. iv. 8. 
 The strong'st suggestion 
 Our worser genius oam,. The Tempest, IV. i. 27. 
 
 And they can well on horseback. Samlet, IV. vii. 83. 
 
 Wisdom and fortune combating together, 
 
 If that the former dare but what it cam,. 
 
 No chance may shake it. Ant. a/nd Cleo., III. xi. 
 
 {d). For " with " = after, see III. vi. 40, " and with an abso- 
 lute " J and 49, " I'll send my prayers with him." 
 
 " Shakes so my single state of man," 
 Act I. Sc. iii. 140. 
 
 " Single," i.e. entire. Cf. " Comus," 1. 204, " yet nought but 
 single = entire darkness do I find." Macbeth says, ' my entire 
 system is so shaken,' just described (1. 135-137) in such woeful 
 detail. The Cln. eds. display doubt as to the meaning, and mis- 
 takenly say, " Man is compared to a kingdom or state, which may 
 be described as ' single,' when all faculties are at one, or act in 
 unison, undistracted by conflicting emotions. Or is 'single' used 
 in a depreciatory sense, as in. I. vi. 16?" No: "single busi- 
 ness " there means stinted retwrn ; ■ and the use of the word in 
 these two cases bears no correspondence to each other. 
 
 Schmidt mistakenly explains, ' concerning only one, particular 
 individual.' See p. xv. 
 
 " And (= yet) nothing is hut what is rwt." 
 Act I. Sc. iii. 141. 
 Alonso, in " The Tempest,'' says : 
 
 The affliction of my mind amends, with which, 
 I fear, a madness held me : this must crave, 
 An if this he at all, a most strange story. 
 
 " be,'' i.e. if this experience really exist. In illustration the Cln. 
 
ACT I. SO. iii.J EXPLANATIONS AND EENDEEINGS. Ivii 
 
 eds. quote from Bacon, " For ' be ' in the sense of ' have a real 
 existence,' see Advancement of Learning, ii. 14, § 9, 'Yet the 
 cogitations of man do feign unto them relatives, parallels, and 
 conjugates, whereas no such thing is.' " 
 
 Macbeth's paradox simply is, ' Nothing has a real existence 
 but that which is only a fancy ' — or, but what exists only in fancy. 
 Johnson quite mistakenly renders it, ' Nothing is present to me 
 but that which is/utii/re.' 
 
 Compare IV. iii. 21, " That which you are my thoughts cannot 
 transpose ; " and II. i. 25, "If you shall cleave to my consent, 
 when 'tis ; " also " T. and Cressida," I. ii., " Men prize the thing 
 ungain'd more than it is ; " and " Ant. and Cleop.," I. iv.. 
 
 It hath been taught us from the primal state, 
 That he which is was wished until he 7vere. 
 
 There is a parallel in " The Tempest," V. i. 122, 123, 
 
 Whether this ie 
 Or be not, I'll not swear. 
 
 and a closer parallel in " Othello," I. i. 65, " I am not what I am." 
 
 " Time and the howr runs through the roughest day." 
 Act I. Sc. iii. 147. 
 
 I submit this explanation : ' I yield to fate, for the purposes 
 of inankind (" time ") and the moment (" hour ") of accomplishing 
 them are reaKsed however rough or turbulent the immediate cir- 
 cumstances.' See time for persons, p. Ixii., and p. c. 
 
 Lady Montagu explains, ' time and occasion will carry the 
 purpose through, bring it to some destined point and end, let its 
 nature be what it will.' The Cln. edrs., " ' Time and the hour,' in 
 the sense of time with its successive incidents or in its measured 
 course, forms but one idea." The Rugby editor, " ' It may be 
 wearisome to wait on destiny ; but the lapse of time and the 
 appointed hour will bring round what is to come through all 
 obstacles.' ' Runs ' is in the singular, because ' time ' and ' the 
 
IViii EXPLANATIONS AND EENDEEINGS. [aCT I. SO. ,iv. 
 
 hour ' are synonyms." I do not, as will be seen, regard them as 
 such ; but the several explanations may be examined to determine 
 their respective value. 
 
 " The rest is labour." 
 Act I. Sc. iv. 44. 
 The King announces that he will visit Macbeth at his castle, 
 upon which Macbeth says, ' I wUl myself undertake the office of 
 harbinger ; the trouble (" labour ") of such announcing must be 
 mine, not yours, as I wish to break such joyous news to my wife.' 
 This is an excuse to escape the probable command of the King 
 that Macbeth should accomipany him, while his real anxiety is to 
 confer with his wife beforehand. Hunter, with strange literalness, 
 commits himself to this remarkable meaning, ' The rest which is 
 not spent in the King's service is like severe labour.' 
 
 " Thou'ldst have, great Glamis." 
 
 Act I. Sc. v. 22-25. 
 
 thou'lflst have, great Glamis, 
 That which cries, ' Thus thou must do, if thou have it ; ' 
 And [ = yef] that which rather thou dost fear to do 
 Than wishest should be undone. 
 
 This passage has presented great difficulty to all the editors, 
 and much effort has been exercised upon it to extract its 
 meaning. 
 
 The Cln. eds. say, " With any punctuation the sense is ex- 
 tremely obscure, and we are inclined to think that the true read- 
 ing has been hopelessly corrupted by the copyist or printer." The 
 passage is extremely compressed, but what obscurity is thus 
 occasioned may be removed, and there is no corruption. Treat 
 it thus : 
 
 thou'ldst have [the crown], great Glamis, 
 That [crown] which cries, " Thus thou must do [a deed] if thou have it ; " 
 And [ = yet it is that " Thus," that Imperative deed] which rather thou dost 
 
 fear to do [to obtain the crown] 
 Than wishest [it] should be undone. 
 
ACT I. SC. v.] EXPLANATIONS ANP RENDERINGS. lix' 
 
 • The following are a few illustrations of Shakespeare's use of' 
 and = yet : 
 
 A thing most strange and {yet) certain. Macbetli, II. ii. 14. 
 
 Jessica. Our house is hell, and (_yet) thou, a merry devil, 
 
 M. of v., n. iii. 3. 
 and (yef) what judgment 
 "Would step from this to this. Samlet, III. iv. 71. 
 And iyet) women's fear and love holds quantity. Id., III. ii. 170. 
 Lady Macbeth's reflections are consistently developed ; the 
 whole thread and connection of her analysis of Macbeth stands 
 out clear and marked to its climax ; and it presents itself thus : 
 Thou wouldst Je great ; 
 Thou wouldst liave [the crown] ; 
 Then thus thou must do; 
 
 And the balancing of Macbeth's character is thus carried out to 
 
 the close : 
 
 yet do I fear thy nature, 
 but = yet without the illness. 
 
 yet wouldst wrongly win. 
 And = yet that which. 
 
 Seymour says, " The difficulty here arises from the accumula- 
 tive conjunction, which leads us to expect new matter, whereas 
 that which follows (line 22) is only amplification." Not so ; and 
 there is no difficulty, as I have tried to show. 
 
 The interpretations of the Cln. eds. are as follow : they say, 
 " If we put only the words ' Thus . . . have it ' in inverted 
 commas, we may interpret. Thou wouldst have Duncan's murder, 
 which cries ' Thus thou must do if thou wouldst have the crown,' 
 and which thou rather, <fec." The same editors point out the 
 hopeless confusion that prevails over this passage. It is, they 
 say, "variously read and punctuated by editors, some placing the 
 words 'Thus . . . undone' in inverted commas, others only 
 'Thus . . . have it.' In this point the folios give us no help. 
 With any punctuation the sense is extremely obscure, and we are 
 inclined to think that the true reading has been hopelessly cor- 
 rupted by the copyist or printer. With the former quotation 
 marks, the nearest approach to a meaning which can be attained 
 
Ix KXPLAUATIONS AND KBNDERINGS. [aCT I. SC. V. 
 
 is this : Thou wouldst have the crown which cries, ' Thus thou 
 must do if thou wouldst be king, and [thou must do] that which 
 rather, &c.' But this interpretation seems to require ' wouldst 
 have it' for 'have it,' or, at least, as Johnson proposed, 'have me,' 
 in line 22. Delius suggests that by the words ' that which cries ' 
 Shakespeare meant a murderous instinct in the mind ; but, if so, 
 ' thou'ldst have ' must be used in the sense of ' thou shouldst have.' 
 This is quite in accordance with Shakespeare's usage, but is not 
 probable in this case, where ' wouldst ' has just preceded, four 
 times over, in the other sense." Both Johnson and Delius are 
 plainly astray ; and we are here expressly told that the obscurity, 
 and corruption probably, of these lines are practically without 
 solution. See vii. 39-43. 
 
 " Give him tending" &o. 
 Act I. Sc. v. 37, 38. 
 
 The invariable practice is to print these lines as follows : 
 
 Give him tending ; 
 He brings great news. 
 
 then follows Exit Messenger. But I submit that a diflferent 
 treatment is demanded, which is this : 
 
 Give him tending. [Exit Messenger. 
 
 He brings great news I The raven himself is hoarse 
 
 It is inconceivable that the first clause of this second line is 
 addressed to the attendant ; " Give him tending " embodies the 
 whole and complete direction to the ser^'ant. 
 
 The fitness and force of that clause now appears, as express- 
 ing, when she is alone, the deep significance, the vital import, 
 that Lady Macbeth attaches to it. ' He himself is hoarse who 
 brings this great news.' The Cln. eds. remark, " Lady Macbeth 
 compares the messenger, hoarse for lack of breath, to a raven 
 whose croaking was held to be prophetic of disaster. This we 
 think the natural interpretation of the words, though it is re- 
 jected by some commentators," These editors are doubtless right, 
 
ACT I. SO. v.] EXPLANATIONS AND KBNDEBINGS. Ixi 
 
 and if the line were pointed differently, and as it very probably 
 should be, their contention would appear quite conclusive. Treat 
 it thus : 
 
 He brings great news I the raven himself is hoarse 
 
 — ' the raven himself, the bearer of such profound news, is breath - 
 less.' 
 
 " This ignora/nt present." 
 Act I. Sc. v. 57. 
 
 The Cln. eds. say, it means " this present time, which ordi- 
 narily is blind to the future." This is a complete misconception. 
 " The all-hail hereafter ! " has so fired Lady Macbeth's ambition, 
 that the information has transported her beyond her 'present 
 rank of life'^which she describes as mean or contemptible, 
 "ignorant" — and she realizes royalty already, "the future in the 
 instant." 
 
 Compare " A Winter's Tale," I. ii. 390-397 : 
 
 Imprison it not 
 In ignoremt concealment. 
 
 ' unknown, undiscovered,' says Webster, but contemptuous is the 
 right reading. Polixenes earnestly appeals to Camillo to divulge 
 anything he may know on a subject vital to Polixenes' honour 
 and happiness : ' As you are certainly a gentleman, I beseech you 
 imprison it ilot in your bosom ; if you do, it will be a concealment 
 contemptuous to me.' Schmidt also explains it as ' not known, 
 undiscovered.' 
 Compare also, 
 
 his (Cassax's) shipping 
 (Poor ignorant baubles I) on our terrible seas, 
 Like egg-shells mov'd upon their surges, craok'd 
 As easily 'gainst our rocks. CyvibeUne, III. i. 27. 
 
 i.e. Webster says, ' Displaying ignorance, resulting from ignor- 
 ance, done or made without knowledge.' Here is again mis- 
 apprehension, for nx) meaning but contemptible can be understood 
 
Ixii EXPLANATIONS AND RENDERINGS. [ACT I. SO. V. 
 
 here. And Schmidt erroneously explains it as 'silly, foolish.' 
 See the following further illustrations : 
 
 gull 1 dolt I 
 As ignorant as dirt ! thou hast done a deed. Othello, V. ii. 
 
 i.e. 'as contemptible as mud;' again Schmidt mistakes— he ex- 
 plains it as ' dull, silly, simple.' 
 
 It is certain that either wise bearing or ignoramt carriage 
 is caught as men take diseases. K. Henry IV. (II.), V. i. 
 
 here it means vulga/r, and so contemptible ; the explanation just 
 given by Schmidt he applies here. 
 
 Thou liest, most ignoramt monster. The Tempest, III, ii. 24. 
 i.e. contem,ptiMe, shameless ; not as Schmidt explains, ' untaught, 
 unlearned.' 
 
 Johnson strangely mistakes the word, giving the meaning as 
 unknowing : ' I feel by anticipation those future honours of which, 
 according to the process of nature, the present time would be 
 ignoramt' i.e. unknowing. Oowden Clarke follows Johnson. 
 
 " Tim^ " used for a person or persons. 
 Act I. Sc. v. 63. 
 
 " To beguile the tim^, look like the time " — deceive the guests by 
 displaying the same cheerfulness and hilarity as they ( " look up 
 clear," as innocent of contemplating any crime). 
 
 In this play the use of the word wUl be found as follow : — 
 
 "and mook tlie time" — delude all present with profuse attention to 
 
 Duncan : I. vii. 81. 
 " the time you may so hoodwink " — the people you may easily blind : IV. 
 
 iii. 72. 
 " the show and gaze o' the time "-^the spectacle of the people : V. viii. 24. 
 " the time is free " — the condition of the people is now freedom : V, viii. 65. 
 " with the time " — our accession : V. viii. 65 — he proceeds to state what is 
 
 to be planted, arranged and ordered by himself. 
 
 The following are instances from other plays : 
 
 " the wMpB and scorns of time " — of mankind : Samlet, III. i. 68. 
 
 " got the tune of the time " — imitates the manners of others : Id. V. ii. 192. 
 
ACT I. SC. vi.] EXPLANATIONS AND RENDERINGS. ]xiii 
 
 " the absent time "--the absent King : Richard II., II. iii. 79. 
 " even o'er Ihe time" ^Cordelia : Lear, IV. vii. 80. 
 " greet the time " — the enemy : Id. V. i. 54. 
 " the time's abuse '' — t}i& people oppressed : J. Oeesar, II. i. 115. 
 " the chaff of the times " — ^the people : M. of Vendee, II. ix. 48, 
 " will deceive the time " — all observers : Ilieha/rd III., V. iii. 92. 
 " the time's sore " — the nation's disorder : X. John, V. ii, 12. 
 "We shall find a time " — a,priest : A. Y. Like It, V. i. 1, 
 
 Shakespeare also uses motives for persons : see IV. iii. 27. 
 " World " is used in the same sense as " time " : " the world, the 
 flesh, and the devil ; " " the after- world had so deep an interest." 
 
 i Duncan's apology to Lady Macbeth. 
 
 Act I. Sc. vi. 10-U. 
 
 ' The love (friendship) that follows (attends) us sometime is 
 our trouble, which nevertheless we ever thank as friendship shown 
 tc us. Herein I teach how you shall pray to God to make grati- 
 tude p'row (" yield ") in us because of your pains, and thankfulness 
 because of your trouble.' Lady Macbeth hypocritically replies, 
 that no thanks or gratitude are due by the King to her, a-s he 
 politely tells her should be forthcoming from himself. 
 
 Chaucer aids us in the above explanation by a line in which 
 he uses " yeeldying " as meaning growth : 
 
 and by the reyn 
 The yeeldying of his seed and of his greyn. 
 
 Knight renders the speech differently, and says : "There is 
 great refinement in the sentiment of the passage, but the meaning 
 is tolerably clear : ' The love which follows us is sometimes 
 troublesome ; so we give you trouble, but look you only at the 
 love we bear to you, and so bless us and thank us.' " The Cln. 
 eds. suggest a similar rendering, " Duncan means, that it is his 
 love which causes his hostess trouble, and which as love demands 
 her thanks." If these be the true meanings, then royalty speaks 
 here in language which is not " tolerably clear.'' 
 
Ixiv EXPLANATIONS AND RENDERINGS. [Adr I. SC. vil. 
 
 -^ If the assassination," &c. 
 Act I. Sc. vii. 2-4. 
 y If the assassination 
 
 Coujd trammel up th§ consequence, and catch 
 Witt his surcease success. 
 
 This passage has given trouble to the commentators ; " its 
 general sense, "/say the Cln. eds., " has been much disputed." If 
 the ipaport of line 1 be bpme in mind, there ought to be no ground 
 for dispute — ' If tlje deed were absolute in itself -when 'tis effected ; ' 
 and so with Jine 5, ' If it began and ended in itself,' without re- 
 tributive consequence, as uneventful as the slaying of a wild 
 beast. The passage disputed is, after Shakespeare's manner, only 
 an elaboration of one idea. 
 
 The note of the Clarendon editors is as follows : " The 
 etymological connection of this word with ' cease ' is apparebt 
 only, not real. ' Cease ' is derived from cesser, but ' surcease ' 
 from swrsis, and that from swrseoir. ' Surcease ' is a legal teijm 
 mieaning the arrest or stoppage of a suit, or superseding a juris- 
 diction. As a substantive it is found here only in Shakes^are ; 
 he twice uses the verb 'surcease,' both times in the sense of 
 ' cease.' The general sense of the passage has been mu(ih dis- 
 puted, some taking ' his ' to refer to ' assassination,' others to 
 Duncan. We are inclined to agree with Elwin that ' his ' refers 
 to ' consequence,' and that Macbeth's meaning is, ' If the murder 
 could prevent its consequence, and by the arrest of that conse- 
 quence secure success : ' in this case ' his ' would be used, a? it so 
 often is, in reference to a neuter noun." 
 
 As Shakespeare uses ' surcease ' in the sense of cease, in two 
 other instances, it may be supposed that he similarly uses it Jiere, 
 i.e. Duncan's death, his ' stoppage.' The meaning I understand 
 is simply this, ' If the assassination enabled me to entangle 
 (" trammel up ") all the consequences ^ retribution that often 
 follows such crime, and seize (" catch ") " success " — the purpose 
 I am at, and implying safety — after I had caused Duncan to swr- 
 cease.'' 
 
 " Trammel " as a noun means a net for catching wild-f0wl 
 
ACT I. SC. vii.] EXPLANATIONS AND RENDERINGS. Ixv 
 
 by night ; so " trammel up " means here, ' to entangle and so de- 
 stroy all efiForts which may be made to visit retribution upon me.' 
 For illustration of line 1, see " K. John," III. i. 271, 'when 
 it is truly done,' i.e. when it is disposed of, done with absolutely. 
 Also " Hamlet," III. ii. 137, 
 
 So many journeys may the sun and moon 
 Make us again count o'er ere love be done. 
 
 An old writer, Wm. Harrison, uses " catch " = seize : in his 
 " Description of England " he says, " If I had beaten anie of 
 my children, he would gentlie have assaied to catch the rod in 
 his teeth and take it out of my hand." 
 
 Only a Comma. 
 
 - Act I. Sc. vii. 5. 
 
 that but this blow 
 Might be the be-all and the end-all, here, 
 But here, 
 
 I understand that "here, but here," emphasises as a separate 
 phrase " the be-all " and " the end-all " ; that this emphasis is 
 much weakened by treating " here " as belonging to the previous 
 sentence (so in all the copies), and that a marked elevation of 
 effect is manifest by detaching it from that sentence. My sugges- 
 tion may be shown thus : 
 
 be the be-all and the end-aU, 
 
 here, upon this bank and shoal of time, 
 
 " the end-all " sufficing to complete the thought, " here " only 
 emphasising it. 
 
 And ^ notwithstanding. 
 
 Act I. Sc. vii. 53. 
 
 They have made themselves, and that their fitness now 
 Does unmake you. 
 
 i.e. ' the opportunity you intended to create has come without 
 our contrivance, notwithstanding (this happy circumstance) its 
 fitness for our purpose has unmanned you in your design.' I 
 would read, " and their fitness now," " that " being redundant. 
 
 d 
 
Ixvi EXPLANATIONS AND RENDERINGS. [ACT I. SC. ■\tti. 
 
 " Each corporal agent." 
 Act I. So. vii. 80. 
 
 The Cln. eds. render this, ' every faculty of the body ' ; and in 
 their edition of " J. Caesar " the rendering of " mortal instruments " 
 (II. i. 66) is thus presented : " they are the same as ' each 
 corporal agent ' which Macbeth bends up to the terrible feat of 
 Duncan's murder." A rendering the very reverse is offered by 
 the Rev. John Hunter : " The ' mortal instruments ' are not the 
 bodily powers, but the natural passions, " mortal " meaning 
 natural or human, as distinguished from the immortal and super- 
 human genius." That these " instruments " are not " of the body " 
 is plain by the line following, for they " are in council," they are 
 considering and determining. Schmidt explains it as bodily . 
 
 Taking the two phrases as identical in meaning, we must 
 understand " each corporal agent " to mean all functions, such 
 as courage, determination, forethought, persistence, &c. The 
 utterance of Macbeth, 
 
 bend up each corporal agent, 
 seems certainly to be a direct response to Lady Macbeth's appeal, 
 Only screw your courage up. 
 
 " A heavy summons lies like lead upon me." 
 Act II. So. i. 7. 
 
 A heavy sammons lies like lead upon me, 
 
 And yet I would not sleep. 
 It is generally accepted that " heavy summons " has relation 
 to " sleep,'' a rendering that has entirely perverted the true 
 understanding of the whole scene. I render it, a depressing ap- 
 prehension, inner wa/rning. In Shakespeare, " heavy " or " heavi- 
 ness " is generally Used for sorrow : see IV. iii. 203, and " The 
 Tempest," II. ii. 182, "Will you laugh me asleep, for I am very 
 heavy,'' sorrowful, depressed.^ 
 
 ' " heart is exceeding liemry." — Much Ado, III. iv. 
 " the way out with a heavy heart." — Richard IT., V. i. 
 " burden of heavy tedious penury." — As Tmildkelt, III. ii. 301. 
 
ACT II. SC. i.] EXPLANATIONS AND EENDEEINGS. Ixvii 
 
 The words surmnon and warn are treated as interchangeable : 
 see the following instances, 
 
 And sent to warn {smwmon) them to his royal presence 
 
 Mohard III., I. iii. 39. 
 
 They mean to warn (swnimon) us at Philippi here. J. Ccesa/r, V. i. 6. 
 
 And then It started, like a guilty thing 
 
 Upon a fearful summons. Hamlet, I. i. 148. 
 
 that is, 'Upon a terrible, alarming wa/rning' (see 1. 152). This 
 confirms my rendering above, and Horatio's words correspond 
 closely to Banquo's utterance. Lear calls upon those guilty of . 
 crime (III. ii. 54) to confess it and repent in the presence of 
 " these dreadful surmnoners," these warners of threatening retri- 
 bution, inspiring dreadful apprehension. 
 
 Besides this change in the rendering, the whole passage (4^9) 
 requires a different treatment from that which is universally 
 accepted. I would treat it thus : — 
 
 [To Fl.'\ Hold, take my sword, — there's husbandry in heaven, 
 Their candles are all out ; — take thee that too. 
 [^Aside] A heavy summons lies like lead upon me. 
 
 And yet I would not sleep. Merciful Powers, 
 Bestrain in me the cursed thoughts that nature 
 Gives way to in repose 1 ' 
 
 The lines I mark " Aside " are the weighty outcome, the dis- 
 turbing conclusions of facts (see I. iii. 120-126, 153-155) only 
 known to Banquo, and which are not likely to have been 
 addressed to Fleance. Then observe how direct and connected is 
 the speech, by my treatment, as addressed to Fleance. " Hold, 
 take my sword, take thee that too." Banquo begins to prepare 
 to sleep, but he becomes so increasingly agitated by the " heavy 
 summons'' — the ,' impressive apprehension' — that is upon him. 
 
 ' This is the received .punctuation : 
 
 Hold, take my sword. There's husbandry in heaven ; 
 Their caudles are all out. Take thee that too. 
 A heavy summons lies like lead upon me, 
 And yet I would not sleep : merciful powers, 
 
 da 
 
Ixviii EXPLANATIONS AND RBNDEEINGS. [aCT II. SC. i. 
 
 that he suddenly breaks off his intention to sleep,^ " And [= there- 
 fore] I would not sleep yet " — ' I anticipate some danger.' ^ He 
 continues, in an earnest appeal, ' Restrain in me this dreadful 
 course of thought,' i.e., this apprehension I entertain of some 
 design on the part of Macbeth, which may haunt me if I do fall 
 asleep. Observe his great alarm at hearing footsteps on this 
 very instant. " Give me my sword ! Who's there ? What, sir, 
 not yet at rest 1 the King's a-bed ! " ' He is a-bed, how is it, 
 then, you are not ? ' The outburst, ' Fears and suspicions agitate 
 us ! ' muttered on the discovery of Duncan's murder (II. iii. 131), 
 gives expression to that which he here silently breathes, ' A de- 
 pressing apprehension lies like lead upon me.' 
 
 It i^not edifying to read such criticism as this of Elwin : 
 " Banquo has put from him his several weapons of defence from 
 horror at the particular use his dreams have prompted him to 
 make of. them." Here we have the ordinary act of divestment of 
 weapons preliminary to general divestment of dress in preparation 
 for sleep, most strangely regarded as the casting aside of instru- 
 ments of temptation ! The Chi. eds. in criticising Elwin rightly 
 dispose of his explanation ; but they assign one of their own, viz. 
 that Banquo puts aside his weapons " because in a friend's house 
 he [felt he] was perfectly secwre" which is as radically mistaken 
 
 ' The following are a few instances of this meaning of tmd : 
 " I almost die for food, and {therefore] let me have it." — 
 
 As ¥. L. It, II. vii. 104. 
 
 " I thank ye, and [therefore] be blest for your good comfort." Id. 135. 
 " 'Tis a good dulness, 
 And [therefore] give it way." — The Tempest, I. ii. 186. 
 
 " He's a rank weed, 
 And [therefore] we must root him out." — K. Henry VIII., V. i. 52. 
 
 ^ For a similar construction, see " M. of Venice," II. ix. 91, " Yet I have 
 not seen so likely an ambassador," i.e., ' I have not yet seen." So in 
 North's " Plutarch " : Caesar speaking to the soothsayer says, " ' the Ides of 
 March be come ' ; 'so they be,' softly answered the soothsayer, ' but yet 
 are they not past,' " they are not yet past. See " K. John," IV. ili. 91, 
 " Yet I am none," i.e., I am none yet. 
 
A.CT II. .SC. i.J EXPLANATIONS AND RENDERINGS. Ixix 
 
 as that of Elwin's. The situation, as already stated, is that 
 Banquo is preparing for sleep ; so apprehensive, however (liis 
 " cursed thoughts "), is he of impending attack that he calls for 
 his sword to be returned to him, so perfectly certain is he of 
 danger — which is the very reverse of feeling "perfectly secure." 
 
 The same undiscriminating criticism is displayed by Dalgleish, 
 following in the track of others : — " Banquo (as he hints at line 
 10) has been tempted in his dreams — ' in repose ' — to commit 
 some crime from which his waking nature recoils, and he implores 
 Heaven's aid against the temptation, What a contrast to the 
 course which Macbeth is following ! " So Professor Dowden : 
 " Banquo, the loyal soldier, praying for restraint of evil thoughts 
 which enter his mind as they had entered that of Macbeth, but 
 which work no evil there,'' &c. 
 
 Immediately upon this alarming encounter, Banquo and 
 Fleance must be supposed to have accompanied Macbeth on his 
 return to his apartment, during which this conversation took 
 place ; for on parting the stage direction is " Exeunt Banquo 
 and Fleance," not ' Exit Macbeth.' The latter must have been 
 the stage direction if Banquo had not previously quitted with 
 Macbeth his own apartment. It was obviously an imperative 
 courtesy for Banquo to accompany Macbeth. 
 
 Grave injustice is, I conceive, done to Banquo by the general 
 acceptation that the appeal, " Restrain in me,'' &c., means his fear 
 that ambition may spring up and lead him to the consideration of 
 the same wicked course that Macbeth had entered upon. It is 
 violently opposed to the context, as well as repugnant to the noble 
 character of Banquo. " Into Banquo's upright mind," says Mr. 
 Moulton, " the poison-germs of insight into the future fall harm- 
 lessly : " this is the true and unquestionable estimate of his firm 
 and consistent nature. 
 
 Coleridge also manifests strongest belief in the upright 
 character of Banquo, untainted by ambition, on whose speech (I. 
 iii. 51) and the context he says, " How truly Shakesperian is the 
 opening of Macbeth's character given in the unpossessedness of 
 
Ixx EXPLANATIONS AND RENDERINGS. [aOT II. 'SC. i, 
 
 Banquo's mind, wholly present to the present object — an unsullied, 
 unsoarified mirror ! " 
 
 Professor Henry Morley's treatment of this episode. 
 
 " Banquo has misgivings that do not lie consciously within as 
 suspicions of his friend" — ^that is, Banquo has suppressed dark 
 fears that Macbeth may contemplate the killing of Duncan. On 
 the contrary, Banquo's " misgivings " are deep convictions (" cursed 
 thoughts "), which lie very consciously within him — not, however, 
 that Duncan is marked down as the immediate victim, but he 
 himself. This interpretation transforms the whole situation, 
 which has been, I think, so disastrously misunderstood. 
 
 The Professor continues, " Banquo knows of the temptation 
 that might yet enkindle Macbeth to seize the crown. With 
 vague misgiving that he would not or could not define to his own 
 loyal mind, Banquo is about [no, he was in his allotted quarters 
 preparing to sleep] with his son. He would watch ; and yet why 
 should he ? " (p. 19, Morley's " Macbeth.") As I have just shown, 
 having no vague notions but the firmest belief that he has a mortal 
 enemy in his host, Banquo had dread reason to watch, for not 
 sleeping yet. 
 
 How unconscious the critic is of the vital significance of the 
 climax in this episode, is made plain by his mild reference to it. 
 
 He quotes, 
 
 Give me my sword I 
 Who's there i 
 
 "It is Macbeth to whom Banquo reports the kind acts of 
 Duncan," &c. Amazing is his silence upon what touches the 
 heart of the whole mystery — viz. Banquo's profound surprise 
 that Macbeth should appear there and not have been a-bed. 
 
 Further, the Professor says, that after Banquo reports to Mac- 
 beth the kind acts of Duncan, " he then, in pursuance of the 
 doubt not half acknowledged even to himself, brings Macbeth 
 straight to the ground of his misgivings : ' I dreamed last night 
 of the three weird sisters ' " (p. 20). The critic's " misgivings " 
 disable him from seeing that Banquo's reference to the "sisters" 
 
ACT II. SO. i.] EXPLANATIOSrS AND RBNDEEINGS. Ixxi 
 
 is clearly intended as a subtle and skilful piece of flattery which 
 lured Macbeth to furtively unveil his designs upon the King ; 
 and "the ground of his misgivings," it must be repeated, had 
 application to hvmself, not to Duncan. 
 
 It is, perhaps, a little singular that the Professor, in asking 
 "why should Banquo watch ? " did not discover what was Banquo's 
 true cause of fear, and so his need to watch, for the Professor was 
 surely on the track of that discovery when he says, " Macbeth is 
 abroad for secret murder ; " but here his scent failed him, the 
 true solution eluded his grasp — the real victim Macbeth was 
 secretly seeking was Banquo. 
 
 He proceeds, "The third Act shows crime begetting crime 
 It opens with Banquo now not unconsciously distrustful .... 
 While he lives, Macbeth and Lady Macbeth must pay all observ- 
 ance to him, for to them he is of all men most dangerous" (p. 23). 
 The assumption that Banquo was ever "unconsciously distrustful" 
 is baseless, as I think I have shown ; and the critic unconsciously 
 furnishes the reason why Macbeth was about — because to him 
 Banquo " is of all men the most dangerous." For the King 
 murdered and Banquo to be alive, would render Macbeth's position 
 as unendurable as it would be perilous and doomed to overthrow : 
 " Our fears in Banquo stick deep." Says Upton, " To have any 
 virtue, is cause sufficient of a tyrant's hatred." Banquo, conse- 
 quently, must be disposed of first — and this forecast Banquo 
 plainly discerns, but averts the danger by his watch and ward, 
 his wariness and vigilance, and correspondingly counterchecks and 
 disconcerts Macbeth : 
 
 0, full of scorpions is my mind ! 
 
 Thou know'st that Banquo and his Fleanoe lives. 
 
 Macbeth's hesitation — (Sc. VII.). 
 
 Macbeth's remarkable hesitation, his drawing back, considered 
 in the light of the situation as I have above presented it, may be 
 thus explained. It is deep in his mind, that Banquo knows of the 
 temptation that might enkindle Macbeth to seize the crown, and 
 that consequently the deed would be both attributed to him and 
 
Ixxil EXPLANATIONS AND EENDEEINGS. [aCT II. SC. i. 
 
 avenged by Banquo. This knowledge possessed by Bauquo is the 
 depressing element, the deep shadow which clouds his purpose, 
 that finds expression in his soUloquy and in his revelation of change 
 of purpose to Lady Macbeth. He, however, conceals from her 
 that which awes him, that which prevails with him to " proceed no 
 further in this business." Banquo is the dread avenger whom he 
 secretly fears ; Banquo can be read in all his utterances of fear : 
 
 But in these cases 
 We still have judgment here ; that we but teach' 
 Bloody instructions, which being taught return 
 To plague the inventor. 
 He sleeps 
 
 In the affliction of these terrible dreams 
 That shake us nightly. 
 
 When, however. Lady Macbeth at last overcomes his scruples, 
 observe how tentatively he asks, ' WiU it not be believed that 
 Duncan's servants have done it ? ' then the vehement ' Who will 
 dare to receive it otherwise ? ' settles and bends him up to the 
 feat. The principal spectre in Macbeth's mind, comprised in this 
 responsive question, is not extinguished by this brag and vaunt, 
 it is there still ; but mark — the terrible feat is doubtless to com- 
 prise, in the secret recess of his heart, the taking off of Banquo 
 as well as Duncan : 
 
 False face must hide what the faJse heart doth know, 
 
 embraces both ; and what " the false heart doth know " of Ban- 
 quo's coming fate. Lady Macbeth must be innocent of until it is 
 accomplished. Delay, however, must not interpose ; the attempt 
 to accomplish it must be as speedy as killing the King ; so that 
 attempt is made : 
 
 Banqiw. Give me my sword 1 
 
 Who's there ? 
 Maebeth. A friend. 
 SanqvjO. What, sir, not yet at rest ? 
 
 — ' what suspicious business is this that brings you liere ? ' and 
 Macbeth is baulked of his prey. Still relying confidently on the 
 " Who will dare ? " he prosecutes his purpose on the King; and 
 then he finds that Banquo will dare, as he before concluded, yet 
 
ACT II. SC. i.] EXPLANATIONS AND RENDERINGS. Ixxiii 
 
 he is unable himself to strike. This makes the situation critical, 
 the torment plaguing the inventor is insupportable, so he resorts 
 for relief to a refuge of lies to defame Banquo and to the employ- 
 ment of the daggers of assassins to take him off. 
 
 " The cursed thoughts " of Banquo. 
 Act II. Sc. i. 9. 
 
 The Cln. eds. say, that "the cursed thoughts from which 
 Banquo prays to be delivered are doubtless the temptings of am- 
 bition ; he prays to be delivered from entertaining even in dreams 
 the plans which Macbeth was plotting to execute." ' That this 
 detraction of Banquo has no foundation, may be, I think, clearly 
 shown. 
 
 As preliminary to my argument, I would ask, why should not 
 the " dreams " have had relation to the promise made to Macbeth, 
 and to consequent suspicions and dread that he would kill Duncan ? 
 so natural would this be, so preposterous that Banquo should be 
 troubled with promptings to forestall Macbeth in this crime ! 
 But the case for Banquo lies in an entirely different direction. 
 
 " Give me my sword " implies his vivid fear that some " great 
 quell" is contemplated, that some great danger to himself ira.- 
 pends, as the next instant verifies. It is with Banquo now as 
 when, later on, the murder was announced, " Fears and scruples 
 shake us ! " the fears and suspicions now entertained relating to 
 his own great danger. Then the clause, ' I need sleep, yet I am 
 inclined to remain awake,' discredits the above explanation ; and 
 further, the "cursed thoughts" could not refer to any guilty 
 promptings of his own, for that supposition is fatally inconsistent 
 with his noble and upright character, " his royalty of nature " 
 testified to by Macbeth, and demonstrated by his bold and 
 courageous reply to Macbeth himself, lines 26-29. 
 
 Banquo' s thoughts, then, were not, as we are told, evil as 
 tainting himself, but as suspecting Macbeth of a purpose to take 
 both his own and his son's life ; and what moment so opportune. 
 
Ixxiv EXPLASTATIONS AND RENDERINGS. [aCT II. SC. i. 
 
 as Banquo would naturally surmise, as this -when lodged in his 
 enemy's own castle 1 So that awake or asleep his apprehensions 
 disturb and agitate him. Banquo had doubtless read strange 
 matters in Macbeth's countenance, and had too surely discovered 
 the workings of his mind as revealed by himself : 
 
 There is none but he 
 Whose being I do fear. 
 
 If it be objected that Macbeth would be unlikely to take 
 Banquo's life, with his son, at that particular moment, or that 
 Duncan would be the first victim and not Banquo, it may be 
 answered that Banquo would- not so nicely argue the question ; 
 suflScient for him would be his conclusion that danger lurked 
 there ; and what more likely than that Macbeth's murderous 
 shaft would be directed against all three 1 But that was indeed 
 the supreme moment, the vital instant, when, according to all 
 reasonable calculation for' successfully achieving his ends, Banquo's 
 life would be attempted ; for remember (a) that " none but he " did 
 Macbeth fear ; (b) the perilous position of Macbeth if Banquo be 
 not disposed of first — and so it turned out. Macbeth's instinct 
 and purpose were right in so planning his design, as the disas- 
 trous development of the tragedy shows ; but' by Banquo's 
 vigilance that plan was frustrated, so that from henceforth 
 Macbeth had to bewail his terror of Banquo : 
 
 We wear our health but sickly in his life, 
 ■Which in his death were perfect. 
 
 Had he succeeded, none remaining would have occasioned him 
 fear ; smooth would have been his course, perfect his health, and 
 unchallenged his rule — such was his conclusion. The excuse he 
 made to the Murderers, that ' I must not, because of certain 
 friends, take Banquo's life myself,' was false, for he had only the 
 moment before this interview given utterance to the two passages 
 just quoted, in which he declares that he dreads none but Banquo. 
 
ACT II. SC. i.] EXPLANA.TIONB AND RENDERINGS. IxxV 
 
 "If you cleave to my consent, when 'tis — " 
 Act II. Sc. i. 25. 
 There is some uncertainty expressed about rendering the word 
 "consent." It is here used in the sense of harmony (Lat. 
 concentiM). Shakespeare uses it again in " K. Henry V.," I. ii. 
 180: 
 
 For government 
 
 Put into parts, doth keep in one concent, 
 Congreeing in a full and natural close, 
 Like music. 
 
 And Milton, " At a Solemn Music," 
 
 present 
 That undisturbed song of pure concent. 
 Aye sung before the sapphire-oolour'd throne. 
 
 There is no misprint for consort as White suggests. The meaning 
 is, ' if you act in harmony with me,' ' share in my counsel, be 
 confederate with me,' 
 
 " wheh 'tis— " 
 
 Here is an instance of Macbeth's dark allusions in broken, 
 hesitating utterance, which would be expressed, if filled up, thus : 
 ' when the prediction of the witches is fulfilled and I am King, 
 you shall be elevated by me.' (See similar instance, p. xl), 
 
 Macbeth must have lost his balance, lost all discretion — find- 
 ing Banquo, not asleep as he expected, but equipped for attack 
 or treachery — to have so broadly hinted at his vile purpose : how 
 deeply significant to Banquo the unearthly hour, the King and 
 all retired, in which to profier a selfish bait ! what a manifesta- 
 tion of weakness and fear to try in the dead of night to corrupt 
 Banquo to be his confederate in crime ! Thus Macbeth unveiled 
 his design, delivering himself into the hands of Banquo by the 
 latter's simple allusion to the weird sisters. 
 
Ixxvi EXPLANATIONS AND RENDERINGS. [aCT II. SC. ii. 
 
 " That which hath made them drunk," dec. 
 Act II. Sc. ii. 1, 2. 
 
 The Rugby editor says, " ' I am emboldened by the guards' 
 intoxication ' ; not surely, as the Cln. eds. suppose, ' I have given 
 myself courage with wine.' She had taunted Macbeth with ' a 
 drunken hope ' ; and such a mode of raising her own spirit seems 
 thoroughly alien from her character." 
 
 Accepting this editor's rendering, it requires to be put, I think, 
 in a more effective form : ' I am enabled to share boldly va. this 
 dangerous business because of the success of my device,' the 
 drugging of their possets ; ' otherwise I could not have ventured 
 to have been an open confederate.' Only by their utter oblivious- 
 ness, not because she was fortified by liquor, could she have been 
 bold enough' to have taken the life of the King, as she declares 
 she would have done (13), which is a consideration that lends 
 support to the rendering of the Rugby editor. There is nothing 
 whatever to indicate in the subsequent colloquy that she was 
 under the influence of a stimulant ; she shows, on the contrary, 
 remarkable steadiness and self-possession. Gervinus (p. 597) 
 says, " She finds the potion which she had used to make the 
 attendants drunk, necessary to inspire herself with courage and 
 firmness " : that she required fortifying for the perpetration of a 
 foul crime, is in absolute contradiction of all that is presented to 
 us of her daring character, and of all that she herself reveals of 
 her steeled and pitiless heart. This writer adds, "She would 
 even give the blow with her own hands, but at the moment itself 
 her overwrought nature gives way '' — the text contradicts this, 
 where we find Xady Macbeth gives a very pathetic reason for not 
 perpetrating the deed herself. 
 
 Professor Dowden says, " she nerves herself for the terrible 
 night's work by artificial stimulants ; yet she cannot strike the 
 sleeping king who resembles her father." 
 
ACT II. SC. ii.] EXPLANATIONS AND RENDEEINGS. Ixxvii 
 
 The cry of the " voice." 
 
 Act II. Sc. ii. 34. 
 
 Sleep no more I 
 Macbeth doth murder sleep, the innocent sleep I ' 
 
 There has been much discussion as to where the "voice" 
 properly closes, upon the right determination of which the clear- 
 ness of the whole passage depends. I submit that it should end 
 as above shown, and not in the middle of the line, as commonly 
 placed ; some editors, indeed, actually carry the close down to 
 line 39. The differences are important, which wiU be seen by 
 
 comparison : 
 
 ' Sleep no more 1 
 Macbeth doth murder sleep,' the innocent sleep, 
 Sleep that knits up the ravell'd sleave of care, ( Chi. eds.) 
 
 Macbeth doth murder sleep,' — the innocent sleep; {Delius ed.) 
 
 I understand " the innocent sleep " to mean ' the innocent sleeper,' 
 the victim Duncan, and so to convey an emphatic qualification of 
 the previous use of " sleep " on the part of the voice. Macbeth's 
 reflection upon sleep then commences most fitly at line 37 ; but 
 the Cln. eds. remark, that " it seems more natural to suppose that 
 ' the innocent sleep,' &c. is Macbeth's comment.'' This arrange- 
 ment misses what is an impressive point, the very design indeed of 
 the utterance, that it is the sleeper foully outraged which has 
 stimulated to expression of the deed. The vehemence of this call 
 then finds relief, a fine contrast is also presented, in the succeed- 
 ing calm and exquisite comment on the function of sleep. " In 
 the midst of Macbeth's most morbid moods," says Dalgleish, " he 
 breaks out into passages of sublime poetry." 
 With regard to the passage following, 
 
 Still it cried, • Sleep no more ! ' to all the house : 
 ' Glamis hath murdered sleep, and therefore Cawdor 
 Shall sleep no more ; Macbeth shall sleep no more.' 
 
 the voice is considered by Johnson to close at the end of tha first 
 
Ixxviii EXPLANATIONS AND RENDERINGS. [ACT II. SC. ii. 
 
 clause of line 42, but some editors carry it to the close of the 
 next line. Treat the punctuation as follows, 
 
 Still it cried, ' Sleep no more I ' to all the house ; 
 
 ' Glamis hath murdered sleep I ' and therefore Cawdor 41 
 
 Shall, sleep no more, Macbeth shall sleep no more. 
 
 then Macbeth's conclusion " therefore " clearly discovers itself, i.e. 
 his present condition and future punishment : ' having murdered 
 Duncan's sleep, rm) sleep is extinguished too.' This allotment of 
 •the voice, it should be noted, corresponds with that I contend for 
 in the previous passage : it is sharp and dramatic, it is the com- 
 pact announcement of the deed ; and so complete and startling 
 is it, that Macbeth as swiftly couples with it tb& horrible conse- 
 quence, that he shall sleep no more. Here remorse suddenly 
 flashes out, exhibiting dramatic force such as Shakespeare's 
 insight into human nature would readily conceive. 
 
 Observe the support given to this interpretation by the 
 melandioly prediction of Macbeth himself : 
 
 We still have judgment here ; that we but teach 
 Bloody instructions, which being taught return 
 To plague the imcentor. 
 
 And when the wicked deed is " taught," then come the racking 
 torture, the sleep-killing avowals. 
 
 To know my deed, 'twere best not know myself. 
 I am afraid to think what I have done. 
 
 Lady Macbeth plainly directs her feeling rebuke. 
 
 You do unbend your noble strength, to think 
 So brainsickly of things. 
 
 to this dreadful conviction of Macbeth, that he would sleep no 
 more. Finally, we have his own avowal of 
 
 the affliction of these terrible dreams 
 That shake us nightly. Better be with the dead, 
 Than on the torture of the mind to lie 
 In restless ecstasy. 
 
 We have just previously, "and wicked dreams abuse the 
 curtain'd sleep," where undoubtedly the function of sleep is put 
 with poetic beauty for the sleeper. 
 
ACT II. SC. ii.] EXPLANATIONS AND RENDERINGS. Ixxix 
 
 The following are instances of the abstract for the concrete: — 
 
 "affliction" for 'afflicted lady': " K. John," lU. iv. 36; "loves" for 
 
 ' lovers,' 66 ; V. ii. 151, "revolts" for 'revolters.' 
 "missives" for ' messengers' • " Macbeth," I. v. 5. 
 " conduct " for ' conductor ' : " The Tempest," V. i. 244 ; so in " E. and 
 
 Juliet," III. i. 129, and V. iii. 1 16 ; " Richard II.," IV. i. 157. 
 " trumpet " for 'trumpeter' : " Richard II.," V. ii. 287. 
 " slanders " for ' slanderers ' •- "K. Henry V.," III. vi. 76. 
 " potents " for ' potentates ' : " K. John," II. i. 358. 
 
 " Why, he comes in like a perjure " for ' perjurer ' : " L. L. Lost," IV. iii. 44. 
 " My gracious silence " for ' my silent one ' : " Coriolanus," II. i. 166. 
 " Now, blasphemy " for ' blasphemer ' : " The Tempest," V. i. 218. 
 " to whip your information " for ' your informer' : " Coriolanus," IV. vi. 54. 
 
 "That which cries" cannot properly be defined as a "mur- 
 derous instinct," as Delius says, but a rebukeful instinct speaking 
 in or formulating Lady Macbeth's strain of reproach. Compare 
 the Friar's rebuke of Homeo, " thy form cries out, thou art " a 
 man (III. iii. 109). 
 
 Dalgleish says, " It is characteristic of the guilty mind that 
 it should fancy itself beset by hidden witnesses, and hear accusing 
 voices in the air.'' 
 
 A writer in the "Quarterly Review," April 1817, p. 7, after 
 relating the cruel deaths, on one of the Tonga Islands, to which 
 some prisoners were put after a battle among the natives, remarks, 
 " Yet the sense of right and wrong has not wholly been effaced 
 in this most inhuman people : ever since these atrocious acts, 
 they believe that the groans of the victims are heard frequently 
 by night. These things belong to the inner world which is in the 
 mind of man, they are the echoes of conscience, and are uideed 
 dreadful realities." 
 
Ixxx EXPLANATIONS AND RENDERINGS. [ACT II. SC. iii. 
 
 And= therefore. 
 
 Act II. Sc. iii. 56. 
 
 and, as they say, 
 Lamentings [were] heard i' the air, strange screams of death ! 
 And prophesying, with accents terrible, 
 Of dire combustion and confused events, 
 
 i.e. ' the rumour is that lamentings and screams were heard ! 
 Therefore {from which) the forecast was made, with terrible stress 
 and force, of dire convulsion and destructive events, fitting to 
 the woeful time.' 
 
 " In the great hand of God I stand," &e. 
 " The undivulged pretence." 
 
 Act II. Sc. iii. 132-134. 
 
 I treat the passage thus : ' To God I submit myself for 
 direction and safety ; and thenceforward I will fight against the 
 vmJcnown perpetrator of this treasonous malice.' Compare, 
 
 Wherefore should I 
 Stimd in the plague of custom, " K. Lear," I. ii. 2, 3. 
 
 i.e. s'ul)mit to the plague of custom. Also, 
 
 a very pretence and purpose of unkindness. Id., I. iv. 68. 
 i.e. a very [actual] deed : in I. ii. 81, " to no further pretence of 
 danger," the meaning is intention. 
 
 I regard, then, the deed of assassination as used for the doer, 
 and the meaning to be as stated, ' the unknown perpetrator. 
 The allusion, only veiled, is to the dissembler, the pretender^ 
 
 " Fears and scruples shake us." (line 131.) 
 
 " Fears " confirmed that Macbeth has resolved to murder him; 
 and ' suspicions ' that the assassination of Duncan is by the hand 
 of Macbeth. 
 
 This should be an Aside. It is inconceivable that Banquo 
 would express his suspicions, as well as his fears (meaning that 
 the shaft had not yet alighted, that it had more deadly work), in 
 
ACT III. SC. i.] EXPLANATIONS AND RENDERINGS. ]xxxi 
 
 the presence of those assembled, some of whom might be con- 
 federate -with the suspected murderer — just that which Donalbain 
 is whispering to his brother. 
 
 Banquo, not Macbeth, speaks. 
 
 The allotment of the subsequent speech, "Let's briefly put 
 on," to Macbeth is doubtless a mistake for Banquo. It must 
 be Banquo who here repeats with urgency the suggestion he had 
 just previously made, to retire and dress, then to meet quickly 
 again to inquire into " this most bloody piece of work.'' Mac- 
 beth must have passed out in attendance upon his ailing wife, 
 not have remained and left to others the needful attention her 
 condition demanded. The text proves this, for Macdufi" and " aU " 
 are still present, responding to Banquo's stirring deliverance. 
 
 Some editions give this speech to Macduff, showing that there 
 is confusion in the allotting of it, as in many similar instances in 
 other of the plays. See Theobald's accepted emendation in " K. 
 John," II. i. 149, 150 ; and Capell's in "Julius Csesar," I. i. 15. 
 
 " Why may they not set me up in hope ? " 
 Act III. Sc. i. 
 
 It is said that the opening of Act III. presents Banquo as 
 contemplating similar crime to that he suspects Macbeth had 
 committed ; and the Rugby editor actually says that it is 
 " Banquo's death which stops him from plunging, after Macbeth's 
 example, into the vortex of conspiracy and crime, and losing his 
 ' royalty of nature ' in the attempt to grasp a crown." This is as 
 perverse a judgment, and as repugnant an indictment against an 
 illustrious and righteous man, as it would be hard to parallel. 
 Look at the wickedness thus heaped so ingeniously upon Banquo, 
 which is the issue of blind criticism. Banquo's reflections sustain 
 no such charge, they are open to no such interpretation ; they 
 are in the very teeth of it. Let us see. 
 
 " I fear thou play'dst most foully for 't." Is this the language 
 
Ixxxii EXPLANATIONS AND BENDEEINGS. [ACT III. SC. i. 
 
 of a rival conspirator, or is it not manifestly the utterance of a 
 pure and outraged nature, of loyalty to the late King 1 
 
 '' It should not stand in thy posterity.'' ' Thy crime will 
 carry no permanent success with it ' — ^what more natural remark 
 --to make as supplementing his " fear " 1 
 
 " Myself should be the root and father of many kings." This 
 surely does not imply that he meditated any crime for personal ends. 
 
 " If there come truth from them, why may they not set me 
 up in hope 1 " This again is a most natural reflection, the cir- 
 cumstances fairly forcing its utterance from him. The " hope " 
 that he expresses is but a remembrance of the promise made 
 only in his children ; not a trace of criminal ambition is to he 
 discovered here. 
 
 Banquo may be understood as saying, ' As you occupy the 
 throne by virtue of oracular prediction, yet it said your children 
 shall not succeed, then it follows that my son by virtue of the 
 same oracle may wear the crown.' It may come without his stir, 
 and that is the full sum of all he utters. 
 
 But Banquo's last secret breathing convicts him — so says 
 this perverse criticism. " But hush ! no more " looks innocent 
 enough, as appropriately closing his rational reflections now that 
 he is in the presence of Macbeth, yet it is made to reveal a depth 
 of evil not easily fathomed ! Says Clarke, " These words are in 
 Derfect moral keeping with Banquo's previous resolute fightings 
 against evil suggestions.'' This resolute defamation of Banquo 
 refers, of course, to the " cursed thoughts ''; but such undiscerning 
 criticism requires no further remark. 
 
 Gervinus says, "Banquo surmises and suspects Macbeth's 
 deed, yet he does nothing against him and nothing for himself." 
 As Macbeth did something in the taking off of Banquo in the 
 shortest possible space of time, the victim was deprived of all 
 opportunity of action ; yet he suffers detraction nevertheless ! 
 Similar to this unreasonable criticism is that directed against 
 Hamlet. 
 
ACT III. SC. i.] EXPLANATIONS AND RENDERINGS. Ixxxiii 
 
 Banquo\ feaWy to Mcuibeth. 
 Act III. Sc. i. 15-18. 
 
 Some commentators are incensed with Banquo because he 
 does not slay Macbeth right off, regardless of the absence of proved 
 evidence of his guilt, and of his assertion of his innocence. We 
 know that he is guilty, but Banquo, Ross, Macduff (see II. iv. 
 22, 23), and others could only surmise it. Banquo must be im- 
 maculate, or he is wicked ; Banquo must be Duncan's avenger, 
 or he is a conspirator with Macbeth. To this class of critics the 
 above passage is conclusive proof that he is not a whit better than 
 Macbeth. They forget that Banquo has expressed only the " fear " 
 that he who now wears the crown is the culprit. He has sworn 
 to assail " treasonous malice," but not to act on fear or suspicion 
 alone ; it must be judicially proved. This has not been shown, 
 as we must assume : Macbeth becomes King ; and Banquo must 
 consequently declare fealty to him, which is done in the usual 
 extravagant style of courtly address. He is constrained, by the 
 custom of the court, to resort to language coloured by intensity 
 and force. For doing what was proper and exacted, he is visited by 
 critics with a severity that is blind and pitiful ; one in particular 
 lashing out in terms of savage rebuke — Flathe thus confidently pro- 
 nouncing : " Banquo can declare firm, unalterable fealty to the very 
 man whom to himself he has just accused, almost in so many words, 
 of attaining the throne by the assassination of his royal master ! 
 Such a declaration could only have been made by one whose own 
 heart is closely allied to evil. He feels obKged to invent fair 
 words to conceal his secret. The hypocrite Macbeth is served by 
 hypocrisy." 
 
 Another taste of Flathe's critical capacity I quote, as given by 
 another editor and apparently with approval : " Flathe considers 
 that Banquo is a silent accomplice in Macbeth's murderous 
 designs, believing that these must be carried out in order to ensure 
 the fulfilment of the prophecy with regard to his own posterity." 
 This is the audacity of foolishness, which is equally capable of 
 telling us that Hamlet was an accomplice with Claudius that the 
 latter might marry his mother. 
 
 e2 
 
Ixxxiv EXPLANATIONS AND RENDERINGS. [aCT III. SC. i. 
 
 " To he thus is nothing." 
 
 Act III. Sc. i. 47. 
 
 Macbeth preludes his scrutiny of Banquo's loyal character by 
 
 these lines : 
 
 To be thus is notMng, 
 But to be safely thus. 
 which I render : 
 
 To be thus is nothing 
 Without being safely thus. 
 
 ' to be thus (" high-placed ") brings no satisfaction because of the 
 suspicion I entertain of Banquo, and the consequent sense of in- 
 security I feel.' Banquo's noble reply to Macbeth on the latter 
 inviting him to share ia certain designs darkly presented to his ■ 
 ambition (II. i. 26-29), must have extinguished all hope of safety 
 and incited Macbeth to revenge. 
 
 Compare Lady Macbeth's " compunctious visitings " (III. ii. 
 
 4-7): 
 
 Nought's had, all 's spent, 
 Where our desire is got without content. 
 'Tis safer to be that which we destroy. 
 Than by destruction dwell in doubtful joy. 
 
 Abbott is not happy in his paraphrase, ' To be thus (to reign) 
 is nothing ; but to be safely thus is something.^ And Dalgleish, 
 equally unhappy, ' safely thus (were something).' 
 
 " My genius is rebuked." 
 Act III. Sc. i. 55; 
 
 Thy demon, that 's thy spirit which keeps thee, is 
 Noble, courageous, high, umuatohable. 
 Where Caesar's is not j but, near him, thy angel 
 Becomes a fear, as being o'erpowered. — Ant. amd Cleo., II. iii. 
 A writer in the Edimhwrgh Review (July 1869) points out 
 that by the words ' genius,' ' demon,' ' spirit,' in the passage in 
 " Macbeth," and the one here quoted is meant, not a presiding 
 spirit, but the higher nabure of man, the rational guiding sovl or 
 
ACT III. SC. i.] EXPLANATIONS AND EENDBBINGS. IxxXV 
 
 spirit, -which in Macbeth is one of guilty ambition ; and that by 
 ' the mortal instruments ' are signified the vital and animal spirits 
 which are the medium of sensation and motion, and the physical 
 organs of memory, imagination, and discourse. 
 
 Between the acting of a dreadful thing 
 And the first motion, all the interim Is 
 Like a phantasma, or a hideous dream : 
 The genius and the inortal instruments 
 Are then in council. — J. Ccesar, II. i. 63-67. 
 
 Thus the words, "Brutus, as you know, was Caesar's angel," 
 means that he was Csesar's very soul ; and, conversely, the ghost 
 of the dead Caesar is the evil spirit of Brutus. — RugBy Editor. 
 
 " According to the physiology and psychology of the time, the 
 soul was regarded as essentially a spiritual nature temporarily 
 united with mortal faculties and a mortal frame which it wields 
 as instruments . . \ . In medieval theology, indeed, the rational 
 soul is an angel, the lowest in the hierarchy for being clothed for 
 a. time in the perishing vesture of the body. But it is not 
 necessarily an angel of light ; it may be a good or evil genius, 
 a guardian angel or fallen spirit, a demon of light or darkness. 
 But whatever its nature, it rules, guards, keeps, and controls the 
 man, wielding the lower powers as instruments to its own issues.'' 
 
 The Cln. ed. of " J. Caesar " quotes this from above Eeview 
 and remarks, " The ' mortal instruments ' are the same as ' each 
 corporal agent ' which Macbeth bends up to the terrible feat of 
 Duncan's murder,'' upon which rendering see my remarks, p. Ixvi. 
 
 " Come, Fate, champion me.'' 
 
 Act III. So. i. 70. 
 
 come, Fate, into the list, 
 
 And champion me to the utterance I 
 
 The Cln. eds. as well as others say, that "champion me" 
 
 means " fight with me in single combat. This seems to be the only 
 
 known passage in which the verb is used in this sense." " Fate " 
 
 is not, as they say, Macbeth's enemy to be fought with ; on the 
 
Ixxxvi EXPLANATIONS AND RENDERINGS. [aCT III. SC. i. 
 
 contrary, " Fate " is invoked to become Macbeth's substitute, or 
 to side with him, in his determination to fight all (" utterance," 
 to the uttermost) who oppose him or threaten danger to his 
 usurped throne. " S ubstitute |Msjij3£_primary meanin g of " cham- 
 pion," and its ajjjjf at.inn js_therefore plain. 
 
 '' Compare "^^kT John," III. i. 118-120 : Constance reproaches 
 the Duke of Austria — 
 
 Thou Fortune's champion, that dost never fight 
 
 But when her humorous ladyship is by 
 
 To teach thee safety I 
 
 Schmidt erroneously explains, 'to challenge, to oppose in 
 combat.' 
 
 Macbeth's instructions to the Mwrderers. 
 
 Act III. So. i. 127-130. 
 
 Macbeth defers telKng them precise instructions ; he has to 
 
 await information, probably from a scout in his confidence, by 
 
 which way Banquo must return, and " within this hour " he will be 
 
 able to arrange 
 
 (a) where the ruffians should plant themselves ; 
 (6) will report to them perfect intelUffence (" spy," arising 
 out of secret observation) of the movements of Banquo 
 and his- son (" o' the time ") ; and 
 (c) the moment when the deed can be committed, for it must 
 
 be done to-night. 
 My collected illustrations of time used for persons (p. Ixii.), 
 make it clear that the word is so used here ; and a marked confir- 
 mation of this may be instanced in Shakespeare's treatment of the 
 sentence in Holinshed's chronicle, " that no man shall be aware 
 thereof," the equivalent of which in the play is, " the time you 
 may so hoodwink" (IV. iii. 72), i.e. 'the people you may so easily 
 cajole.' 
 
 See the parallel use of on't — " the moment on't," i.e. the deed 
 (to be committed) — " Look on't (the deed) again I dare not " 
 (II. ii. 52). And as parallel to (6), see " Winter's Tale," IV. i. : 
 
ACT III. SC. i.J EXPLANATIONS AND RENDERINGS, Ixxxvii 
 
 Polixenes has arranged to discover the movements of his son 
 Florizel, and thus he informs Camillo : " I have eyes under my 
 service which look upon his removedness, from whom I have this 
 intelligence." 
 
 The individual who is to be consulted is probably the " Third 
 Murderer," alias the Attendant, who is of course primed with all 
 the details of the project, as afterwards shown to the full satis- 
 faction of the second in the conspiracy; The familiarity of this 
 man with the custom of visitors to the palace (iii. 12-14), enables 
 us to conclude that he was a dependant of Macbeth's. 
 
 The commentators are much perplexed over this passage, 
 offering different meanings, and some even suggest the doing vio- 
 lence to the perfectly sound text in the hope of forcing a meaning 
 of some sort out of or into it. Their difficulty has its source in 
 confounding " time " and " moment " ; in their not seeing that 
 " time," as I point out above, is the equivalent of persons. It 
 follows, that in confusing and amalgamating these two words, 
 superficially alike but entirely different in their meaning here, 
 they cannot account in their way of interpretation for line (b), 
 
 Acquaint you with the perfect spy o' t?ie time, 
 so they virtually extinguish it. 
 
 Dalgleish speaks of perplexity, then professes to explain it. 
 This is his comment : " The perfect spy o' the time. This some- 
 what perplexing expression seems to be sufficiently explained by 
 the appositional phrase, ' the moment on't.' The meaning, then, 
 is, that he will give them minute information, first as to the place, 
 and second as to the time when the deed is to be performed." It 
 " seems," he says, to explain itself, which he attempts to' show by 
 confounding time with moment, and then concludes by accounting 
 for (a) and (c) but not for (6). 
 
 The Cln. eds. deal with the alleged difficulty, but leave it un- 
 solved ; they suspect the genuineness of the text, and suggest a 
 strange and very bold change. They say, " If the text be right, 
 it may bear one of two meanings : 1st, I will acquaint you with 
 the most accurate observation of the time, i.e., with the result of 
 
Ixxxviii EXPLANATIONS AND RENDERINGS. [aCT III. SC. i. 
 
 the most accurate observation ; or 2ndly, ' the spy of the time ' 
 may mean the man who in the beginning of Sc. iii. joins them by 
 Macbeth's orders, and ' delivers their offices.' But we have no 
 examples of the use of the word ' spy ' in the former sense, and 
 according to the second interpretation we should rather expect 
 ' a perfect spy ' than ' the perfect spy,' and so indeed Johnson 
 conjectured we should read. ' The perf ect'st spy ' might also 
 be suggested, or possibly 'the perf ect'st eye,' a bold metaphor, 
 iaot alien from Shakespeare's manner." The metaphor is alto- 
 gether alien here, and any change of the text would corrupt it. 
 They think " spy " " may mean " the third Murderer ; not a 
 suspicion have they that Banquo is to be found in " time," and in 
 " ®Py " intelligence of him. 
 
 They state further, that " Mr. Collier's MS. Corrector adopts 
 Johnson's conjecture, but with a different punctuation, thus : 
 ' Acquaint you, with a perfect spy, o' the time,' 
 
 that is, ' I will acquaint you with the time by means of a perfect 
 spy,' viz. the third Murderer." Anything more preposterous than 
 this suggestion of the " Corrector " and of Johnson could hardly 
 be paralleled. The above editors supply us with more useless 
 suggestions on the part of others : " ' spy,' Mr. Bailey proposes 
 ' span.' Steevens takes ' acquaint you ' as the imperative, ' ac- 
 quaint yourselves.' " So also Knight, ' " Acquaint you," inform 
 yourselves, " with the perfect spy," with a most careful inquiry, 
 " o' the time," the expected time of Banquo's return.' Like other 
 critics, he confuses time with moment, and so he says nothing 
 about (c), which he regards as a mere elaboration of (b). 
 
 Schigpidt betrays the same confusion, and explains, 'that 
 which will precede the time of the deed, and indicate that it is at 
 hand.' Rolfe is also astray, 'the precise time when you may 
 look for him.' 
 
ACT. III. SC. ii.J KXPLANATIONS AND RENDERINGS. Ixxxix 
 
 "Must lave owr honours." 
 
 Act in. Sc. ii. 32-34. 
 
 unsafe the wMle that we 
 Must lave our honours iu these flattering streams, 
 
 The meaning is, ' we are, nevertheless, in danger from him 
 to whom we feel forced to show these honours, burying our own 
 in so doing.' The sense of " lave " is here submerged, which gives 
 a transparent meaning to the passage, and it has also the merit 
 of corresponding to the action expressed in the next line, viz. 
 that of ' our hearts being buried or hidden by our visors.' 
 
 The rendering of the Cln. eds. (as well as of others) is wide 
 from the true meaning; they say "must lave our honours " means, 
 ' must keep our royal dignities unsullied by flattering Banquo and 
 those who are formidable to us.' Quite the contrary : Macbeth 
 complains that while he is so unsafe, so straitened by appre- 
 hension of the royalty of Banquo's nature, in,stead of flatteries 
 being addressed to himself as King, he is compelled to degrade or 
 submerge his own dignities (" honours") by flattering and showing 
 abject attention to a subject whom he fears. 
 
 Moberly is very confused in the meaning he presents, and 
 indeed misrepresents it ; he says, ' Take care to do all honour to 
 Banquo ; though our royalty wiU never be safe so long as it is 
 necessary to keep our honours bright by steeping them in flattery.' ' 
 It is assuredly not flattery that endangers Macbeth's royalty ; 
 the danger he is conscious of, springs from his knowledge of 
 Banquo's clear and incorruptible character. Schmidt is also 
 astray : " Metaphorically — keep our honours clean and free from 
 attempt by thus flattering others." 
 
 " Natv/re's copy 's not eterne.'' 
 
 Act III. Sc. iL 38. 
 Maobetli. Thou know'st that Banquo and his Fleance lives. 
 L. Macbeth. But in them nature's copy 's not eteme. 
 
 Macbeth says ' they live,' and the reply is, ' but their life is 
 mortal.' Fletcher sensibly remarks, " The natural and unstrained 
 
XC EXPLANATIONS AND KENDERINGS. [aCT III, SO. iii. 
 
 meaning of the words is, at most, nothing more than this, that 
 Banquo and his son are not immortal. It is not she but her 
 husband who draws a practical inference from this harmless pro- 
 position." It is Macbeth who realizes keenly the imminent 
 danger that threatens from Banquo's " loyalty of nature." 
 
 Schmidt says it means ' copyhold tenure ' ; and the Rugby 
 editor suggests curiously, that the phrase " seems to mean ' the 
 stamp of life.' " Both suggestions are untenable. 
 
 The Cln. eds. say,- " Nature is here compared to a lord of the 
 manor under whom men hold their lives by copyhold tenure," a 
 comparison that is quite out of place, and which must be dis- 
 missed. The xAe&oi parent and offspring is conveyed ia "nature's 
 copy " ; i.e. simply ' nature's production.' See Sonnet xi. : 
 Thou shouldst print more, nor let that copy die. 
 
 that is, 'thou shouldst not die childless.' See also "Twelfth 
 Night," I. V. 261 : 
 
 Lady, you are the cruell'st she alive 
 
 If you will lead these [your] graces to the grave, 
 
 And leave the world no copy [offspring] . 
 
 See II. iv. 27, " 'Gainst nature stUl," i.e. natural relationship. 
 The Ghost ia " Hamlet " also says, " If thou hast nature in 
 .thee, bear it not," i.e. feelings arising from natural relationship. 
 The truly " harmless proposition " is meant only to convey, that 
 Banquo will in course of nature die, so will Fleance. 
 
 Leontes says (" A Winter's Tale," I. ii. 122), " They say it's a 
 copy out of mine," i.e. ' the general belief is, that thou art my son.' 
 
 " His horses go about." 
 Act III. Sc. iii. 11. 
 Mistaken explanations of "go. about" are given ia some 
 editions, in others no explanation. It means, 'go to the edge 
 or boundcury ' (Fr. h bout) ; from whence (the gate) it is almost a 
 mile to the castle, which distance visitors usually walk. See the 
 " Faery Queene," Canto I., Stanza 11 : 
 
ACT III. SC. iv.J EXPLANATIONS AND RENDERINGS. Xci 
 
 That path they take, that beaten seem'd most bare, 
 And like to lead the labyrinth about ; 
 Which when by tract they hunted had throughout. 
 At length it brought them to a hollow cave. 
 
 Schmidt wrongly explains, ' by a circuitous way.'. 
 
 See " Much Ado," IV. ii. 22 : Dogberry says, " I will go 
 about with him," i.e. leave questioning Conrade, to begin with 
 Borachio : he has got to the hov/ndary of questioning the former. 
 
 " 'Tis better thee without them he within." 
 
 Act III. Sc. iv. 14. 
 
 A peculiarly rigid and unhappy rendering is given to this 
 line by the commentators. Sanguinary as Macbeth's natiu'e is, 
 Shakespeare never meant him to say what is puerile, and repug- 
 nant too, as we are told he does by these explanations : 
 
 " without," ' out of, on the outside of him * ; " within," ' in the inner part ' 
 
 ' it [the blood] is better outside thee than inside him' (^Cln. eds.') ; 
 ' 'tis better that the blood should be on thy face than in his body ' (Bolfe) 
 ' it is better that his blood were on thy face than he in this room ' {Johnson) 
 ' the blood is better outside you, than he is in here ' {DalgleisK). 
 
 The Clarendon authorities insist that theirs " must be the 
 meaning, in spite of the defective grammar, or there could be no 
 point in the antithesis." There is no defective grammar, for it is 
 impossible to treat " he within " as equivalent to ' within him ' : 
 the former words express precisely the situation, and the anti- 
 thesis is clear. Such insistence over so repulsive a rendering as 
 they supply is surprising. 
 
 The third authority is not, after all, sure of his meaning, for 
 he says it may mean that which Johnson gives, " ' it is better 
 that his blood were on thy face than he in this room.' If we 
 accept the first explanation, then," &c. It is amazing that 
 he did not see that both were too absurd for Shakespeare to 
 intend. 
 
XCii EXPLANATIONS AND RENDERINGS. [aCT III. SC. iv. 
 
 The dramatic situation and deep significance of the line con- 
 sist in Macbeth congratulating himself that Banquo is not within, 
 associating it with a sort of ardent recognition of the Murderer, 
 while in the next instant the Ghost will appear within and outface 
 its much-satisfied vanquisher : Macbeth's jaunty antithesis is 
 about to recoil upon himself as one who had " taught bloody in- 
 structions," for the presence of the Ghost fairly crushes him: 
 The spirit of his remark then is, "Tis better to welcome thee 
 than Banquo ; ' or literally, ' Better thee here than Banquo 
 within.' 
 
 To fasten upon line 14 any connection whatever with 
 "blood" in line 12 is the source of all the diflElculty by the 
 editors ; it destroys, tpo, the dramatic integrity of the passage, 
 for the direct course of the colloquy runs thus : 
 
 Miirderer. 'Tis Banquo's then. 13 
 
 Macbeth. Is he despatch'd ? 15 
 
 a pointed question which is instantly evoked on hearing the 
 Murderer's explanation. Line 14 has no relation to this colloquy. 
 Its apparent awkwardness in being interposed here arises from 
 the design of the poet to make Macbeth give a kind of welcome 
 to the Murderer, but that is forestalled at the first moment of the 
 interview by the sudden impulse to remark upon the sight of 
 blood. Line 14 may be an Aside, as Hunter suggests, but that 
 would not affect my explanation. 
 
 The origin of the misrendering is to be explained by the 
 apparent connection of '"Tis" (13) with its repetition in the 
 line following, whereas there is no dependence of the latter upon 
 the former, as I have shown. This will be still further understood 
 by what Abbott says on the use of " It ": " Sometimes it is used 
 indefinitely, as the object of a verb, without referring to any- 
 thing previously mentioned, and seems to indicate a pre-existing 
 object in the mind of the person spoken of." What, then, 
 Macbeth has in his mind, represented by 'It is,' were it fully 
 expressed, is this, ' Better (for my purpose and comfort) to have 
 dealings with thee here, than to have the presence of Banquo at 
 this feast.' 
 
ACT III. SC. iv.] EXPLANATIONS AND RENDEEINaS. xciii 
 
 By " crossing speeches an extremely natural and therefore 
 extremely dramatic effect is produced " (Cowden Clarke) ; an 
 instance of silch crossing is here, observation of which relieves the 
 passage of the difficulty that has been generally experienced in 
 understanding it. 
 
 A simple instance and exact parallel to this " crossing " is the 
 following — " A Midsummer-Night's Dream," II. ii. 236-7 : 
 Re-enter PtrcK. 
 Oberon. Hast thou the flower there 1 Welcome, wanderer. 
 FucTt. Ay, there it is. 
 
 Impatience to learn whether the flower had been brought over- 
 comes the due order of address, which would have been " Welcome, 
 wanderer. Hast thou," ifec, to which question the answer is, of 
 course, directed. 
 
 Dalgleish remarks, " The reading in the text, as interpreted 
 above [by himself, ' the hlood is better,' &c.], is not more charac- 
 teristic of Shakespeare in the delicacy of the expression than it is 
 of Macbeth in the cruel and heartless playfulness of the thought." 
 Rather is it repugnariA, as there is no aUusion in the text to what 
 is sanguinary; it follows that there is no "characteristic" of 
 Shakespeare in Dalgleish's interpretation, and the other editors 
 share also in his failure. Shakespeare's " delicacy " is hardly 
 traceable, but his manner is finely set forth, as Macbeth ex- 
 presses himself, ' Better thee here than Banquo within.' There 
 is no " playfulness " apparent, but the " heartlessness " is mani. 
 fest. 
 
 The pleasantry may fairly be extended, for Dalgleish, himself 
 mistaken, says of the explanation given by the Cln. eds., " We do 
 not believe Shakespeare intended to say anything so vulgar or 
 prosaic." 
 
 " Tou make me strange." 
 Act hi. Sc. iv. 112. 
 ' You make me to appear as distant (" strange "), showing dis- 
 tance of behaviour, remoteness from common manners, even =; 
 
Xciv -EXPLANATIONS AND EENDERINGS. [ACT III. SC. IV.' 
 
 the opposite of the temperament (" disposition ") I know I possess 
 (" owe ") — i.e. courage in the presence of dangers or terrors — 
 when I see you unmoved by sueh sights and I overcome with 
 fear of them.' I submit this as the meaning ; that of the Chi. 
 eds. is as follows, ' You make me a stranger even to my own 
 feelings, unable to comprehend the motive of my fear ' : hiit 
 Macbeth surely does comprehend the motive of his fear, and re- 
 fers to it in precise terms. These editors say of " disposition," 
 that " Shakespeare uses it in the sense of temporary mood, and in 
 this latter sense we think it is used here " : I take Macbeth as 
 referring to a solid, permanent element of character which he 
 knows that he possesses, not as a temporary incident. In Mas- 
 singer's " Bondman " we have an illustration, " He's a man of 
 strange and reserv'd parts : " strange = distant ; and " Mer. of 
 Venice," I. i. 67, " You grow exceeding strange," distant, because 
 those Bassanio is addressing are withdrawing without apparent 
 reason. 
 
 Schmidt explains, ' you make me not to know myself, not to 
 know whether I am a brave man or a coward ' : on the contrary, 
 he knows that he is a brave man and not a coward — this he 
 declares. Delius says, ' you make me surprised even at my own 
 disposition' — this is what he is not surprised at. The Rugby 
 editor strangely suggests, " it might be, ' even at the firmness of 
 my own wife, which I ought to know.' " 
 
 " My strange and self abuse " (line 142). 
 
 Macbeth here again refers to the strangeness that he should 
 feel any fear, for he is conscious that he has never known what 
 it is to play the coward. Rigid literalness has landed the Rugby 
 editor into this misinterpretation, ' my strange misuse of myself.' 
 The Cln. eds. treat " abuse " as ' delusion of self.' Schmidt, 
 'my abuse of self is strange.' See II. i. 50, "and wicked dreams 
 abuse " (delude) the sleeper. 
 
 Macbeth tries to account for what seems to him well-nigh 
 unaccountable, so that he concludes some tyranny exercises its 
 power over him to make him appear a coward — a tyranny which 
 
ACT III. SC. iv.] EXPLANATIONS AND RENDERINGS. XCV 
 
 comes, he thinks, from "fear" arising from new experience in 
 crime, not cowardliness in the presence of danger. I explain, 
 then, the line thus, ' the tyranny which oppresses me is unac- 
 countable.' For use of "and," see V. viii. 78, "by self and 
 violent hands '' — ^by violent hands on myself; and I. vii. 78, " our 
 griefs and clamour "- — our clamorous griefs. 
 
 Macbeth's allusion may be deeper, put in this form : 
 
 Tou make me now to think that I am crazed (diseased), 
 Even contrary to the healthy state that I am in possession of. 
 When you can behold such sights, 
 
 Lady Macbeth's speech seems to confirm this explanatjion : "he 
 grows worse and worse ; question enrages him." And see IV. 
 iii. 150, " Strangely- visited people." 
 
 " If trernbling I inhabit then.'' 
 Act III. Sc. iv. 105. 
 
 The Cln. eds. say, " There are few passages of our author which 
 have given rise to so much discussion as this,'' and the substitutes 
 for " inhabit " which have been suggested by various editors, they 
 reproduce — inhibit, exhibit, inherit, unhnight, inhibit thee ; they 
 then ofiFer a suggestion of their own, " retaining ' inhabit,' a more 
 satisfactory sense would be made by substituting here for ' then,' an 
 easy change.'' All are easy changes, but unjustifiable, the sense 
 being plain and good ; and this also seems to be the conclusion of 
 these editors, who say, " It is possible after all that the reading of 
 the first Folio may be right, and ' inhabit ' be used in the sense of 
 keep at home, abide vmder a roof : this is Home Tooke's interpre- 
 tation." What " more satisfactory sense " is demanded ? 
 
 Schmidt explains, ' to take as a habit (whether a custom or a 
 costume), to do on ' — he adds, " a passage much controverted and 
 corrected." 
 
 Dalgleish says, " I explain it, ' If I wear trembling as a habit, 
 dress, or covering,' " and adds, " all the commentators are more or 
 less perplexed by this passage, none of their alterations seems to 
 give so good a meaning as this." 
 
XCvi EXPLANATIONS AND RENDERINGS. [ACT III. SO. iv. 
 
 The Rugby editor, while adopting the clearest meaning, ■ If I 
 keep house, shrink under shelter,' yet says, " but the emendation 
 ' inhibit ' is to be preferred." Bolfe is plainly confounded by the 
 clamour raised, for after noticing "the most plausible of the 
 many readings proposed," he is unable to do more than despair- 
 ingly conclude, " but on the whole we prefer to keep to the Folio,'' 
 herein following the lead of the Gin. eds. 
 
 If these gentlemen had remembered but one line in another 
 play, their trouble and perplexity might never have arisen. In 
 " K. Richard II.," IV. i. 74, there is a corresponding thought 
 precisely illustrating this passage : 
 
 If I dare live, 
 I dare meet Surrey m a milderness, 
 
 that is, ' where no cowardly shelter could I seek.' So Macbeth, in 
 a daring mood says, ' Approach as a wild beast, or come in 
 corporeal form, and challenge me ; and if I then show fear by 
 shutting myself up as in my dwelling, then denounce me.' 
 See " The Faery Queene," Canto I. 33, 1. 7, 
 
 " Therefore with me ye may take up your im, (lodging) 
 For this same night," 
 
 The thought forcibly suggests itself here, that sleep is the 
 latent meaning of lodge = " inhabit," so quiescent. Our vagrant 
 law treats as a misdemeanour " lodging in the open air," i.e. 
 sleeping. A popular song in past days commenced, " My lodging 
 is on the cold ground," i.e. my sleep is taken in the open air. 
 
 In the face of what appears a perfectly clear rendering, I 
 present another, simply for consideration : ' If then I fear, ex- 
 hibited in the trembling of my person = habitation, protest me.' 
 This is not so strained as at first sight might appear ; for Shylock 
 used " habitation " for body : " to eat of the habitation," i.e. the 
 swine into which the devils were conjured. 
 
ACT III. SO. iv.] EXPLANATIONS AND RENDERINGS. XCvii: 
 
 " Augurs and understood relations." 
 
 Act III. Sc. iv. 124-126. 
 
 Augurs and understood relations have, 124 
 
 By maggot-pies and choughs and rooks, brought forth 
 The seoret'st man of blood. 
 
 Johnson tells us that " understood relations " means " the 
 connection of effects with causes ; to understand relations as an 
 augur, is to know how those things relate to each other which 
 have no visible combination or dependence." The Rugby editor's 
 rendering is, ' Augurs hy the help of understood relations between 
 omens and events — a hendiadys.' The passage has given trouble 
 to all the commentators, some trying to force a meaning by doing 
 great violence to the text. Johnson and Warburton changed it 
 to ' Augurs that understand,' aiid Rowe to ' Augurs that under- 
 stood.' Delius says the meaning is, 'the J-elations understood hy 
 Augurs ; ' Schmidt, ' to perceive the meaning of, to. comprehend.' 
 
 It will be seen by the arbitrary changes made by these ^ 
 commentators, that " and " is their difiSculty. If we remembered 
 that Shakespeare sometimes uses and ^ with, the difficulty would 
 disappear. See the following instances : 
 
 much more, and ( = mUK) much more cause, 
 Did they this Harry. K. Semry V., Prologue V. 34. 
 
 There she shook 
 The holy water from her heavenly eyes, 
 And ( = mi/i) clamour moistened. Lear, IV. iii. 29. 
 
 Pleasure and ( = mitK) action (exertion) make the hours seem short. 
 
 Othello, II. iii. 
 
 But difficulty is likewise experienced in rendering "under- 
 stood," making it to mean ' understand,' some so changing it. A 
 right solution is in Milton's use of the word in " Par. Lost," 
 
 I. 662 : 
 
 War, 
 Open or underttbod ( = secret), must be resolved. 
 
 The rendering then is, ' Augurs, with secret relations ' througB 
 
 f 
 
XCviii EXPLANATIONS AND RENDERINGS. [ACT III. SC. V. 
 
 the creatures named, ' have brought forth,' &c. ; this also is the 
 true construotiou — more clearly shown thus : 
 
 Augurs have, mith secret relations 
 
 Through maggot-pies and choughs and roo^, brought forth 
 
 The seoret'st man of blood. 
 
 The Rev. C. Herle, in a sermon before the House of Commons 
 on Nov. 30, 1642, refers to the function of an augur in similar 
 terms to the above. He relates the historical incident of " that 
 Roman Captaine, hindred on a march by the Augurs trifling stay 
 to divine of their successe by a bird that sate by the way, who took 
 a bow and kil'd the bird, saying how should this silly bird reads 
 us our fortune when she could not fore tell her owne ? and so 
 march'd on, prospering ne'r a whit the lesse.'' 
 
 " Loves for his own ends." 
 Act III. Sc. v. 13. 
 
 The Cln. eds., in their Preface, p. x., remark on this line, 
 " but [elsewhere] in the play there is no hint of his pretending 
 love to the witches ; on the contrary, he does not disguise his 
 hatred. ' You secret, black, and midnight hags ! ' he calls them." 
 There is a misconception here; Macbeth has come "To trade and 
 traffic " with the Witches, he ^letenAs friendship (" loves ") with 
 them to fulfil his own ends. Macbeth, under similar circum- 
 stances, addressing the murderers whom he is hiring, says, " I to 
 your assistance do make love," i.e. ' I resort to you as friends.' 
 In " Julius Csesar," II. ii. 102, " love " is used for cmaAety—" for 
 my dear dear love ; " so the element of anxiety may be implied 
 in the above use of the word. See also "Hamlet," V. ii. 56, 
 " Why, man, they did make love to this employment," that is, 
 ' they zealously engaged themselves in this business.' 
 
 Alterations have been suggested in the text, but none are 
 necessary. 
 
 Schmidt strangely regards it as an " unintelligible passage : 
 perhaps looks for loves." 
 
ACT III. SC. vi.] EXPLAKATIONS AND RENDERINGS. xcix 
 
 " Wlho \You?'\ cannot want the thought." 
 Act III. Sc. vi. 7, 8. 
 
 Men mast not walk too late 1 
 TVho cannot want the thonght, how monstrous 
 It was for Malcohn and for Donalbain 
 To kill their gracious father ? 
 
 Much controverted is this passage, but apparently vdthout 
 any satisfactory conclusion being attained by the commentators 
 themselves. The Rugby editor, however, must be excepted, who 
 says, " The explanation of this much- vexed passage appears 
 simple and adequate, and only requires the removal of the stop 
 at ' too late ' and of the note of interrogation after ' father,' the 
 insertion of which has obscured the sense." This surely is not 
 adequate, and the elision of the fuU stop would do gross violence 
 to the sense, for line 7 is plainly complete in itself, in its irony. 
 See the real connection in the context : 
 
 And the right-valiant Banqno walk'd too late : 
 men must not walk too late I 
 
 The Cln. editors say, " The sentence, if analysed, expresses exactly 
 the converse of that which is its obvious meaning. This con- 
 struction arises from a confusion of thought common enough 
 when a negative is expressed or implied, and is so frequent as to 
 be almost sanctioned by usage. It would be easy to find in- 
 stances in all English writers of Shakespeare's time." The con- 
 verse, then, and which, these editors say, is its obvious meaning, 
 is, ' who can help thinking.' Keightley disposes of the difficulty 
 by substituting We for Who, and he is near its solution. 
 
 Who is undoubtedly a corruption for Tow ; the words have a 
 similar sound, and from this cause corruptions not a few have 
 found their way into the plays. See last for cast, p. xlviii. Thus 
 the difficulty disappears. Observe, in support, how direct Lennox 
 is : "I have but hit your thought " : " you may say, if 't please 
 you.'' 
 
 f 2 
 
EXPLANATIONS AND RENDERINGS. [!ACT IV. SO. ii 
 
 ". TiTne " used for Mankind. 
 Act IV. Sc. i. 100. 
 Shall live the lease of nature, pay his breath 
 To time and mortal custom. 
 
 i.e. ' Shall live the natural term of his life, then deliver up 
 Ms breath " to," according to, the destiny of mankind {"time") 
 and the custom, natural end, of our mortality.' See p. Ixii. for 
 time used as person ; also p. Ivii. 
 
 " Two-fold halls and treble sceptres ca/rry.'' 
 "Act IV. Sc. i. 121. 
 
 The Cln. eds. explain, " The ' two-fold balls ' probably refer to 
 the double coronation of James, at Scone and at Westminster. 
 The three sceptres of course symbolise the three kingdoms, Eng- 
 land, Scotland, and Ireland." So the Rugby and other editors, 
 general acceptance being given to this explanation. But it seems 
 open to question, or it requires some change in its terms, for 
 King James was proclaimed at Whitehall as " King of England, 
 France, and Ireland," and it was not until sometime afterwards 
 that he assumed the title of " King of Great Britain." The two- 
 fold balls do not so fitly symbolise the double coronation, as the 
 two territories of France and of Great Britain with Ireland. 
 The three sceptres symbolise more aptly the countries mentioned, 
 as seen in the legal formtila just given. If it be objected that the 
 rule of the English over France ended 170 years before, and that 
 the official declaration was not true in fact, that would not afiect 
 the use of this formula for the purpose of the dramatist. 
 
 " You must have patience, madam — ■" 
 Act IV. Sc. ii. 2, 
 
 Lady Macduff here angrily interrupts Ross (as I understand 
 and so punctuate it) in the exculpation — on the plea of sagacity 
 or probable expediency — which he was advancing on behalf of 
 
ACT IV. SC. ii.] EXPLANATIONS AND RENDERINGS. ci 
 
 Macduflf and to soften her harsh judgment of him ; and again 
 she abruptly interposes with a passionate denunciation of him : 
 
 Ross. You know not 
 Whether it was his wisdom or his fear 
 
 L. Mac. Wisdom I 
 
 Having exhausted a terrible invective, Ross tenderly appeals 
 to her (14, 15), resuming, observe, what he was about to say 
 when he was interrupted : " but for your husband " — ' but now 
 let me say as regards your husband, have patience, for he is noble, 
 wise, judicious, and best knows how to act in the capricious and 
 dangerous condition of the season.' Schmidt explains " season " 
 as ' time generally ; ' but doubtless it has a specific reference, used 
 for person, that is, Macbeth. 
 
 " I da/re not speak much further." 
 " An^, do not know ov/rselves " to he traitors. 
 Act IV. Sc. ii. 17. 
 ' " I dare not speak much further," without appearing to lack 
 sympathy with you. Then Koss goes on to give sorrowful ex- 
 pression to the misconstruction put upon Macduff's departure 
 by his wife. He laments ' that cruel are the times when any 
 one of proved attachment and integrity ("noble, wise ") can be 
 regarded by her as a traitor to those most precious to him, and 
 ■= yet do not know ourselves justly to be open to such an im- 
 peachment ; when we devise or frame ' rumour (unfownded belief) ^ 
 out of our fear (as holding that Macduff has fled to secure his 
 own safety, and that he loves us not, 1. 12), yet have no just 
 foundation for our fear, but yield to a wild and violent impulse, 
 and no right conclusion come to.' See " K. John," IV. ii. 146, 
 " Not knowing what they fear, but full of fear." 
 
 ' " holA," frame, set v^: so in " Par. Lost," V. 395, •• A while discourse 
 they hold," they frame, set up. 
 
 ' " rumour," without any known authority to prove the truth of what 
 is credited : so unfounded. 
 
cii EXPLANATIONS AND RENDERINGS. [ACT IV. SC. ii. 
 
 Eoss is keenly affected at Lady Macduff's impeachment of 
 her husband, who is set forth in the light of a traitor to her : the 
 deep-felt reflections of Ross have sole reference to the family — 
 the cruelty of the times has found its way into that sacred 
 enclosure ; his allusions are not, therefore, to be taken as de- 
 scribing troublous conditions outside, as the passage is always 
 rendered — Gervinus mistakenly remarking (p. 608), " Shakespeare 
 inspires us with little sympathy for the mother, who considers 
 ^acduff as a traitor to King Macbeth.'' No : the vehemence of 
 her denunciation sprung from an outraged sense of being left all 
 unprotected, apparently forsaken and abandoned heartlessly — 
 allegiance to her, as she concluded, having been shattered, not 
 any worthless tie of allegiance to a discredited King. 
 
 It seems strange that no communication was made to Lady 
 Macduff that her husband had gone to the English Court on an 
 imperative mission, an intimation which would have rendered 
 her some comfort probably. 
 
 The passage here treated, embracing lines 17 to 22, seems 
 to have the character of an Asidei 
 
 Misunderstanding "traitors" as used by Lady Macbeth, 
 Dalgleish remarks on the sentence "do not know ourselves" 
 to be such, " because treason then included offences not usually 
 held to be treasonable, or what were no offences at all." Again 
 he is astray over the line, " when we hold rumour from what We 
 fear," that is, he says, ' when we accept or circulate rumours, 
 because we fear them to be true ' : " rumour " here is wnfounded 
 belief, springing out of our own fear. The Rugby editor also 
 erroneously treats " hold rumour," as ' gather reports.' 
 
 The Cln. eds. are also perplexed over the phrase " hold rumour." 
 They say, " It is uncertain whether this very difficult expression 
 means ' when we interpret rumour in accordance with our fear,' 
 or ' when our reputation is derived from actions which our fear 
 dictates.' " The perplexity they express well-nigh finds its solution 
 in their second meaning ; yet they regard the phrase as a " very 
 difficult expression." 
 
ACT IV. SC. ii.] EXPLANATIOSa AND BENDBEINGS. ciil 
 
 " Each way we move." 
 Act IV. Sc. ii. 22. 
 In the original text, which is " Each way and move," there is 
 obviously some corruption. Rolfe has, I think, succeeded in 
 clearing it up ; he suggests, " Each way we move.'' The Oln. eds. 
 also make a good suggestion, "Each way and none " ; upon which 
 they remark, " We put it forward with some confidence ; it 
 yields, by the change of two letters only, a good and forcible 
 sense — ' we are floating in every direction upon a violent sea of 
 uncertainty, and yet make no way.' " Professor Morley shifts 
 " and," printing the words thus : " And each way move," which 
 hardly lends any solution. The first-named emendation I have 
 adopted. Compare " Ant. and Cleopatra," III. ii. : 
 
 the awan's down feather, 
 That stands upon the swell at full tide, 
 And neither way inclines. 
 
 The following letter of Carlyle's will hardly be considered out 
 of place here, and has an interest of its own. It is dated Oct. 
 29, 1836 ; "Messrs. the Annoyances, do, if you please, make 
 out the result among yourselves ; my rib's, with Heaven's help, 
 will not yield, and I shall cheerfully be ready to move whichever 
 way the cwrrent goes." 
 
 " Was my father a traitor, mother ? " 
 Act IV. So. ii. 44. 
 To this question from the child. Lady Macduflf harshly replies, 
 "Ay, that he was." This possesses significance, not that Macduff' 
 was a traitor to Macbeth, but a traitor to her as his wife and to 
 his son. " He loves us not ; " ' your father 's dead to us' ; and in 
 her next reply (1. 46) there is a covert reference to his conduct — 
 ' one that swears to protect and falsifies that vow.' Schmidt has 
 'overlooked this application. The treachery, such as she mis- 
 takenly conceived, by the fiight of her husband, came home to her 
 with deepest poignancy, and touched her much more keenly than 
 his pronounced disloyalty to Macbeth. 
 
Xiiv .EXPLANATIONS AND RENDERINGS. [ACT IV, SC. ii, 
 
 " I am perfect." 
 
 Act IV. Sc. ii. 65. 
 
 Messenger. Bless you, fair dame I I am not to you known, 
 Though in your state of honour I am perfect. 
 
 The right rendering is, ' Though I am a stranger to you, I am 
 loyal to your honour — I have no gvMty design.' The Cln. eds. say 
 it means, ' Though I am well acquainted with your rank and 
 condition;' the Rugby editor, ' thoroughly acquainted with your 
 rank and name ' ; and Dal., ' You do not know me, but I am 
 fully aware of your rank.' Nothing of the slightest consequence 
 to Lady Macduff would such a remark convey to her ; it has 
 absolutely no meaning in her circumstances. But a stranger 
 bursting rudely and breathlessly into her presence had need to give 
 prompt assurance of his honorable and upright purpose to secure a 
 hearing, and this he did as I point out. See " Cymbeline," IV. ii. 
 130, " I am perfect," i.e, 'I have acted honorably' ; "M. for M.," 
 V. i. 80, " pray Heaven you then be jierfect," i.e. viithovA guilt. 
 The illustrations quoted by the Cln. eds. have no application 
 here. 
 
 Schmidt explains, ' not deficient, acting up to one's part.' 
 The nonsense which has been accepted as the Messenger's 
 address to the lady may be further seen in that which Rolfe gives: 
 'I am perfectly acquainted with your noble rank and character;' 
 following which, he quotes without remark, and so with seeming 
 approval, a rendering of Clarke's, which is as puerile as it is irre- 
 levant : "The- man sees her in her own castle, and knows her to 
 be its lady mistress ; but he also seems to know that she is a 
 virtuous, kind, good lady, as weU as a noble lady, and therefore 
 comes to warn her of approaching danger." (1) A lady of high 
 rank, living in a castle, is seen there and so is recognised ; as 
 though she had been a recluse, when she could not but have been 
 well known ! (2) It is the stranger who claims for himself, not 
 attributes to the lady, the moral qualities of being " virtuous, 
 kind, good," that she may not be affrighted, and may repose belief 
 in his honour and his message. 
 
ACT IV. SC. iii.] EXPLANATIONS AND RENDERINGS. CV 
 
 The inverted construction, ' Though I am,' see for illustration 
 " Mer. of v.," II. ix. 25, 26 : 
 
 that many may be meant 
 By the fool multitude, 
 
 i.e. " By that many may be meant the fool multitude." 
 
 " Find the time to friend." 
 Act IV. Sc. iii. 10. 
 As I shall find the time to friend. 
 i.e. 'as I shall find the people friendly' = willing to accept me 
 in supercession of the present tyrant. From not seeing that 
 " time " is here people, a tame and quite inadequate meaning has 
 been hitherto accepted : "to friend " being generally explained 
 as meaning simply to befriend the people. 
 
 Schmidt treats " time " here mistakenly, as ' the present state 
 of things, circumstances.' 
 
 A Corruption. 
 
 I suspect that "As" is a corruption for An = if: the meanr 
 ing would then be, and that which seems demanded, ' and what I 
 can redress I wUl, i/'the people place me in power.' See 1. 42. 
 
 See p. Ixii. for instances of " time " for persons. 
 
 " You may discerne of him through me ; and vnsdom,." 
 Act IV. Sc. iii. 15. 
 
 " but something 
 You may Mieeriie of him through me ; and ( = therefore) wisdom 
 To offer np a weak, poor innocent lamb, 
 
 Theobald substituted deserve for discerne of the Folios, which 
 has been generally adopted, and is confidently pronounced by the 
 Cln. eds. as a " certain emendation." For a reconsideration of 
 this decision I would plead, and urge that discerne recommends 
 itself with weight and appropriateness ; it is equivalent to antici- 
 
Cvi EXPLANATIONS AND RENDERINGS. [aCT IV. SC. iii. 
 
 pate : thus Malcolm charges Macduff with discerning opjportwnity 
 for gaining some advantage from Macbeth " through me," i.e. if 
 he can induce Malcolm to return to Scotland and so be entrapped 
 into the usurper's hands. The original word besides does not 
 convey, as does the substituted one, the grossness of a direct 
 assumption of a bargain already made between Macduff and 
 Macbeth, which is a consideration of some weight.' 
 
 Dalgleish and others confidently pronounce Theobald's emen- 
 dation as " obviously correct." 
 
 And ^ therefore. 
 
 Then, as regards the hext clause, the above editors say, that 
 " there is certainly some [further] corruption of the text here ; 
 perhaps a whole line has dropped out." This assumption has no 
 warrant whatever. See previous Scene, line 31, "And =; therefore 
 what will you do now ? " So here, " and = therefore wisdom," which 
 reveals the plain meaning, and discovers that there is not a shred 
 of difficulty in the text. How this oversight has affected other 
 commentators also, the following disastrous suggestions exhibit : 
 Hanmer read 'tis for and ; Steeviens proposed ' and wisdom is it,' 
 omitting the previous words " of him " ; Staunton suggests ' and 
 wisdom bids ' ; Lettsom, ' and wisdom Would offer.' 
 
 The true reading is this, ' You may anticipate, reckon upon, 
 some advantage through entrapping me ; therefore it would be 
 your well-considered purpose (" wisdom ") — it may raise you to 
 high appointment — to make me the victim of your mercenary 
 design to gratify a revengeful King.' Lennox, in line 5 of the 
 previous Scene, uses " wisdom " in this sense. 
 
 " I have lost my hopes." 
 In further determining the above question, it is necessary to 
 consult the context. Macduff says, " I have lost my hopes " ; 
 
 ' As an apt illustration to hand of the use of discern, a public writer 
 treating of the proposed destruction of the Charterhouse buildings says, 
 " They are only safe so long as the Governors remain in their present 
 mind ; perhaps, indeed, only so long as the Governors discern a prospect of 
 finding some public use for them "-^i.e. antioipate an advantage. 
 
ACT IV. SC. iii.J EXPLANATIONS AND RENDEHINGS. cvii 
 
 they were plainly hopes of prevailing upon Malcolm to return to 
 Scotland, where all were ready to welcome him as King and to 
 depose Macbeth. Though Macduff s motives and patriotism were 
 of the purest character, Malcolm perverts the exclamation of the 
 former into the suggestion that his hopes were of a perfidious 
 nature — " doubts " meaning suspicions of a nefarious design, 
 those doubts being confirmed by ' leaving unprotected your wife 
 and child.' " Doubts " are expressed as " black scruples " {sus- 
 picions), line 116. This suggestion is more in keeping with the 
 charge that Macdufi' may discern advantage, than that a compact 
 had been made with Macbeth, which is implied in deserve. 
 
 But it may be said, that Malcolm speaks of an "imperial 
 charge." The Cln. eds. give this meaning, 'A virtuous nature 
 may give way under the weight • of a King's command ' ; and 
 Johnson, ' A good mind maky recede from goodness in the execu- 
 tion of a royal commission.' But the sentence, " may recoil in 
 an imperial charge,'' is plainly metaphorical, so that the rendering 
 of " charge " as commicmd or com,mission is incorrect. If a King 
 presents a powerful temptation to a subject to do a certain act, it 
 may properly be described as an " imperial charge.'' Turn to the 
 metaphor of the "innocent lamb, to appease an angry god" ; 
 there is no implication here of a commission, but of a temptation 
 through discerning that he may derive some profit in perfidy. 
 
 " SumTner-seeming.'' 
 Act IV, Sc. iii. 84. 
 
 This avarice 
 Sticks deeper, grows with more pemioions root 
 Than summer-seeming lust, and it hath been 
 The sword of our slain kings. 
 
 Suggestions have been made to alter " summer-seeming," but 
 without justification or necessity. The Cln. eds. remark: " 'Ava- 
 rice' is compared to a plant which strikes its roots deep and lasts 
 through every season ; ' lust ' to an annual which flourishes in 
 
Cviii EXPLANATIONS AND RENDERINGS [ac't.IV. SC. iii, 
 
 summer and then' dies." This meaning seems unsatisfactory, for 
 tJiere is no support in the text for limiting the period of the latter- 
 mentioned vice. Both partake of the same quality, they are 
 *' pernicious," and their difference is one of degree only ; further, 
 it is avarice, not lust, that is expressly stated as bringing in its 
 train fatal issues. To treat the latter, then, as an annual, governed 
 by periodicity, hardly calls for serious remark ; suffice it to say 
 that Malcolm makes declaration of the persistent and contimMus 
 indulgence of his inclinations (60-67), besides that it is rooted, 
 and so permanent. 
 
 It would appear that " summer-seeming " means certain 
 characteristics of summer, such as its glamour and attractions, but 
 no limitation as a season is conveyed. " Sweet as summer " (in 
 " Henry VIII.," IV. ii. 5.4) aids the interpretation as being the 
 converse of "summer-seeming," specious being the fit rendering 
 of " seeming," that which is apparently like the glorious, pure, 
 and exhilaratiiig summer. Lear sneers at his devoted-Cordelia 
 as " that little seeming substance " (I. i. 190), ' that specious girl' 
 in her professions of love and devotion to her father. 
 
 See Sonnet cxxix. : 
 
 A bliss in proof (proving) ; and ( = but) proved, a very woe : 
 
 .... yet none knows well 
 To shun the heaven that leads men to this hell. 
 
 i.e. the seeming heaven, the specious delights. 
 
 "He has no children" 
 
 Act IV. Sc. iii. 217. 
 
 This is Macduff's indirect and not unkind reply to Malcolm's 
 well-intentioned impetuous advice ; but some editors mistakenly 
 dpply it to Macbeth. The true rendering undoubtedly is, ' He 
 has no famvily^ wife and children. 
 
 '■ a. The true sequence of Macduff's lamentation should be 
 noted: "My wife kill'd tooJ^^U). All my pretty onesl'' 
 
ACT IV. SC. iii.] EXPLANATIONS AND EENDBRINGS. ci^ 
 
 (217). As the remarks of Ross and Malcolm are but casually 
 interposed, so is the reply of Macduff. 
 
 b. The tenderness of the words obviously recommends theni 
 as being addressed to Malcolm, and a parallel is found in the 
 Teply of Constance to Pandulph (" King John "), " He talks to 
 me that never had a son." 
 
 c. The Cbi, eds. say that the words " would be tame if applied 
 to Malcolm.'' Macduff would not have used the tame pronoun 
 "he" if intending Macbeth, for in the same breath he furiously 
 execrates the latter as "hell-kite," and as "this fiend." 
 
 These editors further say in explanation, ' Macbeth has no 
 children,, therefore my utmost revenge must fall short of the 
 Injury he has inflicted upon me,' This is a startling imputation 
 upon Macduff; they tell us to assume that he is restrained, by 
 the meanest of motives, but would be moved by the same savagery 
 that impelled Macbeth to his holocaust of vengeance if he had chil- 
 dren. What Macduff really prays for is precisely expressed, that 
 he may have the opportunity to confront Macbeth alone. 
 
 Some very inconclusive reasonii^g is exhibited by Gervinus 
 over this passage. He says, "These words of Macduff were in- 
 considerately referred by Tieck to Malcolm. It is most strange 
 that he nieglected to bring forward" the only. thing which he could 
 say on behalf of his interpretation: Macbeth, according to the 
 words of his wife, has had children ; it does not follow from this 
 that he has children, but rather that he has had thsm. Macbeth, 
 therefore, Iwd experienced how painful was the loss of children, a 
 feeling of which the words of Macduff would seein to deprive 
 him " (p. 606). All this laboured contention is weak and futile, 
 and is shattered by the remembrance that Macbeth has a wife, 
 which fact, if there were any the slightest support for Gervinus' 
 reasoning, ought to have restrained Macbeth from slaughtering 
 Lady Macduff. The positiveness of " the only thing " may be 
 compared with the three arguments I. set fortli to the con- 
 trary. 
 
 The same writer continues, " Malone, Horn, and Simrock, who 
 apply these words (" He has no children ") to. Macbeth, . en- 
 
ex EXPLANATIONS AND RENDERINGS. [^CT IT. SO. iii. 
 
 deavoured to find in them the expression of rage, because Macduff 
 could not sufficiently revenge himself " — that is, he lamented 
 there were no children of Macbeth's on whom he could satiate a 
 hellish resentment ! As in the case of the righteous Banquo (as 
 I have pointed out, p. Ixix), so here with noblest Macduff, some 
 commentators have endeavoured to tarnish both characters by an 
 ingenuity which is remarkable. 
 
 " Dispute it like a man." 
 
 Act IV. Sc. iii. 221. 
 
 ' Take manly action,' take revenge instead of only bewaiKng 
 the calamity. " I shall do so," is the bold manly response. Yet 
 Schmidt explains it, ' reason upon it ' ; the Cln. eds., ' strive 
 against your sorrow ' ; but this is contradicted by Macdufi''s 
 reply, " But I must feel it as a man;" Such explanations are 
 strange in the face of Macduff's clear response, and of Malcolm's 
 repeated and persistent urging to action: " Be this the whetstone 
 of. your sword " (1. 228), which is the equivalent and the following 
 up of Malcolm's heart-stirred, deeply moved impulse to action, 
 expressed incisively, "Dispute it (with Macbeth) like a man." 
 Malcolm's call to action at once prevailed with him: 
 
 Cat short all mtermission I front to front 
 Bring thou this fiend of Scotland and myself ; 
 Within my sword's length set him 1 
 
 Malcolm's satisfaction was complete : " This tune goes manly." 
 
 " My way of life "■ — " the sear, the yellow leaf." 
 Act V. Sc. iii. 22. 
 Much has been written over Johnson's conjecture that we 
 should read May for " way," which Steevens adopted. " Very pro- 
 bably Shakeipeare wrote May, but we have not inserted it in 
 the text," say the Cln. eds. Gifford says, " 'way of life ' is neither 
 more nor less than a simple periphrasis for life." Bead it thus, 
 
ACT V. SC. iii.] EXPLANATIONS AND RENDERINGS. Cxi 
 
 ' I have reached that period when my course of existence has 
 fallen into the end of the autumn stage.' The Rugby editor asks 
 with some point, " Could Macbeth ever have had ' a May of 
 life'?" Compare "J. Csesar," V. i. 93, 94, "that we may lead 
 on our days to age;" here is cov/rse of life indicated, corresponding 
 to " way of life." " Mer. of Yenice," I. i. 55, " not show their 
 teeth in way of smile," i.e. in the course of smiling. 
 
 On the remainder of the clause Mr. G. A. Sala has written: — 
 " Nine persons out of ten talk of the ' sear and yeltew leaf,' as 
 though they thought that ' sear ' meant ' seared,' or shrivelled 
 and dried up. It means nothing whatever of the kind. • Sear ' 
 — which, according to Phillips's ' New World of Words ' (ed. 
 1696), should be written 'sere' — is a term of falconry signifying 
 the yellow between the eyes and beak of a hawk. The biggest 
 and most modern dictionary I have at hand says nothing about 
 the hawking term, but unintelligently defines both ' sere' and 'sear ' 
 as ' dry, parched, or withered.' The truth is, that ' sere ' is a 
 substantive, and ' sear ' or ' seared ' an adjective. Shakespeare's 
 ' sere ' was only a synonym for the colour called yellow." The 
 Rev. F. O. Morris, Rector of Nunburnholme, Yorkshire, replied 
 to the above as follows : " The writer states that sere is a 
 ' synonym for yellow ' ; but this is not the case, for sere only 
 means d/ry, as a withered leaf, which may be yellow, or brown, 
 or red, or any other colour. He also says that it is a ' term of 
 falconry,' but this also is quite a mistake, for the part at the 
 base of the bill in birds is always invariably spelled ' cere,' from 
 the Latin cera, wax, and never ' sere,' which, even if it meant 
 ' yellow,' would by no means be always applicable to it, for it is 
 very commonly of a bluish colour, and may be of any other." 
 
 Milton uses the word : "If once his wrath take fire, like fuel 
 sere " {dry), Psahn ii. ; "Ye myrtles brown, with ivy never 
 sere " Lycidas. 
 
CKii EXPLANATIONS AND RENDKBINGS. [ACT V, sp. iv, 
 
 Speculation on the issue of the Battle. 
 -Act V. Sc. iv. 14-18. 
 
 Let our just censures 
 Attend the true event. 
 
 ' Let the actual result,' the " certain issue " of line 20, ' deter- 
 mine our opinions ("censures") with certainty ("just" )' as to 
 how it may be with Macbeth. ' What we have to attend to now 
 is action, shown in valorous soldiership.' Siward seconds MacdufiF 
 with the same precise counsel. 
 
 Simple as this sentence is, yet the Cln. eds. say " it is ob- 
 scurely worded " ; and they point out that Rowe changed Let to 
 Set, also that " the editor of the second Folio introduced a strange 
 conjectural emendation which is more obscure than the original, 
 viz. ' Let our best censures Before the true event.' " The original 
 is plainness itself. 
 
 So is the passage following: 
 
 The time approaches 
 That will with due decision make us know 
 What we shall say we have and what we owe 
 
 i.e. ' The time is near when the result, of the battle will make us 
 to know and say what we have gained and what it has cost us. 
 Strokes will arbitrate to assert a certain issue ; then we shall be 
 able to speak with positiveness ; what we speculate about is 
 uncertain.' The advice of MacdufiF and Siward is contained in 
 the proverb, " Don't count your chickens before they are hatched." 
 See V. vii. 66, " So great a day is cheaply bought " — they now 
 count what they " have," i.e. gained, and what they " owe," what it 
 has cost them. Delius fails to see the use of " owe," consequently 
 his explanation is wrong : he says, ' The decision of the battle 
 :Hdll show us what we have, and at the same time what it is our 
 duty yet to do.' Dalgleish is also mistaken : ' the limits of our 
 right and our duty.' Strangely wide of the meaning is also the 
 Rugby editor : " what we owe," ' i.e. what we really have and 
 what we only profess to have.' 
 
ACT V. SO. v.] EXPLANATIONS AND RENDERINGS. Cxiii 
 
 Macbeth's reception of the news of Lacly Macheth's death. 
 ActV. Sc. v. 17. 
 
 Macbeth. She should have died hereafter ; 
 
 There would have been a time for such a word. 
 
 Macbeth expresses regret that she had not died later on, when 
 the extremities of the present time might have passed away, 
 then he could have given that due and reverent attention to the 
 affecting announcement (" such a word ") which he desired to do 
 and which natural obligation imposed upon him. That he was 
 still deeply attached to her, an attachment not relaxed by the 
 serious troubles now besetting him, is shown by his sincere en- 
 treaty on learning the report of the Doctor, " Cure her of that," 
 and also by his pathetic appeal, 
 
 Canst thou not minister to a mind diseased, 
 
 And with some sweet oblivious antidote 
 
 Cleanse the stuff'd bosom of that perilous stuif 
 
 Which weighs upon the heart 1 
 
 Besides the melting regret with which he receives the an- 
 nouncement of her decease, the impressive reflections on death 
 which immediately follow reveal how deeply touched he is by 
 the event announced. In the face of this evidence that Macbeth 
 remained to the last ardently attached to his wife, the Oln. eds. 
 remark, " The complete calmness and apparent indifference with 
 which Macbeth receives the news of his wife's death prove that his 
 crimes and desperation had made him as incapable of feeling 
 grief as fear." Macbeth is black enough, and we are shocked at 
 his crimes and perfidy ; but we could not bear the strain of con- 
 ceiving him steeped in the still darker colour, now that she is 
 dead, of discarding from his regard and callous to her end his true 
 and faithful companion in life ; besides, it would do violence to 
 all that is conceivable of the state of Macbeth's mind at this 
 critical juncture — when all were fleeing from him who could, 
 when he is receiving only mouth-honour from those who stay 
 by him, and when none serve him but " constrained things " — 
 that he should be " incapable of feeling grief " at the loss of the 
 
 g 
 
cxiv EXPLANATIONS AND RENDERINGS. [aCT V. SC. V. 
 
 one creature in the world who was capable of aflfording him any 
 real solace or who could comfort him in his perilous circum- 
 stances. 
 
 A writer in " Blackwood's Magazine," Sept. 1834, p. 368, 
 coarsely and foolishly wrote, " No very tender affection is ex- 
 pressed in Macbeth's remark on the Queen's death. The un- 
 grateful usurper had become annoyed with her sleep-walking, and 
 cared not now if his ' dearest chuck ' were gone to the devil. 
 Such is guUt.'' Such is reckless criticism. 
 
 Professor Dowden says, " Macbeth, whose affection for her 
 was real, has sunk too far into the apathy of joyless crime to feel 
 deeply her loss." " His sensibility has grown so dull that even 
 the intelligence of his wife's death — the death of her who had 
 been bound to him by such close communion in crime — hardly 
 moves him, and seems little more than one additional incident in 
 the weary, meaningless tale of human life." 
 
 These adverse opinions, I hope, may receive that re-examina- 
 tion which the interest of the question demands. Perhaps the 
 use of the very same words by the faithful and feeling old gardener, 
 Adam, may help to this reconsideration. " Such a word " wrung 
 from his tongue, embodies pain and sorrow at the insolence of 
 Oliver : see " As You Like It," I. i. 77 ; and " J. Caesar," V. iii., 
 
 101-103 : 
 
 Friends, I owe more tears 
 To this dead man than you shall see me pay. 
 I shall find time, Oassius, I shall find time. 
 
 " jffa/ve lighted fools." 
 
 The criticism of the Cln. eds., shared by others also, is fol- 
 lowed by a similar misconception of these lines, 
 
 And all our yesterdays have lighted fools 
 The way to dusty death. 
 
 They say, " But Macbeth is misanthropist enough to call all 
 mankind fools." I conceive that Macbeth here gives expression 
 pitifully to the destiny of rncmkind, who are naturally weak, 
 foolish, or fearful — "we fools of Nature," 'susceptible to terror,' 
 
ACT V. SC. V. ] EXPLANATIONS AND RENDERINGS. CXV 
 
 as Hamlet seriously expresses himself ; ' Macbeth as seriously 
 meaning, the creatures of circumstance, conditioned by many 
 dark and painful experiences, one being to be led on " to dusty 
 death." Camillo (" A Winter's Tale," I. ii. 250-4) exactly ex- 
 presses how mankind are " fools " : 
 
 I may be negligent, foolish, and fearful ; 
 In every one of these no man is free, 
 But that his negligence, his folly, fear, 
 Among the infinite doings of the world, 
 Sometimes puts forth. 
 
 So Casca (" J. Csesar," I. iii. 54), " It is the part of men to fear 
 and tremble." 
 
 See " Lear," V. iii. 306, " And my poor fool is hang'd ! " 
 which is here a term of endearment - applied to Cordelia, a 
 " phrase of affectionate familiarity," says the Cln. ed. himself in 
 his edition of " Lear." Compare "T. G. of Verona," IV. iv. 98; 
 "M. Ado about Nothing," II. i. 326 ; Isa. xxxv. 8, "The way- 
 faring men, though fools [of nature], shall not err therein ; " 
 " Macbeth," IV. ii. 29, " I am so much a fool," I am experiencing 
 so much weakness — he is about to weep ; " R. and Juliet," I. iii., 
 "Pretty fool," referring tenderly to Juliet; and Hermione to 
 her ladies, " Winter's Tale," II. i., " Do not weep, good fools." 
 
 ' As a specimen of literal extravagance in explanation, I quote that of 
 olCe, ' of whom nature makes fools.' 
 
MACBETH. 
 
-Noblemen of Scotland. 
 
 DRAMATIS PERSONS. 
 ♦ 
 
 Duncan, King of Scotland. 
 MALCOLM, \suwm. 
 
 DONALBAIN.J 
 
 Macbeth, \ g^^^g^^i^ ^f^j^g jjj.^^.^ ^^^„ 
 
 Banquo, J 
 
 Macduff, 
 
 Lennox, 
 
 Boss, 
 
 Mentbith, 
 
 Angus, 
 
 Caithness, 
 
 Plbance, son to Bcmqim. 
 
 SiWABD, Ea/rl of Northvmberland, Cfeneral of the English 
 
 Forces. 
 Toung SlWAED, his son. 
 Setton, an Officer attending on Macbeth. 
 Boy, son to Macduff. 
 An EngUsh Doctor. 
 ' A Scotch Doctor. 
 A Porter. 
 An Old Man. 
 Lady Macbeth. 
 Lady Macduff. 
 
 Gentlemoman attendi/ng on Lady Macbeth. 
 Hecate, and three Witches. 
 Lords, Gentlemen, Officers, Soldiers, Murderers, Attendants 
 
 and Messengers. 
 The Ghost ofBanquo, and other AppaHtions. 
 
 SCENE — Scotland : England. 
 
MACBETH. 
 
 ACT I. 
 
 SCENE I. 
 
 A desert place. 
 
 Thunder amd lightning. Enter three Witches. 
 
 1 Witch. When shall we three meet again ? ■J 
 In thunder, lightning, or in rain.' & 
 
 2 Witch. When the hurlyburly 's done, 
 When the battle 's lost and won. 
 
 3 Witch. That will be ere the set of sun. 
 
 1 Witch. Where the place ? 
 
 2 Witch. Upon the heath, 
 
 3 Witch. There to meet with Macbeth. 
 
 1 Witch. I come, Graymalkin ' ! 
 
 2 Witch. Paddock ' calls ! 
 
 3 WiUh. Anon! 
 All. Fair is foul, and foul is fair : 
 
 Hover through the fog and filthy air. [MxeuMt. 
 
 Af 
 *• 
 
 t 
 
 i 
 
 ' ere in rain 
 (mist) 
 
 ' b grej oat. 
 ' a toad.* 
 
 11 See p. lii. 
 
 SCENE II. 
 A Camp near Forres. 
 
 Alarum within. Enter Duncan, Malcolm, Donalbain, 
 Lbknox, with Attendants, meeting a bleeding Sergeant. 
 Bun. What bloody man is that t He can report, 
 As seemeth by his plight, of the revolt 
 The newest state. 
 
 * The toad, bat, and cat were regarded as the familiars of 
 witches, and they were believed to know the secrets of their 
 mistresses. Witches were said to assume what forms they 
 pleased : so one called the other a cat, another a toad, &o. 
 
 B2 
 
MACBETH. 
 
 ■[act : 
 
 ' brave 
 
 ' With 
 
 ^ Appeared. 
 ^ "brave" 
 
 * darling, 
 favourite. 
 See p. xxxvii. 
 
 Mai. This is the sergeant 
 
 Who, like a good ' and hardy soldier, fought 
 'Gainst my captivity. — Hail, brave friend ! 
 Say to the King the knowledge of the broil 
 As thou didst leave it. 
 
 Serg. Doubtful it stood, 
 
 As^ two spent swimmers that do cling together 
 And choke their art. The merciless Macdonwald 
 (Worthy to be a rebel, for to that * 
 The multiplying villainies of nature 
 Do swarm upon him) from the western isles 
 Of ' kerns and gallowglasses is supplied ; t 
 And Fortune, on his damned quarry smiling, 
 Show'd ' like a rebel's whore. But all 's too weak> 
 For brave Macbeth (well he deserves that name'), 
 Disdaining Fortune, with his brandish'd steel, 
 Which smoked with bloody execution, 
 Like valour's minion,' carv'd out his passage 
 Till he faced the slave ; then laid on, nor ceased 
 (And ne'er shook hands, nor bade farewell to him) 
 Till he unseam'd him from the nave to the chaps. 
 And fix'd his head upon our battlements. 
 
 Dun. O valiant cousin ! worthy gentleman ! 
 
 Serg. As whence the sun 'gins his reflection 
 Shipwrecking storms and direful thimders break. 
 So from that spring whence conifort seem'd to come 
 Discomfort swells. J Mark, King of Scotland, mark ; 
 
 * " for to that," i.e. for In addition to that infamy of 
 being a rebel. The editors differ over the meaning of this 
 phrase. The Clarendon editors and Kolfe say, • to that end ' ; 
 Moberly, 'his multiplied villainies fit him for that rebel's 
 trade ' ; Dalgleish, ' to that degree or extent,' who further 
 mistakes in adding, ' adverbial phrase to " do swarm " '. See 
 III. i. 51. 
 
 t Kerns were light-armed, and Gallowglasses heavy- 
 armed Irish foot-soldiers. 
 
 I i.e. 'the quarter from which so much brilliance and 
 delight spring is also the source of fear and anxiety : so after 
 relating to you a great victory, I have to announce that a fresh 
 enemy appeared on the scene.' 
 
SCENE II.] MAOBETH. 5 
 
 No sooner justice had with valour arm'd 
 
 Oompell'd these skipping kerns to trust their heels, 30 
 
 But the Norweyan lord, surveying vantage, 
 
 With furbish'd arms and new supplies of men 
 
 Began a fresh assault. 
 
 Dim. Dismay'd not this 
 
 Our captains, Macbeth and Banquo 1 
 
 Serg. Yes, 
 
 As sparrows ' eagles, or the hare the lion. ' sparrows aia- 
 
 If I say sooth, I must report they were 
 
 As cannons overcharged, with double cracks,* so they ' "^'ses. 
 Doubly redoubled strokes upon the foe : 
 Except they meant to bathe in reeking wounds, 40 
 
 Or memorise another Golgotha, > ' f^^\'^^^°'' 
 
 I cannot tell — field of skulls. 
 
 But I am faint, my gashes cry for help. 
 
 Dun. So well thy words become thee as thy wounds : 
 They smack of honour both. — Go, get him surgeons. 
 
 lExit Serg,, attended. 
 
 Enter Ross. 
 Who comes here 1 
 
 Mai. The worthy thane of Ross. 
 
 Len. What a haste looks through his eyes ! So should 
 he look 
 That seems to speak ' things strange. ' ""^^^ ^ ^'"^«''- 
 
 Moss. God save the King ! 
 
 Dun. Whence camest thou, worthy thane ? 
 
 Boss. From Fife, great King, 60 
 
 Where the Norweyan banners flout the sky 
 And fan our people cold. * 
 Norway himself, with terrible numbers, — 
 Assisted by that most disloyal traitor, 
 The thane of Cawdor, — began ' a dismal conflict ; ' read as ' gan.' 
 
 * Difficulty is found by some in this passage, but the sense 
 is this : " flout the sky " is a poetical conceit, which transfers 
 to the sky the insult to the land invaded, i.e. the region over 
 which is the sky ; " and fan our people cold," is another con- 
 ceit for afErighting them. Cf. " Coriolanus," II. iii. 168, " He 
 flouted us downright" ; and " K. John," V. i. 73, " Mocking 
 the air with colours idly spread." 
 
* So that. 
 ' terras of. 
 
 6« 
 
 6 MACBETH. [act i. 
 
 Till that Bellona's bridegroom, lapp'd in proof,* 
 
 ■ Norway : see Confronted him ' with self-compariaons,' 
 line 53. -d • , ... . „ , 
 
 " showed he was x^oint against pomt rebellious, arm gainst arm, 
 ' aeffSmfldent Curbing his lavish ' spirit : and, to conclude, 
 or daring. The victory fell on us.— 
 
 Dwn. Great happiness ! 
 
 Ross. That ' now 
 
 Sweno, the Norway's King, craves ' composition ; 
 Nor would we deign him burial of his men 
 Till he disbursed at Saint Colme's Inch 
 Ten thousand dollars to our general use. 
 
 Dun. No more that thane of Cawdor shall deceive 
 Our bosom interest.! Go, pronounce his present ' death. 
 And with his former title greet Macbeth. 
 Ross. I'll see it done. 
 
 Dun. What he hath lost, noble Macbeth hath won. 
 
 ^Exeunt. 
 
 SCENE III. 
 
 A heath near Forres. 
 
 Thwnder. Enter the three Witches. 
 
 1 Witch. Where hast thou been, sister 1 
 
 2 Witch. Killing swine. J 
 
 3 Witch. Sister, where thou ? 
 
 1 Witch. A sailor's wife had chestnuts in her lap, 
 And mounch'd, and mounch'd, and mounch'd. " Give 
 me," quoth I : — 
 ' well-fed scurvy " Aroint thee, witch ! " the rump-fed ronyon ' cries, 
 creature. jjgj, hug^jand 's to Aleppo gone, master o' the Tiger ; 
 
 But in a sieve I '11 thither sail, 
 ' a transformed And, like a rat without a tail,' 
 
 . do' rauchlef to I 'U do, I '11 do, and I '11 do.> w 
 
 the Tiger. ., 
 
 * Macbeth, bridegroom of the Eoman goddess of war, 
 clad in armour. 
 
 t ' our confidence ' : see " Julius Csesai," V. i. 7 " Tut, I 
 am in their bosoms." 
 
 t i.e. with their looks, witches being supposed to have 
 that, power. 
 
SCENE iii.J MACBETH. 7 
 
 2 Witch. I '11 give thee a wind. 
 1 Witch. Thou 'rt kind. 
 
 3 Witch. And I another. 
 
 1 Witch. I myself have all the other ; 
 
 And ' the very ports ' they blow, ^ I know. 
 
 All the quarters that they know ' ' the point's that 
 
 r the shipman's oard.^ . f" ;1°°™ , 
 
 ■^ ' the compass. 
 
 I will drain him dry as hay : 
 
 Sleep shall neither night nor day 
 
 Hang upon his pent-house lid ; so 
 
 He shall live a man forbid.' 'an outlaw. 
 
 Weary se'nnights nine times nine 
 
 Shall he dwindle, peak, and pine : 
 
 Though his bark cannot be lost, 
 
 Yet it shall be tempest tost. 
 
 Look what I have. 
 
 2 Witch. Show me, show me. 
 
 1 Witch. Here I have a pilot's thumb, 
 Wrecked as homeward he did come. IDriim ivUMn. 
 
 3 Witch. A drum ! a drum ! so 
 Macbeth doth come. 
 
 All. The weird sisters, hand in hand, 
 Fosters of the sea and land. 
 Thus do go about, about : 
 Thrice to thine and thrice to mine, 
 And thrice again to make up nine. 
 Peace ! the charm 's wound up. 
 
 Enter Macbeth aiid Bastquo. 
 
 -Macb. So foul and fair a day I have not seen.* 
 Ban. How far is 't call'd to Forres ? — What are these. 
 So wither'd and so wild in their attire, 40 
 
 That look not like th' inhabitants o' the earth. 
 And yet are on 't ? Live you, or are you aught 
 That man may question ? You seem to understand me 
 By each at once her choppy finger laying 
 Upon her skinny lips. You should be women, 
 
 * Expressing Ms own stem experiences of the day and 
 its varying surprises, not the weather. 
 
8 MACBETH. [act i. 
 
 And yet your beardg forbid me to interpret 
 That you are so. 
 
 Macb. Speak, if you can : what are you 1 
 
 1 Witch. All hail, Macbeth ! hail to thee, thane of 
 
 Glamis 1 
 
 2 Witch. All hail, Macbeth ! hail to thee, thane of 
 
 Cawdor ! [after. 
 
 3 Witch. All hail, Macbeth ! that shalt be king here- 
 Ban. Good sir, why do you start, and seem to fear 
 
 Things that do sound so fair ? — 1' the name of truth, 
 
 ' of the imagina- Are ye fantastical,' or that indeed* 
 
 tion. ■ 
 
 ' appear. Which outwardly ye show ^ 1 My noble partner 
 
 You greet with present grace and great prediction 
 
 ' fortune. Qf noble having ' and of royal hope. 
 
 That he seems rapt withal : to me you speak not. 
 
 If you can look into the seeds of time, 
 
 And say which grain will grow and which will not, 
 
 Speak then to me, who neither beg nor fear 60 
 
 Your favours nor your hate. 
 
 1 Witch. HaU! 
 
 2 Witch. Hail! 
 
 3 Witch. Hail! 
 
 1 Witch. Lesser than Macbeth, and greater. 
 
 2 Witch. Not so happy, yet much happier. 
 
 3 Witch. Thou shalt get kings, though thou be none. 
 So all hail, Macbeth and Banquo ! 
 
 1 Witch. Banquo and Macbeth, all hail ! 69 
 
 not explicit. Macb. Stay, you imperfect ' speakers, tell me more. — 
 
 Sinel his father. By Sinel's death ' I know I am thane of Glamis, 
 am I of. But how of ' Cawdor ? the thane of Cawdor lives, 
 
 A prosperous gentleman ; and to be king 
 Stands not within the prospect of belief. 
 No more than to be Cawdor, t — Say, from whence 
 own, obtain. You owe ' this strange intelligence ? or why 
 Upon this blasted heath you stop our way 
 With such prophetic greeting 1 Speak, I charge you. 
 
 [ WitchesuiMnisli. 
 
 * ' reality,' as opposed to what is fictitious — imaginary. 
 :f This incredulity, commencing at 1. 71, is an Aside. 
 
btJENE III.] MACBETH. 9 
 
 Ban. The earth hath bubbles as the water has, 
 And these are of them. Whither are they vanish'd 1 80 
 
 Mctch. Into the air, and what seem'd corporal melted 
 As breath into the wind. — Would they had stay'd ! * 
 
 Ban. Were such things here as we do apeak about, 
 
 Or have we eaten on ' the insane root ^ ' "'.• . , . , 
 
 (Til. J. i. 1 J.T, -1 which induces 
 
 Inat takes the reason prisoner s inaanity— hem- 
 
 Macb. Your children shall be kings. • 
 
 Ban. You shall be king. 
 
 Macb. And thane of Cawdor too : went it not so ? 
 
 Ban. To the selfsame tune and words. — Who's here ? 
 
 Enter Boss and Angus. 
 
 Boss. The Eling hath happily received, Macbeth, 
 The news of thy success ; and when he reads 90 
 
 Thy personal venture in the rebels' fight, 
 His wonders and his praises do contend 
 Which should be — thine or his — silenced with that. 
 In viewing o'er the rest o' the selfsame day, 
 He finds thee in the stout Norweyan ranks, 
 Nothing afeard of what thyself didst make — 
 Strange images of death. ^ As thick as tale ' mangled 
 
 Can post with post ; and every one did bear ' ■ report 
 
 Thy praises in his kingdom's great defence. 
 And pour'd them down before him. 
 
 Ang. We are sent lOO 
 
 To give thee from our royal master thanks 
 Only ; to herald thee into his sight, 
 Not pay thee. 
 
 Boss. And for ' an earnest of a greater honour ' ^■ 
 
 He bade me, from him, call thee. Thane of Cawdor : 
 In which addition,' Hail, most worthy thane ! ' new title. 
 
 For it is thine. 
 
 Ban. What ! can the devil speak true? 
 
 Macb. The thane of Cawdor lives; why do you dress me 
 In borrow'd robes 1 
 
 Ang. Who was the thane lives yet, 
 
 But under heavy judgment bears that life no 
 
 ♦ This clause is no doubt an Aside. 
 
10 
 
 MACBETH. 
 
 [act i- 
 
 * Macdonwald. 
 
 ' secret. 
 
 ' the title ot 
 
 ' spur you on. 
 
 ' And = yet. 
 
 V a term of 
 familiarity. 
 
 * royal : see IV. 
 
 iii.ro. 
 ^ instigation. 
 
 Which he deserves to lose. Whether he was combined 
 With those of Norway, or did line the rebel ' 
 With hidden ' help and vantage, or that with both 
 He labour'd in his country's wreck, I know not ; 
 But treasons capital, confess'd and proved. 
 Have overthrown hira. 
 
 Macb. [Aside.'\ Glamis, and thane of Cawdor ! 
 The greatest is behind. [To JBoss and Ang.] Thanks for 
 
 your pains. 
 [To Ban.'] Do you not hope your children shall be kings. 
 When those that gave the ' thane of Cawdor to me 
 Promis'd no less to them ? 
 
 Ban. That trusted home " 120 
 
 Might yet enkindle you ' unto the crown. 
 Besides the thane of Cawdor. But 't is strange : 
 And ' oftentimes, to win us to our harm, 
 The instruments of darkness tell us truths, 
 Win us with honest trifles, to' betray ''s 
 In deepest consequence. — 
 Cousins,' a word, I pray you. 
 
 Macb. [Aside.'] Two truths are told, 
 
 As happy prologues to the swelling act 
 Of the imperial ' theme, t — I thank you, gentlemen. ^- 
 [^side.] This supernatural soliciting '■ 130 
 
 Cannot be ill ; cannot be good : if ill. 
 Why hath it given me earnest of success. 
 
 * It is thought by some that thrvMed is required here for 
 trusted : the meaning of the phrase "trusted Jtome," is 'trusted 
 to the very heart ' — the seat of confidence, esteem, and life. 
 See " Comus," 1. 262, " But such a sacred and home-telt de- 
 light," i.e. heart- felt. See also " M. for Measure," IV. iii. 148, 
 " Accuse hira home and home " ; " Cymbeline," IV. ii. 328, 
 '• That confirms it home." The Kugby editor explains it as 
 ' trusted to the full,' but, this is inadequate ; he quotes " All's 
 
 Well," V. iii. i. 
 
 Tour son, 
 As mad in folly, laok'd the sense to know 
 Her estimation home. 
 
 i.e. he lacked to have keart-te\t love. 
 
 f ' two fulfilments presage the realisation of that inflated 
 ambition I indulge, the theme of which is imperial rule.' 
 
SCENE III.] 
 
 MACBETH. 
 
 11 
 
 Commencing in a truth ? I am thane of Cawdor : 
 
 If good, why do I yield to that suggestion 
 
 Whose horrid image doth unfix my hair/ 
 
 And make ray seated heart knock at my ribs, 
 
 Against the use ' of nature ? Present fears '•' 
 
 Are less than horrible imaginings. 
 
 My thought, whose murder yet is but fantastical,' 
 
 Shakes so my single state of man, that function 140 
 
 Is smother'd in surmise,* and ' nothing is 
 
 But what is not. 
 
 Ban. Look, how our partner 's rapt . 
 
 Macb. [Aside.] If chance will have me king, why, 
 chance may crown me 
 Without my stir. 
 
 Ban. New honours come ' upon him, 
 
 Like ' our strange garments, cleave not to their mould 
 But with the aid of use. 
 
 Macb. [Aside.] Come what come may, 
 
 Time and the hour runs through the roughest day. 
 
 Ban. Worthy Macbeth, we stay upon your leisure. 
 
 Macb. Give me your favour ' : my dull brain was 
 wrought ' 
 With things forgotten. Kind gentlemen, your pains 16O 
 Are register'd ' where every day I turn 
 The leaf to read them. Let us toward the King. 
 [To Ban. ] Think upon what hath chanced, and at more 
 
 time,' 
 The ' interim having weigh'd it, let us speak 
 Our free hearts ' each to other. 
 
 jBa»i. Very gladly. 
 
 Macb. Till then, enough. Come, friends. [Uxemit. 
 
 ' stand on end. 
 
 * orderly func- 
 tion. 
 
 " objects of fear 
 present. 
 
 * in the imagina- 
 tion. 
 
 ' and ~ yet 
 
 ' have come. 
 ' wliich, like. 
 
 ' G-rant me 
 
 pardon. 
 
 ' agitated. 
 
 in his memory 
 
 ' convenient 
 
 time, 
 ' In the 
 ' our hearts 
 
 freely. 
 
 * He says, ' my bodily agents are paralysed over my pur- 
 pose ' ; or, ' performance is checked by nervous conjectures 
 concerning the consequences.' 
 
12 MACBETH. [act i. 
 
 SCENE IV. 
 
 Forres. The Palace. 
 
 Flourish. Enter Dukcan, Malcolm, Donalbain, 
 Lennox, amd Attendants. 
 
 Dv/n. Is execution done on Cawdor ? Are not 
 ' see ii. 67-69. Those in commission ' yet retum'd ? * 
 
 Mai. My liege. 
 
 They are not yet come back ; but I have spoke 
 
 With one who saw him die, who did report 
 
 That very frankly he confess'd his treasons, 
 ' exhibited Implored your highness' pardon, and set forth ' 
 
 A deep repentance. Nothing in his life 
 
 Became him like the leaving it : he died 
 ' Like. -^^ ' °^^ *hat had been studied in his death 
 
 To throw away the dearest thing he owed lO 
 
 As 'twere a careless trifle, t 
 
 Bun. There's no art 
 
 To find the mind's construction in the face : 
 
 He was a gentleman on whom I built 
 
 An absolute trust. — 
 
 Enter Macbeth, Banqtjo, Boss, wnd Angus, 
 
 O worthiest cousin ! 
 The sin of my ingratitude even now 
 Was heavy on me. Thou art so far before, 
 
 ' is too. That swiftest wing of recompense is ' slow 
 
 To overtake thee : 'would thou hadst less deserved, 
 
 ^ so that. That ' the proportion both of thanks and payment 
 
 * In the Folio of 1623 the reading is " Or not " j the altera- 
 tion to " Are not " appears in the edition of 1632. Theformer 
 must be read, ' Or those commissioned [are] not yet return'd 1 ' 
 Phelps says that there is no sufficient reason for the change. 
 
 f i.e. ' had studied how, in contemplation of his death, 
 to throw away what he owned as though it were an uncared- 
 for trifle.' 
 
SCENE IV.] 
 
 MACBETH. 
 
 13 
 
 Might have been mine ! ' Only I have left to say, 
 More is thy due than more than all ' can pay. 
 
 Mach. The service and the loyalty I owe. 
 In doing it pays itself. Your highness' part 
 Is to receive our duties : and our duties 
 Are, to your throne and state, children ' and servants, 
 Which do but what they should by doing everything 
 Safe towards your love and honour.* 
 
 Ihm. Welcome hither : 
 
 I have begun to plant thee, and wiU labour 
 To make thee full of growing. — Noble Banquo, 
 That hast no less deserved, nor must be known 
 No less to have done so, let me infold thee 
 And hold thee to my heart. 
 
 Ban. There if I grow. 
 
 The harvest is your own. 
 
 Dun. My plenteous joys. 
 
 Wanton in fulness, seek to hide themselves 
 In drops of ' sorrow. — Sons, kinsmen, thanes. 
 And you whose places are the nearest, know 
 We will establish our estate ' upon 
 Our eldest, Malcolm, whom we name hereafter 
 The Prince of Cumberland ; t which honour must 
 Not, unaccompanied, invest him only, 
 But signs of nobleness, like stars, shall shine 
 On aU deservers. — From hence to Inverness, 
 And bind us further to you. 
 
 Mach. The rest is labour which is not used to you : 
 I '11 be myself the harbinger, and make joyful 
 The hearing of my wife with your approach ; 
 So humbly take my leave. 
 
 Dun. My worthy Cawdor ! 
 
 20 ' in my power to 
 confer. 
 ' I have. 
 
 • as those of 
 children. 
 
 ' like to. 
 
 ' the succession. 
 
 * ' by doing everything that will contribute surely, or 
 soundly, toward your love and honour.' See " K. Lear," IV. vi. 
 81, " The safer [sounder] sense ; " and I. iv. 195, " foimd a 
 safe [sure, certain] redress." 
 
 f A designation which marked him as heir to the crown 
 of Scotland. 
 
14 MACBETH. [act i. 
 
 Macb.* The Prince of Cumberiand ! [^Aside.'\ That is 
 a step 
 On which I must fall down or else o'erleap, 
 For in my way it lies. Stars, hide your fires ! 50 
 
 Let not light see my black and deep desires ; 
 
 ■ let the eye be The eye wink ' at the hand, yet let that be '' 
 
 ' come to pass. Which the eye fears, when it is done, to see ! [Exit. 
 
 Dwn. True, worthy Banquo : he is full so valiant, 
 
 ■ you bestow on And in his commendations ' I am fed ; 
 
 It is a banquet to me. Let 's after him. 
 
 Whose care is gone before to bid us welcome. 
 
 It is a peerless kinsman. [Floimsh. Exemit. 
 
 SCENE V. 
 
 Imeemess : A room in Macbeth's Castle. 
 
 Enter Lady Macbbih, reading a letter. 
 
 Lady M. " They met me in the day of success ; and I 
 have learned by the perfectest report, they have more 
 in them than mortal knowledge. When I burned in 
 desire to question them further, they made themselves 
 air, into which they vanished, t Whiles I stood rapt in 
 
 * Macbeth appropriately salutes Malcolm with his new 
 
 title, as Duncan had saluted Macbeth, such being the courtly 
 
 form of parting. In most editions the Aside is mistakenly 
 
 placed at the beginning of the speech, and so the significant 
 
 close of this interview is missed. See " A Winter's Tale," IV 
 
 close of Sc. i., 
 
 Cam. I willingly obey your command. 
 Pol. My best Gamillo. 
 
 f An editor tells us that "air" should be read with 
 emphasis ; this mistake arises from supposing that Macbeth's 
 "wonder" comes of his having seen the Witches depart in 
 " air " (rrmf), whereas his wonder is really stirred at their 
 surprising communications. The true construction is, ' they 
 vanished into mist which they made themselves ' : this being 
 a popular belief, it did not surprise Macbeth. 
 
SCENE v.] 
 
 MACBETH. 
 
 15 
 
 ^ and = but 
 
 doubt tby 
 resolution. 
 
 the wonder of it, came missives ' from the King, who ' messenge 
 all-hailed me, ' Thane of Cawdor ; ' by which title, before, 
 these weird sisters saluted me, and referred me to the 
 coming on of time, with ' Hail, king that shalt be ! ' 
 This have I thought good to deliver ' thee, my dearest > report to. 
 partner of greatness, that thou mightst not lose the dues 
 of rejoicing, by being ignorant of what greatness is pro- 
 mised thee. Lay it to thy heart : and ' farewell." 
 Glamis thou art, and Cawdor, and shalt be 
 What thou art promised. Yet do I fear thy nature ; ' 
 It is too full o' the milk of human kindness 
 To catch the nearest way. Thou wouldst be great, 
 Art not without ambition, but without 
 The illness * should attend it : what thou wouldst highly, 20 
 That wouldst thou holily ; wouldst not play false. 
 And yet wouldst wrongly win : thou'ldst have, great 
 
 Glamis, 
 That which cries, ' Thus thou must do if thou have it ; ' 
 And that which rather thou dost fear to do 
 Than wishest should be undone. Hie thee hither, 
 That I may pour my spirits in thine ear, 
 And chastise with the valour of my tongue 
 All that impedes thee from the golden round. 
 Which fate and metaphysical ' aid doth seem' 
 To have thee crown'd withal. — 
 
 supernatural, 
 seem eager. 
 
 Enter a Messenger.^ 
 
 What is your tidings 1 
 The King comes here to-night. 
 Lady M. Thou 'rt mad to say it. 
 
 Is not thy master with him ? who, were 't so, 
 Would have inf orm'd ' for preparation. 
 
 " " Why are others cursed with deformity ... to show 
 the illness of their nature 1 " " The troubles of our life are 
 through a turbulent illness of nature create to one another." 
 — Algernon Sid/ney. 
 
 t The Messenger here must be acting in the capacity of 
 an attendant — one whom we should now call in military 
 parlance an " orderly." 
 
16 MA.CBETH. [act i. 
 
 Mess. So please you, it is true : our thane is coming ; 
 One of my fellows had the speed of him, 
 Who, almost dead for breath, had scarcely more 
 Than would make up his message. 
 
 Lady M. Give him tending. 
 
 [^Exit Messenger. 
 • foreboding He brings great news. The raven himself is hoarse ' 
 breathless. That croaks the fatal entrance of Duncan - 
 
 Under my battlements. * Come, you spirits 40 
 
 That tend on mortal thoughts, unsex me here, 
 And fill me from the crown to the toe topfull 
 Of direst cruelty ! Make thick my blood ; 
 Stop up the access and passage to reinorse,t 
 That no compunctious visitings of nature 
 Shake my fell purpose, nor keep peace between 
 The effect and it ! J Come to my woman's breasts 
 ' turn it into And take ' my milk for gall, you murdering ministers, 
 
 gaU. 
 
 * " Here Shakespeare, with his wonted tact, makes use of 
 a vulgar superstition, of a type in which mortal presentiment 
 Is already embodied, to make a common-ground on which the 
 hearer and Lady Macbeth may meet. After this prelude we 
 are prepared to be possessed by her emotion more fully, to 
 feel in her ears the dull tramp of the blood that seems to 
 make the raven's croak yet hoarser than it is, and to betray 
 the stealthy advance of the mind to its fell purpose. For 
 Lady Macbeth hears not so much the voice of the bodeful 
 bird as of her own premeditated murder, and we are thus 
 made her shuddering accomplices before the fact. Every 
 image receives the colour of the mind, every word throbs 
 with the pulse of one controlling passion, . . . The raven 
 was but the fantastical creation of Lady Macbeth's over- 
 wrought brain." — James Russell Lomell. 
 
 ■f Here " remorse " means relenting, and " compunctious ' 
 sorromful, and so compassionate. Compare " Mer. of Venice,'' 
 IT. i. 20, " show thy mercy [compassion] and remorse [relent- 
 ing] more strange." 
 
 \ i.e. between his " fell purpose " and the execution. The 
 following sentence, by Sir Philip Sidney, illustrates the 
 above ^ — " Oft it falls out, that while one thinks too mucSi of 
 his doing, he leaves f do the efeot of his thinking." 
 
SCENE v.] MACftiETH. 17 
 
 Wherev"':, '"i your sightless suljatanoes,* ' inTisibie forms. 
 
 lou wait on nature's mischief ! ' Come, thick night, 60 ' seek oppor- 
 
 And pall thee in the dunnest smoke of hell, misohiei over 
 
 That my keen knife see not the wound it makes, "" °='*"^- 
 Nor heaven peep through the blanket of the dark, 
 To ciy, ' Hold, hold ! '— 
 
 Snter Macbeth. 
 
 Great Glamis ! worthy Cawdor ! 
 Greater than both, by the all-hail, hereafter ! 
 Thy letters have transported me beyond 
 This ignorant present, and I feel now 
 The future in the instant. 
 
 Macb. My dearest love, 
 
 Duncan comes here to-night. 
 
 Lady M. And when goes he hence ? 
 
 Macb. To-morrow, as he purposes. 
 
 Lady M. 0, never 60 
 
 Shall sun that morrow see ! 
 Your face, my thane, is as a book where men 
 May read strange matters. To beguile the time. 
 Look like the time ; bear welcome in your eyes. 
 Your hand, your tongue : look like the innocent flower, 
 But be the serpent under 't. He that 's coming 
 Must be provided for ; and you shall put 
 
 This night's great business into my despatch,' ' my direction. 
 
 Which shall to all our nights and days to come 
 Give solely sovereign sway and masterdom. 70 
 
 Macb. We will speak further. 
 
 Lady M. Only look up clear ; ' ' pnie, harmless: 
 
 „, ,. , , ■ i 2r see line 18, p. 20. 
 
 To alter favour ' ever is to -' fear. ■ countenance. 
 
 Leave all the rest to me. [Exewnt. ° ° °'''' 
 
18 
 
 MACiSETH. 
 
 [act I. 
 
 ' stinted return, 
 to Tie with. 
 
 SCENE VI. 
 
 Before Macbeth's Castle. 
 
 Sauthoys and torches. Enter Duncan, Malcolm, Don- 
 ALBAiN, Banquo, Lenstox, Macdufp, Ross, Angus, 
 and Attendants. 
 
 Dun. This castle hath a pleasant seat ; the air 
 Nimbly and sweetly recommends itself 
 Unto our gentle senses. * 
 
 Ban. This guest of summer. 
 
 The temple-haunting martlet, does approve, 
 By his loved mansionry, that the heaven's breath 
 Smells wooingly here : no jutty, frieze. 
 Buttress, nor coign of vantage, but this bird 
 Hath made his pendent bed and procreant cradle : 
 Where they most breed and haunt, I have observed 
 The air is delicate. 
 
 Enter Lady Macbeth. 
 
 Bun. See, see ! — Our honour'd hostess, lo 
 
 The love that follows ' us sometime is our trouble, 
 Which still we thank as love. Herein I teach you 
 How you shall bid God 'ild us for your pains. 
 And thank us for your trouble. 
 
 Lady M. All our service 
 
 In every point twice done, and then done double. 
 Were poor and single business ' to contend 
 Against ^ those honours, deep and broad, wherewith 
 
 * The rendering of the Cln. eds. is, ' our senses which are 
 soothed by the brisk sweet air.' They say, " The same con- 
 struction, in which the action of the verb is expressed by 
 applying an epithet to the object, is found in III. iv. 76. 
 There seems no need to' adopt Johnson's suggestion, ' our 
 gentle sense,' still less to read with Warburton, ' our general 
 sense.' " I submit this rendering, ' the sweet and balmy air 
 recommends itself to our dainty or delicate senses.' 
 
SCENE VII.] MACBETH. 19 
 
 Your Majesty loads our house. For those ' of old, ' 
 
 And the late dignities heap'd up ^ to them, ' 
 
 We rest your hermits.^ ' 
 
 Dun. Where's the thane of Cawdor ? 
 
 We oours'd him at the heels, and had a purpose 
 To be his purveyor : ' but he rides well, 
 And his great love, sharp as his spur, hath holp him 
 To his home before us. Fair and noble hostess. 
 We are your guest to-night. 
 
 Lady M. Your servants ever 
 
 Have theirs, themselves, and what is theirs, in compt,' 
 To make their audit at your highness' pleasure, 
 Still to return your own.'* 
 
 Dun. Give me your hand ; 
 
 Conduct me to mine host : we love him highly, 
 And shall continue our graces ' towards him. 30 
 
 By your leave, hostess. [Exeimt. 
 
 those honoura. 
 
 in addition, 
 
 beadsmen, who 
 pray for their 
 patrons, 
 
 harbinger. 
 
 hold only in 
 account as 
 stewards. 
 
 at any time to 
 render up. 
 
 SCENE VII. 
 
 Macbeth's Castle. 
 
 Hautboys and torches. Enter a Sewer, and 
 with dishes and service, and pass over the 
 enter Macbeth. 
 
 Servants 
 Then 
 
 Macb. If it were done when 'tis done, t then 'twere well 
 It were done quickly. If the assassination 
 Could trammel up the consequence, and catch 
 With his surcease success, that but this blow ' ' deed. 
 
 Might be the be-all and the end-all, here. 
 
 * All this is but the courtier's style, which comes from 
 the East. Sir Charles Napier relates, " Every time I men- 
 tioned their palace or domain, the little fellow [prince] inter- 
 rupted me with the funniest seriousness to explain that these 
 things were not his father's, but mine alone." 
 
 t See " K. John," III. i. 271, " when it is truly done," i.e. 
 done with, disposed of, without after consequences. 
 
 c2 
 
20 
 
 MACBETH. 
 
 [act I, 
 
 ' risk judgment 
 
 hereafter. 
 ^ it overtakes us 
 
 here. 
 " so that. 
 * set in motion 
 
 retributive 
 
 action. 
 
 * exercised his 
 power and pre- 
 rogatives. 
 
 ' invisible. 
 
 But here, upon this bank and shoal of time, 
 We'ld jump the life to come ; ' but in these cases 
 We still have judgment here,' that '^ we but teach 
 Bloody instructions,* which, being taught, return 
 To plague the inventor. This even-handed justice 
 Commends the ingredients of our poison'd chalice 
 To our own lips. — ^He's here in double trust : 
 First, as I am his kinsman and his subject. 
 Strong both against the deed ; then, as his host, 
 Who should against his murderer shut the door, 
 Not bear the knife myself. Besides, this Duncan 
 Hath borne his faculties ' so meek, hath been 
 So clear * in his great office, that his virtues 
 Will plead, like angels trumpet-tongued, against 
 The deep damnation of his taking oflf ; 
 And pity, like a naked new-born babe,t 
 Striding the blast, or heaven's cherubin horsed 
 Upon the sightless ^ couriers of the air, 
 Shall blow the horrid deed in every eye, 
 That tears shall drown the wind. I have no spur 
 To prick the sides of my intent, but only 
 Vaulting ambition, which o'erleaps itself 
 And falls on the other J 
 
 * ' So noble or illustrious' (from Lat. cUvnis'), not gvUtless 
 as some render it. " Persevere in that clear way thou goest,'' 
 " Pericles," IV. vi. In " Merry Wives," III. iii. 123, " If you 
 know yourself clear," it means innocent. 
 
 t The Rugby editor is unable to determine this sentence : 
 he says, ' Either like a mortal babe terrible in helplessness, 
 or like heaven's child-angels, mighty in love and compassion.' 
 Neither explanation can be accepted. The true interpreta- 
 tion is, ' Uke the feeble and piteous cries of a naked new-born 
 babe.' 
 
 J The sentence is imperfect because of the entrance of 
 Lady Macbeth — " side " being the word dropped. The Cln. 
 edrs. say, " For ' itself,' Singleton guessed ' its sell,' i.e. its 
 saddle. The word ' sell ' occurs frequently in Fairfax's Tasso, 
 as, ' That he nor shook nor stagger'd in his seU ' (vi. 32)." 
 
SCENE'VII.] 
 
 MACBETH. 
 
 21 
 
 ' spontaneously 
 pxu:pose. 
 estimate. 
 
 Enter Lady Macbeth. 
 
 How now ! what news ? 
 
 Lady M. He has almost supp'd. Why have you left 
 the chamber ? 
 
 Macb. Hath he ask'd for me ? 
 
 iMdy M. Know you not he' has ? so 
 
 Macb. We will proceed no further in this business : 
 He hath honour'd me of late ; and I have bought' ' acquired. 
 
 Golden opinions from all sorts of people, 
 Which would be worn now in their newest gloss, 
 Not cast aside so soon. 
 
 LaAy M. Was the hope drunk 
 
 Wherein you dress'd yourself % hath it slept since ? 
 And wakes it now, to look so green and pale 
 At what it did so freely ? ' From this time, 
 Such I account '■ thy love. Art thou afeard , 
 
 To be the same in thine own act and valour 40 
 
 As thou art in desire '] Wouldst thou have that 
 Which thou esteem'st the ornament of life. 
 And live a coward in thine own esteem, 
 Letting ' I dare not' wait upon ' I would,' 
 Like the poor cat i' the adage ? * 
 
 Macb. Prithee, peace. 
 
 I dare do all that may become a man ; 
 Who dares do more is none. 
 
 Lady M. What beast was 't then, 
 
 That made you break this enterprise to me ? 
 When you durst do it, then you were a man ; 
 And to be more than what you were, you would 50 
 
 Be so much more the man. Nor time nor place 
 Did then adhere,' and yet you would make both : ' cohere. 
 
 They have made themselves, and that their fitness now 
 Does unmake you. I have given suck, and know 
 How tender 't is to love the babe that mUks me : 
 I would, while it was smiling in my face, 
 Have pluck'd my nipple from his boneless gums 
 
 " The cat would eate fyshe, and would not wet her 
 
 feete." 
 
' Only 
 
 revelry so over- 
 power. 
 
 * receptacle. 
 
 * charge falsely. 
 ^ deed of murder, 
 
 * be credited. 
 
 * will dare 
 receive it 
 otherwise. 
 
 ^ For. 
 
 * resolved. 
 
 22 MACBETH. [act i. so. vii. 
 
 And dash'd the brains out, had I so sworn as you 
 Have done to this. 
 
 Macb. If we should fail 1 
 
 Lady M. We fail ! 
 
 But ' screw your courage to the sticking-place, eo 
 
 And we '11 not fail. When Duncan is asleep 
 (Whereto the rather shall his day's hard journey 
 Soundly invite him), his two chamberlains 
 ■ Will I with wine and wassail so convince ' 
 That memory, the warder of the brain. 
 Shall be a fume, and the receipt ' of reason 
 A limbec * only : when in swinish sleep 
 Their drenched natures lie as in a death. 
 What cannot you and I perform upon 
 The unguarded Duncan 1 what not put upon ' 70 
 
 His spongy officers, who shall bear the guilt 
 • Of our great quell ' ? 
 
 Maeh. Bring forth men-chUdren only, 
 
 For thy undaunted mettle t should compose 
 Nothing but males ! WiU it not be received,^ 
 When we have mark'd with blood those sleepy two 
 Of his own chamber and used their very daggers. 
 That they have done 't ? 
 
 Ladflj M. Who dares receive it other ' J 
 
 As ^ we shall make our griefs and clamour roar 
 Upon his death. 
 
 Macb. I am settled,' and bend up 
 
 Each corporal agent to this terrible feat. so 
 
 Away, and mock the time with fairest show : 
 False face must hide what the false heart doth know. 
 
 [Exeunt. 
 
 * "A limbec," an alembic; a vessel for distilliDg, but 
 here a vapour-filled vessel. 
 
 t In illustration of " mettle," spirit, wrdour, the following 
 extract exhibits its use in all its force : " What good laws 
 have proceeded from us against swearing and cursing, ranting 
 and tearing, hectoring and renoountring, lest they should 
 abate the vivacity, and take oH the edge, or spoil the mettle, 
 of the young blades of the kingdom ? " — Sermon preached 
 before the Souse of Peers, January 30, 1674, by the Bishop of 
 Sa/rnm, p. 33. 
 
MACBETH. 23 
 
 ACT II. 
 
 SCENE I. 
 Gomrt of Macbeth' s Castle. 
 Enter Banquo, and Fieance hearing a torch before him. 
 
 Ban. How goes the night, boy ? 
 
 Me. The moon is down ; I have not heard the clock. 
 
 Ban. And she goes down at twelve. 
 
 Fh. I take 't 'tis later, sir. 
 
 Ban. Hold, take my sword — there's husbandry ' in ' economy. 
 heaven, 
 Their candles are all out ; — take thee that too. 
 A heavy summons lies like lead upon me. 
 And yet I would not sleep. Merciful Powers, 
 Restrain in me the cursed thoughts that nature 
 Gives way to in repose ! — Give me my sword. lO 
 
 Who's there ? 
 
 Enter Macbeth, and a Servant with a torch. 
 
 Macb. A friend. 
 
 Ban. What, sir, not yet at rest ? the King's a-bed ! — 
 He hath been in unusual pleasure, and 
 
 Sent forth great largess to your offices ; ^ ' gifts to your 
 
 This diamond he greets your wife withal, °™'^ '™' 
 
 By the name of ' most kind hostess,' — and shut up ' ■ retired. 
 
 In measureless content.' ■ satisJaotion. 
 
 Macb. Being unprepared, 
 
 Our will ' became the servant to defect,^ ■ to do better. 
 
 Which else should free • have wrought. ' ^^"J J^^^." 
 
 Bam. All 'swell.' .^''J"^•„ 
 
 ^ liberally, 
 I dreamt last night of the three weird sisters : 20 ' All went off 
 
 To you they have show'd some truth. 
 
 Macb. I think not of them : 
 
 Yet, when we can entreat an hour to serve. 
 We would spend it in some words upon that business. 
 If you would grant the time. 
 
 Bari. At your kind'st ' leisure. ' convenient. 
 
24 
 
 MACBETH. 
 
 [act II. 
 
 ' free, un- 
 tajmlshcd. 
 
 " pure, unim- 
 peachable. 
 
 ' capable of the 
 sense (of 
 touch). 
 
 ' handle. 
 ' drops. 
 
 Macb. If you shall cleave to my consent, when 'tis — 
 It shall make honour for you. 
 
 Bom. So I lose none 
 
 In seeking to augment it, but still keep 
 My bosom franchis'd ' and allegiance clear,' 
 I shall be counseli'd. 
 
 Macb. Good repose the while ! 
 
 Bern. Thanks, sir : the like to you. 30 
 
 [Bx. Ban. and Fl. 
 
 Macb. Go, bid thy mistress, when my drink is ready, 
 She strike upon the bell. Get thee to bed. — [Bx. Ser. 
 Is this a dagger which I see before me, 
 The handle toward my hand 1 Come, let me clutch thee : — 
 I have thee not, and yet I see thee still. 
 Art thou not, fatal vision, sensible ' 
 To feeling as to sight ? or art thou but 
 .A dagger of the mind, a false creation. 
 Proceeding from the heat-oppress'd brain ? 
 I see thee yet, in form as palpable 40 
 
 As this which now I draw. 
 Thou marshall'st me the way that I was going ; 
 And such an instrument I was ' to use. 
 Mine eyes are made the fools o' the other senses, ' 
 Or else worth all the rest ; I see thee still. 
 And on thy blade and dudgeon ' gouts '^ of blood, 
 Which was not so before. There 's no such thing : 
 
 * ' Mine eyes are either befooled by the other senses putting 
 this dagger here, or else my sight is so true that it is worth 
 all the other senses for trustiness, for I still see the dagger, 
 and I see blood, which was not there before.' This explana- 
 tion I tender : it may be compared with the Cln. eds., who 
 say, ' Either the sight alone is deluded while the other senses 
 judge correctly, or else the sight alone apprehends a reality 
 which the other senses fail to see.' Is there any ground for speak- 
 ing of " the other senses judge correctly ? " The Eugby editor 
 explains, ' Either my eyes are deceived in a degree of which 
 the other senses are incapable, or else they see truths of which 
 the others can give no account.' It is not, I submit, a ques- 
 tion of any senses being incapable, or of not giving account, 
 but of certain senses befooling his sight. 
 
SCENE I.J MACBETH. 26 
 
 It is the bloody ' business which informs ' 
 
 Thus to mine eyes. — Now o'er the one half-world 
 
 Nature seems dead, and wicked dreams abuse ' 
 
 The ourtain'd sleep ' : witchcraft celebrates 61 
 
 Pale Hecate's offerings ; and wither'd murder, 
 
 Alarum'd t by his sentinel the wolf, 
 
 Whose howl 's his watch,' thus with his stealthy pace. 
 
 With Tarquin's ravishing strides, J towards his design 
 
 Mores like a ghost. Thou sure and firm-set earth, 
 
 Hear not my steps, which way they walk, for fear 
 
 Thy very stones prate ' of my whereabout. 
 
 And take the present horror ' from the time. 
 
 Which now suits with it. § — Whiles I threat he lives : 
 
 Words to the heat of deeds too cold breath gives. 
 
 [ A bell rings. 
 
 * presents these 
 forms. 
 
 • delude, or dis- 
 turb. 
 
 ^ sleeper. 
 
 ' respond to my 
 
 steps. 
 ' oppressiTe 
 
 silence. 
 
 * A public writer says, " The word iloody has no profane 
 origin whatever. ' It was in general colloquial use,' says Dr. 
 Murray, ' from the Eestoration to 1750,' and was derived from 
 the ' young bloods ' of the period — ' bloody drunk ' meaning 
 ' drunk as a lord.' At the present time it is a mere ' intensive ' 
 — a sort of standing epithet." As used above, it only describes 
 the "business." It may be remarked, that John Bunyan 
 uses damnable without hesitation, as fit and proper for his 
 purpose, and having, of course, no profane signification : he 
 says, " God hath sent us, damnable traitors, a pardon." See 
 for similar instance, " Julius Caesar," IV. ii. 25, " But when 
 they should endure the bloody spur." And below, II. iv. 6. 
 
 t apprised, signalled; which must not be confounded 
 with 'alarmed,' surprised, startled. Italian alV arme, call 
 to arms. 
 
 " Into the chamber wickedly he stalks." — Luoreee, line 
 365. 
 
 § ' and take from the still, secret, dismal night that cha- 
 racter which is in keeping with my purpose.' The description 
 of night in this passage is so impressive, so subduing, as 
 to place the reader in closest association with the present 
 horror. Where lies the secret of the spell which night holds 
 over all mankind ? Not in its encouragement of, but in its 
 stem monopoly over, thought. Night, mysterious, phantom- 
 peopled night, the comforter, also the searcher of the soul, 
 the spirit of many tones — night shuts out the busy interests 
 
26 MACBETH. [act ii. 
 
 I go, and it is done : the bell invites me. 
 
 Hear it not, Duncan ; for it is a knell 
 
 That summons thee to heaven or to hell. lExit. 
 
 Scene H. — The same. 
 Enter Lady Macbeth. 
 
 Lady M. That which hath made them drunk hath 
 made me bold ; 
 What hath quench'd them .hath given me fire. — Hark ! 
 
 Peace ! 
 It was the owl that shriek'd, the fatal bellman. 
 Which gives the stem'st good-nig^t.* He is about it ! 
 • and I hear. The doors are open, and ^ the surfeited grooms 
 
 Do mock their charge with snores. I have drugg'd their 
 possets, 
 
 which distract attention during the day, and throws us on 
 our actual selves. Night brings man face to face with him- 
 self — as here it did with Macbeth — while day steals between 
 us and our very souls, reducing them too often under the 
 tyranny of sordid interests or to the pursuit of ignoble ends. 
 Night shuts out the active world of day, and then every object 
 over which the eye ranges, every sound which falls upon the 
 ear, help reflection and stir thought. The spectral figure of 
 memory, too, walks like other phantoms chiefly by night, 
 elevating or crushing as the case may be. 
 
 * " The full significance of this passage," say the Cln. eds., 
 " which seems hitherto to have escaped the notice of com- 
 mentators, may be best shown by comparing the following 
 lines from Webster's ' Duchess of Malfi,' iv. 2, where Bosola 
 
 tells the Duchess, 
 
 * I am the common bellman, 
 That usually is sent to condemn'd persons 
 The night before they suffer.' 
 
 Here, of course, Duncan is the condemned person." 
 
 Middleton, also, in his " Blurt, Master-Constable," III. i. 
 
 102, says, 
 
 And when the Iamb bleating doth bid good night 
 TJnto the closing day, then tears begin 
 To keep quick time unto the owl, whose voice 
 Shrieks like the bellman in the lover's ears. 
 
SCENE II.] MACBETH. 27 
 
 That ' death and nature do contend about them ■ so tiiat. 
 
 Whether they live or die. 
 
 Mach. [Within.'] Who 's there 1 what, ho ! 
 
 Lady M. Alack, I am afraid they have awaked, 
 And 'tis not done ! The attempt and not the deed lo 
 Confounds us.* Hark ! I laid their daggers ready ; 
 He could not miss 'em. — Had he not resembled 
 My father as he slept, I had done 't ! — My husband ! 
 
 thou not hear a 
 
 Lad^it. I he^iffethe o-^^cTeam, and the crickets cry.t 
 Did not you speak f J 
 
 Mach. When ? 
 
 Lady M. " Now. 
 
 Macb. As I descended ? 
 
 Lady M. Ay. J 
 
 Macb. Hark ! 
 
 Who lies i' the second chamber 1 
 
 Lady M. Donalbain. 
 
 Macb. This is a sorry sight.' 20 
 
 * ' If it end only in an attempt and not completed, de- 
 struction will come upon ns.' Some editors overlook this 
 meaning of " oonfomids," and treat it only as danger, or in 
 its modern sense. See p. 33, 1. 58, 67, and III. v. 29. 
 
 f " Thoa ominous and fearful owl of death " : " Henry 
 TI." (I.), IV. ii. 15. 
 
 X It is suggested by Hunter that the distribution of the 
 speeches here is incorrect, that some dislocation has taken 
 place ; these changes he proposed : 
 
 . Maoh. Did not you speak ? 16 
 
 L. 'Mac'b. When ? now 1 
 
 Macb. As I descended. 
 
 L. Macb. Ay. 
 The question of line 16 seems appropriate in the month 
 of Macbeth, and as persistently following up his former 
 " Didst thou not hear a noise ? " also his " Who's there ? " In 
 this arrangement, Lady Macbeth exhibits in her replies con- 
 sistency, and the same coolness which is in her first answer. 
 
28 
 
 MACBETH. 
 
 [act II. 
 
 * prepared. 
 
 ' As if. 
 
 '' executioner's. 
 
 ' expression of 
 fear. 
 
 See p. IxxTii. 
 
 Lad/y M. A foolish thought, to say a sorry sight. 
 
 [Lookmg on Ms hwnds. 
 
 Macb. There 's one did laugh in 's sleep, and one 
 cried ' Murder ! ' 
 That they did wake each other : I stood and heard them ; 
 But they did say their prayers, and address'd ^ them 
 Again to sleep. 
 
 Lady M. There are two lodged together. 
 
 Macb. One cried, 'God bless us!' and 'Amen,' the 
 other, 
 As ? they had seen me with these hangman's ^ hands. 
 Listening their fear\ I could not say ' Amen,' 
 When they did say ' God bless us.' 
 
 Zady M. Consider it not so deeply. 
 
 Macb. But wherefore could not I pronounce ' Amen 1 ' 30 
 I had most need of blessing, and ' Amen ' 
 Stuck in my throat. 
 
 Lady M. These deeds must not be thought 
 
 After these ways ; so, it will make us mad. 
 
 Macb, Methought I heard a voice cry, ' Sleep no more ! 
 Macbeth doth murder sleep, the innocent sleep ! ' 
 Sleep, that knits up the ravell'd sleave of care, * 
 The death of each day's life, sore labour's bath, 
 Balm of hurt minds, great Nature's second course,t 
 Chief nourisher in life's feast. 
 
 * " We see it by dally experience, all those leagues and 
 truces betwegne States and Kingdoms, as well as private men, 
 what ravell'd towe are they, what cords- of sand I " — Mev. C. 
 Herle, Sermon before House of Commons, 1642, p. 15. The 
 word " ravell'd '' is in this extract used as loose. The Cln. 
 eds. quote "Wedgwood, who says that " it is doubtful whether 
 the radical meaning of the word is tangled, or whether it 
 signifies that which has to be unravelled or separated." I 
 regard the meaning as loose, as in Herle's Sermon ; then the 
 fitness of " knits up " will be apparent. " Sleave," or sleave- 
 silk, is the same as floss-silk. 
 
 t Should not this be rendered, " Nature's great second 
 course," corresponding with " eliief nourisher " ? A prolepsis ; 
 as in III. iv. 77. The first course would be bodily nourish- 
 ment, by day ; the second course is sleep, chief in its revivify- 
 ing effects, by night. 
 
SCENE II.] 
 
 MACBETH. 
 
 29 
 
 Lady M. What do you mean ? 
 
 Mach. Still it cried, ' Sleep no more ! ' to all the house ; 
 ' Glamis hath murdered sleep ! ' and therefore Cawdor 4i 
 Shall sleep no more, Macbeth shall sleep no more ! 
 
 LadAi M. Who was it that thus cried ? Why, worthy 
 thane, 
 You do unbend your noble strength to think 
 So brainsickly ' of things. G-o, get some water, 
 And wash this filthy witness ' from your hand, — 
 Why did you bring these daggers from the place ? 
 They must lie there ; go, carry them, and smear 
 The sleepy grooms with blood. 
 
 Mocfe. I 'U go no more : 
 
 I am afraid to think what I have done ; so 
 
 Look on 't again I dare not. 
 
 Lady M. Infirm of purpose ! 
 
 Give me the daggers. The sleeping and the dead 
 Are but as pictures ; 't is the eye of childhood 
 That fears a painted devil. ' If he do bleed, 
 I '11 gild the faces of the grooms withal. 
 For it must seem their guilt.* [Exit. Knocking within. 
 
 Macb. • Whence is that knocking ] — 
 
 How is 't with me when every noise appals me ! 
 What hands are here ? ha ! they pluck out mine eyes. 
 Will all great Neptune's ocean wash this blood 
 Clean from my hand ? No, this my hand will rather 60 
 The multitudinous seas ' incarnadine, ' 
 
 Making the green one red.' t 
 
 madly, 
 evidence. 
 
 the picture of 
 a devil. 
 
 the boundless 
 waters of tlie 
 ocean. 
 
 * " By making Lady Macbeth jest, the author doubtless 
 intended to enhance the horror of the scene ; " so say the Cln. 
 eds. I think this does an injustice to the poet, for the horror 
 is so intense that no device of the kind supposed could heighten 
 it. The word " gild " is simply used of blood, as naturally as 
 in " K. John," II. i. 316, " Hither return all gilt with blood." 
 That Shakespeare does play elsewhere upon the words gild 
 and guilt is no proof that he intends so here. 
 
 t Make the green colour a universal red. See Comns, 1 31 : 
 
 the dragon womb 
 Of Stygian darkness spits her thickest gloom, 
 And makes one [dark] blot of all the'air. 
 
30 MACBETH. [act ii. 
 
 Re-enter Lady Macbeth. 
 ' I would. Lady M. My hands are of your colour ; but I ' shame 
 
 To wear a heart so white. [Knock.] I hear a knocking 
 At the south entry : retire we to our chamber. 
 A little water clears us of this deed : 
 How easy is it then ! Your constancy 
 Hath left you unattended. — [Ziioci;.] Hark ! more 
 knocking. 
 
 • dressing-gown. (Jet on your night-gown,' lest occasion call us, 
 
 And show us to be watchers. — Be not lost 70 
 
 • 60 dejectedly, go poorly ' in your thoughts. 
 
 ' deeT"^^ "'' Macb. To know my deed,' 'twere best not know my- 
 
 self. [Knock. 
 
 Wake Duncan with thy knocking ; I would thou couldat ! 
 
 [Exeunt. 
 
 Scene III.— The same. 
 Knocking withm. Enter a Porter. 
 
 Porter. * Here 's a knocking '(ideed ! If a man were 
 porter of hell-gate, he should have old turning the 
 
 * Mr. and Mrs. Cowden Clarke say of this scene : " Its 
 coarse humour serves powerfully to contrast, yet harmonise, 
 with the base and gory crime that has been perpetrated. 
 Shakespeare's subtilties of harmony in contrast are among 
 his most marvellous powers ; and we venture to think that 
 this Porter scene is one of these subtilties." There is a feli- 
 citousness also in the following remarks by Bodenstedt: 
 " After all, the Porter's uncouth comicality has a tragic back- 
 ground ; he never dreams, while imagining himself a porter 
 of hell-gate, how near he comes to the truth. What are all 
 these petty sinners who go the primrose way to the everlast- 
 ing bonfire, compared with those great criminals whose gates 
 he guards ? " Gervinus also in the same strain : — " There is 
 an uncomfortable joviality in the Porter, which, by way of 
 contrast, is very suitable to the circumstances when the 
 drunken warder, whom Duncan's gifts and the festivities of 
 the evening have left in a state of excitement, calls his post 
 
SCENE III.] MACBETH. 3,1 
 
 key.* [Knocking.] Knock, knock, knock ! Who 'a there, 
 i' the name of Beelzebub 1 Here 's a farmer, that hanged 
 himself on the expectation of plenty : come in time t ; 
 have napkins enow about you ; here you '11 sweat for 't. 
 [KnocTcing.l Knock, knock ! Who 's there, i' the other 
 devil's name ? Faith, here 's an equivocator, that could 
 swear in both the scales against either scale ; who com- 
 mitted treason enough for God's sake, yet could not 
 equivocate to heaven ' : O come in, equivocator. [Knock- ' 
 vng.l ~- Knock, knock, knock. Who 's there ? Faith, 
 here 's an English tailor come hither for stealing out of 
 a French hose : come in, tailor ; here you may roast your 
 goose. [Knocking!] Knock, knock ; never at quiet ! 
 What are you 1 — But this place is too cold for heU. I '11 
 devil-porter it no further : I had thought to have let in 
 some of all professions, that go the primrose way to the 
 everlasting bonfire. [Knocking.] Anon, anon. I pray 
 you, remember the porter. [Opens the gate. 
 
 Enter Macduff and Lennox. 
 
 MacA. Was it so late, friend, ere you went to bed. 
 That you do lie so late ? 
 
 Port. 'Faith, sir, we were carousing till the second 
 cock ' ; ' 
 
 And drink, sir, is a great provoker of three things. 
 
 Macd. What three things does drink especially pro- 
 voke? 
 
 Port. Marry, sir, nose-painting, sleep, and urine. 
 Lechery, sir, it provokes and unprovokes : it provokes 
 the desire, but it takes away the performance. There- 
 
 not equivocate 
 as to enter 
 heaTen. 
 
 ' hell's gate,' in a speech in which every allusion bears a 
 point." 
 
 =. " The theory of interpolation," says Professor Dowden, 
 "must be considered as In a high, degree doubtful, and in 
 particular the Porter's part shows the hand of Shakespeare." 
 
 * The word " old " was often used in colloquial language 
 as an augmentative, denoting continual, abundant, or in 
 excess. 
 
 t ' you've come sooner than your natural life would have 
 extended.' 
 
32 MACBETH. [act ii. 
 
 fore, much drink may be said to be an equivocator with 
 * lechery : it makes him, and it mars him ; it sets him on, 
 and it takes him off ; it persuades him, and disheartens 
 him ; makes him stand to, and not stand to : in conclu- 
 sion, equivocates him in a sleep, and, giving him the lie, 
 leaves him. 
 
 Macd. 1 believe, drink gave thee the lie last night. 
 
 Port. That it did, sir, i' the very throat o' me : but I 
 requited him for his lie ; and, I think, being too strong 
 for him, though he took up my legs sometime, yet I 
 made a shift to cast him. 4i 
 
 Macd. Is thy master stirring ? 
 
 Unter Macbeth. 
 
 Our knocking has awaked him ; here he comes. 
 Len. Good morrow,* noble sir. 
 MouA. Good morrow, both. 
 
 Macd. Is the King stirring, worthy thane ? 
 Macb. Not yet. 
 
 ■ eaiiy. Macd. He did command me to call timely ' on him : 
 
 I have almost slipp'd the hour. 
 
 Mach. I '11 bring you to him. 
 
 Macd. I know this is a joyful trouble to you ; 
 But yet 'tis one. 
 • what is Mach. The labour we delight in physics pain.' so 
 
 ar U0U3. ^j^.^ .^ ^j^g door. 
 
 > as to. Macd. I '11 make so bold to ' call. 
 
 For 'tis my limited service, t [Exit. 
 
 Len. Goes the King hence to-day ? 
 Macb. He does : he did appoint so. 
 
 Len. The night has been unruly : where we lay, 
 
 * " For when the Mind, remembering the Now which is 
 talked of yesterday, talks again of another Now to-day, then 
 it is it immediately has an idea of Time, terminated by these 
 two Nows, as by two boundaries." — Themistius, Op. edit. 
 Aldi. p. 45, b (quoted in Harris's Hermes, p. 108). 
 
 f ' appointed service.' See " T. of Athens," IV. iii. 431, 
 
 For there is bouudless theft 
 In limited professions. 
 
 the professions that are under legal restrictions. 
 
SCENE iii.J MACBETH. 33 
 
 Our chimneys were blown down, and, as they say, 
 
 Lamentings heard i' the air, strange screams of death ! 
 
 And prophesying, with accents terrible, 
 
 Of dire combustion ' and confused " events 
 
 New hatch'd ^ to the woeful time. 
 
 The obscure bird clamour'd the livelong night : 60 
 
 Some say, the earth was feverous and did shake. 
 
 Mach. 'Twas a rough night. 
 
 ien.-My young remembrance cannot parallel 
 A fellow to it. 
 
 Be- enter Macdtjit. 
 
 Macd. horror ! horror ! horror ! Tongue nor heart 
 Cannot conceive nor name thee ! 
 
 Mach., Len. What 's the matter? 
 
 Macd. Confusion ' now hath made his masterpiece ! 
 Most sacrilegious murder hath broke ope 
 The Lord's anointed temple, and stole thence 
 The life o' the building. 
 
 Macb. What is 't you say ? the life ? 70 
 
 Len. Mean you his Majesty ? 
 
 Macd. Approach the chamber, and destroy your sight 
 With a new Gorgon ! * Do not bid rae speak : 
 See, and then speak, yourselves. — [Ex. Macb. and Len. 
 
 Awake ! awake ! 
 Ring the alarum-bell ! Murder and treason ! 
 Banquo and Donalbain ! Malcolm ! awake ! 
 Shake off this downy sleep, death's counterfeit, 
 And look on death itself ! Up, up, and see 
 The great doom's image ! ' Malcolm ! Banquo ! 
 As from your graves rise up, and walk like sprites 80 
 
 To countenance * this horror ! Ring the bell. 
 
 » convulsion. 
 ' See line 67. 
 ' corresponding 
 
 Destruction 
 
 Enter Lady Macbeth, 
 
 Lady M. What 's the business. 
 That such a hideous trumpet ^ calls to parley 
 
 [BeU rings. 
 
 imaging a 
 sight like the 
 last day. 
 
 *-to seemly 
 witness. 
 
 ^ alarum. 
 
 * This metaphor relates to the legend of Medusa, the 
 most famous of the Gorgons, the only one who was mortal. 
 For hair she had hissing serpents, and every one who looked 
 upon her was changed into stone. 
 
34 MACBETH. [act ii. 
 
 The sleepers of the house ? Speak, speak ! 
 
 Mcicd. O gentle lady, 
 
 'Tis not for you to hear what I can speak : 
 The repetition in a woman's ear 
 Would murder as it fell. 
 
 Enter Banquo. 
 
 O Banquo, Banquo ! 
 Our royal master 's murder'd ! 
 
 Lady M. Woe, alas ! 
 
 What, in our house ? * 
 
 Ban. Too cruel any where. 
 
 Dear Duflf, I prithee, contradict thyself, 90 
 
 And say it is not so. 
 
 Be-enter Macbeth and Lennox. 
 
 Mach. Had I but died an hour before this chance, 
 I had lived a blessed time, for from this instant 
 " in l«r ''°"' '^^^'^^ '^ nothing serious in mortality ; ' 
 
 All is but toys. Renown and grace is dead : 
 The wine of life is drawn, and the mere lees 
 Is left this vault to brag of ! 
 
 Enter Maicolm and Donalbain. 
 
 Von. What is amiss ? 
 
 Macb. You are and do not know 't ? 
 
 The spring, the head, the fountain of your blood 
 
 Is stopp'd, the very source of it is stopp'd ! 100 
 
 Macd. Tour royal father 's murder'd ! 
 
 Mai. O, by whom ? 
 
 Zen. Those of his chamber, as it seem'd, had done 't : 
 ' marked. Their hands and faces were all badg'd with ' blood ; 
 
 So were their daggers, which unwip'd we found 
 Upon their pUlows : 
 
 They stared, and were distracted ; no man's life 
 Was to be trusted with them. 
 
 Macb. 0, yet I do repent me of my fury. 
 That I did kiU them. 
 
 Macd. Wherefore did you so ? 
 
 * She tries cunningly, but weakly, to divert suspicion. 
 
SCENE III.] 
 
 MACBETH. 
 
 35 
 
 Macb. "Who can be wise, amazed,' temperate and 
 furious, 110 
 
 Loyal and neutral, in a moment ? no man ; 
 The expedition ' of my violent love 
 Outrun the pauser reason. Here lay Duncan, 
 His silver skin laced with his golden blood, 
 And his gash'd stabs looked like a breach in nature 
 For ruin's wasteful entrance : there, the murderers, 
 Steep'd in the colours of their trade, their daggers 
 Unmannerly breech'd with gore.' Who could refrain, 
 That had a heart to love, and in that heart 
 Courage to make 's love known ? 
 
 Lady M. Help me hence, ho ! 120 
 
 Macd. Look to the lady. 
 
 Mai. lAside to Don.} Why do we hold our tongues. 
 That most may claim this argument ' for ours 1 
 
 Don. What should be spoken here, where our fate. 
 Hid in an auger-hole,* may rush and seize us ? 
 Let 's away : 
 Our tears are not yet brew'd.f 
 
 Mai. Nor our strong sorrow 
 
 Upon the foot of motion, f 
 
 Bern. Look to the lady : — 
 
 [Lady Macbeth is carried out. § 
 And when we have our naked frailties hid,' 
 That suffer in exposure,' let us meet 
 And question this most bloody piece of work, 130 
 
 To know it further. — Fears and scruples shake us ! — 
 In the great hand of God I stand ; and thence 
 Against the undivulged pretence I fight 
 Of treasonous malice ! 
 
 wise when 
 perturbed 
 with terror. 
 
 ^ haste. 
 
 ' handle as well 
 as blade foul 
 with blood. 
 
 ' subject. 
 
 ' slightly 
 clothed bodies. 
 ' to the cold. 
 
 * ' Our fate also, the instrument to effect which is lurking 
 secretly as in an auger-hole, is impending." 
 
 t ' This is not the place for us to manifest our grief.' 
 
 J 'Nor our sorrow at the instant of our hurrying away.' 
 Not as in the Cln. edn., " Sorrow in its first strength is motion- 
 less, and cannot express itself in words or tears." Nor accord- 
 ing to the Rugby editor, ' Our strong sorrow is not able as 
 yet to get on its feet and move.' These speeches are Aside^ 
 
 § Macbeth no doubt accompanies her. 
 
 d2 
 
36 MACBETH. [act ii. 
 
 Macd. And so do I. 
 
 ^W- So all. 
 
 Bern. Let 's briefly put on manly readiness,' 
 And meet i' the hall together. 
 
 ^''- Well contented. 
 
 [JEx. all but Mai. amd Bos. 
 
 Mai. What will you do? Let's not consort with 
 them : 
 To show an unfelt sorrow is an office 
 Which the false man does easy. I '11 to England. m 
 
 Don. To Ireland, I ; our separated fortune 
 
 Shall keep us both the safer : where we are, 
 
 ' near .in ^. There 's daggers in men's smiles : the near in blood,' 
 relationship. _,, i i , 
 
 The nearer bloody. 
 
 Mai. This murderous shaft that's shot 
 
 ' spent its force. Hath not yet lighted,' and our safest way 
 
 Is to avoid the aim. Therefore, to horse ; 
 
 And let us not be dainty of leave-taking. 
 
 But shift away • there 's warrant in that theft 
 
 Which steals itself, when there 's no mercy left. 
 
 [Mxeunt. 
 
 SCENE IV.— Without Macbeth's Castle. 
 
 Enter Ross and an Old Man. 
 
 Old Mam,. Threescore and ten I can remember well. 
 Within the volume of which time I have seen 
 Hours dreadful and things strange ; but this sore night 
 Hath trifled former knowings. 
 
 Boss. Ah, good father. 
 
 Thou seest, the heavens, as troubled with man's act. 
 Threaten his bloody stage : by the clock 'tis day, 
 ' the sun. ^^^ y^* dark night strangles the travelling lamp.' 
 
 Is't night's predominance, or the day's shame, t 
 
 * ' quickly put on becoming apparel.' To " make ready ' 
 often meant to dress, and to " make unready " to tmdress. 
 
 t ' Is it the continuation of dark night as aggressive, or 
 is it the day's shame at the deed ? ' 
 
SCENE IV.] 
 
 MACBETH. 
 
 37 
 
 That darkness does the face of earth entomb, 
 When living light should kiss it 1 
 
 Old Man. 'Tis unnatural, lo 
 
 Even like the deed that 's done. On Tuesday last 
 A falcon, towering in her pride of place,' 
 Was by a mousing owl hawk'd at and kill'd. 
 
 Ross. And Duncan's horses * — a thing most strange 
 and certain — 
 Beauteous and swift, the minions ' of their race, 
 Tum'd wUd in nature,' broke their stalls, flung out. 
 Contending 'gainst obedience, as ' they would make 
 War with mankind. 
 
 Old Man. 'Tis said they eat each other. 
 
 Ross. They did so, to the amazement of mine eyes 
 That look'd upon 't. Here comes the good Macduft'. — 
 
 loftiest point 
 of ascent. 
 
 choicest, 
 
 as in a natural 
 state. 
 
 as though. 
 
 Enter Macduff. 
 
 How goes the world, sir, now ? 20 
 
 Macd. Why, see you not ? 
 
 Ross. Is't known who did this more than bloody 
 deed?! 
 
 Macd. Those that Macbeth hath slain. 
 
 Ross. Alas, the day ! 
 
 What good could they pretend ? ' ' 
 
 Macd. They were suborn'd. 
 
 Malcolm and Donalbain, the King's two sons. 
 Are stol'n away and fled, which puts upon them 
 Suspicion of the deed. 
 
 Ross. 'Gainst nature stUl : 
 
 Thriftless ambition, that wilt ravin up ' 
 Thine own life's means ! — Then 'tis most like 
 The sovereignty will fall upon Macbeth ? 30 
 
 Macd. He is already named, and gone to Scone 
 To be invested. 
 
 Ross. Where is Duncan's body 1 
 
 Macd. Carried to Colme-kill, 
 
 ' this aggravated 
 and ruthless 
 deed. 
 
 ' intend (to 
 themselves). 
 
 ' rapaciously 
 consume. 
 
 * " horses " pronounced horse. See " T. of the Shrew," 
 III. ii. 207, " Grumio, my horse " — used in the plural. 
 
38 
 
 MACBETH. 
 
 [act III. 
 
 The sacred storehouse of his predecessors 
 And guardian of their bones. 
 
 -Boss. Will you to Scone ? 
 
 Macd. No, cousin ; I'll to Fife. 
 ' to Soone. Boss. Well, I will thither.' 
 
 Macd. Well may you see things well done there, — 
 adieu ! — 
 Lest our old robes sit easier than our new ! 
 Boss. Farewell, father. 
 
 Old Mam. God's benison go with you, and with those 
 That would make good of bad, and friends of foes ! * 
 
 [Eoeeuni. 
 
 ' and = yet. 
 
 * continue. 
 
 ' are falflUed, 
 
 ACT ni. 
 
 SCENE I. 
 
 Forres. The Palace. 
 
 Milter Banquo. 
 
 Ban. Thou hast it now : King, Cawdor, Glamis, all, 
 As the weird women promised ; and,' I fear 
 Thou play'dst most foully for 't : yet it was said 
 It should not stand ' in thy posterity, 
 But that myself should be the root and father 
 Of many kings. If there come truth from them — 
 As upon thee, Macbeth, their speeches shine ' — 
 Why, by the verities on thee made good. 
 May they not be my oracles as well, 
 And set me up in hope ? But hush ! no more. lo 
 
 Sennet sounded. Enter Macbeih, as King ; Lady Mac- 
 beth, as Queen ; Lennox, Ross, Lords, Ladi.es, and 
 Attendants. 
 
 Macb. Here 's our chief guest. 
 
 Lady M. If he had been forgotten. 
 
 * " The simple creed of the poor, who cannot well make 
 out why their superiors kill each other." — Mughy editor. 
 
SCENE I.] 
 
 MACBETH. 
 
 39 
 
 It had been as a gap in our great feast, 
 And all thing ' unbecoming. 
 
 Macb. To-night we hold a solemn supper,* sir. 
 And I'll request your presence. 
 
 Ban. Let your highness 
 
 ^ Command upon me, to the which " my duties 
 Are with a most indissoluble tie 
 For ever knit. 
 
 Macb. Ride you this afternoon ? 
 
 Ba/>i. Ay, my good lord. 
 
 Macb. We should have else desired your good advice, 20 
 Which still ' hath been both grave and prosperous,^ 
 In this day's council ; but we'll take to-morrow. 
 Is 't far you ride ? 
 
 Ban. As far, my lord, as wUl fill up the time 
 'Twixt this and supper : go not my horse the better,^ 
 I must become a borrower of the night 
 For a dark hour or twain. 
 
 Macb. Fail not our feast. 
 
 Ban. My lord, I will not. 
 
 Macb. We hear our bloody cousins are bestow'd' 
 In England and in Ireland ; not confessing so 
 
 Their cruel parricide, filling their hearers 
 With strange invention. But of that to-morrow. 
 When, therewithal, we shall have cause of state 
 Craving us jointly. Hie you to horse : adieu, 
 TUl you return at night. Goes Fleance with you 2 
 
 Ban. Ay, my good lord. Our time does call upon 's.' , 
 
 Ma^b. I wish your horses swift and sure of foot ; 
 And so I do commend you to their backs. 
 Farewell. — [Exit Banqtjo. 
 
 Let every man be master of his time 40 
 
 Till seven at night : to make society 
 The sweeter welcome/ we wUl keep ourself 
 Till supper time alone: while ' then, God be with you. — 
 [Mxeunt all but Macbeth and an Attendant. 
 
 all else 
 
 Lay. 
 
 to compliance 
 
 with wMcli 
 
 request. 
 
 ever. 
 
 weighty and 
 successful. 
 
 as calculated. 
 
 residing. 
 
 time presses to 
 leave you. 
 
 the more sweet 
 and welcome 
 to me. 
 
 till. 
 
 * A formal or ceremonious banquet ; as we should now 
 say, a full-dress dinner. 
 
40 MACBETH. [act hi. 
 
 Sirrah, a word with you. Attend those men 
 Our pleasure ? 
 
 AUen. They are, my lord, without the palace gate. 
 Mad). Bring them before us. — \Mxit Attendant. 
 
 To be thus is nothing. 
 But to be safely thus. Our fears in Banquo 
 Stick deep, and in his royalty of nature 
 132-134. Reigns that which would be fear'd: 'tis much he dares, 50 
 
 ' in aMition to. And, to ' that dauntless temper of his mind. 
 He hath a wisdom that doth guide his valour 
 To act in safety. There is none but he 
 Whose being I do fear : and under him 
 My genius is rebuked," as it is said 
 
 ' by that of. Mark Antony's was by ' Csesar. He chid the sisters 
 When first they put the name of king upon me, 
 And bade them speak to him ; then, prophetlike. 
 They hail'd him father to a line of kings. 
 Upon my head they placed a fruitless crown, eo 
 
 And put a barren sceptre in my gripe, 
 Thence to be wrench'd with an unlineal hand. 
 No son of mine succeeding. If 't be so, 
 
 • defiled. Por Banquo's issue have I filed ' my mind ; 
 
 For them the gracious Duncan have I murder'd ; 
 
 ' my oonaoienoe. p^t rancours in the vessel of my peace ' 
 
 ' immortal Onlv for them ; and mine eternal iewel ' 
 
 spirit. ■' 
 
 Given to the common enemy of man. 
 
 To make them kings, the seed of Banquo kings ! 
 
 Rather than so, come. Fate, into the list, 70 
 
 And champion me to the utterance ! — Who 's there ? 
 
 ' so-called, but ' Re-enter Attenda/nt, with two Mv/rderers. ' 
 
 soldiers crossed 
 
 in their for- jjo^y go to the door, and stay there till we call. [Exit Atten. 
 Was it not yesterday we spoke together 1 
 
 * ' under his scrutiny, overawed by his dauntless tempei 
 and wisdom, my plans and purposes are held in check.' The 
 splendid testimony to Banquo's exalted character given in the 
 whole passage is what makes him " that great bond " (III. ii 
 50) : Macbeth complains that he is subject to him as though 
 imder bond — he is " rebuked," Banquo makes himself to " be 
 feared." 
 
SCENE I.] 
 
 MACBETH. 
 
 41 
 
 1 Mv,r. It was, so please your highness. 
 
 Macb. Well then, now 
 
 Have you oonsider'd of my speeches ? Know 
 That it was he, in the times past, which held you 
 So under fortune, which you thought had been 
 Our innocent self.* This I made good to you 
 In our last conference ; pass'd in probation with you,^ 
 How you were borne in hand, how cross'd ' ; the instru- 
 ments, 80 
 Who wrought with them ; and all things else that might 
 To half a soul and to a notion crazed t 
 Say, 'Thus did Banquo.' 
 
 1 Mwr. You made it known to us. 
 
 Macb. I did so ; and went further, which is now 
 Our point of second meeting. Do you find 
 your patience so predominant in your nature, 
 That you can let this go ? Are you so gospell'd ' 
 To pray for this good man and for his issue. 
 Whose heavy hand hath bow'd you to the grave, 
 And beggar'd yours for ever ? 
 
 1 Mur. We are men, my liege. 90 
 
 Macb. Ay, in the catalogue ye go for men ; 
 As hounds and greyhounds, mongrels, spaniels, curs, 
 Shoughs, water-rugs and demi-wolves, are clept 
 All by the name of dogs : the valued file 
 Distinguishes the swift, the slow, the subtle, 
 The housekeeper, the hunter, every one 
 According to the gift which bounteous Nature 
 Hath in him closed ' ; whereby he does receive ■ 
 
 Particular addition from the bill 
 That writes them all alike : and so of men. J lOO 
 
 laid bare in 
 proof. 
 
 borne up by 
 delusive pro- 
 mises, drawn 
 on, how 
 disappointed. 
 
 ' so moved by 
 Gospel charity. 
 
 ' enclosed, 
 endowed. 
 
 * Construe thus; "it which held you so under fortune," 
 i.e. so prejudiced you and hindered your interests and advance- 
 ment, " was he which you thought had been our innocent self," 
 who had thus marred your welfare. 
 
 t ' a feeble understanding.' See " K. Lear," I. iv. 248, 
 " His notion weakens." 
 
 J Shakespeare's curious parallel here between classes of 
 men and the characteristics of the various breeds of dogs, 
 was plainly suggested to him by a book on the subject pub- 
 
42 MACBETH. [act hi. 
 
 Now if you have a station in the file, 
 Not i' the worst rank of manhood, say 't. 
 And I will put that business in your bosoms 
 Whose execution takes your enemy oflf. 
 Grapples you to the heart and love of us. 
 Who wear our health but sickly in his life. 
 Which in his death were perfect. 
 
 2 Mur I am one, my liege. 
 
 Whom the vile blows and buffets of the world 
 Have so incensed, that I am reckless what 
 I do to spite the world. 
 
 1 Mur. And I another, no 
 
 ' harassed. . So weary with disasters, tugg'd ' with fortune. 
 That I would set my life on any chance 
 To mend it' or be rid on 't. 
 
 lished in 1576, and which evidently made no little impression 
 upon the poet. It is still of great interest. The title is as 
 follows : 
 
 " Of Englishe Do'gges, the diuersities, the names, the 
 natures, and the properties. A short Treatise written in 
 Latine by Johannes Gains of late memorie, Doctor of Phisioke 
 in the Uniuersitie of Cambridge, and newly drawne into 
 Englishe by Abraham Fleming student." It has been re- 
 cently reprinted, and may be had at 170 Strand, London. 
 
 Charles Knight says, " In this speech a distinction is 
 drawn between the catalogue and the valued file. The 
 ' catalogue ' contains the names of all ; the ' valued file,' 
 select names. So there may be a ' station in the file ' above 
 that of the ' worst rank.' The rank, then, is the row — the 
 file, those set apart from the row for superior qualities." 
 
 The " valued file " is the olaisifiiiation which distinguishes 
 the swift, &c., from " the bill " or list that indiscriminately 
 writes them all alike. When placed in the " file," they are 
 all " valued," therefore " ranked," or distinguished. No pro- 
 cess of " select names," then, is here to be understood, neither 
 is there to be supposed any row or setting apart. Classifica- 
 tion alone is meant. This explanation is supported by the 
 line, " I have a file of all the gentry " (T. ii.) — a list of all, 
 " valued " or classified according to precedence. " Particular 
 addition " is the specification of the characteristics of the 
 several breeds. 
 
SCENE I.J 
 
 MACBETH. 
 
 43 
 
 Macb. Both of you 
 
 Know Banquo was jour enemy. 
 
 Both Murderers. True, my lord. 
 
 Macb. So is he mine, and in such bloody distance ^ 
 That every minute of his being thrusts 
 Against my near'st of life ' : and though I could 
 With barefaced power sweep him from my sight 
 And bid my will ' avouch it, yet I must not, 
 For ' certain friends that are both his and mine, 
 Whose loves I may not drop, but wail ' his fall 
 Who I myself struck down : and thence it is 
 That I to your assistance do make love. 
 Masking the business from the common eye, 
 For sundry weighty reasons 
 
 2 Mv/r. We shall, my lord, 
 Perform what you command us. 
 
 1 Mii/r. Though our lives — 
 
 Macb. Your spirits shine through you. Within this 
 hour at most 
 I will advise ' you where to plant yourselves, 
 Acquaint you with the perfect spy o' the time, 
 The moment on 't ; for 't must be done to-night, iso 
 
 And something from^ the palace ; always. thought' 
 That I require a clearness * : and with him 
 (To leave no rubs nor botches in the work) 
 Fleance his son, that keeps him company. 
 Whose absence is no less material to me » 
 
 Than is his father's, must embrace the fate 
 Of that dark hour. Resolve ' yourselves apart ; 
 I'll come to you anon. 
 
 3 Mur. We are resolved,t my lord. 
 
 * Dalgleish explains, ' I am to be kept clear of [suspicion 
 of] the deed' ; and the Cln. eds., 'I require to be kept clear 
 from suspicion.' The meaning goes deeper than this, for the 
 murderers had no power to divert suspicion from Macbeth. 
 I understand it, ' it is never to be divulged that I solicited 
 the murder.' 
 
 f ' consider together apart ' (from me) ; the murderers 
 reply, ' we are resolute ' (to do it). See " Richard III.," I. iii. 
 340, " stout resolved mates," and " K. John," V. vi. 20, " a 
 resolved villain " — in both instances meaning resolute. 
 
 * threatens my 
 very life. 
 
 * my will only. 
 
 120 ' Because of. 
 
 ' I must even 
 wail. 
 
 '''«»»t5«l. 
 
 ' remote from. 
 ' remembering. 
 
 ^ Consider. 
 
44 MACBETH. [act iir 
 
 'immediately. Macb. I'll call upon you straight ' : abide within. — 
 
 [Exewnt Murderers. 
 It is concluded : Banquo, thy soul's flight, i40 
 
 If it find heaven, must find it out to-night. {Exit. 
 
 Scene II. — The Palace. 
 
 Enter Laby Macbeth and a Servant. 
 
 ' ban. Lady Macb. Is Banquo gone from court ? 
 
 Serv. Ay, madam, but returns again to-night. 
 Laoly M. Say to the King, I would attend his leisure 
 For a few words. 
 
 Serv. Madam, I will. [Exit. 
 
 Lady M. Nought 's had, all 's spent, 
 
 Where our desire is got without content : 
 'Tis safer to be that which we destroy, 
 ■ their crime, rphan by destruction ' dwell in doubtful joy.' 
 
 * " This profound sigh from the depths of a deeply- wounded 
 soul is the key to all that we afterwards hear and learn of 
 Lady Macbeth. Here for an instant we overhear her, and 
 from her own lips learn what her pride, her love for Macbeth 
 even, will not suffer to be heard aloud ; it is what she con- 
 vulsively locks in her breast, and what at last breaks her 
 heart. This short monologue is the sole preparation for the 
 sleep-walking and her death, which would be unintelhgible 
 did we not here see the beginning of the end." — GericTte. 
 
 A meagre explanation is given by Dalgleish : " The senti- 
 ment is, that it is safer not to have disturbed peace, than, 
 having disturbed it, to dwell in doubtfnl joy ; that is, she 
 points at the accomplishment of something else before they 
 shall get their ' desire ' with ' content.' " Nothing more 
 does she point at ; the guUt that has been incurred is quite 
 enough to vmng this profoundly severe judgment from her, 
 which may be summed up in the simplest terms : that ' con- 
 tented innocence is far better than guilty ambition.' 
 
 There is uo sure foundation set on blood, 
 
 No certain life achieved by others' death.— /f. John, IV. ii. 104. 
 
SCENE II.] MACBETH. 45 
 
 Enter Macbeth. 
 
 How now, my lord ! why do you keep alone, 
 
 Of sorriest ' fancies your companions making, ' saadest. 
 
 Using ' those thoughts which should indeed have died 10 ' Brooding over. 
 
 With them they think on ? Things without all remedy 
 
 Should be without regard : what 's done is done. 
 
 Mach. We have scotoh'd the snake, not kill'd it : 
 She 11 close and be herself, whUst our poor ^ malice ' weak. 
 
 Remains in danger of her former tooth. 
 But let the frame of things disjoint, both the worlds 
 
 suflFer,' 
 Ere we will eat our meal in fear, and sleep 
 In the affliction of these terrible dreams 
 That shake us nightly. Better be with the dead, 
 Whom we, to gain our peace,t have sent to peace, so 
 
 Than on the tortm?e of the mind to lie 
 
 In restless ecstasy.^ Duncan is in his grave ; ■ distraction. 
 
 After life's fitful fever he sleeps well. 
 Treason has done his worst : nor steel, nor poison. 
 Malice domestic, foreign levy, nothing 
 Can touch him further ! 
 
 Lady M. Come on : 
 
 * ' let the order of Nature be overturned, both this globe 
 and the celestial world perish.' 
 
 t In the later folios peace is turned into jplaoe, by mistake 
 without doubt ; yet some editors have adopted the latter, 
 which is repugnant, and others have actually made changes 
 to pangs and to seat. Shakespeare's manner here is palpable ; 
 and as Knight well remarks, " there is something much higher 
 in the sentiment conveyed by the original word than in that 
 of place. In the very contemplation of the murder of Banquo, 
 Macbeth is vainly seeking for peace," Banquo being the ob- 
 ject of his dread and misery. See " A Winter's Tale," I. ii. 
 327, " Which to preserve is sleep " — the context here showing 
 that " sleep " is used for peace ; so in common phraseology, 
 peace is used for deatli, as sleep is so used. The meaning, 
 then, of the above line is, ' to gain our settled design, — and 
 so peace from the restless workings of our ambitious purpose, 
 — have sent Duncan to peace,' his final rest, deatli. See IV. 
 iii. 178. 
 
46 
 
 MACBETH. 
 
 [act III. 
 
 I attentions be 
 mainly 
 directed to. 
 
 ^ pre-eminently. 
 
 ^ borne by 
 sharded or 
 sheathed 
 wings. 
 
 * the sound of 
 yawning, 
 induced by 
 nightfall. 
 
 ^ blinding. 
 
 ' dusky. 
 
 Gentle my lord, sleek ' o'er your rugged looks ; 
 Be bright and jovial among your guests to-night. 
 
 Match. So shall I, love ; and so, I pray, be you. 
 Let your remembrance apply to ' Banquo : 30 
 
 Present him eminence,' both with eye and tongue, 
 To us cmd all ; unsafe the while that we 
 Must lave our honours in these flattering streams, 
 And make our faces vizards to our hearts, 
 Disguising what they are. 
 
 Lady M. You must leave this. 
 
 Macb. O, full of scorpions is my mind, dear wife ! 
 Thou know'st that Banquo and his Fleanoe lives. 
 
 Lady M. But in them nature's copy 's not eterne. 
 
 Macb. There 's comfort yet — they are assailable : ' 
 Then be thou jocund. — Ere the bat hath flown 40 
 
 His cloister'd flight, ere to black Hecate's summons 
 The shard-borne beetle ' with his drowsy hums 
 Hath rung night's yawning peal,' 
 There shall be done a deed of dreadful note ! 
 
 Lady M. What 's to be done ? 
 
 Macb. Be innocent of the knowledge, dearest chuck. 
 Till thou applaud the deed. — Oome, seeling ' night. 
 Scarf up the tender eye of pitiful day. 
 And with thy bloody and invisible hand 
 Cancel and tear to pieces that great bond t so 
 
 Which keeps me pale ! Light thickens, and the crow 
 Makes wing to the rooky ' wood ; 
 Good things of day begin to droop and drowse, 
 Whiles night's black agents to their preys do rouse ! — 
 
 * ' you have given me comfort notmithstcmding ( " yet " ) 
 my torture of mind, for they can be disposed of.' Lady 
 Macbeth does not Suggest this crime, but Macbeth is now 
 determined upon it, either by misunderstanding her reference, 
 or wilfully interpreting it to fuMl his wicked intention. 
 
 t The Rugby editor explains, ' bond may mean either 
 Bauquo's life, or the bond of destiny announced by the weird 
 sisters.' The Cln. eds., " Macbeth keeps up the same legal 
 metaphor which his wife had used in line 38." See my com- 
 ments, Note, p. iO, and p. xc. 
 
SCENE iii.J MACBETH. 47 
 
 Thou marvell'at at my words. But hold thee still,* 
 
 Things bad begun make strong themselves by ill. 
 
 So, prithee, go with me. [Exeunt. 
 
 Scene III. — A Park near the Palace. 
 
 Enter three Mv/rderers. 
 
 X Mwr. But who did bid thee join with us 1 
 
 3 Mur. Macbeth. 
 
 2 Mur. He needs not our mistrust, since he delivers 
 Our offices, and what we have to do, 
 
 To the direction just.f 
 
 1 Mur. Then stand with us. 
 The west yet glimmers with some streaks of day : 
 Now spurs the lated ' traveller apace 
 
 To gain the timely inn,' and near approaches 
 The subject of our watch. 
 
 3 Mur. Hark ! I hear horses. 
 Bern. [Within.'] Give us a light there, ho ! 
 
 2 Mm: Then 'tis he : the rest 
 That are within the note of expectation ' 
 Already are i' the court. 
 
 1 Mur. His horses go about. 
 
 3 Mu/r. Almost a mile ; but he does usually, 
 
 ' belated. 
 
 ' the inn 
 betimes. 
 
 10 ^ the invited 
 
 * " Thou marvell'st at my words," has reference to the 
 sentence addressed to her above, ' Be innocent . . . till thou 
 (thyself) rejoice in the deed.' The intervening lines are an 
 Aside, for, as she is not to know of the deed until after its 
 execution, so she is not to hear the invocation to Night to be 
 confederate with him to " tear to pieces," &c. " But hold thee 
 still," i.e. 'but believe it as ever true.' Compare " R. and 
 Juliet," III. v. 140, " Take me with you," i.e. let me understand 
 you. 
 
 t ' we need not mistrust this stranger, for his instructions, 
 as they correspond to what we have received, confirm what 
 he alleges, that he was directed by Macbeth to join with us.' 
 
48 MACBETH. [act hi. 
 
 So all men do, from hence to the palace gate 
 Make it their walk. 
 
 2 Mm: A light, a light ! 
 
 Unter Banquo, and Flbance ivith a torch. 
 
 3 -Mmt. 'Xis he. 
 1 Mur. Stand to 't. 
 
 Ban. It will rain to night. 
 
 1 Mur. Let it come down. [Assaults Banquo. 
 Ban. O treachery !— Fly, good Tleance, fly, fly, fly ! 
 
 Thou mayst re venge.—0 slave!* [Dies. Vleahoe escapes. 
 3 Mur. Who did strike out the light ? 
 proper oourae 1 Mwr. Was 't not the way ? ' so 
 
 reor^fuon. ^ Mii/r. There 's but one down : the son is fled ! 
 
 2 Mur. , We have lost 
 Best half of our afiair. 
 
 1 Mm. Well, let 's away, and say how much is done. 
 
 \JExex{m,t. 
 
 Scene lY.—SaU in the Palace. 
 
 A Banquet prepared. Enter Macbeth, Lady Macbeth, 
 Ross, Lennox, Lords, amd Attendants. 
 
 • of precedence. Moch. You know your own degrees, > sit down: at 
 " once for all. first and last " 
 
 The hearty welcome. 
 
 Lords. Thanks to your Majesty. 
 
 Macb. Ourself will mingle with society 
 And play the humble host, 
 canopfed'ohab^ Our hostess keeps her state,' but in best time 
 ' her to pro- We will require her ^ welcome. 
 
 Lady M. Pronounce it for me, sir, to all our friends ; 
 For my heart speaks, they are welcome. 
 
 * " treachery 1 slave I " are intimately connected as 
 directing the charge of guilt for this crime against Macbeth. 
 ' O treacherous Macbeth! O basest villain I' See IT. ii. 83, 
 " young fty of treachery" i.e. of Macduff. 
 
SCENE IV.] 
 
 MACBETH. 
 
 49 
 
 unreBtrained. 
 each bis glass 
 to a toast. 
 
 3 p. xci. 
 
 Enter first Murderer, to the door. 
 
 Macb. See, they encounter thee with their hearts' 
 thanks. 
 Both sides are even : here I'll sit i' the midst. lO 
 
 Be large ' in mirth ; anon, we '11 drink a measure '•' 
 The table vo\xnd.—[Approachmg the door.] There's 
 blood upon thy face. 
 
 Mur. 'Tis Banquo's then. 
 
 Mach. 'Tis better thee without than he within. 
 Is he dispatch'd 1 
 
 Afiw. My lord, his throat is out ; that I did for him. 
 
 Macb. Thou art the best o' the cut-throats ; yet he 's 
 good' 
 That did the like for Fleance : if thou didst it, 
 Thou art the nonpareil. 
 
 Mur. Most royal sir, 
 
 Fleance is scaped. 20 
 
 Macb. [Aside.1 Then comes my fit again ; I had else 
 been perfect,* 
 Whole as the marble, founded as the rock. 
 As broad and general as the casing air ' ; 
 But now I am cabin'd, cribb'd, confined, bound in 
 To saucy' doubts and fears. — But Banquo 's safe?t 
 
 Mur. Ay, my good lord, safe in a ditch he bides, 
 With twenty trenched gashes on his head. 
 The least a death to nature. 
 
 Macb. Thanks for that. — 
 
 [jiside.] There the grown serpent lies : the worm that '3 
 
 fled 
 Hath nature that in time will venom breed, 30 
 
 No ' teeth for the present. — Get thee gone ; to-morrow ' though no, 
 We '11 hear ourselves ' again. [Exit Mu/rderer. ' consult 
 
 together. 
 
 * encasing the 
 earth; 
 
 * irritating, 
 irrepressible. 
 
 * ' absolutely at peace, without fear.' See 1. 29-31, " the 
 worm that's fled," &c. ; and III. i. 107. 
 
 f The dramatic connection should be observed here : 
 
 M^a•. Fleance is scaped. 
 
 Macb. But Banquo 's safe 1 
 
50 MACBETH. [act hi. 
 
 Lady M. * My royal lord, 
 
 You do not give the cheer. (') The feast is sold 
 That is not often vouch'd (') ; while 'tis a-making (') 
 'Tis given with welcome.(*) To feed were best at home (*); 
 From thence (^) the sauce to meat is ceremony (') — 
 Meeting Q) were bare without it. 
 
 Macb. Sweet remembrancer ! — 
 
 Now good digestion wait on appetite, 
 And health on both ! 
 
 Zen. May 't please your highness sit ? 
 
 The Ghost of Banquo enters, and sits in Macbbth's pJoce. 
 *all men ol Macb. Here had we now our country's honour roof'd,' 
 
 been under Were the graced ^ person of our Banquo present ; 
 onr roof. Who may I rather challenge for unkindness, 
 
 Than pity for mischance. 
 
 Boss. His absence, sir, 
 
 Lays blame upon his promise. Please 't your highness 
 To grace us with your royal company ? 
 Mokcb. The table 's full. 
 
 Len. Here is a place reserved, sir. 
 
 Maeh. Where? 
 
 * The following explanations relate to this speech : — 
 
 (') You do not countenance your guests — 
 
 (^) ' warranted,' pressed : all should be urged to partake 
 and replenish — 
 
 (') 'proceeding' — 
 
 (') it should be sustained with j)TOo/» of welcome, the host 
 inspiring conversation and merriment — 
 
 (=) to partake for sustenance simply — 
 
 (') elsewhere than at home — 
 
 (') guests expect ceremonious, particular, and sustained 
 attention- — 
 
 (8) at formal or set entertainments. 
 
 The punctuation I have changed, which is obscure in 
 every edition ; it is generally pointed thus : 
 
 You do not give the cheer ; the feast is sold 
 
 That is not often vouch'd, while 'tis a-making, 
 
 'Tis given with welcome : to feed were best at home ; 
 
 From thence the sauce to meat is ceremony ; 
 
 Meeting were bare without it. 
 
SCENE IV.] 
 
 MACBETH. 
 
 51 
 
 Len. Here, my good lord. What is 't that moves your 
 highness ? 
 
 Macb. Which of you have done this ? 
 
 Lords. What, my good lord 1 
 
 Mouib. Thou canst not say I did it : never shake so 
 Thy gory locks at me ! 
 
 Boss. Gentlemen, rise ; his highness is not well. 
 
 Lad/y M. Sit, worthy friends : my lord is often thus. 
 And hath been from his youth : pray you, keep seat ; 
 The fit is momentary, upon a thought 
 He will again be well. If much you note him, 
 You shall offend him, and extend his passion : ' 
 Feed, and regard him not. — Are you a man ? 
 
 Macb. Ay, and a bold one, that dare look on that 
 Which might appal the devil. 
 
 Lady M. O proper stuff ! eo 
 
 This is the very painting of your fear :* 
 This is the ' air-drawn dagger which, you said, 
 Led you to Duncan. 0, these flaws ' and starts. 
 Impostors to ' true fear, would well become 
 A woman's story at a winter's fire, 
 Authorized by ' her grandam. Shame itself ! 
 Why do you make such faces ? When all's done 
 You look but on a stool. 
 
 Macb. Prithee, see there ! behold ! look ! lo ! 
 say you?— t 
 Why, what care II If thou canst nod, speak too. — 
 If charnel-houses and our graves must send 
 Those that we bury back, our monuments 
 Shall be the maws of kites. J [Ohost vamishes 
 
 ' aggravate his 
 sufEering. 
 
 the same 
 fantasy as the. 
 
 sudden bursts. 
 as compared to. 
 
 having only 
 the warranty 
 of. 
 
 How 
 
 70 
 
 * painting ani painted, i.e. unsubstantial. Eev. C. Herle, 
 Sennon (1642), says, "a painted sun warms not at all." But 
 John Bunyan supplies us with the proper use required here, 
 i.e. deluding : " Beware of by-paths : there are painted by- 
 paths from the plain way to the kingdom." 
 
 t " How say you ? " that I look only on an empty stool ? 
 look yourself. The Eugby editor is mistaken in saying that 
 this question is addressed to the Ghost. 
 
 J ' our bodies will have a final receptacle in the stomachs 
 of carrion birds.' The Cln. eds. are not right, I think, in 
 
 e2 
 
52 
 
 MACBETH. 
 
 [act III. 
 
 * wounds, each 
 calculated to 
 be mortal. 
 
 * wonder. 
 
 Lady M. What, quite unmarin'd in folly ? 
 
 Mach. If I stand here, I saw him. 
 
 Lad/y M. Fie, for shame ! 
 
 Macb. Blood hath been shed ere now, i' the olden 
 time. 
 Ere humane statute purged the gentle weal * ; 
 Ay, and since too, murders ha^e been perform'd 
 Too terrible for the ear : the time has been. 
 That, when the brains were out, the man would die. 
 And there an end ; but now they rise again, so 
 
 With twenty mortal murders ' on their crowns, 
 And push us from our stools. This is more strange 
 Than such a murder is. 
 
 Lady M. My worthy lord, . 
 
 Your noble friends do lack you. 
 
 Mach. I do forget. — 
 
 Do not muse ' at me, my most worthy friends ; 
 I have a strange infirmity, which is nothing . 
 To those that know me. Come, love and health to all ; 
 Then I'll sit down. — Give me some wine : fill full. — 
 I drink to the general joy o' the whole table. 
 And to our dear friend Banquo, whom we miss ; so 
 
 Would he were here ! to all and him we thirst,! 
 And all to all. 
 
 Lords. Our duties and the pledge. 
 
 Be-enter Ghost. 
 
 Macb. Avaunt ! and quit my sight ! Let the earth 
 hide thee ! 
 Thy bones are marrowless, thy blood is cold ; 
 
 giving this form to the thought : ' We will leave the dead to 
 be eaten by birds of prey.' 
 
 * ' before humane statute removed the barbarous reckless- 
 ness against human life, and so elevated the state by institu- 
 ting legal procedure ' ; thus the weal was made gentle = healthy 
 by the administration of lam. Dalgleish has a curious ex- 
 planation : ' ptirified the people in their natural state.' 
 
 t "thirst" for 'drink'; and 'all drink good wishes 
 (" joy ") to ^ ' — i^ot according to the Eugby editor, ' I long 
 to wish every one all good.' 
 
SCENE IV.] 
 
 MACBETH. 
 
 53 
 
 power of sight : 
 see " T. and 
 Cressida," III. 
 iii. 109.- 
 
 Thou hast no speculation ' in those eyes 
 .Which thou dost glare with. 
 
 Lotdnj M. Think of this, good peers, 
 
 But as a thing of custom : 'tis no other ; 
 Only it spoils the pleasure of the time. * 
 
 Macb. What man dare, I dare : 
 Approach thou like the rugged Russian bear, lOO 
 
 The arm'd ' rhinoceros, or the Hyrcan tiger, ' encased. 
 
 Take any shape but that, and my firm nerves 
 Shall never tremble : or be alive again. 
 And dare me to the desert with thy sword ; 
 If trembling I inhabit then,t protest me 
 The baby of a girl. Hence, horrible shadow ! 
 Unreal mockery, hence ! [Ghost ixMiishes. 
 
 Why so, being gone, 
 I am a man again. — ^Pray you, sit still. 
 
 Lady M. You have displaced ' the mirth, broke the ' deranged, 
 good meeting, 
 With most admired disorder.' 
 
 Macb. Can such things be, no 
 
 And overcome ^ us like a summer's cloud. 
 Without our special wonder? Tou make me strange. 
 Even to the disposition that I owe. 
 When now I think you can behold such sights 
 And keep the natural ruby of your cheeks, 
 When mine is blanch'd with fear. 
 
 Boss. What sights, my lord ? 
 
 Lady M. I pray you, speak not : he grows worse and 
 worse ; 
 Question enrages him. At once, good night : 
 
 ' disorder caus- 
 ing wonder. 
 
 > OTcrshadow, 
 
 * Schmidt explains, ' almost equivalent to the present 
 moment,' which is doubtless wrong. As elsewhere, "time" 
 is here used for persons — ' it spoils your pleasure,' that of all 
 the guests. See p. Ixii. 
 
 t We are told that " this is the great crux of the play, and 
 space would fail us for enumerating the various emendations 
 and explanations that the critics have suggested. On the 
 whole, we prefer to keep to the folio," and there it is left 
 by Kolfe. See " the great crux " treated on p. xcv. 
 
54 
 
 MACBETH. 
 
 [act III. 
 
 * refuses. 
 
 ^ royal 
 command. 
 
 ^ I casually 
 heard of his 
 refusal. 
 
 ^ sound as one 
 
 syllable. 
 ^ resolved. 
 
 ' considerations 
 opposing. 
 
 ^ comes of. 
 
 Stand not upon the order of your going, 
 But go at once. 
 
 Len. Good night, and better health 120 
 
 Attend his Majesty ! 
 
 Lad/y M. A kind good-night to all ! 
 
 [Exevmt all but Macbeth amd L. Macbbth. 
 Macb. It will have blood ; they say, blood will have 
 blood : 
 Stones have been known to move and trees to speak ; * 
 Augurs and understood relations have. 
 By maggot-pies and choughs and rooks', brought forth 
 The seoret'st man of blood. — What is the night ? 
 
 Lady M. Almost at odds with morning, which is which. 
 Mad). Howsay'st thou, that Macduff denies^ his person 
 At our great bidding ? ' 
 
 Lady Mach. Did you ^end to him, sir 1 
 
 Macb. I hear it by the way ': — ^but I wUl send. 130 
 There 's not a one of them but in his house 
 I keep a servant fee'd. — I will to-morrow, 
 And betimes ^ I will, to the weird sisters : 
 More shall they speak, for now I am bent ' to know, 
 By the worst means, the worst. For mine own good ^ 
 All causes ' shall give way : I am in blood 
 Stepp'd in so far, that, should I wade no more, 
 Eeturning were as tedious as go o'er. 
 Strange things I have in head that will to hand. 
 Which must be acted ere they may ^ be scanned. 140 
 
 LadAj M. You lack the season of all natures, sleep. 
 Mocfe. Come, we'll to sleep. My strange and self abuse 
 Is ^ the initiate fear, that wants hard use : 
 We are yet but young in deed. \Exeunt. 
 
 * It is contended by some that the meaning is not that 
 bloodshed will bring similar retaliation, but that those who 
 shed blood will be impelled to shed more blood to secure 
 their safety. But the context contradicts this, for " stones 
 and trees" have been known to reveal the most secret murderer 
 and so bring him to retaliatory punishment. 
 
SCENE V.J 
 
 MACBETH. 
 
 55 
 
 Scene V. — A Heath. 
 
 TImnder. Enter the three Witches, meeting Hecate. 
 
 ], Witch. Why, how now, Hecate ! you look angerly. 
 
 Hec. Have I not reason, beldams as you are, 
 Saucy and overbold 1 How did you dare 
 To trade and traffic with Macbeth 
 In riddles and affairs of death ; 
 And I, the mistress of your charms. 
 The close contriver ' of aU harms, 
 Was never call'd to bear my part, 
 Or show the glory of our art ? 
 
 And, which is worse, all you have done ic 
 
 Hath been but for a wayward son, 
 Spiteful and wrathful ; who, as others do, 
 Loves for his own ends, not for you. 
 But make amends now : get you gone. 
 And at the pit of Acheron 
 Meet me i' the morning : thither he 
 WiU come to know his destiny. 
 Your vessels and your spells provide. 
 Your charms and everything beside. 
 I am for the air ; this night I'll spend 2( 
 
 Unto a dismal and a fatal end : 
 Great business must be wrought ere noon. 
 Upon the corner ' of the moon 
 There hangs a vaporous drop profound ^ ; 
 I'll catch it ere it come to ground : 
 And that, distUl'd by magic sleights,' 
 Shall raise such artificial ' sprites 
 As, by the strength of their illusion, 
 Shall draw him on to his confusion.' 
 He shall spurn fate, scorn death, and bear 3 
 
 His hopes 'bove wisdom, grace, and fear ; 
 And you all know, security ' 
 
 ' secret plotter. 
 
 » the hora. 
 
 ^ having potent 
 properties. 
 
 * arts. 
 ' visible. 
 
 * destruction. 
 
 • The simple philosophy here expressed is, that mankind 
 in general live under a sense of assumed safety, so that 
 
56 MACBETH. [act hi. 
 
 Is mortals' chief est enemy. 
 
 [Mudc and a song within : " Gome away, come away," die. 
 
 Hark ! I am oall'd : my little spirit, see, 
 
 Sits in a foggy cloud, and stays for me. [Exit. 
 
 1 Witch. Come, let 's make haste : she '11 soon be back 
 
 again. [Exewit. 
 
 danger, which lurks about us all, easily issues in calamity. 
 
 The same reflection occurs in " K. Lear," IV. i. 19, 
 
 Full oft 'tis seen 
 Our means secure us. 
 
 The Cln. edr. of " Lear " certainly mistakes this passage ; he 
 says, ' things we think meanly of, our mean or moderate con- 
 dition, are our security.' I submit this explanation, 'The 
 means we possess lull us into a false security, by them we 
 become insensible to danger'; therefore, what we thought 
 our security often fails us, becomes our " chief est enemy." 
 
 The Oln. editors of " K. Bichard II." quote " Heuiy VI." 
 (I.) n. i. 11, 
 
 This liappy night the Frenchmen are secure^ 
 treated rightly here as ' careless, unguarded, falsely confident,' 
 but these meanings they apply, quite mistakenly, to the quota- 
 tion they also make from "Hamlet," I. v. 61, 
 Upon my secure hour thy uncle stole, 
 the meaning here being, ' hour of ease, his usual siesta, an 
 interval free from the care (sine ourd) or attention his duties 
 claimed of him.' 
 
 The same editors, treating of the line in " Macbeth," refer 
 
 us to instances in " K. Richard II." and their notes thereon . 
 
 The first is. 
 
 And yet we strike not, but securely perish. (II. i. 266.) 
 
 ' perish from carelessness.' The next is. 
 
 Whilst Bolingbroke, through our security^ (III. ii. 34.) 
 
 sense of feeling secare, assumption of being safe,' not eare- 
 
 lessness. The third instance is. 
 
 Open the door, secure^ fool-hardy king : (V. iii. 43.) 
 
 ' foolishly confident,' " fool-hardy." See " M. W. of Windsor,' ' 
 
 II. i., " Though Page be a seeure (confident) fool." 
 
 The " Macbeth " passage they explain as ' careless, false 
 
 confidence, unguarded.' My rendering will be found above. 
 
SCENE VI.] 
 
 MACBETH. 
 
 57 
 
 Scene VI. — Forres. The Palace. 
 
 ' a trisyllable. 
 
 Enter Lemjox amd cmother Lord. 
 
 Len. My former speeches have but hit your thoughts,' 't^™"^^*^^'" 
 Which can interpret farther : only I say, your thoughts. 
 
 Things have been atranaelv borne.' Theeracious Duncan ' suspiciously 
 
 *^ * 1 J J earned on. 
 
 Was pitied of Macbeth — marry, he was dead ; 
 
 And the right- valiant Banquo walk'd too late. 
 
 Whom, you may say, if 't please you, Fleance kill'd. 
 
 For Fleance fled. Men must not walk too late ! 
 
 Who cannot want the thought, how monstrous ' 
 
 It was for Malcolm and for Donalbain 
 
 To kill their gracious father ! Damned fact ! t lO 
 
 How it did grieve Macbeth ! Did he not straight. 
 
 In pious rage, the two delinquents tear, 
 
 That were the slaves of drink and thralls of sleep 1 
 
 Was not that nobly done ? ay, and wisely too ? 
 
 For 'twould have anger'd any heart alive 
 
 To hear the men deny 't. So that, I say, 
 
 He has borne all things well : and I do think, 
 
 That had he Duncan's sons under his key, 
 
 (As, an't please Heaven, he shall not), they should find 
 
 What 'twere to kill a father ; so should Fleance. 20 
 
 But, peace ! — ^For from broad words, and 'cause he fail'd 
 
 His presence at the tyrant's feast, I hear 
 
 Macduff lives in disgrace. J Sir, can you tell 
 
 Where he bestows himself? 
 
 Lord. The son of Duncan, 
 
 From whom this tyrant holds ' the due of birth, ' usurper 
 
 Lives in the English court, and is received 
 
 withholds. 
 
 * The elision of the y is here required for the metre ; as 
 in " K. John," I. i. 236, and in " K. Eiohard III.," I. iii. 313. 
 
 f " fact," commonly used in a bad sense, as an evil deed. 
 
 J ' arising out of (" from ") insolent words, and because 
 he refused to be present at Maobeth's banquet, tlierefore 
 ("For") MacdufE, I hear, lives in disgrace.' The invariable 
 punctuation is this, " But, peace ; for from," treatment which 
 is not consistent with the dramatic change of subject. 
 
68 
 
 MACBETH. 
 
 [act IV 
 
 ' the affliction 
 of Malcolm 
 nothing lessens 
 the King's 
 regard. 
 
 * eat and sleep 
 in security. 
 
 ^ live in no fear 
 from the 
 
 ' to and 
 
 ' from a rightful 
 king. 
 
 ' contemptuous. 
 ' sullen. 
 
 > present. 
 
 ' appeal for aid. 
 
 Of the most pious Edward with such grace, 
 
 That the malevolence of fortune nothing 
 
 Takes from his high respect.^ Thither MacduflF 
 
 Is gone to pray the holy King, upon his aid, 30 
 
 To wake Northumberland and warlike Siward, 
 
 That by the help of these, with Him above 
 
 To ratify the work, we may again 
 
 Give to our tables meat, sleep to our nights,' 
 
 Free from our feasts and banquets bloody knives,' 
 
 Do faithful homage,' and receive free honours,' 
 
 All which we pine for now. And this report 
 
 Hath so exasperate the King, that he 
 
 Prepares for some attempt of war. 
 
 Len. Sent he to Macduff? 
 
 Lord. He did; and with an absolute' '.Sir, not I,' 40 
 The cloudy ' messenger turns me his back. 
 And hums, as who should say, ' You '11 rue the time 
 That clogs me with this answer.' 
 
 Len. And that well might 
 
 Advise him to a caution, to hold what distance 
 His wisdom can provide. Some holy angel 
 Ply to the court of England and unfold ' 
 His message ' ere he come, that a swift blessing 
 May soon return to this our suffering country * 
 Under a hand accursed ! 
 
 Lord. I'll send my prayers with him. [Exeunt. 
 
 9 p. xlit. 
 
 ACT IV. 
 
 SCENE I. 
 
 A emern. In the rmddle, a hailing coAddron. 
 Thumder. Enter the three Witches. 
 
 1 Witch. Thrice the brinded cat hath mew'd. 
 
 2 Witch. And once the hedge-pig whined. 
 
 * ' Our country sufEering under Macbeth ' : a hyperlaion. 
 
SCENE I.] 
 
 MACBETH. 
 
 59 
 
 3 Wiich. Harpier cries ! 'Tis time, 'tis time. 
 
 1 Witch. Round about the cauldron go ; 
 In the poison'd entrails throw. 
 
 Toad, that under cold stone 
 Days and nights has thirty-one 
 Swelter 'd venom sleeping got,^ 
 Boil thou first i' the charmed pot. 
 
 All. Double, double toil and trouble ' : 
 Kre burn and cauldron bubble. 
 
 2 Witch. FiUet of a fenny snake, 
 In the cauldron boU and bake ; 
 Eye of newt and toe of frog, 
 
 Wool of bat and tongue of dog. 
 Adder's fork and blind-worm's sting, 
 Lizard's leg and howlet's wing, 
 For a charm of powerful trouble, 
 Like a hell-broth boil and bubble. 
 
 All. Double, double toil and trouble : 
 Fire burn and cauldron bubble. 
 
 3 Witch. Scale of dragon, tooth of wolf. 
 Witches' mummy, maw and gulf ' 
 
 Of the ravin'd ' salt-sea shark. 
 Root of hemlock digg'd i' the dark. 
 Liver of blaspheming Jew, 
 Gall of goat, and slips of yew 
 SUver'd '■ in the moon's eclipse, 
 Nose of Tvirk and Tartar's lips. 
 Finger of birth-strangled babe 
 Ditch deliver'd by a drab. 
 Make the gruel thick and slab ; ' 
 Add thereto a tiger's chaudron,' 
 For the ingredients of our cauldron. 
 
 All. Double, double toil and trouble : 
 Fire bum and cauldron bubble. 
 
 2 Witch. Cool ^ it with a baboon's blood. 
 Then the charm is firm and good. 
 
 * " cries ! " gives some signal of her return : not " cries, 
 'Tis time," as usually punctuated. It is the roitoh who announces 
 that "'tis time " to commence their incantations. 
 
 ' secreted while 
 
 sleeping 
 
 pungent 
 
 poison. 
 ^ pains. 
 
 > stomach and 
 throat. 
 
 ' ravening, 
 voracious. 
 
 ^ sliced off. 
 
 ' slimy, or firm, 
 as in 38. 
 
 ' eongeaJ, then 
 the charm of 
 gruel will be 
 firm, thick, and 
 slab : see Y. v. 
 10. 
 
60 MACBETH. [act iv. 
 
 Enter Hecate. 
 
 Sec. O, well done ! I commend your pains, 
 And every one shall share i' the gains. 40 
 
 And now about the cauldron sing, 
 Like elves and fairies in a ring, 
 turning all into Enchanting ' all that you put in. [Hecate retires. 
 
 a charm. [Music amd a song, " Black spirits," <Six. 
 
 2 Witch. By the pricking of my thumbs. 
 Something wicked this way comes. 
 Open, locks, 
 Whoever knocks. 
 
 Enter Macbeth. 
 
 Mach. How now, you secret, black, and midnight hags ! 
 
 Whatis'tyoudo? 
 
 AU. A deed without a name. 
 
 Macb. I conjure you, by that which you profess, so 
 
 Howe'er you come to know it, answer me ; 
 
 Though you untie the winds and let them fight 
 ' fcothy. Against the churches ; though the yesty ' waves 
 
 Confound and swallow navigation up ; 
 ' laid. Though bladed com be lodged ' and trees blown down ; 
 
 Though castles topple on their warders' heads ; 
 
 Though palaces and pyramids do slope 
 
 Their heads to their foundations ; though the treasure 
 > all the sources Of Nature's germens ' tumble all together, 
 
 Even till destruction sicken ; answer me 60 
 
 To what I ask you ! 
 
 1 Witch. Speak. 
 
 2 Witch. Demand. 
 
 3 Witch. We '11 answer. 
 
 1 Witch. Say, if thou'dst rather hear it from our 
 mouths, 
 Or from our masters. 
 
 Macb. Call 'em : let me see 'em. 
 
 1 Witch. Pour in sow's blood, that hath eaten 
 ' litter. Her nine farrow ' ; grease that 's sweaten 
 
 From the murderer's gibbet, throw 
 Into the flame. 
 
SCENE I.] . MACBETH. 61 
 
 AIL Come, high or low ; 
 
 Thyself and office deftly show ! 
 
 Thunder. First Apparition, : cm a/rmed Head. 
 
 Macb. Tell me, thou unknown power,— 
 
 1 Witch. He knows thy thought : 
 
 Hear his speech, but say thou nought. 70 
 
 lApp. Macbeth! Macbeth! Macbeth! beware Macduff, 
 Beware the thane of Fife ! Dismiss me: enough. [^Descends 
 
 Macb. Whate'er thou art, for thy good caution thanks : 
 Thou hast harp'd my fear aright. But one word more : — 
 
 1 Witch. He will not be commanded. Here's another. 
 More potent than the first. 
 
 Thunder. Second Apparition : a bloody Ghild. 
 
 2 App. Macbeth ! Macbeth ! Macbeth ! 
 Macb. Had I three ears I 'Id hear thee.* 
 
 2 App. Be bloody, bold, and resolute : laugh to scorn 
 The power of man, for none of woman bom 80 
 
 Shall harm Macbeth ! [Descends. 
 
 Macb. Then live, Macduff : what need I fear of thee ? 
 But yet I'll make assurance double sure. 
 And take a bond of fate : t thou shalt not live ; 
 That I may tell pale-hearted fear it lies. 
 And sleep in spite of thunder, f 
 
 Thnjmder. Third Apparition : a Child crovmed, with a 
 tree im his hand. 
 
 "What is this, 
 That rises like the issue of a king. 
 And wears upon his baby-brow the round 
 And top of sovereignty 1 
 
 * ' With all my hearing I will hear thee, and with still 
 more If I had it.' Whately remarks on the ludicrous mean- 
 ing which would result here, if the accentuation were thrown 
 on " three " and " hear." 
 
 t By MacdufE's death, fate will have sealed him, and 
 Macbeth will be safe from any reversal. 
 
 J After Macduff's death, Macbeth will be able, if fear 
 rises within him, to denounce it as false, and he can then 
 sleep in spite of all disturbing influences. 
 
62 MACBETH. [act iv. 
 
 All. Listen, but speak not to 't. 
 
 3 App. Be lion-mettled, proud, and take no care 90 
 Who chafes, who frets, or where conspirers are : 
 Macbeth shall never vanquish'd be until 
 Great Birnam wood to high Dunsinane hill 
 Shall come against him ! [Descends. 
 
 Macb. That will never be : 
 
 Who can impress the forest 1 bid the tree 
 Unfix his earth-bound root ? Sweet bodements ! good ! 
 Rebellion's head, rise never till the wood 
 Of Birnam rise ! And our high-placed Macbeth * 
 Shall live the lease of nature, pay his breath 
 To time and mortal custom. Yet my heart loo 
 
 Throbs to know one thing : tell me, if your art 
 Can tell so much, shall Banquo's issue ever 
 Keign in this kingdom 1 
 
 AU. Seek to know no more. 
 
 Macb. I will be satisfied : deny me this, 
 !A.nd an eternal curse fall on you ! Let me know. — 
 Why sinks that cauldron ? and what noise ^ is this ? 
 
 [Hautboys. 
 
 1 Witch. Show! 
 
 2 Witch. Show! 
 
 3 Witch. Show! 
 ' Banquo's issue AU. Show ^ his eyes and grieve his heart ; no 
 
 Come like shadows, so depart ! 
 
 A show ^ of eight Kings, the last with a glass m his hand; 
 Banquo's Ghost foUowmg. 
 
 Macb. Thou art too like the spirit of Banquo ;t down, 
 
 * " These words seem strange in Macbeth's mouth," say 
 the Cln. eds. They mean, ' our high-placed kingly self,' which 
 well express the extravagance of his delight at the " sweet 
 bodements " just communicated to him. See III. i. 78, " our 
 innocent self " ; and " J. Csesar," II. i. 118, " So let high-sighted 
 tyranny range on.' A similar utterance is that of Csesar, 
 " Yet if my name were liable to fear," i.e. ' if I, Csesar ' : I. ii. 
 199. 
 
 ■]■ " Thou " the first had the Ulteness of Banquo, as of his 
 issue (see line 102), so the second and third, so all; the Glwst 
 appears last of all. 
 
 to him. 
 
SCENE I.] MACBETH. 63 
 
 Thy crown does sear mine eye-balls ! — and thy hair, 
 
 Thou other gold-bound brow, is like the first ; 
 
 A third is like the former ! Filthy hags ! 
 
 Why do you show me this 1 A fourth ? Start, eyes ! 
 
 What ! wUl the line stretch out to the crack of doom 1 
 
 Another yet ? A seventh ? I '11 see no more : 
 
 And yet the eighth appears, who bears a glass 
 
 Which shows me many more ; and some I see 120 
 
 That two-fold balls and treble sceptres carry. 
 
 Horrible sight ! Now I see 'tis true,' ■ referring to 
 
 For the blood-bolter'd ' Banquo smiles upon me, question, 102 
 
 And points at them for his What, is this so ? ' fceBmcared. 
 
 1 Witch. Ay, sir, all this is so : but why 
 Stands Macbeth thus amazedly 1 — 
 Come, sisters, cheer we up his sprites, 
 And show the best of our delights. 
 I '11 charm the air to give a sound, 
 
 WhUe you perform your antic round, 130 
 
 That this great King may kindly say. 
 
 Our duties did his welcome ' pay. [Music. • presence. 
 
 [The Witches dance, then vcmish, with Hecate. 
 
 Macb. Where are they ? gone ? Let this pernicious hour 
 Stand aye accursed in the calendar ! — 
 Come in, without there ! 
 
 Enter Lennox. 
 
 Len. WTiat 's your grace's will ? 
 
 Macb. Saw you the weird sisters ? 
 
 Len. No, my lord. 
 
 Macb. Came they not by you ? 
 
 Len. No, indeed, my lord. 
 
 Macb. Infected be the air whereon they ride, 
 And damn'd all those that trust them ! — I did hear 
 The galloping of horse : who was 't came by ? 110 
 
 Len. 'Tis two or three, my lord, that bring you word 
 Macduff is fled to England. 
 
 Macb. Fled to England 1 
 
 Len. Ay, my good lord. 
 
 Macb. [Aside.] Time, thou anticipatest ' my dread ' outstrips. 
 exploits ! 
 
64 MACBETH. [act iv. 
 
 The flighty purpose never is o'ertook 
 
 Unless the deed go with it. From this moment, 
 
 The very firstlings of my heart shall be 
 
 The firstlings of my hand. And even now, 
 
 To crown my thoughts with acts, be it thought and done: 
 
 The castle of Macduff I will surprise ; iso 
 
 Seize upon Fife ; give to the edge o' the sword 
 
 His wife, his babes, and all unfortunate souls 
 
 'b "I' ""^ ■'■^** ^'^^^ ^™ ^" ^^^ '™^' ^° boasting • like a fool ; 
 
 This deed I 'U do before this purpose cool. 
 the "show" But no more sights ! ' — Where are these gentlemen ? 
 wi nesse (jgjjjg^ bring me where they are. [Exeunt. 
 
 SCENE II. 
 
 Fife. Macduff's CasO^. 
 
 Enter Lady Macduit, her Son, and Boss. 
 
 L. Macd. Wha;t had he done to make him fly the land ? 
 Boss. You must have patience, madam — 
 L. Macd. He had none ; 
 
 His flight was madness : when our actions do not, 
 Our fears do make us traitors. 
 
 Ross. You know not 
 
 Whether it was his wisdom or his fear — 
 
 L. Macd. Wisdom! to leave his wife, to leave his babes, 
 ' all he was pos- His mansion and his titles,' in a place 
 
 B6SSGd of 
 
 ... ■ From whence himself does fly ' ! He loves us not : 
 
 * m circum- i i i i. » 
 
 stances of peril. He wants the natural touch ' ! for the poor wren, 
 
 ■ natural sym- The most diminutive of birds, will fight, lO 
 
 pathy. 
 
 Her young ones in her nest, against the owl. 
 
 ' only iear, no All is the fear, and nothing is the love,' 
 love for ns. 
 
 * " flighty " is generally regarded as meaning fleeting ; it 
 may also mean here wavering, intending, which is confirmed 
 by line 154, " This deed I'll do before this pv/rpose cool." 
 Dalgleish mistakes it : ' a purpose suddenly entertained, as if 
 caught when on flight ' — there is no element of suddenness. 
 
SCENE II.] MACBETH. 65 
 
 As little is the wisdom, where the flight 
 So runs against all reason. 
 
 Boss. My dearest coz, 
 
 I pray you, school yourself : but for your husband. 
 He is noble, wise, judicious, and best knows 
 The fits o' the season. * I dare not speak much further ; 
 But cruel are the times when we are traitors, 
 And ' do not know ourselves ; when we hold rumour ' Aad = yet. 
 From what we fear, yet know not what we fear, so 
 
 But float upon a wild and violent sea. 
 Bach way we move. I take my leave of you : 
 Shall not be long but I '11 be here again. 
 Things at the worst will cease, or else climb upward 
 To what they were before. My pretty cousin, 
 Blessing upon you ! 
 
 L. Macd. Father'd he is, and yet he 'a fatherless. 
 
 Boss. I am so much a fool, ' should I stay longer ' so weak, easily 
 
 It would be my disgrace and your discomfort : 
 I take my leave at once. [Uxit. 
 
 L. Macd. Sirrah, your father 's dead : 30 
 
 And ' what will you do now ? how will you live 1 ' ^^ - thero- 
 
 Son. As birds do, mother. 
 
 L. MaM. What, with ' worms and flies 1 ' ""• 
 
 Son. With what I get, I mean ; and so do they. 
 
 L. Macd. Poor bird ! thou'ldst never fear the net 
 
 nor lime,^ ■ birdlime. 
 
 The pitfall nor the gin. 
 
 Smi. Why should I, mother ? Poor birds they are 
 not set for. • 
 
 My father is not dead, for aU your saying. 
 
 L. Macd. Yes, he is dead : how wilt thou do for a father? 
 
 Son. Nay, how will you do for a husband ? 
 
 L. Macd. Why, I can buy me twenty at any market. 40 
 
 Son. Then you '11 buy 'em to sell again. 
 
 L. Macd. Thou speak'st with all thy wit * ; ' Thou makest a 
 
 And yet, i' faith, with wit enough for thee. wit °^^ " ^ 
 
 Son. Was my father a traitor, mother 
 
 * i.e. 'he best knows the feverish condition of the State' 
 -diseased, and so full of danger. 
 
MACBETH. 
 
 [act IV 
 
 * swears fealty 
 aud turns 
 traitor. 
 
 * here in the 
 ordinary sense. 
 
 L. Macd. Ay, that he was. 
 
 Son. What is a traitor ? 
 
 L. Macd. Why, one that swears and lies. ' 
 
 Son. And be all traitors that do so ? 
 
 L. Macd. Every one that does so is a traitor, and 
 must be hanged. so 
 
 Son. And must they all be hanged that swear and lie ? ' 
 
 L. Macd. Every one. 
 
 Son. Who must hang them ? 
 
 L. Macd. Why, the honest men. 
 
 Son. Then the liars and swearers are fools, for there 
 are liars and swearers enough to beat the honest men 
 and hang up them. 
 
 L. Macd. Now, God help thee, poor monkey ! 
 But how wilt thou do for a father ? 60 
 
 Son. If he were dead, you 'Id weep for him : if you 
 would not, it were a good sign that I should quickly 
 have a new father. 
 
 L. Macd. Poor prattler, how thou talk'st ! 
 
 Enter a Messenger. 
 
 Mess. Bless you, fair dame ! I am not to you known. 
 Though in your state of honour I am perfect. 
 I doubt ' some danger does approach you nearly ! 
 If you will take a homely man's advice, 
 Be not found here ; hence, with your httle ones ! 
 To fright you thus, methinks I am too savage ; 70 
 
 ' worse if he did To do worse ' to vou were fell cruelty, 
 
 not warn her , tt 
 
 so. Which IS too mgh your person. Heaven preserve you ! 
 
 I dare abide no longer. [Sxit. 
 
 L. Macd. Whither should I fly ? 
 
 I have done no harm. But I remember now 
 I am in this earthly world, where to do harm 
 Is often laudable, to do good sometime 
 Accounted dangerous folly : why then, alas ! 
 Do I put up that womanly defence 
 To say, I have done no harm ? 
 
 Enter Murderers. 
 
 What are these faces ? 
 Mur. Where is your husband ? 80 
 
 See p. civ. 
 * I fear. 
 
SCENE III.] 
 
 MACBETH. 
 
 67 
 
 L. Ma^d. I hope, in no place so unsanotified 
 Where such as thou mayst find him. 
 
 Mii/r. He 's a traitor. 
 
 Son. Thou liest, thou shag-hair'd villain ! 
 
 Mwr. What, you egg ! [Stabbing him. 
 
 Young fry of treachery ! 
 
 Son. He has kill'd me, mother : 
 
 Run away, I pray you ! [Dies. 
 
 [Exit Lady Macdtjpp, crying 'Mii/rder ■'' 
 pursiied by the Mwrdereirs. 
 
 SCENE III. 
 
 Engla/iid. Before the King's Palace. 
 
 Enter Malcolm and Macduff. 
 
 Mai. Let us seek out some desolate shade, and there 
 Weep our sad bosoms empty. 
 
 Macd. Let us rather 
 
 Hold fast the mortal ' sword, and like good ^ men 
 Bestride ' our down-fall'n birthdom. Bach new mom 
 New widows howl, new orphans cry, new sorrows 
 Strike heaven on the face, that ' it resounds 
 As if it felt with Scotland and yell'd out 
 Like syllable ' of dolour. 
 
 MaZ. What I believe, I'll wail ; 
 
 What know, believe ; and what I can redress, 
 As I shall find the time to friend, I will. lO 
 
 What you have spoke, it may be so perchance. 
 This tyrant,' whose sole ' name blisters our tongues,' 
 Was once thought honest : you have loved him weU. 
 He hath not touch'd ' you yet. I am young ; but some- 
 thing 
 You may discerne of him through me ; and ' wisdom 
 To ofier up a weak, poor innocent lamb. 
 To appease an angry god. 
 
 Macd. I am not treacherous. 
 
 Mai. But Macbeth is. 
 
 A good and virtuous nature may recoil 
 
 p2 
 
 ' brave. 
 
 ' stand over and 
 defend. 
 
 ^ so that. 
 
 similar strains. 
 
 usurper. 
 ^ mere. 
 " in uttering it 
 
 injured. 
 
 ' =therefore. 
 See p. cv. 
 
68 
 
 MACBETH. 
 
 [act IV. 
 
 ' cauuot make 
 you faithless if 
 you are not so, 
 
 * ever be grace. 
 
 ^ suspicious be 
 received as. 
 
 * a man of 
 honour. 
 
 ^ Malcolm will 
 not assail thee. 
 
 ' confirmed on 
 thee. 
 
 ' I believe. 
 
 ' King Edward. 
 
 In an imperial charge." But I shall crave your pardon : 20 
 That which you are, my thoughts cannot transpose ' ; 
 Angels are bright still, though the brightest feU : - 
 Though all things foul would wear the brows of grace, 
 Yet grace must still look so. ^ 
 
 Macd. I have lost my hopes. 
 
 Mai. Perchance even there where I did find my 
 doubts. 
 Why in that rawness left you wife and child,t 
 Those precious motives, those strong knots of love, 
 Without leave taking ? I pray you. 
 Let not my jealousies be ' your dishonours. 
 But mine own safeties : you may be rightly just,' 30 
 
 Whatever I shall think. 
 
 Macd. Bleed, bleed, poor country ! 
 
 Great tyranny,' lay thou thy basis sure. 
 For goodness ' dare not check thee ! wear thou thy wrongs ; 
 The title is affeer'd ! ' — Fare thee well, lord : 
 I would not be the vUlain that thou think'st 
 For the whole space that 's in the tyrant's grasp, 
 And the rich East to boot. 
 
 Mai. Be not offended : 
 
 I speak not as in absolute fear of you. 
 I think ' our country sinks beneath the yoke ; 
 It weeps, it bleeds, and each new day a gash 40 
 
 Is added to her wounds : I think, withal, 
 There would be hands uplifted in my right ; 
 And here from gracious England ' have I offer 
 
 * ' may yield to pressure by a king's temptation.' Thack- 
 eray says, " What weak heart, confident before trial, may not 
 succumb under temptation invincible ? " 
 
 t Malcolm betrays here some real doubt of the genuine- 
 ness of MacdufE's purpose, 'Why was your departure so 
 heartless towards your wife and child, not even taking leave 
 of them 1 ' The suspicion he built upon this conduct may 
 fairly be suggested — ' If you can act with such rawness to 
 them (wanting your protection), you would be quite equal to 
 design the sacrifice of me ; and your haste to leave them in- 
 dicates some discerning of personal advantage if you can 
 succeed in inveigling me.' 
 
SCENE III.] 
 
 MACBETH. 
 
 69 
 
 Of goodly thousands : but for all this, 
 When I shall tread upon the tyrant's ' head 
 Or wear it on my sword, yet my poor country 
 ShaJl have more vices than it had before, 
 More suffer, and more sundry ways than ever. 
 By him that shall succeed. 
 
 Macd. What should he be 1 
 
 Mai. It is myself I mean ; in whom I know 
 All the particulars of vice so grafted, 
 That, when they shall be open'd,' black Macbeth 
 Will seem as pure as snow, and the poor state 
 Esteem him as a lamb, being compared 
 With my confineless ' harms. 
 
 Mood. Not in the legions 
 
 Of horrid hell can come a devU ^ more damn'd 
 In evUa to top ' Macbeth. 
 
 Mai. I grant him bloody. 
 
 Luxurious,' avaricious, false, deceitful. 
 Sudden,' malicious, smacking of every sin 
 That has a name ; but there 's no bottom, none, 
 In my voluptuousness : your wives, your daughters. 
 Your matrons and your maids, could not fill up 
 The cistern of my lust, and my desire 
 All continent ' impediments would o'erbear 
 That did oppose my will : better Macbeth 
 Than such a one to reign. 
 
 Macd. Boundless intemperance 
 
 In nature is a tyranny ' ; it hath been 
 The untimely emptying of the happy throne, 
 And fall of many kings. But fear not yet ' 
 To take upon you what is yours : you may 
 Convey ' your pleasures in a spacious plenty 
 And yet seem cold, the time you may so hoodwink. 
 We have willing dames enough ; there cannot be 
 That vulture in you to devour so many 
 As will to greatness dedicate themselves, 
 Finding it so inclined. 
 
 Mai. With this there grows 
 
 In my most ill-composed affection ^ such 
 A stanchless avarice, that, were I king, 
 
 * developed. 
 
 ' boundless. 
 
 * pronounced 
 dea. 
 
 * surpass. 
 ^ licentious. 
 
 70 
 
 ' restraining. 
 
 ^ in tlie natural 
 appetites is a 
 usurpation. 
 
 ^ But yet, nerer- 
 theless fear not. 
 
 * secretly enjoy. 
 
 ' evil inclina- 
 tions. 
 
70 MACBETH. [act iv. 
 
 I should cut off the nobles for their lands, 
 ' one man's.. Desire his ' jewels and this other's ^ house ; 80 
 
 " another's. ^^^ ^^ more-having would be as a sauce 
 
 To make me hunger more, that I should forge 
 Quarrels unjust against the good and loyal, 
 Destroying them for wealth. 
 
 Macd. This avarice 
 
 Sticks deeper, grows with more pernicious root 
 Than summer-seeming lust, and it hath been 
 The sword of our slain kings ; yet do not fear, 
 Scotland hath foisons to fill up your wiU 
 
 ' absolute. Of your mere ' own. All these are portable,' 
 
 "endurable. f .,,■,» 
 
 With other graces weigh d. 90 
 
 Mai. But I have none : the king-becoming graces. 
 
 As justice, verity, temperance, stableness. 
 
 Bounty, perseverance, mercy, lowliness. 
 
 Devotion, patience, courage, fortitude, 
 
 I have no relish of them, but abound 
 
 ' under the head. In the division ^ of each several crime, 
 
 Acting it many ways. Nay, had I power, I should 
 
 Pour the sweet milk of concord into hell, 
 
 ' change into a Uproar ' the universal peace, confound 
 state of uproar. ^ ,, . . _., , 
 
 All unity on earth.f s 
 
 Macd. O Scotland, Scotland ! iw 
 
 Mai. If such a one be fit to govern, speak : 
 
 I am as I have spoken. 
 
 Macd. Fit to govern ? 
 
 * ' With graces weighed on the otJier side,' so cotmter- 
 balancing the vices. Dalgleish, not seeing this plain mean- 
 ing, has committed himself to a strange criticism : " The 
 ' other ' before ' graces ' is a solecism ; for Macduff could not, 
 surely, consider the vices he was condemning to be ' graces ' 
 too." 
 
 t " Malcolm goes so far, in order to try Macduff, as to 
 vilify himself and his character. We may object to this as 
 unnaturaJ.; yet in the embittered and suspicious state of 
 mind of the orphaned, oft-tempted, and betrayed young man, 
 it is not inconsistent that he should go so far in dissimulation 
 towards the very man whom he would most gladly trust, and 
 on whom his last hope is placed." — Oervinus, p. 608. 
 
SCENE III.] 
 
 MACBETH. 
 
 71 
 
 No, not to live ! O nation miserable, 
 
 With an untitled tyrant,' bloody-soepter'd, 
 
 When shalt thou see thy wholesome days again. 
 
 Since that the truest issue of thy throne 
 
 By his own interdiction stands accursed,^ 
 
 And does blaspheme ' his breed ? Thy royal father 
 
 Was a most sainted king : the queen that bore thee, 
 
 Oftener upon her knees than on her feet. 
 
 Died every day she lived.' Fare thee well ! 
 
 These evUs thou repeat' st upon ' thyself 
 
 Have banish'd me from Scotland. — O my breast, 
 
 Thy hope ends here ! 
 
 Mai. Macduff, this noble passion, 
 
 Child of integrity, hath from my soul 
 Wiped the black scruples, reconciled my thoughts 
 To thy good truth and honour. Devilish Macbeth 
 By many of these trains ' hath sought to win me 
 Into his power, and modest ' wisdom plucks me 
 From over-credulous haste : but God above 
 Deal between thee and me ! for even now 
 I put myseK to thy direction, and 
 Unspeak ' mine own detraction, here abjure 
 The taints and blames I laid upon myself, 
 For ' strangers to my nature. I am yet 
 Unknown to woman, never was forsworn,' 
 Scarcely have coveted what was mine own. 
 At no time broke my faith, would not betray 
 The devil to his fellow, and delight 
 No less in truth than life : my first false speaking i; 
 
 Was this upon myself. What I am truly 
 Is thine and my poor country's to command ; 
 Whither, indeed, before thy here-approach. 
 Old Siward, with ten thousand warlike men, 
 All ready, at a point, was setting forth : 
 Now we '11 together, and the chance of goodness 
 Be like our warranted quarrel.* Why are you silent ? 
 
 Macd. Such welcome and unwelcome things at once 
 'Tis hard to reconcile. 
 
 ' a usurper with- 
 out title by 
 rigllt. 
 
 ' self-condemned 
 to banishment. 
 
 ' constantly 
 mortified her 
 worldly desires 
 
 ' confessetli 
 
 * lures, artifices: 
 see p. 67, 1. 14- 
 17. 
 120 - cautious. 
 
 'As. 
 
 ■ perjured. 
 
 * ' and may the hazard of a good result be as certain as 
 our cause of quarrel is just.' 
 
72 
 
 MACBETH. 
 
 [act IV. 
 
 * await. 
 
 * resists, 
 utmost efEorts 
 ojE physicians. 
 
 ' prevails with. 
 ' afiaioted. 
 
 ^ ahsolute, 
 * coin. 
 
 ^ healing power. 
 
 * expounding 
 Scripture. 
 
 * bespeak, pro- 
 claim. 
 
 Enter a Doctar. 
 
 Mai. Well, more anon. — Comes the Kipg forth, I pray 
 you ? HO 
 
 Doct. Ay, sir ; there are a crew of wretched souls 
 That stay ' his cure : their malady convinces ' 
 The great assay of art ' ; but at his touch. 
 Such sanctity hath Heaven given his hand, 
 They presently amend. 
 
 Mai. I thank you, doctor. [Exit Doctor. 
 
 Macd. What 's the disease he means 1 
 
 Mai. 'Tis call'd the evil ' : 
 
 A-most miraculous work in this good King, 
 Which often, since my here-remain in England, 
 I have seen him do. How he solicits ' Heaven, 
 Himself best knows ; but strangely-visited ' people, 150 
 All swoln and ulcerous, pitiful to the eye, 
 The mere ' despair of surgery, he cures. 
 Hanging a golden stamp ' about their necks. 
 Put on with holy prayers : and 'tis spoken. 
 To the succeeding royalty he leaves 
 The healing benediction. With this strange virtue ' 
 He hath a heavenly gift of prophecy,^ 
 And sundry blessings hang about his throne 
 That speak ' him full of grace. 
 
 Enter Ross. 
 
 Macd. See, who comes here 1 
 
 Mai. My countryman, but yet I know him not. leo 
 
 Macd. My ever-gentle cousin, welcome hither. 
 
 Mai. I know him now. Good God, betimes remove 
 The means that make us strangers ! 
 
 Ross. Sir, Amen. 
 
 Macd. Stands Scotland where it did ? 
 
 Boss. Alas, poor country ! 
 
 Almost afraid to know itself. It cannot 
 Be call'd our mother, but our grave ; where nothing, 
 But who ' knows nothing, is once seen to smile ; 
 Where sighs and groans, and shrieks that rend the air, 
 Are made, not mark'd ; where violent sorrow seems 
 
SCENE III.] 
 
 MACBETH. 
 
 73 
 
 A modern ecstasy ' : the dead man's knell 170 
 
 Is there scarce ask'd for who ; and good men's lives 
 Expire before the flowers in their caps, 
 Dying or ere they sicken.* 
 
 Maed. O, relation 
 
 Too nice,' and yet too true ! 
 
 Mai. What 's the newest grief ? 
 
 Ross. That of an hour's age doth hiss the speaker ' : 
 Each minute teems a new one. 
 
 Macd. How does my wife ? 
 
 Boss. Why, well. 
 
 Macd.' And all my children ? 
 
 Boss. Well too. 
 
 Macd. The tyrant has not batter'd at their peace ? 
 
 ^oss. No ; they were well at peace when I did leave 'em. 
 
 JVfocd. Be not a niggard of your speech ; how goes 't ? 
 
 Boss. When I came hither to transport the tidings, 
 Which I have heavily ' borne, there ran a rumour 
 Of many worthy fellows that were out ; ' 
 Which was to my belief witness'd the rather, 
 For that ' I saw the tyrant's power '' afoot. 
 Now is the time of help : your eye in Scotland 
 Would create soldiers, make our women fight, 
 To doff their dire distresses. 
 
 Mai. Be 't their comfort 
 
 We are coming thither. Gracious England ' hath 
 Lent us good Siward and ten thousand men — 
 An older ' and a better soldier none 
 That Christendom gives out.' 
 
 Boss. Would I could answer 
 
 This comfort with the like ! But I have words 
 That would' be howl'd out in the desert air. 
 Where hearing should not latch ' them. 
 
 Macd. What concern they ? 
 
 The general cause,' or is it a fee-grief 
 Due to some single breast ? ' 
 
 Boss. No mind that's honest 
 
 common 
 malady. 
 
 ' full, detailed. 
 
 ^ because it is 
 stale then. 
 
 sadly. 
 
 in insurrection. 
 
 ' Because. 
 ' force. 
 
 190 ' King Edward. 
 
 experienced, 
 is famed for. 
 
 should. 
 ' catch, receive. 
 
 the puhlic 
 interest. 
 
 the sad right of 
 an individual. 
 
 * ' executed by the mere whim of Macbeth without having 
 committed any crime to provoke a death sentence.' 
 
74 MACBETH. [act iv. 
 
 But in it shares some woe, though the main part 
 Pertains to you alone. 
 
 Macd. If it be mine, 200 
 
 Keep it not from me ; quickly let me have it. 
 
 Boss, Let not your ears despise my tongue for ever, 
 ■ inform. Which shall possess ^ them with the heaviest sound 
 
 That ever yet they heard. 
 
 Macd. Hum ! I guess at it. 
 
 Boss. Your casUe is surprised ; your wife and babes 
 Savagely slaughter'd : to relate the manner, 
 Were, on the quarry of these murder 'd deer, 
 To add the death of you. 
 
 McA. Merciful Heaven ! — 
 
 What, man ! ne'er pull your hat upon your brows : 
 Give sorrow words ; the grief that does not speak 210 
 Whispers the o'er-fraught heart and bids it break. 
 
 Macd. My children too ? 
 
 Boss. Wife, children, servants, all 
 
 That could be found. 
 
 Macd. And I must be from thence ! 
 
 My wife till 'd too? 
 
 Boss. I have said. 
 
 Mai. Be comforted : 
 
 Let 's make us medicines of our great revenge, 
 To cure this deadly grief. 
 
 Macd. He has no children. — All my pretty ones ? 
 Did you say aU ?— O heU-kite !— All ? 
 What, all my pretty chickens and their dam 
 At one fell swoop ? 220 
 
 Mai. Dispute it like a man. 
 
 Macd. I shall do so, 
 
 But I must also feel it as a man : 
 I cannot but remember such things were. 
 That were most precious to me. — Did Heaven look on. 
 And would not take their part ? Sinful Macduff, 
 They were all struck for thee, naught that I am ! 
 Not for their own demerits but for mine. 
 Fell slaughter on their souls ! Heaven rest them now ! 
 
 Mai. Be this the whetstone of your sword : let grief, 
 pec 1. 215-16. Convert to anger, blunt not the heart, enrage it. 230 
 
SCENE III.] 
 
 MACBETH. 
 
 75 
 
 Macd. O, I could play the woman with mine eyes 
 And braggart with my tongue ; but, gentle heavens, 
 Cut short all intermission,' front to front 
 Bring thou this fiend of Scotland and myself, 
 Within my sword's length set him ; if he scape. 
 Heaven forgive him too ! * 
 
 Mai. This tune goes manly. 
 
 Oome, go we to the King : our power is ready ; 
 Our lack is nothing but our leave. Macbeth 
 Is ripe for shaking, and the powers above 
 Put on their instruments. Receive what cheer you may ; 
 The night is long that never finds the day. [Hxeunt. 
 
 all that delays 
 my revenge. 
 
 ACT V. 
 
 SCENE I. 
 
 Dunsincme. Ante-room m the Castle. 
 Enter a Doctor of Physic and a Waiting Gentlewoman. 
 
 Doct. I have two nights watched with you, but can 
 perceive no truth in your report. When was it she last 
 walked ? 
 
 Gen. Since his Majesty went into the field, I have 
 seen her rise from her bed, throw her night-gown ' upon ' dressing-gown, 
 her, unlock her closet, take forth paper, fold it, write 
 upon 't, read it, afterwards seal it, and again return to 
 bed ; yet all this while in a most fast sleep. 10 
 
 Doct. A great perturbation in nature, to receive at 
 once the benefit of sleep and do the effects of watching.' 
 In this slumbery agitation, besides her walking and other 
 actual performances, what, at any time, have you heard 
 her say 1 
 
 Gen. That, sir, which 1 wUl riot report after her. 
 
 Doct. You may to me, and 'tis most meet you should. 
 
 Gen. Neither to you nor any one, having no witness 
 to confirm my speech. 21 
 
 * ' if he scape killing and he kill me I will forgive him, 
 and may Heaven forgive him too.' 
 
 ^ acts of wake- 
 fulness. 
 
76 MACBETH. [act v. 
 
 Enter Lady Macbeth, with a taper. 
 
 Lo you, here she comes ! This is her very guise ; and, 
 concealed. upon my life, fast asleep ! Observe her ; stand close.' 
 
 Doct. How came she by that light ? 
 
 Oen. Why, it stood by her : she has light by her con- 
 tinually ; 'tis her command. 
 
 Doct. You see, her eyes are open. 
 
 Gen. Ay, but their sense is shut. 
 
 Doct. What is it she does now ? Look, how she rubs 
 her hands. 
 
 Gent. It is an accustomed action with her, to seem 
 thus washing her hands : I have known her continue in 
 this a quarter of an hour. 
 
 La'dy M. Yet here 's a spot. 
 
 Doct. Hark ! she speats. I will set down what comes 
 from her, to satisfy my remembrance the more strongly. 
 
 Lady M. Out, damned spot ! out, I say ! — One ; two : 
 why, then 'tis time to do 't. — Hell is murky ! — Fie, my 
 lord, fie ! a soldier, and afeard ? What need we fear 
 who knows it, when none can call our power to account ? 
 — Yet who would have thought the old man to have had 
 so much blood in him 1 43 
 
 Doct. Do you mark that ? 
 
 Lady M. The thane of Fife had a wife : where is she 
 now 1 — What, will these hands ne'er be clean 1 — No more 
 o' that, my lord, no more o' that : you mar all with this 
 starting. 
 
 Doct. Go to, go to ; you have known what you should 
 not. 50 
 
 Gen. She has spoke what she should not, I am sure 
 of that : Heaven knows what she has known. 
 
 Lady M. Here 's the smeU of the blood stiQ : all the 
 perfumes of Arabia will not sweeten this little hand. 
 Oh, oh, oh ! 
 
 Doct. What a sigh is there ! The heart is sorely 
 charged. 
 
 Gen. I would not have such a heart in my bosom for 
 • the dignity she the dignity of the whole body. • 
 had as Queen. Doc«. Well, well, well- eo 
 
SCENE II.] 
 
 MACBETH. 
 
 77 
 
 Gen. Pray God it \)0, sir. 
 
 Doct. This disease is beyond my practice : yet I have 
 known those which have walked in their sleep who have 
 died holily in their beds. 
 
 Lady M. Wash your hands, put on your night-gown, 
 look not so pale. — I tell you yet again, Banquo 's buried: 
 he cannot come out on 's grave. 
 
 Boct. Even so ? 68 
 
 Lady M. To bed, to bed ! there 's knocking at the gate. 
 Come, come, come, come, give me your hand. What's 
 done cannot be undone. To bed, to bed, to bed ! [Exit, 
 
 Doct. WUl she go now to bed ? 
 
 Gen. Directly. 
 
 Doct. Foul whisperings are abroad. Unnatural deeds 
 Do breed unnatural troubles : infected minds 
 To their deaf pillows will discharge their secrets. 
 More needs she the divine than the physician. 
 God, God forgive us all ! Look after her ; 
 Remove from her the means of all annoyance, ' 
 And still keep eyes upon her. So, good night. — 
 My mind she has mated ' and amazed my sight : 
 I think, but dare not speak. — 
 
 Gen. Good night, good doctor. [Exeunt. 
 
 by which she 
 might do harm 
 to herself. 
 
 SCENE II. 
 The Gowni/i^ nea/r Dunsina/ne. 
 
 Enter with drums and colowrs, Menteith, Caithness, 
 Angus, Lennox, and Soldiers. 
 
 Ment. The English power is near, led on' by Malcolm, 
 His uncle Siward, and the good Macduff. 
 Eevenges burn in them, for their dear causes ' 
 Would, to the bleeding and the grim alarm, 
 Excite the mortified man.' 
 
 poignant 
 grievances. 
 
 * ' Would, in response to the call to arms — the associa- 
 tions or anticipations of which are grim and bloody — induce 
 even an ascetic to leave his retirement and take part in the 
 
78 
 
 MACBETH. 
 
 [act v. 
 
 ' unbearded. 
 
 ' set forth. 
 
 ' indications of. 
 
 ^ disorganised 
 realm. 
 
 * constantly 
 arising. 
 
 • perplexed. 
 ' yield. 
 
 ^ the remedy, 
 i.e. Malcolm. 
 
 ' bedew. 
 
 Near Bimam wood 
 Shall we well meet them : that way are they coming. 
 
 Caith. Who knows if Donalbain be with his brother ? 
 
 Len. For certain, sir, he is not. I have a file ^ 
 Of all the gentry ; there is Siward's son. 
 And many unrough ' youths, that even now lO 
 
 Protest '■ their first ' of manhood. 
 
 Ment. What does the tyrant ? 
 
 Caith. Great Dunsinane he strongly fortifies. 
 Some say he 's mad; others, that lesser hate him. 
 Do call it valiant fury : but, for certain, 
 He cannot buckle his distemper'd cause ' 
 Within the belt of rule.' 
 
 Ang. Now does he feel 
 
 His secret murders sticking on his hands ; 
 Now minutely '■ revolts upbraid his faith-breach : 
 Those he commands move only in command. 
 Nothing in love : now does he feel his title 50 
 
 Hang loose about him, like a giant's robe 
 Upon a dwarfish thief. 
 
 Ment. Who then shall blame 
 
 His pester'd ' senses to recoil ' and start, 
 When all that is within him does condemn 
 Itself for being there 1 
 
 Caith. WeU ; march we on, 
 
 "To give obedience where 'tis truly owed : 
 Meet we the medicine ' of the sickly weal. 
 And with him pour we in our country's purge, 
 Each drop of us. 
 
 lien. Or so much as it needs 
 
 To dew ' the sovereign flower and drown the weeds. 30 
 Make we our march towards Birnam. [Exe^mt, mwrching. 
 
 battle.' The Cln. eds. say, " It is startling to find the epithet 
 ' bleeding ' joined with ' alarm,' which is only the prelude to 
 battle"; but the alarm or call is that of the trumpets, which 
 are described (vi. 10) as "those clamorous harMngers of 
 blood and death" — and the same idea is expressed above. 
 Compare " his bleeding sword," " K. Henry V.," III. vi. 76. 
 
SCENE III.] 
 
 MACBETH. 
 
 79 
 
 SCENE III. 
 
 Ihmsma/ne. A room in the Oastle. 
 
 Enter Macbeth, Doctor, omd Attendants. 
 
 Maeb. Bring me no more reports ; let them fly all ; ' 
 Till Birnam wood remove to Dunsinane, 
 I cannot taint with fear. What 's the hoy Malcolm, 
 Was he not horn of woman ? The spirits that know 
 All mortal consequences ' have pronoiinced me thus : 
 ' Fear not, Macbeth ; no man that 's born of woman 
 Shall e'er have power upon thee ! ' Then fly, false thanes, 
 And mingle with the English epicures : ' 
 The mind I sway by ' and the heart I bear 
 Shall never sag ' with doubt nor shake with fear. io 
 
 * all revolt, flee 
 to the English. 
 
 all issues that 
 relate to this 
 life. 
 
 well fed. 
 
 droop. 
 
 Enter a Servant. 
 
 The devil damn thee black, thou cream-faced loon ! 
 Where gott'st thou that goose look ? 
 
 Serv. There is ten thousand — 
 
 Mad). Geese, villain ? 
 
 Serv. Soldiers, sir. 
 
 Macb. Go prick thy face and over-red thy fear,* 
 Thou lily-liver'd boy. What soldiers, patch ? 
 Death of thy soul ! those linen cheeks of thine 
 Are counsellors to fear.^ What soldiers, whey-face ? 
 
 Serv. The English force, so please you. 
 
 Macb. Take thy face hence. [Exit Servant.l — Sey- 
 ton ! — I am sick at heart 
 When I behold — Seyton, I say ! — ^This push 20 
 
 paleness. 
 
 suggest fear. 
 
 * ' The mind I am governed by.' See " K. Lear," I. i. ] 28, 
 " the sway [of the kingdom] be yours." Compare " J. Csesar," 
 I. iii. 3, " when all the smay of earth " — that physical power, 
 as was believed, by which the earth is poised, swayed, or 
 swung. 
 
80 MACBETH. [act v. 
 
 Will cheer me ever or disseat me now.* 
 I have lived long enough : my way of life 
 Is fall'n into the sere, the yellow leaf ; 
 And that which should accompany old age, 
 As honour, love, obedience, troops of friends, 
 I must not look to have ; but, in their stead, 
 Curses, not loud but deep, mouth-honour, breath 
 ' refuse. Which the poor heart would fain deny,' and dare not. — 
 
 Seyton ! 
 
 Enter Seyton, 
 
 Sey. What 's your gracious pleasure ? 
 
 Macb. What news more 1 30 
 
 Sey. All is confirm'd, my lord, which was reported. 
 
 * ' this encounter will be decisive — I shall flourish to the 
 end of my days if I am victorious, or be overthrown utterly.' 
 The first folio has " dis-eate me now ; " the later folios print 
 " disease me now." Modem editors print disseat, which would 
 find support in the following : 
 
 And after this let Cffisar seai him sure, 
 
 For we will shake him.' " J. Cassar," I. ii. 319. 
 
 But very probably the right word is disseise (misprinted in 
 the later folios disease"), to turn out qf possession. See this 
 illustration : " Those that have drunk the blood of the poor, 
 and suffered the most of it to incorporate into their estates, 
 think by disgorging some small part of it in a legacy to ease 
 their consciences ; so adapting their restitutions to their ra- 
 pines, they never commence till death hath disseised them of 
 all property." — The &mtleman's Calling (1659), by Browne 
 Willis, LL.D., p. 79. 
 
 The Cln. eds. say, " The antithesis [with " cheer "] would 
 doubtless be more satisfactory if we followed the late folios ; 
 but disease seems to be too feeble a word for the required 
 sense." The stronger word that is wished for, we have to the 
 full in disseise ; it should doubtless be substituted for disseat. 
 
 The misprint referred to above may be but another form 
 of printing disseise, for in " Coriolanus," I. iii. 117, " She will but 
 disease our better mirth," the latter is used as meaning tvrn 
 out, dispossess. 
 
 For " push," cTiarge, see "J. C^sax," V. ii. 5, " And sudden 
 push gives them the overthrow." 
 
SCENE III.] MACBETH. 81 
 
 Macb. I '11 fight till from my bones my flesh be hack'd. 
 Give me my armour. 
 
 Sey. 'Tis not needed yet. 
 
 Mouib. I '11 put it on. — 
 Send out more horses ; skirr the country round ; 
 Hang those that talk of fear ! Give me mine armour. — 
 How does your patient, doctor 1 
 
 Boct. Not so sick, my lord, 
 
 As she is troubled with thick-coming fancies. 
 That keep her from her rest. 
 
 Macb. Cure her of that. 
 
 Canst thou not minister to a mind diseased, 40 
 
 Pluck from the memory a rooted sorrow, 
 Raze out the written troubles of the brain, 
 
 And with some sweet oblivious antidote ' ' an antidote 
 
 Cleanse the stuff'd bosom of that perilous stuflF oWiTiousneBa. 
 
 Which weighs upon the heart ? 
 
 Boct. Therein the patient 
 
 Must minister to himself. 
 
 Macb. Throw physic to the dogs, I '11 none of it. — 
 Come, put mine armour on ; give me my stafi'. 
 Seyton, send out. — Doctor, the thanes fly from me. — 
 Come, sir, despatch. — If thou couldst, doctor, cast so 
 The water of my land, find her disease, 
 And purge it to a sound and pristine health, 
 I woidd applaud thee to the very echo, 
 That should applaud again. — PuU't off, I say. — • 
 What rhubarb, senna, or what purgative drug, 
 Would scour these English hence ? Hear'st thou of them? 
 
 Doct. Ay, my good lord ; your royal preparation 
 Makes us hear something. 
 
 Macb. Bring it ^ after me. — ■ the armour. 
 
 I will not be afraid of death and bane,' ■ poison, but 
 
 Till Birnam forest come to Dunsinane. 60 *'*" '^"''' 
 
 Boct. [Aside.] Were I from Dunsinane away and clear. 
 Profit again should hardly draw me here. [Exeunt. 
 
82 
 
 MACBETH. 
 
 [act v. 
 
 ^ in which we 
 may lire in 
 security. 
 
 ' conceal. 
 '■ the scouts. 
 
 ' result of the 
 battle. 
 
 ^ know our gain 
 and loss. 
 
 ' demonstrate. 
 
 SCENE IV. 
 Cmmtry near Bi/rnam Wood. 
 
 Enter, with d/rum amd colours, Malcolm, old Si ward and 
 his Son, Macdtjff, Mbnteith, Caithness, Angus, 
 Lennox, Ross, and Soldiers, ma/rching. 
 
 Mai. Cousins, I hope the days are near at hand 
 That chambers will be safe.' 
 
 Ment. We doubt it nothing. 
 
 Siw. What wood is this before us 1 
 
 Ment. The wood of Bimam. 
 
 Mai. Let every soldier hew him down a bough, 
 And bear 't before him ; thereby shall we shadow ' 
 The numbers of our host, and make discovery ' 
 Err in report of us. 
 
 Sold. It shall be done. 
 
 Siw. We learn no other but the confident tyrant 
 Keeps still in Dunsinane, and will endure 
 Our setting down before 't. 
 
 Mai. 'Tis his main hope, lo 
 
 For where there is advantage to be gone,* 
 Both more and less hath given him the revolt ; 
 And none serve with him but constrained things, 
 Whose hearts are absent too. 
 
 Macd. Let our just censures 
 
 Attend the true event, and put we on 
 Industrious soldiership. 
 
 Siw. The time approaches 
 
 That will with due decision ' make us know 
 What we shall say we have and what we owe. ' 
 Thoughts speculative their unsure hopes relate, 
 But certain issue strokes must arbitrate ; ' 20 
 
 Towards which advance the war. [Exeunt, marching. 
 
 * This is Capell's emendation for " gpiven," the reading of 
 the copies. Macbeth is being forsaken by all classes, and 
 thejjlee or desert whenever advantage or opportunitj presents 
 itself to do so. The passage, as it stands originally, has been 
 pronounced " not capable of any satisfactory explanation," 
 but Capell has restored it to clearest sense, 
 
SCENE v.] 
 
 MACBETH. 
 
 83 
 
 SCENE V. 
 
 Dunsinane. Within the Castle. 
 
 Enter, with drum and colours, Macbeth, Seyion, and 
 Soldiers. 
 
 Macb. Hang out our banners on the outward walls. 
 The cry is still ' They come ! ' Our castle's strength 
 Will laugh a siege to scorn : here let them lie 
 Till famine and the ague eat them up. 
 Were they not forced ' with those that should be oursj* 
 We might have met them dareful, beard to beard, 
 And beat them backward home. What is that noise ? 
 
 [J[ cry within of women. 
 
 Sey. It is the cry of women, my good lord. [Mxit. 
 
 Macb. I have almost forgot the taste of fears. 
 The time has been, my senses would have CQol'd * lO 
 
 To hear a night-shriek, and my fell of hair 
 Would at a dismal treatise rouse and stir 
 As ' life were in 't. I have supp'd full with horrors, ' 
 Direness, familiar to my slaughterous thoughts, 
 Cannot once start me. 
 
 reinforced, 
 those who have 
 revolted. 
 
 ' As if. 
 
 See p. xlviii. 
 
 Be-enter Seyton. 
 
 Wherefore was that cry ? 
 
 Sey. The queen, my lord, is dead ! 
 
 Ma^b. She should have died hereafter ; 
 There would have ' been a time for such a word. ^ — 
 To-morrow, and to-morrow, and to-morrow. 
 Creeps in this petty pace from day to day. 
 
 ' then have. 
 ' announce- 
 ment. 
 
 * The use of ' senses ' for ' sensibilities ' is ooiniiioii with 
 Shakespeare, and doubtless it is so intended here ; the objeo- 
 tion, then, which has been taken to " cool'd," as being too 
 feeble a word for the sense required, need not be regarded. 
 " My senses would have cool'd," i.e. 'a cold shiver would have 
 come over me,' or ' I should have shuddered.' Thus " cool'd" 
 may be understood as congealed : see TV. i. 37. 
 
 G2 
 
84 
 
 MACBETH. 
 
 [act v. 
 
 To the last syllable of recorded time ; 
 And all our yesterdays have lighted fools 
 The way to dusty death. Out, out, brief candle ! 
 Life 's but a walking shadow, a poor player 
 That struts and frets his hour upon the stage, 
 And then is heard no more : it is a tale 
 Told by an idiot, full of sound and fury. 
 Signifying nothing. 
 
 Enter a Messenger. 
 
 Thou comest to use thy tongue ; thy story quickly. 
 
 Mess. Gracious my lord, si 
 
 ' I affirm. 1 should report that which I say ' I saw. 
 
 But know not how to do it. 
 
 Maab. Well, say, sir. 
 
 Mess. As I did stand my watch upon the hill, 
 I look'd toward Birnam, and anon, methought, 
 The wood began to move. 
 
 Macb. Liar and slave ! 
 
 Mess. Let' me endure your wrath, if 't be not so. 
 Within this three mile may you see it coming ; 
 I say, a moving grove. 
 
 Macb. If thou speak'st false, 
 
 ' nearest. Upon the next ' tree shalt thou hang aUve, 
 
 if thy speech be sooth, 40 
 
 I care not if thou dost for me as much. — 
 I pull in resolution,* and begin 
 To doubt the equivocation of the fiend, 
 That lies like truth : ' Fear not, till Birnam wood 
 Do come to Dunsinane ; ' and now a wood 
 Comes toward Dunsinane ! — Arm, arm, and out ! — 
 If this which he avouches does appear, 
 There is nor flying hence nor tarrying here. 
 I 'gin to be aweary of the sun. 
 
 And wish the estate o' the world ' were now undone. — so 
 Ring the alarum-bell ! Blow, wind ! come wrack ! 
 At least we '11 die with harness ' on our back. [Exewnt. 
 
 ■ seize upon and Till famine cling thee 
 
 end thee. ° 
 
 ' Nature's 
 orderly opera- 
 tions. 
 
 * Macbeth hadput out resolution (59, 60, sc. iii.), now he 
 pulls it in, fails in his resolve. 
 
SCENE vii.] MACBETH. -85 
 
 SCENE VI. 
 
 Dunsmame. Before the Castle. 
 
 Enter, with drmn and colours, Malcolm, old Siwaed, 
 Macdutt, (fee, and their Army, with houghs. 
 
 Mai. Now, near enough, your leavy screens throw 
 down. 
 And show like those you are. You, worthy uncle. 
 Shall with my cousin, your right-noble son, 
 
 Lead our first battle ' : worthy MacduflF and we ■ division. 
 
 Shall take upon 's what else remains to do, 
 According to our order. 
 
 Siw. Fare you well. — 
 
 Do we but find the tyrant's power to-night, 
 Let us be beaten if we cannot fight. 
 
 Macd. Make all our trumpets speak ; give them all 
 breath. 
 Those clamorous harbingers of blood and death. [Exeunt. 
 
 SCENE VII. 
 
 Another pwrt of the field. 
 
 Alarv/ms. Enter Macbeth. 
 
 Mach. They have tied me to a stake : I cannot fly. 
 But, bear-like, I must fight the course.* What 's he 
 That was not born of woman ? Such a one 
 Am I to fear or none. • 
 
 Enter young Siward. 
 
 To. Siw. What is thy name ? 
 
 Macb. Thou 'It be afraid to hear it. 
 
 * Each attack of the dogs in bear-baiting was called a 
 course. " I am tied to the stake, and I must stand the 
 course " : " K. Lear," III. vii. 55. See " J. Csesar," IV. i. 48. 
 
86 
 
 MACBETH. 
 
 [act V, 
 
 Yo. Siw. No, though thou call'st thyself a hotter name 
 Than any is in hell. 
 
 Maeb. My name 's Macbeth. 
 
 To. Siw. The devil himself could not pronounce a title 
 More hateful to mine ear. 
 
 Maeb. No, nor more fearful. 
 
 Yo. Siw. Thou Uest, abhorred tyrant : with my sword 
 I 'U prove the lie thou speak'st. 
 
 \They fight, cmd yoimg Siwaud is slaAn. 
 
 Maeb. Thou wast bom of woman ! 
 
 But swords I smile at, weapons laugh to scorn, 
 Brandish'd by man that's of a woman bom.* [Exit. . 
 
 ' for ever. 
 
 * spear-shafts. 
 
 ' reported, indi- 
 cated. 
 
 Alarwms. Enter Macduff. 
 
 Macd. That way the noise is. — Tyrant, show thy face ! 
 If thou be'st slain, and with no stroke of mine. 
 My wife and children's ghosts wiU haunt me still.' 
 I cannot strike at wretched kems, whose arms 
 Are hired to bear their staves ' : hither thou, Macbeth, 
 Or else my sword with an unbatter'd edge 
 1 sheathe again undeeded ! There thou should'st be ; w 
 By this great clatter one of greatest note 
 Seems bruited. ' Let me find him, fortune ! 
 And more I beg not. [Exit. Alarums. 
 
 rendered up 
 without a 
 stroke. 
 
 ' they only pre- 
 tend to fight 
 
 ' not at us, for 
 they wish us 
 victory. 
 
 Enter Malcolm and old Siwaed. 
 
 Siw. This way, my lord. The castle's gently render'd:^ 
 The tyrant's people on both sides do fight ; * 
 The noble thanes do bravely in the war. 
 The day almost itself professes yours, 
 And little is to do. 
 
 Mai. We have met with foes 
 
 That strike beside us. ^ 
 
 Siw. Enter, sir, the castle. 
 
 [Exeunt. Alarum. 
 
 " The challenge of young Siward in line 10, " with my 
 sword," is replied to by Macbeth in line 12, " But swords I 
 smile at." 
 
'scene viii.J 
 
 MACBETH. 
 
 87 
 
 SCENE VIII. 
 
 Another part of the field. 
 
 Enter Macbeth. 
 
 Maeb. Why should I play the Roman fool, and die 30 
 On mine own sword ? whiles I see lives, ^ the gashes ' living enemies 
 
 Do better upon them. 
 
 Enter Macdufi'. 
 
 Macd. Turn, hell-hound, turn ! 
 
 Macb. Of all men else I have avoided thee .: 
 But get thee hack, my soul is too much charged 
 With blood of thine already. 
 
 Macd. I have no words ; 
 
 My voice is in my sword : thou bloodier villain 
 Than terms can give thee out ! [Theyfi^ht. 
 
 Macb. Thou losest labour : 
 
 As easy mayst thou the entrenchant air 
 With thy keen sword impress, as make me bleed : 
 Let fall thy blade on vulnerable crests ; lO 
 
 I bear a charmed life, which must not yield 
 To one of woman born. 
 
 Macd. Despair thy ' charm ; 
 
 And let the angel ' whom thou still hast served 
 Tell thee, Macduff was from his mother's womb 
 Untimely ripp'd. 
 
 Macb.' Accursed be that tongue that tells me so. 
 For it hath cow'd my better part of man ! '■ 
 And be these juggling fiends no more believed. 
 That palter with us in a double sense ; 20 
 
 That keep the word of promise to our ear. 
 And break it to our hope. — I '11 not fight with thee. 
 
 Macd. Then yield thee, coward, 
 And live to be the show and gaze o' the time : ' ' spectacle of all. 
 
 o£ thy. 
 evil angel. 
 
 ' resolution and 
 courage fail. 
 
 * This speech is undoubtedly an " Aside," except the last 
 clause. 
 
MACBETH. 
 
 [act V 
 
 ' a cloth sus- 
 pended on a 
 pole. 
 
 See p. xlviii. 
 
 We '11 have thee, as our rarer monsters are, 
 Painted upon a pole,^ and under writ, 
 ' Here may you see the tyrant.' 
 
 Mach. I will not yield, 
 
 To kiss the ground before young Malcolm's feet, 
 And to be baited with the rabble's curse. 
 Though Birnam wood be come to Dunsinane, 
 And thou opposed, being of no woman born, so 
 
 Tet I will try the cast. Before my body 
 I throw my warlike shield. Lay on, Macduflf, 
 And damn'd be him that first cries, ' Hold, enough ! ' 
 
 [Exeimt, fighting. 
 
 ^ be slain. 
 
 'the perils of the 
 position he 
 withstood, not 
 flinching. 
 
 ' his merit 
 being at the 
 highest, my 
 sorrow is 
 summed up in 
 what I have 
 delivered. 
 
 Retreat. Flourish. Enter, with drum and colowrs, Mal- 
 colm, old SiWARD, Ross, Thanes and Soldiers. 
 
 Mai. I would the friends we miss were safe arrived. 
 
 Siw. Some must go off ; ' and yet, by these I see, 
 So great a day as this is cheaply bought. 
 
 Mai. MacduflF is missing, and your noble son. 
 
 Boss. Your son, my lord, has paid a soldier's debt : 
 He only lived but till he was a man ; 40 
 
 The which no sooner had his prowess confirm'd. 
 In the unshrinking station ' where he fought, 
 But like a man he died. 
 
 Siw. Then he is dead ? 
 
 Boss. Ay, and brought off the field. Tour cause of 
 sorrow 
 Must not be measured by his worth, for then 
 It hath no jend. 
 
 Siw. Had he his hurts before ? 
 
 Boss. Ay, on the front. 
 
 Siw. Why then, God's soldier be he ! 
 
 Had I as many sons as I have hairs, 
 I would not wish them to a fairer death : 
 And so his knell is knoll'd. 
 
 Mai. He 's worth more sorrow, so 
 
 And that I '11 spend for him. 
 
 Siw. He 's worth no more ' ; 
 
 They say he parted well and paid his score : 
 And so God be with him ! — Here comes newer comfort. 
 
SCENE VIII.] MACBETH. 89 
 
 Be-enter Macduff with Macbbth's head. 
 
 Macd. Hail, King ! for so thou art. Behold, where 
 stands 
 The usurper's cursed head. The time is free ! See p. ixii. 
 
 I see thee compass'd with thy kingdom's pearl, ' ' tte principal 
 
 That speak my salutation in their minds, the kingdom. 
 
 Whose voices I desire aloud with mine : 
 Hail, King of Scotland ' IMourish. 
 
 Mai. We shall ' not spend a large expense of time 60 ' will. 
 Before we reckon with your several loves, 
 And make us even with you. My thanes and kinsmen. 
 Henceforth be earls, the first that ever Scotland 
 In such an honour named. What 's more to do, 
 Which would be planted newly with the time, — 
 As calling home our exiled friends abroad, 
 That fled the snares of watchful tyranny ; 
 Producing forth the cruel ministers 
 Of this dead butcher and his fiend-like queen, 
 Who, as 'tis thought, by self and violent hands * 
 Took off her life ; — this, and what needful else 
 That calls upon us, by the grace of Grace 
 We will perform in measure, time, and place. 
 So thanks to all at once, and to each one, 
 Whom we invite to see us crown'd at Scone. 
 
 [Flourish. Exeunt. 
 
 * ' by violent hands upon herself.' 
 
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