basis of the passion remaining, becomes fear; and, indeed, the general, who must often feel, even though he may hide it from his own consciousness, how large a share chance had in his successes, may very naturally be irresolute in a new scene, where he knows that all will depend on his own act and election.

The Weird Sisters are as true a creation of Shakspeare's, as his Ariel and Caliban,-fates, furies, and materializing witches being the elements. They are wholly different from any representation of witches in the contemporary writers, and yet presented a sufficient external resemblance to the creatures of vulgar prejudice to act immediately on the audience. Their character consists in the imaginative disconnected from the good; they are the shadowy obscure and fearfully anomalous of physical nature, the lawless of human nature, elemental avengers without sex or kin:

Fair is foul, and foul is fair;

Hover thro' the fog and filthy air.

How much it were to be wished in playing Macbeth, that an attempt should be made to introduce the flexile character-mask of the ancient pantomime; that Flaxman would contribute his genius to the embodying and making sensuously perceptible that of Shakspeare!

The style and rhythm of the Captain's speeches in the second scene should be illustrated by reference to the interlude in Hamlet, in which the epic

is substituted for the tragic, in order to make the latter be felt as the real-life diction. In Macbeth, the poet's object was to raise the mind at once to the high tragic tone, that the audience might be ready for the precipitate consummation of guilt in the early part of the play. The true reason for the first appearance of the Witches is to strike the key-note of the character of the whole drama, as is proved by their re-appearance in the third scene, after such an order of the king's as establishes their supernatural power of information. I say information,—for so it only is as to Glamis and Cawdor; the king hereafter' was still contingent, still in Macbeth's moral will; although, if he should yield to the temptation, and thus forfeit his free agency, the link of cause and effect more physico would then commence. need not say, that the general idea is all that can be required from the poet,-not a scholastic logical consistency in all the parts so as to meet metaphysical objectors. But O! how truly Shakspearian is the opening of Macbeth's character given in the unpossessedness of Banquo's mind, wholly present to the present object,—an unsullied, unscarified mirror!-And how strictly true to nature it is, that Banquo, and not Macbeth himself, directs our notice to the effect produced on Macbeth's mind, rendered temptible by previous dalliance of the fancy with ambitious thoughts:

Good Sir, why do you start; and seem to fear
Things that do sound so fair?

And then, again, still unintroitive, addresses the Witches::

I' the name of truth,

Are ye fantastical, or that indeed

Which outwardly ye show?

Banquo's questions are those of natural curiosity,such as a girl would put after hearing a gipsy tell her schoolfellow's fortune;-all perfectly general, or rather planless. But Macbeth, lost in thought, raises himself to speech only by the Witches being about to depart :

Stay, you imperfect speakers, tell me more :and all that follows is reasoning on a problem already discussed in his mind,-on a hope which he welcomes, and the doubts concerning the attainment of which he wishes to have cleared up. Compare his eagerness,—the keen eye with which he has pursued the Witches' evanishing

Speak, I charge you!

with the easily satisfied mind of the self-uninterested Banquo:

The air hath bubbles, as the water has,

And these are of them :-Whither are they vanish'd?

and then Macbeth's earnest reply,—

Into the air; and what seem'd corporal, melted
As breath into the wind.-'Would they had staid!

Is it too minute to notice the appropriateness of the simile as breath,' &c. in a cold climate?

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Still again Banquo goes on wondering like any common spectator:

Were such things here as we do speak about?

whilst Macbeth persists in recurring to the selfconcerning :

Your children shall be kings.

Ban. You shall be king.

Macb. 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! Before he can cool, the confirmation of the tempting half of the prophecy arrives, and the concatenating tendency of the imagination is fostered by the sudden coincidence :

Glamis, and thane of Cawdor:

The greatest is behind.

Oppose this to Banquo's simple surprise :

What, can the devil speak true?

Ib. Banquo's speech:

That, trusted home,

Might yet enkindle you unto the crown,
Besides the thane of Cawdor.

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I doubt whether enkindle' has not another sense than that of stimulating;' I mean of 'kind' and ́ kin,' as when rabbits are said to 'kindle.' However Macbeth no longer hears any thing ab ex

6

tra:

Two truths are told,

As happy prologues to the swelling act
Of the imperial theme.

Then in the necessity of recollecting himself

I thank you, gentlemen.

Then he relapses into himself again, and every word of his soliloquy shows the early birth-date of his guilt. He is all-powerful without strength; he wishes the end, but is irresolute as to the means; conscience distinctly warns him, and he lulls it imperfectly :

If chance will have me king, why, chance may crown me Without my stir.

Lost in the prospective of his guilt, he turns round alarmed lest others may suspect what is passing in his own mind, and instantly vents the lie of ambition:

My dull brain was wrought

With things forgotten ;—

And immediately after pours forth the promising courtesies of a usurper in intention :—

Kind gentlemen, your pains

Are register'd where every day I turn

The leaf to read them.

Ib. Macbeth's speech:

Present fears

Are less than horrible imaginings.

Warburton's note, and substitution of 'feats' for 'fears.'

Mercy on this most wilful ingenuity of blundering, which, nevertheless, was the very Warburton of Warburton-his inmost being! Fears,' here,