of enchantment, however they may now be ridiculed, were both by himself and his audience thought awful and affecting.
I.i.10 (396,5) Fair is foul, and foul is fair] I believe the meaning is, that to us, perverse and malignant as we are, fair is foul, and foul is fair.
I.ii.14 (398,9) And Fortune, on his damned quarry smiling] Thus the old copy; but I am inclined to read quarrel. Quarrel was formerly used for cause, or for the occasion of a quarrel, and is to be found in that sense in Hollingshed's account of the story of Macbeth, who, upon the creation of the prince of Cumberland, thought, says the historian, that he had a just quarrel, to endeavour after the crown. The sense therefore is, Fortune smiling on his excrable cause, &c. This is followed by Dr. Warburten. (see 1765, VI, 373, 4).
I.ii.28 (400,4) Discomfort swells] Discomfort the natural opposite to comfort. Well'd, for flawed, was an emendation. The common copies have, discomfort swells.
I.ii.37 (400,5) As cannons overcharg'd with double cracks,
So they
Doubly redoubled strokes upon the foe]
Mr. Theobald has endeavoured to improve the sense of this passage by altering the punctuation thus:
—they were
As cannons overcharg'd, with double cracks
So they redoubled strokes—
He declares, with some degree of exultation, that he has no idea of a cannon charged with double cracks; but surely the great author will not gain much by an alteration which makes him say of a hero, that he redoubles strokes with double cracks, an expression not more loudly to be applauded, or more easily pardoned than that which is rejected in its favour. That a cannon is charged with thunder, or with double thunders, may be written, not only without nonsense, but with elegance, and nothing else is here meant by cracks, which in the time of this writer was a word of such emphasis and dignity, that in this play he terms the general dissolution of nature the crack of doom.
The old copy reads,
They doubly redoubled strokes.
I.ii.46 (401,8) So should he look, that seems to speak things strange] The meaning of this passage, as it now stands, is, so should he look, that looks as if he told things strange. But Rosse neither yet told strange things, nor could look as if he told them; Lenox only conjectured from his air that he had strange things to tell, and therefore undoubtedly said,
What haste looks thro' his eyes?
So should he look, that teems to speak thinks strange.
He looks like one that is big with something of importance; a metaphor so natural that it is every day used in common discourse.
I.ii.55 (402,1) Confronted him with self-comparisons] [Theobald interpreted "him" as Cawdor; Johnson, in 1745, accused Shakespeare of forgetfulness on the basis of Theobald's error; and Warburton here speaks of "blunder upon blunder."] The second blunderer was the present editor.
I.iii.6 (403,5) Aroint thee, witch!] In one of the folio editions the reading is Anoint thee, in a sense very consistent with the common accounts of witches, who are related to perform many supernatural acts by the means of unguents, and particularly to fly through the air to the places where they meet at their hellish festivals. In this sense, anoint thee, Witch, will mean, Away, Witch, to your infernal assembly. This reading I was inclined to favour, because I had met with the word aroint in no other authour till looking into Hearne's Collections I found it in a very old drawing, that he has published, in which St. Patrick is represented visiting hell, and putting the devils into great confusion by his presence, of whom one that is driving the damned before him with a prong, has a label issuing out of his mouth with these words, OUT OUT ARONGT, of which the last is evidently the same with aroint, and used in the same sense as in this passage.
I.iii.15 (405,8) And the very points they blew] As the word very is here of no other use than to fill up the verse, it is likely that Shakespeare wrote various, which might be easily mistaken for very, being either negligently read, hastily pronounced, or imperfectly heard.
I.iii.21 (405,9) He shall live a man forbid] Mr. Theobald has very justly explained forbid by accursed, but without giving any reason of his interpretation.
As to forbid therefore implies to prohibit, in opposition to the word bid in its present sense, it signifies by the same kind of opposition to curse, when it is derived from the same word in its primitive meaning.
I.iii.42 (409,3) are you aught/That man may question?] Are ye any beings with which man is permitted to hold converse, or of which it is lawful to ask questions?
I.iii.53 (410,5) Are ye fantastical] By fantastical, he means creatures of fantasy or imagination; the question is, Are these real beings before us, or are we deceived by illusions of fancy?
I.iii.97 (412,8) As thick as tale] [As thick as hail] Was Mr. Pope's correction. The old copy has,
—As thick as tale
Can post with post;—
which perhaps is not amiss, meaning that the news came as thick as a tale can travel with the post. Or we may read, perhaps yet better,
—As thick as tale
Came post with post;—
That is, posts arrived as fast as they could be counted.
I.iii.130 (414,4) This supernatural solliciting] Solliciting is rather, in my opinion, incitement than information.
I.iii.134 (414,5) why do I yield] To yield is, simply, to give way to.
I.iii.137 (414,6) Present fears/Are less than horrible imaginings] [W: feats] Present fears are fears of things present, which Macbeth declares, and every man has found, to be less than the imagination presents them while the objects are yet distant. Fears is right.
I.iii.140 (415,7) single state of man] The single state of man seems to be used by Shakespeare for an individual, in opposition to a commonwealth, or conjunct body.
I.iii.40 (415,8) function/Is smother'd in surmise; and nothing is,/ But what is not] All powers of action are oppressed and crushed by one overwhelming image in the mind, and nothing is present to me, but that which is really future. Of things now about me I have no perception, being intent wholly on that which has yet no existence.
I.iii.147 (415,9) Time and the hour runs through the roughest day] I suppose every reader is disgusted at the tautology in this passage, Time and the hour, and will therefore willingly believe that Shakespeare wrote it thus,
Come what come may,
Time! on!—the hour runs thro' the roughest day.
Macbeth is deliberating upon the events which are to befall him, but finding no satisfaction from his own thoughts, he grows impatient of reflection, and resolves to wait the close without harrassing hinaelf with conjectures.
Come what come may.
But to shorten the pain of suspense, he calls upon Time In the usual stile of ardent desire, to quicken his motion,
Time!
