is in this place the general name of a ravisher, and the sense is, Now is the time in which every one is a-sleep, but those who are employed in wickedness; the witch who is sacrificing to Hecate, and the ravisher, and the murderer, who, like me, are stealing upon their prey.
When the reading is thus adjusted, he wishes with great propriety, in the following lines, that the earth may not hear his steps.
II.i.59 (439,3) And take the present horrour from the time,/Which now suits with it] Of this passage an alteration was once proposed by me, of which I have now a less favourable opinion, yet will insert it, as it may perhaps give some hint to other critics:
And take the present horrour from the time,
Which now suits with it.—
I believe every one that has attentively read this dreadful soliloquy is disappointed at the conclusion, which, if not wholly unintelligible, is, at least, obscure, nor can be explained into any sense worthy of the authour. I shall therefore propose a slight alteration:
—Thou sound and firm-set earth,
Hear not my steps, which way they walk, for fear
Thy very stones prate of my where-about,
And talk—the present horrour of the time!
That now suits with it.—
Macbeth has, in the foregoing lines, disturbed his imagination by enumerating all the terrors of the night; at length he is wrought up to a degree of frenzy, that makes him afraid of some supernatural discovery of his design, and calls out to the stones not to betray him, not to declare where he walks, nor to talk.—As he is going to say of what, he discovers the absurdity of his suspicion, and pauses, but is again overwhelmed by his guilt, and concludes, that such are the horrors of the present night, that the stones may be expected to cry out against him:
That now suits with it.—
He observes in a subsequent passage, that on such occasions stones have been known to move. It is now a very just and strong picture of a man about to commit a deliberate murder under the strongest conviction of the wickedness of his design. Of this alteration, however, I do not now see much use, and certainly see no necessity.
Whether to take horrour from the time means not rather to catch it as communicated, than to deprive the time of horrour, deserves te be considered.
II.ii.37 (443,6) sleave of care] A skein of silk is called a sleave of silk, as I learned from Mr. Seward, the ingenious editor of Beaumont and Fletcher.
II.ii.56 (444,8) gild the faces of the grooms withal,/For it must seem their guilt] Could Shakespeare possibly mean to play upon the similitude of gild and guilt.
II.iii.45 (447,5) I made a shift to cast him] To cast him up, to ease my stomach of him. The equivocation is between cast or throw, as a term of wrestling, and cast or cast up.
II.iii.61 (448,7)
—strange screams of death;
And prophesying, with accents terrible
Of dire combustions, and confus'd events,
New hatch'd to the woeful time: The obscure bird
Clamour'd the live-long night: some say the earth
Was feverous, and did shake]
Those lines I think should be rather regulated thus:
—prophecying with accents terrible,
Of dire combustions and cosfus'd events.
New-hatch'd to th' woful time, the obscure bird
Clamour'd the live-long night. Some say the earth
Was fev'rous and did shake.
A prophecy of an event new hatch'd, seems to be a prophecy of an event past. And a prophecy new hatch'd is a wry expression. The term new hatch'd is properly applicable to a bird, and that birds of ill omen should be new-hatch'd to the woful time, that is, should appear in uncommon numbers, is very consistent with the rest of the prodigies here mentioned, and with the universal disorder into which nature is described as thrown, by the perpetration of this horrid murder. (see 1765, VI, 413, 7)
II.iii.117 (452,3) Here, lay Duncan,/His silver skin lac'd with his golden blood] Mr. Pope has endeavoured to improve one of these lines by substituting goary blood for golden blood; but it may easily be admitted that he who could on such an occasion talk of lacing the silyer skin, would lace it with golden blood. No amendment can be made to this line, of which every word is equally faulty, but by a general blot.
It is not improbable, that Shakespeare put these forced and unnatural metaphors into the mouth of Macbeth as a mark of artifice and dissimulation, to shew the difference between the studied language of hypocrisy, and the natural outcries of sudden passion. This whole speech so considered, is a remarkable instance of judgment, as it consists entirely of antithesis and metaphor.
II.iii.122 (432,5) Unmannerly breech'd with gore] An unmannerly dagger, and a dagger breech'd, or as in some editions breech'd with, gore, are expressions not easily to be understood. There are undoubtedly two faults in this passage, which I have endeavored to take away by reading,
—daggers
Unmanly drench'd with gore:—
I saw drench'd with the King's blood the fatal daggers, not only instruments of murder but evidence of cowardice.
Each of these words might easily be confounded with that which I have substituted for it, by a hand not exact, a casual blot, or a negligent inspection, [W: Unmanly reech'd] Dr. Warburton has, perhaps, rightly put reach'd for breech'd.
II.iii.138 (454,8)
In the great hand of God I stand; and thence,
Against the undivulg'd pretence I fight
Of treasonous malice]
Pretence is not act, but simulation, a pretence of the traitor, whoever he might be, to suspect some other of the murder. I here fly to the protector of innocence from any charge which, yet undivulg'd, the traitor may pretend to fix upon me.
II.iii.147 (454,7) This murtherous shaft that's shot,/Hath not yet lighted] The design to fix the murder opon some innocent person, has not yet taken effect.
II.iv.15 (456,9) minions of their race] Theobald reads,
—minions of the race,
very probably, and very poetically.
II.iv.24 (456,1) What good could they pretend?] To pretend is here to propose to themselves, to set before themselves as a motive of action.
III.i.7 (457,2) As upon thee, Macbeth, their speeches shine] Shine, for appear with all the lustre of conspicuous truth.
III.i.56 (459,4) as, it is said,/Mark Anthony's was by Caesar] Though I would not often assume the critic's privilege of being confident where certainty cannot be obtained, nor indulge myself too far in departing from the established reading; yet I cannot but propose the rejection of this passage, which I believe was an insertion of some player, that having so much learning as to discover to what Shakespeare alluded, was not willing that his audience should be less knowing than himself,
