Chapter II (3)

“Is it not the duty of any man,” he answered, “especially of one in a responsible position, carefully to consider the arguments and doctrines of all who are sincere and earnest in their convictions, and, however averse they may be from our preconceived opinions, to weigh them, as far as possible, calmly, and without prejudice, and see what they really are and what truth there may be in them? and was not this peculiarly incumbent on me in the case of so noble and spiritual a teacher as Christ? Was it not my duty to endeavor, as far as in me lay, first to recognize the great principles of his teaching, and then in their light to examine and weigh his very words as far as they are authentically reported to us by his followers? It is this fixed notion, from which we cannot easily free ourselves, that we in our own views alone can be right, that shuts up the mind and encrusts our faith with superstitions. We at our best are merely men, subject to errors, short-sighted, fixed in prejudices, and seeing but a part of anything. No system of religion ever embraced all truth; no system is without gleams of it; all recognize a higher power above us and beyond our comprehension; and nothing is more unbecoming than to scorn what we have not even striven to understand, or to shut our ears and our minds to any doctrine or faith which is earnestly, seriously propounded and accepted by others. Unfortunately, it is this narrow-mindedness and arrogance of opinion which has always impeded the growth and development of truth. There is nothing so bitter as religious controversy,—nothing which has so petrified our intelligence or has begotten such crimes and such persecutions. Therefore it was that I deemed it my duty to study and endeavor to understand the doctrine and belief of all sincere minds, whether of those who worshiped Jehovah or Zeus, Mithras or Christ, and not to reject them as wicked or erroneous simply because they were averse from the faith in which I had been educated. Will you excuse me if I say that what amazes me in regard to the Christian faith is, that while it is claimed that Christ is God, and therefore to be implicitly obeyed in all his commands, so little intelligence is shown in studying those commands, and such willful perversion in avoiding them even when they are plainly enunciated; and again, that while claiming that love and forgiveness are the very corner-stone of your faith, you Christians none the less not only accept war and battle as arbitraments of right, but in the name of your great founder,—nay, of your very God,—have endeavored at times to enforce those doctrines by the most hideous of crimes, and by wholesale slaughter of those who differed from you in minor particulars of faith; and still more, do constantly even now exhibit such narrow-minded adherence to mere words and texts, without consideration of the great principles which underlie them and in the light of which surely they are to be interpreted. You are all Christians now, in Rome. You profess absolute faith in the teaching of Christ. You profess to consider his life as the great exemplar for all men. Do you follow it? Do you, for instance, think it in accordance with his teaching or his example to devote your lives selfishly to the laying up of riches for your own individual luxuries, to clothe yourselves in purple and fine linen, to make broad your phylacteries, or to use vain repetitions in your prayers as the heathen do, standing in the synagogues and at the corners of the streets, and to play the part of Dives while Lazarus is starving at your gates? Are you any better than we heathens, as you call us, in all this? Do you think Christ would have done thus, or smiled approval on all you do in his name? Ah! you say, it would be impossible for us strictly to carry out this system of Christ. It is beautiful, but ideal, and for us, in the present state of the world, absolutely impracticable. But have you ever tried it? Have you ever even sought to try it, and to hold a common purse for the interest of all?”

I had to bow my head, and admit that in that high sense we are not Christians. “But,” I said, “to follow exactly all these commands, to carry out all these doctrines, even to imitate his example as set before us in his life, would be to revolutionize the world.”

“But does not the world need revolutionizing,” he said, “according to your own principles?”

“We do what we can, at least we endeavor to do so, as far as we are able.”

“Are you sure even of that?” he replied. “Are you sure it is not mammon that you really worship, and not Christ? But I will say no more. You are but mortal men as we were; and man is fallible and weak, and our knowledge is but half-knowledge at best, and our love and faith have but feeble wings to lift us above the earth on which we dwell. Look upon us, therefore, as you would be looked upon yourselves, and be not too stern on our shortcomings. We had our vices and faults and deficiencies as you have yours, but we had also our virtues, and were on the whole as high of purpose, as self-sacrificing, as pure even as you; but man neither then nor now has led an ideal life.

“But to return to what we were saying about our treatment of Christians. Let me add in my own justification that I for myself never had any hand in persecutions, either of Christians or of others, nor was I ever aware that they were persecuted. I knew that persons who happened to be Christians were punished for political offenses; and that was all, I think, that happened. Believe me, my soul was averse from all such things, nor would I ever allow even my enemies to be persecuted, much less those who merely differed from me on moral and philosophical theses. Nay, I may say they differed little from me even on these points, as you may well see if you read my letters on the subject of the proper treatment of one’s enemies, written to Lucius Verus, or if you will refer to that little diary of mine in Pannonia, wherein I was not so base as to lie to myself.”

“Indeed,” I cried; “that book is a precious record of the purest and highest morality.”

“’Tis a poor thing,” he answered, “but sincere. I strove to act up to my best principles; but life is difficult, and man is not wise, and our opinions are often incorrect. Still, I strove to act according to my nature; to do the things which were fit for me, and not to be diverted from them by fear of any blame; to keep the divine part in me tranquil and content; and to look upon death and life, honor and dishonor, pain and pleasure, as neither good nor evil in themselves, but only in the way in which we receive them. For fame I sought not; for what is fame but a smoke that vanishes, a river that runs dry, a lamp that soon is extinguished—a tale of a day, and scarcely even so much? Therefore, it benefits us not deeply to consider it, but to pass on through the little space assigned to us conformably to nature, and in content, and to leave it at last grateful for what we have received, just as an olive falls off when it is ripe, blessing nature which produced it, and thanking the tree on which it grew. So, also, it is our duty not to defile the divinity in our breast, but to follow it tranquilly and obediently as a god, saying nothing contrary to truth, and doing nothing contrary to justice. For our opinions are but running streams, flowing in various ways; but truth and justice are ever the same, and permanent, and our opinions break about them as the waves round a rock, while they stand firm forever. For every accident of life there is a corresponding virtue to exercise; and if we consult the divine within us, we know what it is. As we cannot avoid the inevitable, we should accept it without murmuring; for we cannot struggle against the gods without injuring ourselves. For the good we do to others, we have our immediate reward; for the evil that others do to us, if we cease to think of it, there is no evil to us. It is by accepting an offense, and entertaining it in our thoughts, that we increase it, and render ourselves unhappy, and veil our reason, and disturb our senses. As for our life, it should be given to proper objects, or it will not be decent in itself; for a man is the same in quality as the object that engages his thoughts. Our whole nature takes the color of our thoughts and actions. We should also be careful to keep ourselves from rash and premature judgments about men and things; for often a seeming wrong done to us is a wrong only through our misapprehension, and arising from our fault. And so, making life as honest as possible and calmly doing our duty in the present, as the hour and the act require, and not too curiously considering the future beyond us, standing ever erect, and believing that the gods are just, we may make our passage through this life no dishonor to the Power that placed us here. Throughout the early portion of my life, my father, Antoninus Pius,—I call him my father, for he was ever dear to me, and was like a father,—taught me to be laborious and assiduous, to be serene and just, to be sober and kind, to be brave and without envy or vanity; and on his death-bed, when he felt the shadow coming over him, he ordered the captain of the guard to transfer to me the golden statuette of Fortune, and gave him his last watchword of ‘Equanimity.’ From that day to the day when, in my turn, I left the cares of empire and of life, I ever kept that watchword in my heart—equanimity; nor do I know a better one for any man.”

“Oh, tell me, for you know,” I cried, “what is there behind this dark veil which we call death? You have told me of your opinions and thoughts and principles of life, here; but of that life hereafter you have not said a word. What is it?”

There was a blank silence. I looked up—the chair was empty! That noble figure was no longer there.

“Fool that I was!” I cried; “why did I discuss with him these narrow questions belonging to life and history, and leave that stupendous question unasked which torments us all, and of which he could have given the solution?”

I rose from my chair, and after walking up and down the room several minutes, with the influence of him who had left me still filling my being as a refined and delicate odor, I went to the window, pushed wide the curtains, and looked out upon the night. The clouds were broken, and through a rift of deep, intense blue, the moon was looking out on the earth. Far away, the heavy and ragged storm was hovering over the mountains, sullen and black, and I recalled the words of St. Paul to the Romans:—

“When the Gentiles, which have not the law, do by nature the things contained in the law, these, having not the law, are a law unto themselves;” and “the doers of the law shall be justified.”

DISTORTIONS OF THE ENGLISH STAGE AS INSTANCED IN “MACBETH.”

Art is art because it is not nature, is the motto of the Idealisti; Art is but the imitation of nature, say the Naturalisti. The truth lies between the two. Art is neither nature alone, nor can it do without nature. No imitation, however accurate, for imitation’s sake makes a good work of art in any other than a mechanical sense. And every work of art in which the objects represented are inaccurately or imperfectly imitated is in so far deficient. But art works by suggestion as well as by imitation. Whatever is untrue to the imagination fails to produce its proper effect, however true it be to the fact. The most absolute realism will not answer the higher demand of the imagination for ideal truth. Art is not simply the reproduction of nature, but nature as modified and colored by the spirit of the artist. It is a crystallization out of nature of all elements and facts related by affinity to the idea intended to be embodied. These solely it should eliminate and draw to itself, leaving the rest as unessential. A literal adherence to all the accidents of nature is not only not necessary in art, but may even be fatal. The enumeration of all the leaves in a tree does not reproduce a tree to the imagination, while a whole landscape may be compressed into a single verse.

Between the ideal and the natural school there is a perpetual struggle. Under the purely ideal treatment art becomes vague and insipid; under the purely natural treatment it becomes literal and prosaic. The Pre-Raphaelites, in protesting against weak sentimentalism and vague generalization, and demanding an honest study of nature, have fallen into the error of exaggerating the importance of minute detail, and, by insisting too strongly on literal truth, have sometimes lost sight of that ideal truth which is of higher worth. But their work was needed, and it has been bravely done. They have roused the age out of that dull conventionalism in which it had fallen asleep. They have stimulated thought, revivified sentiment, and reasserted with word and deed the necessity of nature as a true basis of art.

As in the arts of painting and sculpture, so in the drama and on the stage a strong reaction is taking place against the stilted conventionalism and elaborate artifice of the last generation. Such plays as the “Nina Sforza” of Mr. Troughton, the “Legend of Florence” of Mr. Leigh Hunt, and the “Blot in the ‘Scutcheon” and “Colombe’s Birthday” of Mr. Browning, are vigorous protests against the feeble pretensions and artificial tragedies of the previous century. The poems and plays of Mr. Browning breathe a new life; and if as yet they have only found “fit audience though few,” they are stimulating the best thought of this age, and slowly infusing a new life and spirit into it.

But the traditions of the stage are very strong in England, and are not easily to be rooted out. The English public has become accustomed to certain traditional and conventional modes of acting, which interfere with the freedom of the actor, and cramp his genius within artificial forms. There is almost no attempt on the English stage to represent life as it really is. Tradition and convention stand in the stead of nature. From the moment an actor puts his foot on the stage he is taught to mouth and declaim. He studies rather to make telling points than to give a consistent whole to the character he represents. His utterance and action are false and “stagey.” In quiet scenes he is pompous and stilted; in tragic scenes, ranting and violent. He never forgets his audience, but, standing before the footlights, constantly addresses himself to them as if they were personages in the play. Habit at last becomes a second nature; his taste becomes corrupted, and he ceases to strive to be simple and natural. There is, in a word, no defect against which Hamlet warns the actor which is not a characteristic feature of English acting. It never “holds the mirror up to nature,” but is always “overdone,” without “temperance,” full of mouthing, strutting, bellowing, and noise. It “tears a passion to tatters, to very rags, to split the ears of the groundlings.” And “there be players that I have seen play, and heard others praise, and that highly, not to speak it profanely, that, having neither the accent of Christians nor the gait of Christian, pagan, nor Turk, have so strutted and bellowed, that I have thought some of Nature’s journeymen had made men, and not made them well, they imitated humanity so abominably;” and this needs to be reformed altogether.

These words of Shakespeare show that even in his time the inflated, pompous, and artificial style still in vogue on the English stage was a national characteristic. We have scarcely improved, since old traditions cling and hold the stage in mortmain. Reform moves slowly everywhere in England; but the two institutions which oppose to it the most obstinate resistance are the church and the theatre. In both of these tradition stands for nearly as much as revelation. Each adheres to its old forms, as if they contained its true essence; each believes that those forms once broken, the whole spirit would be lost; just as if they were phials which contained a precious liquid, and must be therefore preserved at all costs. The idea that the liquid can be quite as well, and perhaps better, kept in different phials has never occurred to them. They will die for the phial.

Still it is plain that a strong reaction against this bigoted admiration of traditional and conventional forms is now perceptible. The facilities of travel and intercourse with other nations have engendered new notions and modified old ones. It is impossible to compare the French and Italian stage with the English, and not perceive the vast inferiority of the latter. In the one we see nature, simplicity, and life; in the other, the galvanism of artificial convention. It cannot be denied that the recent acting of Hamlet by Fechter was to the English mind a daring and doubtful innovation. It was something so utterly different in spirit and style from that to which we have been accustomed that it created a sensation; and while it found many ardent admirers, it found quite as many vehement opposers. The public ranged themselves in two parties; the one insisting that the traditional and artificial school, as represented by Garrick, the elder Kean, and Cooke, was the only safe guide for the tragic actor; and the other arguing that as the true function of the stage was to hold up the mirror to nature, acting should be as much like life and as little like acting as possible. The former, at the head of which were the friends of Mr. Charles Kean, made a public demonstration in his behalf, and scouted these newfangled French notions of acting. Was it to be supposed that any school of acting could be superior to that created and established in England by the genius of such actors as Garrick, the elder Kean, and Cooke? Should foreigners presume to teach us how to interpret and represent plays which had been the study of the English people for centuries? To this it was opposed that, however mortifying to us, it was a fact that the Germans had led the way to a profounder and more metaphysical study of Shakespeare, and had taught us in many ways how to understand his plays, and that therefore there was no reason why foreigners might not teach us how to act them. The very fact that their eyes were not blinded, nor their tongues tied by traditional conventions, enabled them to study Shakespeare with more freedom and directness. There was no deep rut of ancient usage out of which they were forced to wrench themselves. And, besides, it was affirmed, and with truth, that the English stage is the jeer of the world, and needs thorough reform.

We have indeed made little progress in reforming the stage. Mr. Charles Kean has devoted his talents to improving the wardrobe and scenery, and has so far done good service; but in the essential matter of acting we are nearly where we were in the past century. While the background and dresses are reformed, and the bag-wig in which Garrick played Hamlet is thrown aside, we have carefully preserved all the old points, all the stage-tricks, and all the stilted intonations of the artificial school; and the consequence is, that the sole reality is in that which is the least essential. The attention is thus withdrawn from the actor to the scenery, and we have a spectacle instead of a tragedy. The background is real, but the actor is conventional; the blanket has usurped the prominent place, and Shakespeare has retired behind it. The bursts of genius with which Garrick startled the house, and made the audience forget his bag-wig, are wanting, but all his tricks are preserved; the corpse is still there, but the spirit he put into it is gone.

In comedy there is as little resemblance to real life as in tragedy; humor and wit are travestied by buffoonery and grimace. Instead of pictures of life as it is, we have grotesque daubs and caricatures, so exaggerated and farcical in their character as to “make the judicious grieve.” The actor and the audience react upon each other. The audience are generally uneducated, and for the most part agree with Partridge in his comment on “Hamlet:” “Give me the king for my money,” says he. The actors must bow to this low taste,—

“For they who live to please must please to live.”

But tradition has worse sins to answer for. It has not only ruined our national acting, but in some cases has overshadowed the drama itself, and perverted the meaning of some of the greatest plays of Shakespeare. Hamlet is not Hamlet on the English stage; he is the tall, imposing figure of John Kemble; dark, melodramatic, and dressed in black velvet. Strive as we will, we cannot imagine him as the light-haired Dane, easy and dreamy of temperament, “fat and scant of breath,” essentially metaphysical, hating physical action, and wanting energy to put his thoughts into deeds. The whole spirit of the acted Hamlet is southern; that of the real Hamlet is purely northern. We have indeed broken through an old tradition, according to which, incredible as it may seem, Shylock used to be acted as a comic character, though we are still far from a real understanding of his character. But of all the plays of Shakespeare none is so grossly misunderstood as “Macbeth.” Nor is this misapprehension confined to the stage; it prevails even among those who have zealously studied and admired Shakespeare. As John Kemble stands for Hamlet in our imaginations, so does Mrs. Siddons for Lady Macbeth. She has completely transformed this wonderful creation of Shakespeare’s, distorted its true features, and so stamped upon it her own individuality, that when we think of one we have the figure of the other in our minds. The Lady Macbeth of Mrs. Siddons is the only Lady Macbeth we know and believe in. She is the imperious, wicked, cruel wife of Macbeth, urging on her weak and kindhearted husband to abominable crimes solely to gratify her own ambitious and evil nature. She is without heart, tenderness, or remorse. Devilish in character, violent in purpose, she is the soul of the whole play; the plotter and instigator of all its horrors; a fiend-like creature, who, having a complete mastery over Macbeth, works him to madness by her taunts, and relentlessly drives him on against his will to the commission of his terrible crimes. We hate her, as we pity Macbeth. He is weak of purpose, amiable of disposition, “full of the milk of human kindness,” an unwilling instrument of all her evil designs, who, wanting force of will and strength of character, yields reluctantly to her infernal temptations.

Nothing could more clearly prove the great genius of Mrs. Siddons, than that she has been able so to stamp upon the public mind this amazing misconception, that, despite all the careful study which of late years has been given to Shakespeare, this notion of the character of Lady Macbeth and Macbeth should still prevail. Yet so deeply is it rooted, and so universal, that whoever attempts to eradicate it will find his task most difficult. But, believing it to be an utter distortion of the characters as Shakespeare drew them, and so at variance with the interior thought, conduct, and development of the play as not only entirely to obscure its real meaning, but to obliterate all its finest and most delicate features, we venture to enter upon this difficult task.

Macbeth and his wife, so far from being the characters above described, are their direct opposites. He is the villain, who can never satiate himself with crimes. She, having committed one crime, dies of remorse. She is essentially a woman—acts suddenly and violently, and then breaks down, and wastes her life and thoughts in bitter repentance. He is, on the contrary, essentially a man—who resolves slowly and with calculation, but once determined and entered upon a course of action, obstinately pursues it to the end, haunted by no remorse for his crimes, and agitated by no regrets and doubts, so long as his wicked plans do not miscarry. The spring of his nature is ambition;[28] and in working out his ends he is cruel, pitiless, and bloody. He is without a single good trait of character; and from the beginning to the end of the play, at every step, he develops deeper abysses of cruelty and inhumanity in his nature. When he is first presented to us, we, in common with Lady Macbeth, are completely unaware of his baseness. He is a thorough hypocrite, and deceives us, as he deceived her. We see that he has a grasping ambition, but we believe that he is amiable and weak of purpose, for so Lady Macbeth tells us; but as the play goes on, his character develops itself, and at last we find that he has neither heart nor tenderness for anybody or anything; that his will is unconquerable; that he is utterly without moral sense, is hopelessly selfish, and wickedly cruel. All he loves is power. His ambition is insatiable. It grows by what it feeds on. The more he has, the more he desires, and he is ready to commit every kind of horror for the sake of attaining his object. He is restrained by no scruples of honor, by no claims of friendship, by no sensitiveness of conscience. He murders his sovereign, from whom he has just received large gifts and honors in his own house; and then instantly compasses the death of his nearest friend and guest, Banquo. Not content with this, he then seeks the life of Macduff; and, enraged because he has fled, savagely and in cold blood puts the whole of his family to the sword. There is a steady growth of evil in his character from the beginning to the end, or rather a steady development of his evil nature.

Malcolm and Macduff, who at first were his friends and companions, afterwards, when they had learned to “know” him, call him “treacherous” and “devilish.” So far from agreeing in the character given of him by Lady Macbeth, they say,—

“_Macduff._ Not in the legions
Of horrid hell can come a devil more damned
In evil to top Macbeth.

_Malcolm._ I grant him bloody,
Luxurious, avaricious, false, deceitful,
Sudden, malicious, smacking of every sin
That has a name.”

Yet even they admit that

“This tyrant, whose sole name blisters our tongues,
Was once thought honest.”

As he had deceived the world, so he deceived his wife. His bloody and treacherous nature was at first as unknown to her as to his friends. As they thought him “honest,” she thought him amiable and infirm of purpose, greatly ambitious, and one who would “wrongly win,” but yet kindly of nature. Fiery temptations had not as yet brought out the secret writing of his character. It was with Macbeth as it was with Nero: their real natures did not exhibit themselves at first; but when once they began to develop, their growth was rapid and terrible. And in each of them there was a vein of madness. Essentially a hypocrite, and secretive by nature, Macbeth had passed for only a brave and stern soldier when he first makes his appearance. Yet even in his fierce Norwegian fight we see a violent and bloody spirit. In the very beginning of the play, one of his soldiers describes him, in his encounter with Macdonald, as one who,—

“Disdaining fortune, with his brandished steel,
Which smoked with bloody execution,
Like Valour’s minion,
Carved out his passage till he faced the slave;
And ne’er shook hands nor bade farewell to him
Till he unseamed him from the nape to the chaps,
And fixed his head upon our battlements.”

This is rather a grim picture, and scarcely corresponds to the character usually assigned to Macbeth. Here is not only no infirmity of purpose, but a stern, unwavering resolution, carving its way through all difficulties and against all opposition. Thus far, however, all his deeds had been loyal and for a lawful purpose. Still within his heart burnt, as he himself says, “black and deep desires,” and only circumstances and opportunities were needed to show that he could be as fierce and bloody in crime as he had shown himself in doing a soldier’s duty. They were already urging him in the very first scene; but, secretive of nature, he kept them out of sight.

“Stars, hide your fires;
Let not light see my black and deep desires;
The eye wink at the hand; yet let that be,
Which the eye fears, when it is done, to see.”

Thus he cries to himself as he speeds to his wife. The “murder,” which was but an hour before “fantastical,” has now become a fixed resolve.

A nature like this, secretive, false, deceitful, and wicked, which had thus far satisfied itself in a legitimate way, and, having no temptation in his own house, had never shown its real shape there, would naturally not have been understood by his wife. Glimpses she might have of what he was, but not a thorough understanding of him. Blinded by her personal attachment to him, and herself essentially his opposite in character, as we shall see, she would naturally have misinterpreted him. The secretive nature is always a puzzle to the frank nature. Accustomed to go straight to her object, whether good or bad, she was completely deceived by his hypocritical and sentimental pretenses, and supposed his nature to be “full of the milk of human kindness.” But time also opened her eyes, though, perhaps, never, even to the last, did she fully comprehend him. “What thou wouldst highly, that wouldst thou holily,” she would never have said after the murder of the king. But however this may be, that her view of his character is false is proved by the whole play. When did he ever show an iota of kindness? What crime did his conscience or the desire to act “holily” ever prevent his committing? When did he ever exhibit any want of bloody determination? Infirm of purpose? He was like a tiger in his purposes and in his deeds. The murder of Duncan did not satisfy him. The next morning, he kills the two chamberlains, in cold blood, to gratify his wanton cruelty. It was impossible that they should testify against him—they had been drugged, and he could have had no fear of them. Then immediately he plots the murder of Banquo and Fleance, and all the while hypocritically conceals his foul purposes even from his wife; and because Macduff “failed his presence at the tyrant’s feast,” he determines also to murder him. Foiled of this, he then cruelly and hideously puts to the sword his wife and little children. In all these murders, after the king’s, Lady Macbeth not only takes no part, but she is even kept in ignorance of them. She drive him to the commission of his crimes? She does not know of them till they are done. They are plotted and determined upon in secret by Macbeth alone, and carried into execution with a bloody directness and suddenness. He is “bloody, false, deceitful, sudden,”—essentially a hypocrite, false in his pretenses, secret in his plotting, loud in his showy talk, but sudden and bloody in his crimes and in his malice.

Thus far, however, we have seen but one side of Macbeth. The other side was its opposite. Bold, ambitious, and treacherous, he was also equally imaginative and superstitious. In action he feared no man. Brave as he was cruel, and ready to meet anything in the flesh, he was equally visionary of head, a victim of superstitious fears, and a mere coward before the unreal fancies evoked by his imagination. He has the Scottish second-sight, and visions and phantoms shake his soul. Show him twenty armed men who seek his life, he encounters them with a fierce joy. Show him a white sheet on a pole, and tell him it is a ghost, and he trembles abjectly. He conjures up for himself phantoms that “unfix his hair and make his seated heart knock at his ribs;” he is distracted with “horrible imaginings.” His excited imagination always plays him false and fills him with momentary and superstitious fears; but these fears never ultimately control his action. They are fumes of the head, and being purely visionary, they are also temporary. They come in moments of excitement, obscure for a time his judgment, and influence his ideas; but having regard solely to things unreal, they vanish with the necessity of action.

These superstitious fears have nothing to do with conscience or morals. He has no morals; there is no indication of a moral sense in any single word of the whole play. The only passage which faintly indicates a sense of right and wrong is when he urges to himself, as reasons why he should not kill Duncan, not only that the king is his kinsman, his king, and his guest, but that he has borne his faculties so meekly, that his virtues would plead like angels trumpet-tongued against the deep damnation of his taking-off. This, however, is mere talk, and has reference only to the indignation which his murder will excite, not to any sorrow Macbeth has for the crime. His sole doubt is lest he may not succeed; for, as he says,—

“If the assassination
Could trammel up the consequence, and catch,
With his surcease, success; that but this blow
Might be the be-all and the end-all here,
But here, upon this bank and shoal of time,—
We’d jump the life to come.”

The idea of being restrained from committing this murder by any religious or moral scruples is very far from his thought. Right or wrong, good or bad, have nothing to do with the question; and as for the “life to come,” that is mere folly.

But while his moral sense is dead, his imagination is nervously alive. It engenders visions that terrify him: after the murder is done, he thinks he hears phantom-voices crying, “Sleep no more! Glamis hath murdered sleep; and therefore Cawdor shall sleep no more, Macbeth shall sleep no more;” and these voices so work upon his superstitious fears, that he is afraid for the moment to return to the chamber, and carry the daggers back and smear the grooms with blood. He is, as Lady Macbeth says, “brainsickly,” and “fears a painted devil.” This is superstition, not remorse—a momentary imaginative fear, not a permanent feeling. In a few minutes he has changed his dress, and calmly makes speeches as if nothing had occurred,—nay, this cold-blooded hypocrite is ready within the hour to commit two new and wanton murders on the chamberlains, and boastfully to refer them to his loyal spirit and loving heart, inflamed by horror at the hideous murder of the king, which he has himself committed.

The same superstitious fear attacks him when he hears that Birnam Wood is moving to Dunsinane Hill; but it does not prevent this creature, so “full of the milk of human kindness,” from striking the messenger, calling him “liar and slave,” and threatening,—

“If thou speak’st false,
Upon the next tree shalt thou hang alive
Till famine cling thee.”

So, too, when Macduff tells him that he was “not of woman born,” awed for a moment by his superstitious fears, he cries,—

“Accursed be that tongue that tells me so,
For it hath cow’d my better part of man!
... I’ll not fight with thee.”

At times, under the influence of an over-excitable imagination acting upon a nature thoroughly superstitious, his intellect wavers, and he is subject to sudden aberrations of mind resembling insanity. They are, however, evanescent, and in a moment he recovers his poise, descending through a poetical phase into his real and settled character of cruelty and wickedness. In the dagger-scene, where he is alone, these three phases are perfectly marked. The visionary dagger “proceeding from the heat-oppressed brain” soon vanishes, then follows the poetic mania, and then the stern resolution of murder. In the banquet-scene, when the ghost of Banquo rises, the poetic interval is less marked, for Macbeth is under the restraint of the company and under the influence of his wife; but scarce has the company gone when his real character returns. He is again forming new resolutions of blood. His mind reverts to Macduff, whose life he threatens. He is bent “to know, by the worst means, the worst;” “strange things I have in head, that will to hand.”

This aberration of mind Macbeth has in common with Lear, Hamlet, and Othello. But in Macbeth alone does it take a superstitious shape. The trance of Othello is but a momentary condition, in which his goaded imagination, acting upon an irritated sense of honor, love, and jealousy, obliterates for an instant the real world. Hamlet’s aberration, when it is not feigned, as for the most part it is, is but the “sore distraction” of a mind upon which the burden of a great action is fixed, which he is bound either to accept or to reject, but in regard to which he hesitates, not because he lacks decision of character, but solely because he cannot satisfy himself that he has sure grounds for action, and that he is not deceived as to the facts which are the motive of his action; once satisfied as to the grounds for action, he is decisive and prompt, as is clearly shown in the manner in which he disposes of Guildenstern and Rosencrantz on board the vessel, and in the instant slaying of the king himself, when the evidence of his infamy is clear. But while he is yet undecided and struggling with himself to solve this sad problem of the king’s guilt, he rejects all ideas of love as futile and impertinent, and, more than that, doubts whether Ophelia herself is not, unconsciously to herself, made a tool of by the king and queen. Lear, again, is “heart-struck.” His madness comes from wounded pride and affection. The ingratitude and cruelty of his daughters shake his mind, and to his excited spirit the very elements become his “pernicious daughters:” “I never gave you kingdoms, called you children.” In all except Macbeth, the nature thus driven to madness is noble in itself, moral in its character, and warm in its affections. The aberrations of Macbeth are superstitious, and have nothing to do with the morals or the affections.

Macbeth’s imagination is, however, a ruling characteristic of his nature. His brain is always active; and when it does not evoke phantoms, it indulges in fanciful and poetic images. He is a poet, and turns everything into poetry. His utterance is generally excited and high-flown, rarely simple and real, and almost never expresses his true feelings and thoughts. His heart remains cold while his head is on fire. On all occasions his first impulse is to poetize a little; and having done this, he goes about his work without regard to what he has said. His sayings are one thing; his doings are quite another. Shakespeare makes him rant intentionally, as if to show that in such a character the imagination can and does work entirely independently of real feelings and passions. There is no serious character in all Shakespeare’s plays who constantly rants and swells in his speech like Macbeth; and this is plainly to show the complete unreality of all his imaginative bursts. In this he differs from every other person in this play. Yet when he is really in earnest, and has some plain business in hand, he can be direct enough in his speech, as throughout the second interview with the weird sisters, and in the scene with the two murderers whom he sends to kill Banquo and Fleance; or when, enraged at the escape of Fleance, he forgets to be a hypocrite, and his real nature clearly expresses itself in direct words, full of savage resolve. But on all other occasions, when he is not in earnest and intends to deceive, or when his brain is excited, he indulges in sentimental speeches, violent figures of speech, extravagant personifications, and artificial tropes and conceits. Even in the phantom-voices he imagines crying to him over Duncan’s body, he cannot help this peculiarity. He curiously hunts out conceits to express sleep. He “murders sleep, the innocent sleep; sleep, that knits up the ravell’d sleeve of care, the death of each day’s life, sore labor’s bath, balm of hurt minds, great nature’s second course, chief nourisher in life’s feast.” No wonder that Lady Macbeth, amazed, cries out, “What do you mean?” But he cannot help going on like a mad poet. His language is full of alliteration, fanciful juxtaposition of words, assonance, and jingle. At times, so strong is this habit, he makes poems to himself, and for the moment half believes in them. Only compare, in this connection, the natural, simple pathos of the scene where Macduff hears of the barbarous murder of his wife and children, with the language of Macbeth, when the death of Lady Macbeth is announced to him. Macduff “pulls his hat upon his brows,” and gives vent to his agony in the simplest and most direct words. Here the feeling is deep and sincere:—

“All my pretty ones?
Did you say, all?—O hell-kite!—All?
What, all my pretty chickens, and their dam,
At one fell swoop?

_Mal._ Dispute it like a man.

_Macd._ I shall do so;
But I must also feel it like a man:
I cannot but remember such things were,
And 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!

* * * * *

O, I could play the woman with my eyes.”

But when Macbeth is told of the death of his wife, he makes a little poem, full of alliterations and conceits. It is an answer to the question, What is life like? What can we say about it now?

“To-morrow, and to-morrow, and to-morrow,
Creeps in this petty pace from day to day,
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 com’st to use thy tongue; thy story quickly.”

Has this any relation to true feeling? Do men of any feeling, whose hearts are touched, fall to improvising poems like this, filled with fanciful images, when great sorrows come upon them? This speech is full of “sound and fury, signifying nothing.” There is no accent from the heart in it. It is elaborate, poetic, cold-blooded. “Life is a candle,” “a poor player,” “a walking shadow,” “a tale told by an idiot.” We have his customary alliterations: “petty pace,” “dusty death,” “day to day;” his love of repeating the same word, “to-morrow, and to-morrow, and to-morrow,” just as we have “If it were done when ’tis done, then ’twere well it were done quickly;” and his “Sleep no more, Macbeth does murder sleep,—sleep, that knits up,” etc.; “Sleep no more! Glamis hath murdered sleep; and therefore Cawdor shall sleep no more, Macbeth shall sleep no more.” He cannot forget himself enough to cease to be ingenious in his phrases. As a poem this speech is striking; as an expression of feeling it is perfectly empty. At the end of it he has quite forgotten the death of his wife; he is only employed in piling up figure after figure to personify life. What renders the unreality of this still more striking is the sudden change which comes over him upon the entrance of the messenger. In an instant he stops short in his poem, and his tone becomes at once decided and harsh; his wife’s death has passed utterly out of his mind. When the messenger tells him that Birnam Wood is beginning to move, with a sudden burst of rage he turns upon him, calls him liar and slave, and threatens to hang him alive till famine cling him, if his report prove to be incorrect. This is the real Macbeth. From this time forward he never alludes to Lady Macbeth; but, in a strange condition of superstitious fear and soldierly courage, he calls his men to arms, and goes out crying,—

“Blow, wind! come, wrack!
At least we’ll die with harness on our back.”

And this throughout is the character of Macbeth’s utterances. He is not like Tartuffe, a religious hypocrite; he is a poetical and sentimental hypocrite. His phrases and figures of speech have no root in his real life; they are only veneered upon them. “His words fly up, his thoughts remain below.” When he is poetical he is never in earnest. Sometimes his speeches are merely oratorical, and made from habit and for effect; sometimes they are hypocritical, and used to conceal his real intentions; and sometimes they are the expression of an inflamed and diseased imagination stimulated by superstition. But they are generally bombastic and swelling in tone, and are so intended to be. His habit of making speeches and inventing curious conceits is so strong, that he even “unpacks his heart with words” when alone, so as to leave himself free and direct to act. Thus, in one of his famous soliloquies, mark the unreal quality of all the pretended feeling, the mixture of immorality, bombast, and hypocrisy, the assonances and alliterations, the plays upon words, the extravagant figures, all showing the excitability of the brain and not of the heart:—

“If _it were done_ when ’tis _done_, then _’twere_ well
_It were done_ quickly. If th’ assassination
_C_ould trammel up the _c_onsequence, and _c_atch,
With his _surcease_, _success_; that but this blow
Might _be_ the _be-all_ and the _end-all here_,
But _here_, upon this bank and shoal of time,—
We’d jump the life to come.”

Then, after some questions about killing his guest, his kinsman, his king, which would seem honest, but for what comes after and for the utter reckless immorality which has gone before these words, his imagination excites itself, and runs into a wild and extravagant figure which means nothing. Duncan’s virtues, he says,—

“Will plead like angels _t_rumpet-_t_ongued against
The _d_eep _d_amnation of his _t_aking-off.”

No sooner does he begin to swell and alliterate again than he goes wild:—

“And pity, like a _n_aked _n_ew-_b_orn _b_abe,
Striding the blast, or heaven’s cherubin, hors’d
Upon the sightless couriers of the air,
Shall blow the horrid deed in every eye,
_That tears shall drown the wind_.”

This is pure rant, and intended to be so. It is the product of an unrestrained imagination which exhausts itself in the utterance. But it neither comes from the heart nor acts upon the heart.

Again, in the soliloquy of the air-drawn dagger, the superstitious, visionary Macbeth, who always projects his fancies into figures and phantoms, after addressing this

“false creation
Proceeding from the heat-oppressed brain,”

falls at once into poetic declamation about the night, and indulges himself in strange images and personifications. A man about to commit a murder who invents these conceits must be a poetical villain:—

“Now witchcraft celebrates
Pale Hecate’s offerings; and wither’d murder,
Alarum’d by his sentinel, the wolf,
Whose howl’s his watch, thus with his stealthy pace,
With Tarquin’s ravishing strides, towards his design
Moves like a ghost.”

Can anything be more extraordinary and elaborate than this pressing of one conceit upon another? Wither’d murder has a sentinel, the wolf, who howls his watch, and who with stealthy pace strides with Tarquin’s ravishing strides like a ghost! Shakespeare makes no other character systematically talk like this.

But the fumes of the brain pass, and leave the stern, determined man of action:—

“Whiles I threat, he lives;
Words to the heat of deeds too cold breath gives.
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.”

We have no such rant as this in Lady Macbeth. In the scenes of the murder, she does not befool herself with visions and poetry. She is practical, and her attention is given solely to the real facts about her. Contrast the simple language in which she speaks, while waiting for Macbeth, with his previous rhodomontade. Agitated, in great emotion, listening for sounds, doubting whether some mischance may not have befallen to prevent the murder, she speaks in short, broken sentences; but she does not liken her husband to Tarquin, and say now is the time when “witchcraft celebrates pale Hecate’s offerings,” nor employ this interval in making a poem full of conceits.

Macbeth goes in to the king, and commits the murder; no scruples of any kind prevent him. But when that is secure, he has a superstitious fit, and imagines phantom-voices, that talk as no phantoms ever did before. Still he is a coward in the presence of phantoms, and will not go back. The deed has been done, and ghosts alarm him.

But, as has been before observed, all this raving as usual passes by at once. In a half-hour he is as cold and calm as ever. The phantom-voices did not reach his conscience, and awakened no remorse. They were the children of superstition and imagination, and they vanished with cockcrow and daylight, leaving no trace behind in his memory. They have not altered his mood nor his plans.