7o(5 POETRY 



indeed, was a poet without a conscience; but that circumstance is to 

 the advantage of our illustration, since we shall not be able to confuse 

 his morality with his poetiy. There are several points that may be 

 noticed. 



1. First, though on this much stress must not be laid, we observe 

 Macbeth's power of summoning up, and vividly objectifying impres- 

 sions of sense. He sees an air-drawn dagger. He hears a voice say, 

 <: Sleep no more.'' 



2. Secondly, and this is fundamental, we remark the passionate in- 

 tensity with which he realizes whatever comes before him, his own 

 states of mind, or events that happen, and sees them in all their 

 attendant circumstances and consequences. Xo fact that at all inter- 

 ests him. remains a barren fact to him, and most facts do interest him. 

 When he is contemplating the death of Duncan he appreciates thor- 

 oughly and entirely all that i? involved in that death: 



He's here in double trust: 

 First, as 1 am his kinsman, and his subject, 

 (Strong both against the deed; then, as his host, 

 Wlio should against his murderer shut the door, 

 Not bear the knife myself. Besides, this Duncan 

 Hath borne hi* faculties so meek, hath been 

 So clear in his great oflice. that his virtues 

 Will plead like angels, trumpet-tongued. against 

 The deep damnation of his taking-oh". 



So he goes from point in point, realizing as he goes. Even more strik- 

 ing is the way in which he i? moved after the murder by Duncan's 

 untroubled condition, thoroughly appreciating it: 



J)uncan is in his grave: 

 After life's fitful fever, he sleeps well; 

 Treason hn< done his worst: nor steel, nor poison, 

 Malice domestic, foreign levy, nothing, 

 Can touch him further! 



I have liv'd loner enough; my way of life 



N fallen into the sere, the yellow leaf: 



And that whii-h <-lioiild accompany old age. 



As honor, love, obedience. tro<>p of friend* 



I must not look to have: but. in their tend. 



Curse*, not loud, but deep, moii! h-honor. breath. 



Which the poor heart would fain dmy. but dare not. 



Especially characteristic here of the poet seems to me the pause on 

 the id:-a of curses, to realize' them, br-foro goine further. " curse=, not 

 Ji;iid. but flcp." 



