Certain Neiv Elucidations of Shakespeare 9 



The Prince of Cumberland ! That is a step 

 On which I must fall down, or else o'er leap, 

 For in my way it lies. Stars, hide your fires! 



He begins to harbor black designs against this defective striphng, 

 whom Shakespeare has brought back here for us to see. Does not 

 the contrast, thus forced upon us breed deadly disgust for the 

 whole family, father and sons alike ? But people in a theater are 

 often slow as a whole to react to such appeals. Shakespeare will 

 aid his purpose now with an expedient, tried repeatedly in earlier 

 days,^ which will carry us and everybody over — even princes of 

 the blood and James himself, when they shall see this play — into 

 murderous consent" against King Duncan's life. 



Macbeth seems unable to hold Duncan, his playmate in youth 

 perhaps, as well as comrade in later years, as altogether respon- 

 sible for his career or conduct. Not so his wife, the Lady 

 Gruach. Macbeth is not unwilling that she should indulge her 

 impatience against his doddering, helpless cousin. Duncan is 

 none of hers, and she has a wife's contempt of her husband's 

 rival. She has always worshipped the kingly possibilities in Mac- 

 beth, and her faith, her enthusiasm, have been sweet to him. So 

 he has written her what the witches prophesy — some critics say, 

 to arouse her. No, not to arouse her. She has afflicted him 

 enough already with her arousals. But the prediction will bring 

 her a new and unlooked for satisfaction. So he has sent, at the 

 earliest moment possible, the news of his victory and of the 

 greeting. Holinshed says it was Lady Macbeth's ambition to be 

 a queen. We are not so sure but that it was rather that Macbeth 

 should be king. 



Glamis thou art, and Cawdor, and shalt be 

 What thou art promised. 



4 Compare his use of Portia's enthusiasm, in II. iv of Julius Caesar, for 

 her husband's purpose, as aid to ensure assent to the taking off of the title 

 character. What women like Portia desire, the audience will desire with 

 them. 



° Consent, which is at least dramatic, but not necessarily immoral. We 

 may entertain for the instant romantic and imaginative impulses for which 

 we are not in the slightest danger of becoming de facto chargeable. Shake- 

 speare must enforce such consent from his audience here, or the play will 

 stop. 



Ill 



