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Our eldest, Malcolm; whom we name hereafter,
The prince of Cumberland: which honour must
Not, unaccompanied, invest him only,

But signs of nobleness, like stars, shall shine
On all deservers.-From hence to Inverness,1
And bind us further to you.

Macb. The rest is labour, which is not us'd for

you:

I'll be myself the harbinger, and make joyful
The hearing of my wife with your approach;
So, humbly take my leave.

Dun.

My worthy Cawdor! Macb. The prince of Cumberland!

step,

That is a

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

[Aside.

For in my way it lies. 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.

[Exit. Dun. True, worthy Banquo; he is full so valiant;

And in his commendations I am fed;

It is a banquet to me. Let us after him,
Whose care is gone before to bid us welcome:
It is a peerless kinsman. [Flourish. Exeunt.

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hence to Inverness,] Dr. Johnson observes, in his Journey to the Western Islands of Scotland, that the walls of the castle of Macbeth, at Inverness, are yet standing. STEEVENS.

The prince of Cumberland!] The crown of Scotland was originally not hereditary. When a successor was declared in the life-time of a king (as was often the case,) the title of Prince of Cumberland was immediately bestowed on him as the mark of his designation. Cumberland was at that time held by Scotland of the crown of England, as a fief.

SCENE V.

Inverness. A Room in Macbeth's Castle.

Enter Lady MACBETH, reading a letter. Lady M. They met me in the day of success; and I have learned by the perfectest report, they have more in them than mortal knowledge. When I burned in desire to question them further, they made themselves—air, into which they vanished. Whiles I stood rapt in the wonder of it, came missives from the king, who all-hailed me, Thane of Cawdor; by which title, before, these weird sisters saluted me, and referred me to the coming on of time, with, Hail, king that shalt be! This have I thought good to deliver thee, my dearest partner of greatness; that thou mightest not lose the dues of rejoicing, by being ignorant of what greatness is promised thee. Lay it to thy heart, and farewell.

Glamis thou art, and Cawdor; and shalt be
What thou art promis'd:-Yet do I fear thy na-
ture;

It is too full o' the milk of human kindness,
To catch the nearest way: Thou would'st be great;
Art not without ambition; but without

The illness should attend it. What thou would'st

highly,

That would'st thou holily; would'st not play false, And yet would'st wrongly win: thou'd'st have, great

Glamis,

That which cries, Thus thou must do, if thou have

it;

3 missives from the king,] i. e. messengers.

And that which rather thou dost fear to do,
Than wishest should be undone. Hie thee hither,
That I may pour my spirits in thine ear;
And chastise with the valour of my tongue
All that impedes thee from the golden round,
Which fate and metaphysical aid* doth seem
To have thee crown'd withal.--What is your
tidings?

Enter an Attendant.

Atten. The king comes here to-night.

Lady M.

Thou'rt mad to say it:

Is not thy master with him? who, wer't so,

Would have inform'd for preparation.

Atten. So please you, it is true; our thane is coming:

One of my fellows had the speed of him;

Who, almost dead for breath, had scarcely more Than would make up his message.

Lady M.

He brings great news. The raven himself is hoarse,"

the golden round,

Give him tending,

[Exit Attendant.

Which fate and metaphysical aid —] The crown to which fate destines thee, and which preternatural agents endeavour to bestow upon thee. The golden round is the diadem.

Metaphysical, which Dr. Warburton has justly observed, means something supernatural, seems, in our author's time, to have had no other meaning. In the English Dictionary, by H. C. 1655, Metaphysicks are thus explained: "Supernatural arts."

5

The raven himself is hoarse,] The following is, in my opinion, the sense of this passage:

Give him tending; the news he brings are worth the speed that made him lose his breath. [Exit Attendant.] 'Tis certain now— the raven himself is spent, is hoarse by croaking this very message, the fatal entrance of Duncan under my battlements.

Lady Macbeth (for she was not yet unsexed) was likelier to be deterred from her design than encouraged in it by the supposed thought that the message and the prophecy (though equally secrets

That croaks the fatal entrance of Duncan
Under my battlements. Come, come, you spirits
That tend on mortal thoughts, unsex me here;
And fill me, from the crown to the toe, top-full
Of direst cruelty! make thick my blood,
Stop up the access and passage to remorse;"
That no compunctious visitings of nature
Shake my fell purpose, nor keep peace between
The effect, and it! Come to my woman's breasts,
And take my milk for gall, you murd'ring ministers,
Wherever in your sightless substances

You wait on nature's mischief! Come, thick night,
And pall thee in the dunnest smoke of hell!
That my keen knife see not the wound it makes;
Nor heaven peep through the blanket of the dark,
To cry, Hold, hold!--Great Glamis! worthy
Cawdor!1

to the messenger and the raven) had deprived the one of speech, and added harshness to the other's note. Unless we absurdly suppose the messenger acquainted with the hidden import of his message, speed alone had intercepted his breath, as repetition the raven's voice; though the lady considered both as organs of that destiny which hurried Duncan into her meshes. FUSELI.

6

mortal thoughts,] This expression signifies not the thoughts of mortals, but murderous, deadly, or destructive designs. remorse;] Remorse, in ancient language, signifies pity. 8 And pall thee-] i. e. wrap thyself in a pall.

7

To pall, however, in the present instance, (as Mr. Douce observes to me,) may simply mean-to wrap, to invest. STEEVENS. 9 That my keen knife] The word knife, which at present has a familiar undignified meaning, was anciently used to express a sword or dagger.

1 Great Glamis! worthy Cawdor!] Shakspeare has supported the character of Lady Macbeth by repeated efforts, and never omits any opportunity of adding a trait of ferocity, or a mark of the want of human feelings, to this monster of his own creation. The softer passions are more obliterated in her than in her husband, in proportion as her ambition is greater. She meets him here on his arrival from an expedition of danger, with such a salutation as would have become one of his friends or vassals; a salutation apparently fitted rather to raise his thoughts to a level

Enter MACBeth.

Greater than both, by the all-hail hereafter!
Thy letters have transported me beyond
This ignorant present, and I feel now

The future in the instant.

Macb.

My dearest love,

Duncan comes here to-night.

Lady M.

And when goes

hence?

Lady M.

O, never

Macb. To-morrow,-as he purposes.

Shall sun that morrow see!

Your face, my thane, is as a book, where men
May read strange matters; 2-To beguile the time,
Look like the time; bear welcome in your eye,
Your hand, your tongue: look like the innocent
flower,

But be the serpent under it. He that's coming
Must be provided for: and you shall put
This night's great business into my despatch;
Which shall to all our nights and days to come
Give solely sovereign sway and masterdom.
Macb. We will speak further.
Lady M.

To alter favour ever is to fear: '
Leave all the rest to me.

Only look

up

clear;

[Exeunt.

with her own purposes, than to testify her joy at his return, or manifest an attachment to his person: nor does any sentiment expressive of love or softness fall from her throughout the play. While Macbeth himself, amidst the horrors of his guilt, still retains a character less fiend-like than that of his queen, talks to her with a degree of tenderness, and pours his complaints and fears into her bosom, accompanied with terms of endearment. STEEVENS. 2 Your face, my thane, is as a book, where men

May read, &c.] That is, thy looks are such as will awaken men's curiosity, excite their attention, and make room for suspicion.

To alter favour ever is to fear:] Favour is-look, counte

nance.

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