Notes to Shakespeare, Volume III: The Tragedies - Samuel Johnson 3 стр.

II.i.49 (437,6) Now o'er the one half world/Nature seems dead] That is, over our hemisphere all action and motion seem to have ceased. This image, which is perhaps the most striking that poetry can produce, has been adopted by Dryden in his Conquest of Mexico:

These lines, though so well known, I have transcribed, that the contrast between them and this passage of Shakespeare may be more accurately observed.

Night is described by two great poets, but one describes a night of quiet, the other of perturbation. In the night of Dryden, all the disturbers of the world are laid asleep; in that of Shakespeare, nothing but sorcery, lust, and murder, is awake. He that reads Dryden, finds himself lull'd with serenity, and disposed to solitude and contemplation. He that peruses Shakspeare looks round alarmed, and starts to find himself alone. One is the night of a lover, the other, of a murderer.

II.i.52 (438,8)

This was the reading of this passage [ravishing sides] in all the editions before that of Mr. Pope, who for sides, inserted in the text strides, which Mr. Theobald has tacitly copied from him, though a more proper alteration might perhaps have been made. A ravishing stride is an action of violence, impetuosity, and tumult, like that of a savage rushing at his prey; whereas the poet is here attempting to exhibit an image of secrecy and caution, of anxious circumspection and guilty timidity, the stealthy pace of a ravisher creeping into the chamber of a virgin, and of an assassin approaching the bed of him whom he proposes to murder, without awaking him; these he describes as moving like ghosts, whose progression is so different from strides, that it has been in all ages represented te be, as Milton expresses it,

This hemiatic will afford the true reading of this place, which is, I think, to be corrected thus:

Tarquin 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:

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:

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:

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 catchit 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)

Those lines I think should be rather regulated thus:

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.

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,

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)

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,

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, and has therefore weakened the authour's sense by the intrusion of a remote and useless image into a speech bursting from a man wholly possess'd with his own present condition, and therefore not at leisure to explain his own allusions to himself. If these words are taken away, by which not only the thought but the numbers are injured, the lines of Shakespeare close together without any traces of a breach.

This note was written before I was fully acquainted with Shakespeare's manner, and I do not now think it of much weight; for though the words, which I was once willing to eject, seem interpolated, I believe they may still be genuine, and added by the authour in his revision. The authour of the Revisal cannot admit the measure to be faulty. There is only one foot, he says, put for another. This is one of the effects of literature in minds not naturally perspicacious. Every boy or girl finds the metre imperfect, but the pedant comes to its defence with a tribrachys or an anapaest, and sets it right at once by applying to one language the rules of another. If we may be allowed to change feet, like the old comic writers, it will not be easy to write a line not metrical. To hint this once, is sufficient. (see 1765, VI, 424, 2)

III.i.65 (460,5) For Banquo's issue have I fil'd my mind] [W: 'filed] This mark of contraction is not necessary. To file is in the bishop's Bible.

III.i.69 (460,6) the common enemy of man] It is always an entertainment to an inquisitive reader, to trace a sentiment to its original source; and therefore, though the term enemy of man, applied to the devil, is in itself natural and obvious, yet some may be pleased with being informed, that Shakespeare probably borrowed it from the first lines of the Destruction of Troy, a book which he is known to have read. This expression, however, he might have had in many other places. The word fiend signifies enemy.

III.i.71 (461,7) come, Fate, into the list,/And champion me to the utterance!] This passage will be best explained by translating it into the language from whence the only word of difficulty in it is borrowed, "Que la destinée se rende en lice, et qu'elle me donne un defi a l'outrance." A challenge or a combat a l'outrance, to extremity, was a fix'd term in the law of arms, used when the combatants engaged with an odium internecinum, an intention to destroy each other, in opposition to trials of skill at festivals, or on other occasions, where the contest was only for reputation or a prize. The sense therefore is, Let Fate, that has foredoom'd the exaltation of the sons of Banquo, enter the lists against me, with the utmost animosity, in defence of its own decrees, which I will endeavour to invalidate, whatever be the danger. [Johnson quotes Warburton's note] After the former explication, Dr. Warburton was desirous to seem to do something; and he has therefore made Fate the marshal, whom I had made the champion, and has left Macbeth to enter the lists without an opponent.

III.i.88 (462,9) Are you so gospell'd] Are you of that degree of precise virtue? Gospeller was a name of contempt given by the Papists to the Lollards, the puritans of early times, and the precursors of protestantism.

III.i.94 (463,1) Showghes] Showghes are probably what we now call shocks, demi-wolves, lyciscae; dogs bred between wolves and dogs. (1773)

III.i.95 (463,2) the valued file] In this speech the word file occurs twice, and seems in both places to have a meaning different from its present use. The expression, valued file, evidently means, a list or catalogue of value. A station in the file, and not in the worst rank, may mean, a place in the list of manhood, and not in the lowest place. But file seems rather to mean in this place, a post of honour; the first rank, in opposition to the last; a meaning which I have not observed in any other place. (1773)