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time they had been so much in vogue, that “ The Tattler” quotes Shakspeare's "Macbeth" from Davenant's alteration of it.

To Garrick belongs the merit of restoring to the stage the original Macbeth; and the present acting version is that which he prepared, and which was afterwards improved by Philip Kemble. The language, except in one or two of the choruses, is almost exclusively that of Shakspeare. Garrick, who excelled in the expression of conclusive throes and dying agonies, composed, as we learn from his biographer, a pretty long dying speech for Macbeth; but this is no longer retained. There are more of the elements of the sublime, as it seems to us, in this character, than in any other known to the drama; and this, perhaps, is the reason why it is so rarely embodied to the satisfaction of a judicious audience. The Tattler" has celebrated Betterton for his excellence in the part. Quin's figure and countenance were much in his favor; but he was too monotonous and unimpassioned. Garrick, notwithstanding his diminutive stature, was probably the best of all the representatives of the character. From the first scene, in which he was accosted by the witches, to the last desperate encounter with Macduff, he is said to have been animated, consistent, and impressive. One of his cotemporaries speaks of his "terrible graces of action” in the banquet scene where he sees the ghost of Banquo-a scene, by the way, in which most modern performers fail utterly.

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Many stage critics," says Davies, "suppose the dagger scene to be one of the most difficult situations in acting. The sudden start on seeing the dagger in the air-the endeavor of the actor to seize it—the disappointment, the suggestion of its being only a vision of the disturbed fancy-the seeing it still in form most palpable, with the reasoning upon it,—these are the difficulties which the mind of Garrick was capable of encountering and subduing. So happy did he think himself in the exhibition of this scene, that, when he was in Italy, and requested by the Duke of Parma to give a proof of his skill in action, to the admiration of that prince, he at once threw himself into the attitude of Macbeth seeing the air-drawn dagger. The duke desired no farther assurance of Garrick's great excellence in his profession-being perfectly convinced by this specimen, that he was an absolute master of it.

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The merits of the scene preparatory and subsequent to the murder of Duncan, transcend all panegyric. What moral dehortations and dissuasions could produce such an effect, hostile to the crime, upon the human mind, as witnessing the anguish and remorse of Macbeth? The representation of this terrible part of the play by Garrick and Mrs. Pritchard, can no more be described than I believe it can be equalled. His distraction and agonizing horror were finely contrasted by her seeming apathy, tranquillity, and confidence. The beginning of the scene after the murder, was conducted in terrifying whispers. Their looks and their action supplied the place of words. The wonderful expression of heartfelt horror, with which Garrick displayed his bloody hands, can only be conceived by those who saw him."

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The character of Lady Macbeth seems to have found its most celebrated representative in Mrs. Siddons. "The moment she seized the part," says Campbell, “she identified her image with it in the minds of the living generation." It had long been her favorite study; and she has left some remarks upon it from her own pen, which are creditable to her good sense and powers of discrimination. Mrs. Jameson says: In her impersonation of the part of Lady Macbeth, Mrs. Siddons adopted three different intonations in giving he words 'We fail.' (Scene VII. Act I.) At first, a quick contemptuous interrogation-We fail? Afterwards with the note of admiration-We fail! and an accent of indignant astonishment, laying the principal emphasis on the word we-We fail! Lastly, she fixed on what I am convinced is the true reading-We fail. With the simple period, modulating her voice to a deep, low, resolute tone, which settled the issue at once; as though she had said, 'If we fail, why then we fail, and all is over.' This is consistent with the dark fatalism of the character, and the sense of the lines following; and the effect was sublime almost awful."

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Apparitions, Chorus of Witches, Murderers, Soldiers, &c.

COSTUMES.

MACBETH.-First dress: Scarlet plaid vest, kelt, and tartan, cap, feathers, and breast-plate. Second dress: Purple robe, lined with yellow satin, scarlet satin vest, edged with white ermine, and coronet for the head. Third dress: Kelt, tartan, cap, and armour.

MALCOLM.-Scarlet and green plaid vest, kelt, tartan, breast-plate, cap and fea

thers.

KING.-Crimson velvet robe and vest richly embroidered.

BANQUO-Green plaid vest, kelt and tartan, breast-plate and cap.

MACDUFF.-Ibid.

LENOX.-Red and blue-Ibid.

ROSSE.--Blue and crimson-Ibid.

SIWARD.-Scarlet velvet doublet, trunks and cloak, breast-plate, hat and feathers
SEYTON.-Green plaid vest, kelt, and tartan, cap and feathers.

PHYSICIAN.-Black velvet doublet, trunks, cloak, &c.
SERJEANT.-Green and red plaid vest, kelt, and tartan, cap, &c.

MURDERERS.-Green worsted plaid dresses.

LADY MACBETH.-First dress: Black velvet, trimmed with point race, and plaid sarsnet scarf. Second dress: White satin, trimmed with silver, and scarlet cloth robe, trimmed with ermine and silver; coronet for the head. Third dress: White muslin morning wrapper, trimmed with lace, and a veil.-Ibid.

GENTLEWOMAN.-Green satin dress trimmed with silver, and spangled veil. HECATE.-Blue vest, with stars, shaded by blue gauze, robe of do., and cap ornamented with snakes.

WITCHES.-Similar, in some respects, but exceedingly grotesque.

EXITS AND ENTRANCES.

R. means Right; L. Left: R. D. Right Door; L. D. Left Door; S. E. Second Entrance; U. E. Upper Entrance; M. D. Middle Door.

RELATIVE POSITIONS.

R., means Right; L., Left; C., Centre; R. C., Right of Centre: L. C., Left of Centre.

MACBETH.

ACT I.

SCENE I.-The Open Country.-Thunder and Lightning. Three WITCHES discovered.

1st Witch. WHEN shall we three meet again—

In thunder, lightning, or in rain?

2d Witch. When the hurly-burly's done,

When the battle's* lost and won.

3d Witch. That will be ere set of sun.

1st Witch. Where the place?

2d Witch. Upon the heath.
3d Witch. There to meet with-
1st Witch. Whom?

2d Witch. Macbeth.

1st Witch. I come, Gray-malkin. 2d Witch. Paddock calls.

1st Witch. Anon.

All. Fair is foul, and foul is fair;

Hover through the fog and filthy air.

[Noise of a Cat. [Noise of a Toad.

[Thunder and Lightning.—Exeunt severally.

SCENE II.-The Palace at Fores.-Flourish of Trumpets and Drums, L.

Enter KING DUNCAN, MALCOLM, DONALBAIN, LENOX, ROSSE, and Attendants, L., meeting a bleeding OFFICER, R.

King. (c.) What bloody man is that? He can report, As seemeth by his plight, of the revolt

The newest state.

The war in which Macbeth was engaged

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Mal. This is the serjeant,

Who like a good and hardy soldier, fought
'Gainst my captivity.-Hail, brave friend!
Say to the King the knowledge of the broil,
As thou didst leave it.

Off. Doubtfully it stood;

As two spent swimmers, that do cling together,
And choke their art. The merciless Macdonwald

From the western isles

Of Kernes and Gallow-glasses is supplied;
And Fortune, on his damnéd quarrel smiling,
Showed like a rebel's whore. But all's too weak:
For brave Macbeth (well he deserves that name),
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 nave to the chaps,
And fixed his head upon our battlements.

King. Oh, valiant cousin! worthy gentleman!
Of Mark, King of Scotland, mark:
No sooner justice had, with valour armed,
Compelled these skipping Kernes to trust their heels,
But the Norweyan lord, surveying vantage,

With furbished arms, and new supplies of men,
Began a fresh assault.

King. Dismayed not this

Our captains, Macbeth and Banquo?

Off. Yes;

As sparrows, eagles; or the hare, the lion.—

But I am faint, my gashes cry for help.

King. So well thy words become thee, as thy wounds; They smack of honour both :-Go, get him surgeons.

Who comes here?

[Exeunt Officer and two Attendants, L.

Mal. The worthy Thane of Fife.

Len. What a haste looks through his eyes!

Rosse. So should he look,

That seems to speak things strange.

Enter MACDUff, r.

Macd. God save the King!

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