I cannot strike at wretched kernes, whose arms [Exit. Alarum. Enter MALCOLM and old SIWARD. render'd: We have met with foes Enter, sir, the castle. [Exeunt. Alarum. Re-enter MACBETH. Macb. Why should I play the Roman fool, and die On mine own sword? whiles I see lives, the gashes Do better upon them. Re-enter MACDUFF. Macd. Turn, hell-hound, turn. Macb. Of all men else I have avoided thee: But get thee back, my soul is too much charg'd With blood of thine already. Macd. I have no words, Seems bruited:] From clamour; to noise. it, Fr. To bruit is to report with My voice is in my sword; thou bloodier villain Than terms can give thee out! [They fight. Macb. Thou losest labour: As easy may'st thou the intrenchant air3 With thy keen sword impress, as make me bleed: Let fall thy blade on vulnerable crests; I bear a charmed life, which must not yield To one of woman born. Macd. Despair thy charm; And let the angel, whom thou still hast serv’d, Tell thee, Macduff was from his mother's womb Untimely ripp'd. Macb. Accursed be that tongue that tells me so, Macd. Then yield thee, coward, I'll not yield, [Exeunt, fighting SAs easy may'st thou the intrenchant air-] That is, air which cannot be cut. - palter with us in a double sense ;] That shuffle with ambiguous expressions. Retreat. Flourish. Re-enter, with Drum and Colours, MALCOLM, old SIWARD, Rosse, Lenox, arriv'd. Siw. Some must go off; and yet, by these I see, So great a day as this is cheaply bought. Mal. Macduff is missing, and your noble son. debt: Then he is dead? of sorrow Had he his hurts before? Why then, God's soldier be he! He's worth more sorrow, And that I'll spend for him. Siw. He's worth no more; They say, he parted well, and paid his score: So, God be with him!-Here comes newer comfort. Re-enter MACDUFF, with Macbeth's Head on a Pole. Macd. Hail, king! for so thou art: Behold, where stands All. The usurper's cursed head: the time is free: King of Scotland, hail! [Flourish. men, (Flourish. Exeunt. 5 - thy kingdom's pearl,] Thy kingdom's pearl means thy kingdom's wealth, or rather ornament. • This play is deservedly celebrated for the propriety of its fictions, and solemnity, grandeur, and variety of its action; but it has no nice discriminations of character; the events are too great to admit the influence of particular dispositions, and the course of the action necessarily determines the conduct of the agents. The danger of ambition is well described; and I know not whether it may not be said, in defence of some parts which now seem improbable, that, in Shakspeare's time, it was necessary to warn credulity against vain and illusive predictions. The passions are directed to their true end. Lady Macbeth is merely detested ; and though the courage of Macbeth preserves some esteem, yet every reader rejoices at his fall. Johnson. * THE following Songs are found in Sir William D'Avenant's alteration of this play, printed in 1674. The first and second of them were, I believe, written by him, being introduced at the end of the second Act, in a scene of which he undoubtedly was the author. Of the other song, which is sung in the third Act, the first words (Come away) are in the original copy of Macbeth, and the whole is found at length in Middleton's play, entitled The Witch, which has been lately printed from a manuscript in the collection of Major Pearson. Whether this song was written by Shakspeare, and omitted, like many others, in the printed copy, cannot now be ascertained. MALONE. ACT II. FIRST SONG BY THE WITCHES. 1 Witch. Speak, sister, speak; is the deed done? 2 Witch. Long ago, long ago: Above twelve glasses since have run. 3 Witch. Il deeds are seldom slow; 2 Witch. He will 3 Witch. He must spill much more blood; And become worse, to make his title good. 1 Witch. Now let's dance. Chor. We should rejoice when good kings bleed. SECOND SONG. Let's have a dance upon the heath; |