after "Hamlet" and probably just before "Lear"; one would therefore
expect a greater intensity and a deeper pessimism in Macbeth than in
Hamlet.
The character-drawing in the next scene is necessarily slight. The
discovery of the murder impels every one save the protagonist to action,
but Macbeth finds time even at the climax of excitement to coin
Hamlet-words that can never be forgotten:
"There's nothing serious in mortality;"
and the description of Duncan:
"His silver skin laced with his golden blood"
--as sugar'd sweet as any line in the sonnets, and here completely out
of place.
In these first two acts the character of Macbeth is outlined so firmly
that no after-touches can efface the impression.
Now comes a period in the drama in which deed follows so fast upon deed,
that there is scarcely any opportunity for characterization. To the
casual view Macbeth seems almost to change his nature, passing from
murder to murder quickly if not easily. He not only arranges for
Banquo's assassination, but leaves Lady Macbeth innocent of the
knowledge. The explanation of this seeming change of character is at
hand. Shakespeare took the history of Macbeth from Holinshed's
Chronicle, and there it is recorded that Macbeth murdered Banquo and
many others, as well as Macduff's wife and children. Holinshed makes
Duncan have "too much of clemencie," and Macbeth "too much of crueltie."
Macbeth's actions correspond with his nature in Holinshed; but
Shakespeare first made Macbeth in his own image--gentle, bookish and
irresolute--and then found himself fettered by the historical fact that
Macbeth murdered Banquo and the rest. He was therefore forced to explain
in some way or other why his Macbeth strode from crime to crime. It must
be noted as most characteristic of gentle Shakespeare that even when
confronted with this difficulty he did not think of lending Macbeth any
tinge of cruelty, harshness, or ambition. His Macbeth commits murder for
the same reason that the timorous deer fights--out of fear.
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