In the fifth act we see this lowest circle reached; and it is Salvini’s finest moment throughout the play. From the first he was admirably made up, and looked Macbeth to the full as perfectly as ever he looked Othello. From the first moment he steps upon the stage you can see this character is a creation to the fullest meaning of the phrase; for the man before you is a type you know well already. He arrives with Banquo on the heath, fair and red-bearded, sparing of gesture, full of pride and the sense of animal wellbeing, and satisfied after the battle like a beast who has eaten his fill. But in the fifth act there is a change. This is still the big, burly, fleshly, handsome-looking Thane; here is still the same face which in the earlier acts could be superficially good-humoured and sometimes royally courteous. But now the atmosphere of blood, which pervades the whole tragedy, has entered into the man and subdued him to its own nature; and an indescribable degradation, a slackness and puffiness, has overtaken his features. He has breathed the air of carnage, and supped full of horrors. Lady Macbeth complains of the smell of blood on her hand: Macbeth makes no complaint—he has ceased to notice it now; but the same smell is in his nostrils. A contained fury and disgust possesses him. He taunts the messenger and the doctor as people would taunt their mortal enemies. And, indeed, as he knows right well, every one is his enemy now, except his wife. About her he questions the doctor with something like a last human anxiety; and, in tones of grisly mystery, asks him if he can ‘minister to a mind diseased.’ When the news of her death is brought him, he is staggered and falls into a seat; but somehow it is not anything we can call grief that he displays. There had been two of them against God and man; and now, when there is only one, it makes perhaps less difference than he had expected. And so her death is not only an affliction, but one more disillusion; and he redoubles in bitterness. The speech that follows, given with tragic cynicism in every word, is a dirge, not so much for her as for himself. From that time forth there is nothing human left in him, only ‘the fiend of Scotland,’ Macduff’s ‘hell-hound,’ whom, with a stern glee, we see baited like a bear and hunted down like a wolf. He is inspired and set above fate by a demoniacal energy, a lust of wounds and slaughter. Even after he meets Macduff his courage does not fail; but when he hears the Thane was not born of woman, all virtue goes out of him; and though he speaks sounding words of defiance, the last combat is little better than a suicide.