There's no art To find the mind's construction in the face: He was a gentleman on whom I built An absolute trust, is interrupted[198] by the entrance of the traitor Macbeth, who is greeted with effusive gratitude and a like 'absolute trust.' I have already referred to the ironical effect of the beautiful lines in which Duncan and Banquo describe the castle they are about to enter. To the reader Lady Macbeth's light words, A little water clears us of this deed: How easy is it then, summon up the picture of the sleep-walking scene. The idea of the Porter's speech, in which he imagines himself the keeper of hell-gate, shows the same irony. So does the contrast between the obvious and the hidden meanings of the apparitions of the armed head, the bloody child, and the child with the tree in his hand. It would be easy to add further examples. Perhaps the most striking is the answer which Banquo, as he rides away, never to return alive, gives to Macbeth's reminder, 'Fail not our feast.' 'My lord, I will not,' he replies, and he keeps his promise. It cannot be by accident that Shakespeare so frequently in this play uses a device which contributes to excite the vague fear of hidden forces operating on minds unconscious of their influence.[199] 2 But of course he had for this purpose an agency more potent than any yet considered. It would be almost an impertinence to attempt to describe anew the influence of the Witch-scenes on the imagination of the reader.[200] Nor do I believe that among different readers this influence differs greatly except in degree. But when critics begin to analyse the imaginative effect, and still more when, going behind it, they try to determine the truth which lay for Shakespeare or lies for us in these creations, they too often offer us results which, either through perversion or through inadequacy, fail to correspond with that effect. This happens in opposite ways. On the one hand the Witches, whose contribution to the 'atmosphere' of Macbeth can hardly be exaggerated, are credited with far too great an influence upon the action; sometimes they are described as goddesses, or even as fates, whom Macbeth is powerless to resist. And this is perversion. On the other hand, we are told that, great as is their influence on the action, it is so because they are merely symbolic representations of the unconscious or half-conscious guilt in Macbeth himself. And this is inadequate. The few remarks I have to make may take the form of a criticism on these views.