‘The poet’s eye in a fine frenzy rolling Doth glance from heaven to earth, from earth to heaven; And as imagination bodies forth The forms of things unknown, the poet’s pen Turns them to shape, and gives to airy nothing A local habitation and a name.’ MACBETH and _Lear_, _Othello_ and _Hamlet_, are usually reckoned Shakespear’s four principal tragedies. _Lear_ stands first for the profound intensity of the passion; MACBETH for the wildness of the imagination and the rapidity of the action; _Othello_ for the progressive interest and powerful alternations of feeling; _Hamlet_ for the refined developement of thought and sentiment. If the force of genius shewn in each of these works is astonishing, their variety is not less so. They are like different creations of the same mind, not one of which has the slightest reference to the rest. This distinctness and originality is indeed the necessary consequence of truth and nature. Shakespear’s genius alone appeared to possess the resources of nature. He is ‘your only _tragedy-maker_.’ His plays have the force of things upon the mind. What he represents is brought home to the bosom as a part of our experience, implanted in the memory as if we had known the places, persons, and things of which he treats. MACBETH is like a record of a preternatural and tragical event. It has the rugged severity of an old chronicle with all that the imagination of the poet can engraft upon traditional belief. The castle of Macbeth, round which ‘the air smells wooingly,’ and where ‘the temple-haunting martlet builds,’ has a real subsistence in the mind; the Weïrd Sisters meet us in person on ‘the blasted heath’; the ‘air-drawn dagger’ moves slowly before our eyes; the ‘gracious Duncan,’ the ‘blood-boultered Banquo’ stand before us; all that passed through the mind of Macbeth passes, without the loss of a tittle, through ours. All that could actually take place, and all that is only possible to be conceived, what was said and what was done, the workings of passion, the spells of magic, are brought before us with the same absolute truth and vividness—Shakespear excelled in the openings of his plays: that of MACBETH is the most striking of any. The wildness of the scenery, the sudden shifting of the situations and characters, the bustle, the expectations excited, are equally extraordinary. From the first entrance of the Witches and the description of them when they meet Macbeth, ——‘What are these So wither’d and so wild in their attire, That look not like the inhabitants of th’ earth And yet are on’t?’ the mind is prepared for all that follows.