The style and rhythm of the Captain's speeches in the second scene should be illustrated by reference to the interlude in Hamlet, in which the epic is substituted for the tragic, in order to make the latter be felt as the real-life diction. In Macbeth, the poet's object was to raise the mind at once to the high tragic tone, that the audience might be ready for the precipitate consummation of guilt in the early part of the play. The true reason for the first appearance of the Witches is to strike the key-note of the character of the whole drama, as is proved by their re-appearance in the third scene, after such an order of the king's as establishes their supernatural power of information. I say information,--for so it only is as to Glamis and Cawdor; the 'king hereafter' was still contingent,--still in Macbeth's moral will; although, if he should yield to the temptation, and thus forfeit his free agency, the link of cause and effect 'more physico' would then commence. I need not say, that the general idea is all that can be required from the poet,--not a scholastic logical consistency in all the parts so as to meet metaphysical objectors. But O! how truly Shakspearian is the opening of Macbeth's character given in the 'unpossessedness' of Banquo's mind, wholly present to the present object,--an unsullied, unscarified mirror!--And how strictly true to nature it is, that Banquo, and not Macbeth himself, directs our notice to the effect produced on Macbeth's mind, rendered temptible by previous dalliance of the fancy with ambitious thoughts: Good Sir, why do you start; and seem to fear Things that do sound so fair? And then, again, still unintroitive, addresses the Witches:-- I' the name of truth, Are ye fantastical, or that indeed Which outwardly ye show? Banquo's questions are those of natural curiosity,--such as a girl would put after hearing a gipsy tell her schoolfellow's fortune;--all perfectly general, or rather planless. But Macbeth, lost in thought, raises himself to speech only by the Witches being about to depart:-- Stay, you imperfect speakers, tell me more:-- and all that follows is reasoning on a problem already discussed in his mind,--on a hope which he welcomes, and the doubts concerning the attainment of which he wishes to have cleared up. Compare his eagerness,--the keen eye with which he has pursued the Witches' evanishing-- Speak, I charge you! with the easily satisfied mind of the self-uninterested Banquo:-- The air hath bubbles, as the water has, And these are of them:--Whither are they vanish'd? and then Macbeth's earnest reply,-- Into the air; and what seem'd corporal, melted As breath into the wind.--_'Would they had staid!_ Is it too minute to notice the appropriateness of the simile 'as breath,' &c. in a cold climate? Still again Banquo goes on wondering like any common spectator: Were such things here as we do speak about?