When the Porter lets in Macduff and Lenox, he seems to have admitted
also a very garish and vulgar kind of day, that displays loosely some
infirmities of men, unconscious of the more awful crime within,--a
very broad and unequivocal daylight that lies sharply on all objects
without toning them. The Porter's disquisition upon drinking and
lechery is apparently superfluous and revolting, but it is really well
conceived; for we want something to carry our mood as far as possible
away from Duncan's chamber and from all thoughts about discovering
the deed, because Macbeth is about to enter. "Our knocking has awaked
him." Then our feeling, which has gained a temporary relief, is able
to take up again the awful clew, and to wait during Macbeth's feigned
unconsciousness till Macduff bursts upon us with his horror. Moreover,
the carousing which the Porter mentions was the cover to Macbeth's
opportunity, and just keeps the night alive in our memory, while we
think how innocently drunk the whole household was to provide a human
weakness for an act of death. Macbeth enters, whose wife conceived
the stratagem of the drinking, and soon the result of it arrives. An
after-clap of Hell settles back on the Porter's traces; but he has
performed his function by letting life and human nature in upon the
sexless and monstrous scene, and may now vacate his post.
Still, the Porter is conventionally vulgar, and cannot be accepted by
a taste that is more fastidious than the world itself is. But, if the
world chooses to be vulgar, why needed Shakspeare to have imported this
base touch of realism into his art? Only by the permission of Humor,
and the justification of an exigency to drag our feelings back to life
by the handiest strand, however coarse it may be. And after he had
invented that thrilling moment of the knocking at the gate, he cannot
get along without the house-porter, who is the only one awake enough to
let honest Nature in. So we must take him as he is, and admire the poet
who did not send the Muse of Tragedy to draw the bolt.
Public-domain text, read in full here on John Shaqi.
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