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I.vii.64 (432,5) Will I with wine and wassel so convince] To convince is in Shakespeare to overpower or subdue, as in this play,

—Their malady convinces

The great assay of art.

I.vii.67 (433,6) A limbeck only] That is, shall be only a vessel to emit fumes or vapours.

I.vii.71 (433,7) our great quell] Quell is murder. manquellers being in the old language the term for which murderers is now used.

II.i (434,8) Enter Banquo, and Fleance with a torch before him] The place is not mark'd in the old edition, nor is it easy to say where this encounter can be. It is not in the hall, as the editors have all supposed it, for Banquo sees the sky; it is not far from the bedchamber, as the conversation shews: it must be in the inner court of the castle, which Banquo might properly cross in his way to bed.

II.i.25 (435,2) If you shall cleave to my consent, Then 'tis,/It shall make honour for you] Macbeth expressed his thought with affected obscurity; he does not mention the royalty, though he apparently has it in his mind, If you shall cleave to my consent, if you shall concur with me when I determine to accept the crown, when 'tis, when that happens which the prediction promises, it shall make honour for you.

II.i.49 (437,6) Now o'er the one half world/Nature seems dead] That is, over our hemisphere all action and motion seem to have ceased. This image, which is perhaps the most striking that poetry can produce, has been adopted by Dryden in his Conquest of Mexico:

All things are hush'd as Nature's self lay dead,

The mountains seem to nod their drowsy head;

The little birds in dreams their song repeat,

And sleeping flow'rs beneath the night dews sweat.

Even lust and envy sleep!

These lines, though so well known, I have transcribed, that the contrast between them and this passage of Shakespeare may be more accurately observed.

Night is described by two great poets, but one describes a night of quiet, the other of perturbation. In the night of Dryden, all the disturbers of the world are laid asleep; in that of Shakespeare, nothing but sorcery, lust, and murder, is awake. He that reads Dryden, finds himself lull'd with serenity, and disposed to solitude and contemplation. He that peruses Shakspeare looks round alarmed, and starts to find himself alone. One is the night of a lover, the other, of a murderer.

II.i.52 (438,8)

—wither'd Murther,

—thus with hia stealthy pace,

With Tarquin's ravishing strides, tow'rds his design

moves like a ghost.—]

This was the reading of this passage [ravishing sides] in all the editions before that of Mr. Pope, who for sides, inserted in the text strides, which Mr. Theobald has tacitly copied from him, though a more proper alteration might perhaps have been made. A ravishing stride is an action of violence, impetuosity, and tumult, like that of a savage rushing at his prey; whereas the poet is here attempting to exhibit an image of secrecy and caution, of anxious circumspection and guilty timidity, the stealthy pace of a ravisher creeping into the chamber of a virgin, and of an assassin approaching the bed of him whom he proposes to murder, without awaking him; these he describes as moving like ghosts, whose progression is so different from strides, that it has been in all ages represented te be, as Milton expresses it,

Smooth sliding without step.

This hemiatic will afford the true reading of this place, which is, I think, to be corrected thus:

—and wither'd Murder.

—thus with his stealthy pace.

With Tarquin ravishing, slides tow'rds his design,

Moves like a ghost.—

Tarquin is in this place the general name of a ravisher, and the sense is, Now is the time in which every one is a-sleep, but those who are employed in wickedness; the witch who is sacrificing to Hecate, and the ravisher, and the murderer, who, like me, are stealing upon their prey.

When the reading is thus adjusted, he wishes with great propriety, in the following lines, that the earth may not hear his steps.

II.i.59 (439,3) And take the present horrour from the time,/Which