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RV 338 (Rh) concentrated attention on the obscurer regions of man’s being, on phenomena which make it seem that he is in the power of secret forces lurking below, and independent of his consciousness and will: such as the relapse of Macbeth from conversation into a reverie, during which he gazes fascinated at the image of murder drawing closer and closer; the writing on his face of strange things he never meant to show; the pressure of imagination heightening into illusion, like the vision of a dagger in the air, at first bright, then suddenly splashed with blood, or the sound of a voice that cried ‘Sleep no more’ and would not be silenced. To these are added other, and constant, allusions to sleep, man’s strange half-conscious life; to the misery of its withholding; to the terrible dreams of remorse; to the cursed thoughts from which Banquo is free by day, but which tempt him in his sleep: and again to abnormal disturbances of sleep; in the two men, of whom one during the murder of Duncan laughed in his sleep, and the other raised a cry of murder; and in Lady Macbeth, who rises to re-enact in somnambulism those scenes the memory of which is pushing her on to madness or suicide. All this has one effect, to excite supernatural alarm and, even more, a dread of the presence of evil not only in its recognised seat but all through and around our mysterious nature. Perhaps there is no other work equal to Macbeth in the production of this effect.

It is enhanced—to take a last point—by the use of a literary expedient. Not even in Richard III., which in this, as in other respects, has resemblances to Macbeth, is there so much of Irony. I do not refer to irony in the ordinary sense; to speeches, for example, where the speaker is intentionally