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regard Macbeth as a play, like the love-tragedies Romeo and Juliet and Antony and Cleopatra, in which there are two central characters of equal importance, is certainly a mistake. But Shakespeare himself is in a measure responsible for it, because the first half of Macbeth is greater than the second, and in the first half Lady Macbeth not only appears more than in the second but exerts the ultimate deciding influence on the action. And, in the opening Act at least, Lady Macbeth is the most commanding and perhaps the most awe-inspiring figure that Shakespeare drew. Sharing, as we have seen, certain traits with her husband, she is at once clearly distinguished from him by an inflexibility of will, which appears to hold imagination, feeling, and conscience completely in check. To her the prophecy of things that will be becomes instantaneously the determination that they shall be:

She knows her husband’s weakness, how he scruples ‘to catch the nearest way’ to the object he desires; and she sets herself without a trace of doubt or conflict to counteract this weakness. To her there