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RV 397 (Rh) is to judge the passage as though it were a separate composition, instead of conceiving it in the fulness of its relations to its surroundings in a stage-play. Taken by itself, I admit, it would bear no indubitable mark of Shakespeare’s authorship, not even in the phrase ‘the primrose way to the everlasting bonfire,’ which Coleridge thought Shakespeare might have added to an interpolation of ‘the players.’ And if there were reason (as in my judgment there is not) to suppose that Shakespeare thus permitted an interpolation, or that he collaborated with another author, I could believe that he left ‘the players’ or his collaborator to write the words of the passage. But that anyone except the author of the scene of Duncan’s murder conceived the passage, is incredible. I have confined myself to the single aspect of this question on which I had what seemed something new to say. Professor Hales’s defence of the passage on fuller grounds, in the admirable paper reprinted in his Notes and Essays on Shakespeare, seems to me quite conclusive. I may add two notes. (1) The references in the Porter’s speeches to ‘equivocation,’ which have naturally, and probably rightly, been taken as allusions to the Jesuit ’s appeal to the in defence of his perjury when on trial for participation in the Gunpowder Plot, do not stand alone in Macbeth. The later prophecies of the Witches Macbeth calls ‘the equivocation of the fiend That lies like truth’ ( v. 43); and the Porter’s remarks about the equivocator who ‘could swear in both the scales against either scale, who committed treason enough for God’s sake, yet could not equivocate to heaven,’ may be compared with the following dialogue ( ii. 45):

Garnet, as a matter of fact, was hanged in May, 1606; and it is to be feared that the audience applauded this passage.

(2) The Porter’s soliloquy on the different applicants for admittance has, in idea and manner, a marked resemblance to Pompey’s soliloquy on the inhabitants of the prison, in Measure for Measure, i. 1 ff.; and the dialogue between him and Abhorson on the ‘mystery’ of hanging ( ii. 22 ff.) is of just the same kind as the Porter’s dialogue with Macduff about drink.

The speeches of the Porter, a low comic character, are in prose. So is the letter of Macbeth to