Chapter 13

_Enter Lenox and another Lord_.

As this tragedy, like the rest of Shakespeare's, is, perhaps, overstocked with personages, it is not easy to assign a reason, why a nameless character should be introduced here, since nothing is said that might not, with equal propriety, have been put into the mouth of any other disaffected man. I believe, therefore, that in the original copy, it was written, with a very common form of contraction, _Lenox and An_. for which the transcriber, instead of Lenox and Angus, set down, Lenox and _another Lord_. The author had, indeed, been more indebted to the transcriber's fidelity and diligence, had he committed no errours of greater importance.

NOTE XXXV.

As this is the chief scene of enchantment in the play, it is proper, in this place, to observe, with how much judgment Shakespeare has selected all the circumstances of his infernal ceremonies, and how exactly he has conformed to common opinions and traditions:

Thrice the brinded cat hath mew'd.

The usual form in which familiar spirits are reported to converse with witches, is that of a cat. A witch, who was tried about half a century before the time of Shakespeare, had a cat named Rutterkin, as the spirit of one of those witches was Grimalkin; and when any mischief was to be done, she used to bid Rutterkin _go and fly_; but once, when she would have sent Rutterkin to torment a daughter of the countess of Rutland, instead of _going_ or _flying_, he only cried _mew_, from whence she discovered that the lady was out of his power, the power of witches being not universal, but limited, as Shakespeare has taken care to inculcate:

Though his bark cannot be lost, Yet it shall be tempest-tost.

The common afflictions which the malice of witches produced, were melancholy, fits, and loss of flesh, which are threatened by one of Shakespeare's witches:

Weary sev'n nights, nine times nine, Shall he dwindle, peak, and pine.

It was, likewise, their practice to destroy the cattle of their neighbours, and the farmers have, to this day, many ceremonies to secure their cows and other cattle from witchcraft; but they seem to have been most suspected of malice against swine. Shakespeare has, accordingly, made one of his witches declare that she has been _killing swine_; and Dr. Harsenet observes, that, about that time, "a sow could not be ill of the measles, nor a girl of the sullens, but some old woman was charged with witchcraft."

Toad, that under the cold stone, Days and nights hast thirty-one, Swelter'd venom sleeping got, Boil thou first i' the charmed pot.

Toads have, likewise, long lain under the reproach of being by some means accessary to witchcraft, for which reason Shakespeare, in the first scene of this play, calls one of the spirits Padocke, or Toad, and now takes care to put a toad first into the pot. When Vaninus was seized at Tholouse, there was found at his lodgings, "ingens bufo vitro inclusus," _a great toad shut in a vial_, upon which those that prosecuted him "veneficium exprobrabant," _charged him_, I suppose, _with witchcraft_.

Fillet of a fenny snake, In the cauldron boil and bake: Eye of newt, and toe of frog;--For a charm, &c.

The propriety of these ingredients may be known by consulting the books De Viribus Animalium and De Mirabilibus Mundi, ascribed to Albertus Magnus, in which the reader, who has time and credulity, may discover very wonderful secrets.

Finger of birth-strangled babe, Ditch-deliver'd by a drab--

It has been already mentioned, in the law against witches, that they are supposed to take up dead bodies to use in enchantments, which was confessed by the woman whom king James examined, and who had of a dead body, that was divided in one of their assemblies, two fingers for her share. It is observable, that Shakespeare, on this great occasion, which involves the fate of a king, multiplies all the circumstances of horrour. The babe, whose finger is used, must be strangled in its birth; the grease must not only be human, but must have dropped from a gibbet, the gibbet of a murderer; and even the sow, whose blood is used, must have offended nature by devouring her own farrow. These are touches of judgment and genius.

And now about the cauldron sing--

Black spirits and white, Red spirits and grey, Mingle, mingle, mingle, You that mingle may.

And, in a former part:

--weird sisters hand in hand,-- Thus do go about, about; Thrice to thine, and thrice to mine, And thrice again, to make up nine;

These two passages I have brought together, because they both seem subject to the objection of too much levity for the solemnity of enchantment, and may both be shown, by one quotation from Camden's account of Ireland, to be founded upon a practice really observed by the uncivilized natives of that country. "When any one gets a fall," says the informer of Camden, "he starts up, and, _turning three times to the right_, digs a hole in the earth; for they imagine that there is a spirit in the ground, and if he falls sick in two or three days, they send one of their women that is skilled in that way to the place, where she says, I call thee from the east, west, north, and south, from the groves, the woods, the rivers, and the fens, from the _fairies, red, black, white_." There was, likewise, a book written before the time of Shakespeare, describing, amongst other properties, the _colours_ of spirits.

Many other circumstances might be particularized, in which Shakespeare has shown his judgment and his knowledge[4].

NOTE XXXVI.