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an scarcely be too sparing of it； and yet it is a trick that seems to grow upon the author with years。 It is a pity to see fine verses； such as some in 'Demos；' absolutely spoiled by the recurrence of one wearisome consonant。
CRITICISMS CHAPTER II … SALVINI'S MACBETH
SALVINI closed his short visit to Edinburgh by a performance of MACBETH。 It was； perhaps； from a sentiment of local colour that he chose to play the Scottish usurper for the first time before Scotsmen； and the audience were not insensible of the privilege。 Few things； indeed； can move a stronger interest than to see a great creation taking shape for the first time。 If it is not purely artistic； the sentiment is surely human。 And the thought that you are before all the world； and have the start of so many others as eager as yourself； at least keeps you in a more unbearable suspense before the curtain rises； if it does not enhance the delight with which you follow the performance and see the actor 'bend up each corporal agent' to realise a masterpiece of a few hours' duration。 With a player so variable as Salvini； who trusts to the feelings of the moment for so much detail； and who； night after night； does the same thing differently but always well； it can never be safe to pass judgment after a single hearing。 And this is more particularly true of last week's MACBETH； for the whole third act was marred by a grievously humorous misadventure。 Several minutes too soon the ghost of Banquo joined the party； and after having sat helpless a while at a table； was ignominiously withdrawn。 Twice was this ghostly Jack…in…the… box obtruded on the stage before his time； twice removed again； and yet he showed so little hurry when he was really wanted； that； after an awkward pause； Macbeth had to begin his apostrophe to empty air。 The arrival of the belated spectre in the middle； with a jerk that made him nod all over； was the last accident in the chapter； and worthily topped the whole。 It may be imagined how lamely matters went throughout these cross purposes。
In spite of this； and some other hitches； Salvini's Macbeth had an emphatic success。 The creation is worthy of a place beside the same artist's Othello and Hamlet。 It is the simplest and most unsympathetic of the three； but the absence of the finer lineaments of Hamlet is redeemed by gusto； breadth； and a headlong unity。 Salvini sees nothing great in Macbeth beyond the royalty of muscle； and that courage which comes of strong and copious circulation。 The moral smallness of the man is insisted on from the first； in the shudder of uncontrollable jealousy with which he sees Duncan embracing Banquo。 He may have some northern poetry of speech； but he has not much logical understanding。 In his dealings with the supernatural powers he is like a savage with his fetich； trusting them beyond bounds while all goes well； and whenever he is crossed； casting his belief aside and calling 'fate into the list。' For his wife； he is little more than an agent； a frame of bone and sinew for her fiery spirit to command。 The nature of his feeling towards her is rendered with a most precise and delicate touch。 He always yields to the woman's fascination； and yet his caresses （and we know how much meaning Salvini can give to a caress） are singularly hard and unloving。 Sometimes he lays his hand on her as he might take hold of any one who happened to be nearest to him at a moment of excitement。 Love has fallen out of this marriage by the way； and left a curious friendship。 Only once … at the very moment when she is showing herself so little a woman and so much a high…spirited man … only once is he very deeply stirred towards her； and that finds expression in the strange and horrible transport of admiration； doubly strange and horrible on Salvini's lips … 'Bring forth men… children only！'
The murder scene； as was to be expected； pleased the audience best。 Macbeth's voice； in the talk with his wife； was a thing not to be forgotten； and when he spoke of his hangman's hands he seemed to have blood in his utterance。 Never for a moment； even in the very article of the murder； does he possess his own soul。 He is a man on wires。 From first to last it is an exhibition of hideous cowardice。 For； after all； it is not here； but in broad daylight； with the exhilaration of conflict； where he can assure himself at every blow he has the longest sword and the heaviest hand； that this man's physical bravery can keep him up； he is an unwieldy ship； and needs plenty of way on before he will steer。
In the banquet scene； while the first murderer gives account of what he has done； there comes a flash of truculent joy at the 'twenty trenched gashes' on Banquo's head。 Thus Macbeth makes welcome to his imagination those very details of physical horror which are so soon to turn sour in him。 As he runs out to embrace these cruel circumstances； as he seeks to realise to his mind's eye the reassuring spectacle of his dead enemy； he is dressing out the phantom to terrify himself； and his imagination； playing the part of justice； is to 'commend to his own lips the ingredients of his poisoned chalice。' With the recollection of Hamlet and his father's spirit still fresh upon him； and the holy awe with which that good man encountered things not dreamt of in his philosophy； it was not possible to avoid looking for resemblances between the two apparitions and the two men haunted。 But there are none to be found。 Macbeth has a purely physical dislike for Banquo's spirit and the 'twenty trenched gashes。' He is afraid of he knows not what。 He is abject； and again blustering。 In the end he so far forgets himself； his terror； and the nature of what is before him； that he rushes upon it as he would upon a man。 When his wife tells him he needs repose； there is something really childish in the way he looks about the room； and； seeing nothing； with an expression of almost sensual relief； plucks up heart enough to go to bed。 And what is the upshot of the visitation？ It is written in Shakespeare； but should be read with the commentary of Salvini's voice and expression：… 'O！ SIAM NELL' OPRA ANCOR FANCIULLI' … 'We are yet but young in deed。' Circle below circle。 He is looking with horrible satisfaction into the mouth of hell。 There may still be a prick to…day； but to…morrow conscience will be dead； and he may move untroubled in this element of blood。
In the fifth act we see this lowest circle reached； and it is Salvini's finest moment throughout the play。 From the first he was admirably made up； and looked Macbeth to the full as perfectly as ever he looked Othello。 From the first moment he steps upon the stage you can see this character is a creation to the fullest meaning of the phrase； for the man before you is a type you know well already。 He arrives with Banquo on the heath； fair and red…bearded； sparing of gesture； full of pride and the sense of animal wellbeing； and satisfied after the battle like a beast who has eaten his fill。 But in the fifth act there is a change。 This is still the big； burly； fleshly； han