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“To Meet with Macbeth,” given by tutor Louis ... - St. John's College

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Implored your Highness’ pardon and set forth<br />

A deep repentance: nothing in his life<br />

Became him like the leaving it. He died<br />

As one that had been studied in his death,<br />

To throw away the dearest thing he owed<br />

As ‘twere a careless trifle.<br />

King.<br />

There’s no art<br />

To find the mind’s construction in the face:<br />

He was a gentleman on whom I built<br />

An absolute trust.<br />

Enter <strong>Macbeth</strong>, Banquo, Ross, and Angus<br />

O worthiest cousin!<br />

(I.iv.1-14)<br />

Duncan now announces three times, for all to hear, that he cannot equal what he owes to <strong>Macbeth</strong>, and<br />

then he pronounces a fourth estimation of his new relation to his “worthiest cousin”: “More is thy due<br />

than more than all can pay” (I.iv.21). Imagine the luster of this warrior at the zenith of distinction<br />

outshining the beauty of the King and deserving beyond the bounty of the King. There are only two<br />

ways to escape the present dilemma: designate <strong>Macbeth</strong> as King “hereafter” (the sixth “hail”), or (as<br />

Duncan chooses) let <strong>Macbeth</strong> acknowledge, for all to hear, that he is a dutiful and loyal subject whose<br />

deeds belong to his Highness, who therefore owes him nothing. Before we hear <strong>Macbeth</strong> respond, let<br />

us consider the image of Cawdor’s death. First, notice the structure and motion of this fourteen-line<br />

exchange. The question of Cawdor’s end, which immediately becomes a question of witness and<br />

reporting, leads to Duncan’s assertion of a radical disjunction between mind and face beyond any art to<br />

overcome, which cues the entrance of <strong>Macbeth</strong>. The exchange is divided in half at the word<br />

“repentance,” which faces--across a mid-line pause--the word “nothing.” It would be nice to say that<br />

Shakespeare’s art here separates fair from foul so that we clearly see the beautiful idea of a ruined man,<br />

deeply repentant, <strong>with</strong> no more cares for worldly trifles, becoming at the last more truly one <strong>with</strong><br />

himself than ever. But Shakespeare does not let us see the execution of Cawdor or hear of it directly<br />

and disinterestedly. We hear Malcolm’s fine words and believe them because they speak to our deepest<br />

12

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