notices; but he does not note the fine prolongation of the Hell into the humorous fancy of the Porter who comes to open the gate.
To the old French taste, this Porter was one of the Shakspearean violations of decency and tragic sentiment,—a vulgar fellow who has been waked out of a drunken sleep, and who talks outrageous matter that is the farthest removed from murder, so that solemnity is affronted and abruptly leaves the hearts which it had just monopolized. But the more we dwell upon Shakspeare's characters, "the more we shall see proofs of design and self-supporting arrangement, where the careless eye had seen nothing but accident."
The Porter, as if he had been privy to the transactions of the night, translates each knock into a candidate for admission into his quaint fancy of a hell, of which he keeps the gate. Fleay, in his "Shakspeare's Manual," shows that the Porter makes allusions to contemporaneous circumstances of the year 1606, when "Macbeth" was first produced. "The expectation of plenty:" wheat, barley, and malt were extraordinarily cheap. The "equivocator" is the Jesuit, Garnet, who was tried for gunpowder treason in that year. "Stealing out of a French hose:" the fashion of hose became short in 1606; yet the tailors took the old measure of material and cabbaged the difference. So that the Porter belongs to that year, and could not have been subsequently interpolated.
"If a man were porter of hell-gate, he should have often turning the key. Who's there?" "An equivo-
