Who dares do more is none.
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his IS variously glossed by the commentators as “superhuman,”“subhuman,” “devilish”, but the meaning is clear* that there is apossibility other than the human for Macbeth— the demonic. His nextformulation of this subject, at iii. 4. 59-60, is a little different. “Are youa man^” she asks him as he stands appalled at the Ghost of Banquo: Ay, and a bold one, that dare look on thatWhich might appal the Devil. The daring here has expanded, is “more”; and the claim that he is stilla man does not convince Then we hear “Something wicked this waycomes” and we know where we are. Later the non-human diabolicterms applied to Macbeth, “hellkite,” “hellhound,” confirm our sense,and one’s impression of his standing, or boiling, outside human life iscrowned by his horrifying expression, Whiles I see lives, not men but Uves^ as if he had not one himself or only one so differ-ent that for human lives he could just say “lives” (like targets merelyfor his sword) and aim at destroying them (v. 8. 2.). A separation of the critical elements in Macbeth into plot, char-acterization, imagery, and theme is highly artifidal* AH are inter-woven; the play is a tissue of suggestion. The reason for this is that
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