In speaking of the character of Lady Macbeth, we ought not to pass
over Mrs. Siddons's manner of acting that part. We can conceive of
nothing grander. It was something above nature. It seemed almost as
if a being of a superior order had dropped from a higher sphere to
awe the world with the majesty of her appearance. Power was seated
on her brow, passion emanated from her breast as from a shrine; she
was tragedy personified. In coming on in the sleeping-scene, her
eyes were open, but their sense was shut. She was like a person
bewildered and unconscious of what she did. Her lips moved
involuntarily--all her gestures were involuntary and mechanical. She
glided on and off the stage like an apparition. To have seen her in
that character was an event in every one's life, not to be
forgotten.

The dramatic beauty of the character of Duncan, which excites the
respect and pity even of his murderers, has been often pointed out.
It forms a picture of itself. An instance of the author's power of
giving a striking effect to a common reflection, by the manner of
introducing it, occurs in a speech of Duncan, complaining of his
having been deceived in his opinion of the Thane of Cawdor, at the
very moment that he is expressing the most unbounded confidence in
the loyalty and services of Macbeth.

There is no art
To find the mind's construction in the face:
He was a gentleman, on whom I built
An absolute trust.
O worthiest cousin, [addressing himself to Macbeth]
The sin of my ingratitude e'en now
Was great upon me, &c.