Calvinists object to stage-plays. Yet all stage-plays are forced to be Calvinistic. They are forced, by the very nature of art, to damn or save a man from the beginning. That is why the old Greek plays about fatality succeeded. Such dramas were popular in spite of everything that could be unpopular, and everything that could be undramatic — in spite of masks and monologues and a shallow stage and an absence of incident. They suited the drama because they were full of destiny. And yet I still think that the greatest drama of all is that in which the throne of destiny is shaken for an instant. I think the greatest drama in the world is “Macbeth.”
I think “Macbeth” the one supreme drama because it is the one Christian drama; and I will accept the accusation of prejudice. But I mean by Christian (in this matter) the strong sense of spiritual liberty and of sin; the idea that the best man can be as bad as he chooses. You may call Othello a victim of chance. You may call Hamlet a victim of temperament. You cannot call Macbeth anything but a victim of Macbeth. The evil spirits tempt him, but they never force him; they never even frighten him, for he is a very brave man.
I have often wondered that no one has made so obvious a parallel as that between the murders of Macbeth and the marriages of Henry VIII. Both Henry and Macbeth were originally brave, good-humoured men, better rather than worse than their neighbours. Both Henry and Macbeth hesitated over their first crime — the first stabbing and the first divorce. Both found out the fate which is in evil — for Macbeth went on murdering and poor Henry went on marrying. There is only one fault in the parallel. Unfortunately for history, Henry VIII was not deposed.
– The Illustrated London News, 16 March 1912.