He covers the Reechy
Painting and the Old Church window, Hamlet and the living dead, masochistic damnation in Othello, Macbeth and the angels of doom, and the promised end of King Lear.
Obscurity = veiled, refers to some tangential or unlikely source [Bora-chio: "like Pharaoh's soldiers in the reechy
painting, like god Bel's priests in the old church window"]
41-43); he bids her let Claudius "Pinch wanton on your check, call you his mouse,/And let him for a pair of reechy
kisses,/Or paddling in your neck with his damned fingers/May you to ravel all this matter out" (167-170); when he removes Polonius' body, he says he'll "lug the guts into the neighbour room" (186).
Under the in fluence of the wine in the Byzantine chalice that Claudius has brought her from his wanderings, "they could not help rubbing against each other, and fell to the bed, where removing no clothes, they groped for sensitive flesh while exchanging reechy
kisses, their mouths sour with wine, tainted with cheese, but for all that sweet, deeply so" (129).
Gentle affection (but without the ostentation of reechy
kisses) accompanied their early interactions and Lady Macbeth never humiliated her husband during her exhortations to greatness.