usly referred to. The style shows this,
and the motive is the same--the introduction of fairy business, dancing
and singing, which have nothing to do with the action of the tragedy,
and are quite foreign to the supernatural motive of it as indicated in
the witch scenes which have the mark of Shakespeare's hand.

In Act IV., Sc. 3, the passage in regard to touching for the King's
Evil, from "Enter a Doctor" to "full of grace," was, we may be pretty
sure, an interpolation previous to a representation at court, as the
Cambridge editors suggest, and it is probably not Shakespeare's; but I
would not undertake to say so positively. The same editors say they
"have doubts about the second scene of Act V." I notice this not merely
to express my surprise at it, but to let the reader see how difficult it
is to arrive at a general consent upon such points which are merely
matters of judgment. To me this scene is unmistakably Shakespeare's. Who
else could have written this passage, not only for its excellence but
for its peculiarity?

_Caithness._--Great Dunsinane he strongly fortifies:
Some say he's mad; others, that lesser hate him,
Do call it valiant fury; but for certain
_He cannot buckle his distempered cause
Within the belt of rule._

_Angus._-- Now does he feel
_His secret murders sticking on his hands_;
Now minutely revolts upbraid his faith-breach;
Those he commands move only in command,
Nothing in love; _now does he feel his title
Hang loose about him like a giant's robe
Upon a dwarfish thief_.

I am sure that I should have suspected those lines to be Shakespeare's
if I had first met them without a name, in a nameless book. Still more
surprising is it to me to find these editors saying that in Act V., Sc.
5, lines 47-50 are "singularly weak." Here they are:

If this which he avouches does appear,
There is no flying hence or tarrying here.
I 'gin to be a-weary of the sun,
And wish the estate of the world were now undone.

The first two have no particular character, nor need they have any, as
they merely introduce the last two, which contain an utterance of blank
despair and desolation which seems to me more expressive than any other
that I ever read.

The last passage of the play, that after line 34, when Macbeth and
Macduff go off fighting, and Macbeth is killed, are probably, as the
Cambridge editors suggest, by another hand than Shakespeare's. The