NOTE M. Questions as to _Othello_, IV. i. 435

NOTE N. Two passages in the last scene of _Othello_ 437

NOTE O. Othello on Desdemona's last words 438

NOTE P. Did Emilia suspect Iago? 439

NOTE Q. Iago's suspicion regarding Cassio and Emilia 441

NOTE R. Reminiscences of _Othello_ in _King Lear_ 441

NOTE S. _King Lear_ and _Timon of Athens_ 443

NOTE T. Did Shakespeare shorten _King Lear_? 445

NOTE U. Movements of the _dramatis personae_ in _King
Lear_, II 448

NOTE V. Suspected interpolations in _King Lear_ 450

NOTE W. The staging of the scene of Lear's reunion with
Cordelia 453

NOTE X. The Battle in _King Lear_ 456

NOTE Y. Some difficult passages in _King Lear_ 458

NOTE Z. Suspected interpolations in _Macbeth_ 466

NOTE AA. Has _Macbeth_ been abridged? 467

NOTE BB. The date of _Macbeth_. Metrical Tests 470

NOTE CC. When was the murder of Duncan first plotted? 480

NOTE DD. Did Lady Macbeth really faint? 484

NOTE EE. Duration of the action in _Macbeth_. Macbeth's age.
'He has no children' 486

NOTE FF. The Ghost of Banquo 492

INDEX 494

INTRODUCTION

In these lectures I propose to consider the four principal tragedies of
Shakespeare from a single point of view. Nothing will be said of
Shakespeare's place in the history either of English literature or of
the drama in general. No attempt will be made to compare him with other
writers. I shall leave untouched, or merely glanced at, questions
regarding his life and character, the development of his genius and art,
the genuineness, sources, texts, inter-relations of his various works.
Even what may be called, in a restricted sense, the 'poetry' of the four
tragedies--the beauties of style, diction, versification--I shall pass
by in silence. Our one object will be what, again in a restricted sense,
may be called dramatic appreciation; to increase our understanding and
enjoyment of these works as dramas; to learn to apprehend the ac