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reader." Another remarks that this tragedy is a labyrinth in which the commentator may go astray and be in danger of death from the Minotaur who lurks therein, therefore he should only use the critical scalpel in self-defence. And as it is indeed always a delicate and doubtful task to criticise Shakespeare, from whose words the sharpest criticism of our own thoughts and deeds laughs out, so it is almost impossible to judge him in this tragedy, where his genius leaped and climbed to the giddiest height. I dare venture no further than the gate of this marvellous mansion, only to the introduction, which of itself awakens our astonishment. The introductions in Shakespeare's tragedies are in- deed worthy of all wonder and admiration. In these first scenes we are at once rapt out of our work-day feelings and business thoughts, and transported to the midst of the vast events with which the poet will convulse and purify our souls. So the tragedy of Macbeth begins with the meet- ing of the witches, and their weird sayings subdue not only the heart of the Scottish war-chief, who appears intoxicated with victory, but also the hearts of us the spectators, so that we are bound fast till all is fulfilled and ended. As in, Macbeth the desolate, sense-and-soul-benumbing horror of the bloody world of magic at once seizes on us, so we are frozen by the awe of the pale realm of