Another question is—What is the Censure of Art on the demonstrated inconsistency in Othello? I propose, but now deal not with it. Observe that we have laid open a new and startling inquiry. We have demonstrated the double time of Othello—the Chronological Fact. That is the first step set in light—the first required piece of the work—_done_. Beyond this, we have ploughed a furrow or two, to show and lead further direction of the work in the wide field. We have touched on the gain to the work by means of the duplicity—we have proposed to the self-consciousness of all hearers and readers the psychological fact of their own unconsciousness of the guile used towards them, or of the success of the fallacy; and we have asked the solution of the psychological fact. We have also asked the Criticism of Art on the government of the time in Othello—supposing the Poet in pride and audacity of power to have designed that which he has done. Was it High Art? TALBOYS. Ay—was it High Art? NORTH. I dare hardly opine. Effect of high and most defying art it has surely; but you ask again—did he know? I seem to see often that the spirit of the Scene possessed Shakspeare, and that he fairly forgot the logical ties which he had encoiled about him. We know the written Play, and we may, if we are capable, know its power upon ourselves. There _are_ the Two Times, the Long and the Short; and each exerts upon you its especial virtue. I can believe that Shakspeare unconsciously did what Necessity claimed—the impetuous motion on, on, on of the Passion—the long time asked by the successive events; the forces that swayed him, each in its turn, its own way. TALBOYS. Unconsciously? NORTH. Oh heavens! Yes—yes—no—no. Yes—no. No—yes. What you will. “Willingly my jaws I close, Leave! oh! leave me to repose.” TALBOYS. Consciously or unconsciously? NORTH.