The person who wrote these un-Shakespearian passages was probably Middleton. Shakespeare, writing the tragedy in haste for an occasion, received a little help, according to the fashion of the time, from another playwright; and the latter having imitated the supernatural poets of this play in one of his own, the players or managers afterward introduced from that play songs by him--"Music and a song, Come away, come away," Act III., Sc. 5, and "Music and a song, Black spirits," etc., Act IV., Sc. 1. This was done to please the inferior part of the audience. These songs and all this sort of operatic incantation are entirely foreign to the supernatural motive of the tragedy as Shakespeare conceived it. And I will here remark that the usual performance of "Macbeth" with "a chorus" and "all Locke's music" is a revolting absurdity. My next paper will close this series with an examination of some of Shakespeare's least known dramas. RICHARD GRANT WHITE. FOOTNOTES: [Footnote G: Since 1854.] [Footnote H: For the convenience of readers to whom my edition is not accessible I quote the following passage: "I am more inclined to this opinion from the indications which the play itself affords that it was produced upon an emergency. It exhibits throughout the hasty execution of a grand and clearly conceived design. But the haste is that of a master of his art, who, with conscious command of its resources, and in the frenzy of a grand inspiration, works out his conception to its minutest detail of essential form, leaving the work of surface finish for the occupation of cooler leisure. What the Sistine Madonna was to Raphael, it seems that 'Macbeth' was to Shakespeare--a magnificent impromptu; that kind of impromptu which results from the application of well-disciplined powers and rich stores of thought to a subject suggested by occasion. I am inclined to regard 'Macbeth' as, for the most part, a specimen of Shakespeare's unelaborated, if not unfinished, writing, in the maturity and highest vitality of his genius. It abounds in instances of extremest compression and most daring ellipsis; while it exhibits in every scene a union of supreme dramatic and poetic power, and in almost every line an imperially irresponsible control of language. Hence, I think, its lack of formal completeness of versification in certain passages, and also of the imperfection in its text, the thought in which the compositors were not always able to follow and apprehend. The only authority for the text of 'Macbeth' is the folio of 1623, the apparent corruptions of which must be restored with a more than usually cautious hand. Without being multitudinous or confusing, they are sufficiently numerous and important to test severely the patience, acumen, and judgment of any editor."--_"The