character: _e.g._ the references in _Hamlet_ to theatre-quarrels of the
day, and the length of the player's speech and also of Hamlet's
directions to him respecting the delivery of the lines to be inserted in
the 'Murder of Gonzago.' All this was probably of great interest at the
time when _Hamlet_ was first presented; most of it we should be very
sorry to miss; some of it seems to bring us close to Shakespeare
himself; but who can defend it from the point of view of constructive
art?

(_c_) Again, we may look at Shakespeare's soliloquies. It will be agreed
that in listening to a soliloquy we ought never to feel that we are
being addressed. And in this respect, as in others, many of the
soliloquies are master-pieces. But certainly in some the purpose of
giving information lies bare, and in one or two the actor openly speaks
to the audience. Such faults are found chiefly in the early plays,
though there is a glaring instance at the end of Belarius's speech in
_Cymbeline_ (III. iii. 99 ff.), and even in the mature tragedies
something of this kind may be traced. Let anyone compare, for example,
Edmund's soliloquy in _King Lear_, I. ii., 'This is the excellent
foppery of the world,' with Edgar's in II. iii., and he will be
conscious that in the latter the purpose of giving information is
imperfectly disguised.[23]

(_d_) It cannot be denied, further, that in many of Shakespeare's plays,
if not in all, there are inconsistencies and contradictions, and also
that questions are suggested to the reader which it is impossible for
him to answer with certainty. For instance, some of the indications of
the lapse of time between Othello's marriage and the events of the later
Acts flatly contradict one another; and it is impossible to make out
whether Hamlet was at Court or at the University when his father was