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 so much as a hair's breadth the least fragment of a single brick in the impregnable structure of proof raised by the argument to which they had just listened.

This demonstration being thus satisfactorily concluded, Mr. F. proceeded to read his paper on the date of Othello, and on the various parts of that play respectively assignable to Samuel Rowley, to George Wilkins, and to Robert Daborne. It was evident that the story of Othello and Desdemona was originally quite distinct from that part of the play in which Iago was a leading figure. This he was prepared to show at some length by means of the weak-ending test, the light-ending test, the double-ending test, the triple-ending test, the heavy-monosyllabiceleventh-syllable-of-the-double-ending test, the run-on-line test, and the central-pause test. Of the partnership of other poets in the play he was able to adduce a simpler but not less cogent proof. A member of their Committee said to an objector lately: "To me, there are the handwritings of four different men, the thoughts and powers of four different men, in the play. If you can't see them now, you must wait till, by study, you can. I can't give you eyes." To this argument he (Mr. F.) felt that it would be an insult to their understandings if he should attempt to add another word. Still, for those who were willing to try and learn, and educate their ears and eyes, he had prepared six tabulated statements—

(At this important point of a most interesting paper, our reporter unhappily became unconscious, and remained for some considerable period in a state of deathlike