; HEN one comes away from a twentieth-century production of Macbeth, one has an uneasy feeling that something is amiss. No actor since Shakespeare's time seems to have made a name for himself playing the part of Macbeth, although one can remember some famous Lady Macbeths. There also have been many Hamlets, Othellos, Iagos, and even Benedicks-but Macbeths? Rarely, if at all. Famous men have played the role, but they have gained their fame elsewhere first. Yet in Shakespeare's time, Macbeth, and not his Lady, was certainly the principal figure. Women's roles, as we know, were played by boys whose voices had not yet changed. In fact, Thomas Whitfield Baldwin1 gives us the name of the dark, handsome, little lad who played Lady Macbeth, a John Edmans, who had played only a few bit parts until playing that of Lady Macbeth, who played only one more role after that, and who then dropped into oblivion. It might seem that little John wasn't even good enough to graduate into male roles as many other young lads did. And he could not have been as dominating physically, or as experienced an actor, as the great Richard Burbage, a man great in size and talent, who played the warrior roles of Othello, Coriolanus, and Antony as well as that of Macbeth. In the seventeenth century, the buxom ladies began taking over the women's roles, and since that time many actresses have become famous Lady Macbeths, dominating the play physically, mentally, and emotionally, a domination which Shakespeare never intended and actually never put into the lines of the play, as one can see if the lines are studied carefully and with historical fact in mind. For example, some of Shakespeare's plays written about actual historical figures are called tragedies and some are not, but Macbeth, written about a real king of Scotland, is called a tragedy with, it seems to us, very good reason, because the Macbeth in the play is a true tragic hero. The actual data according to Scottish history can be briefly stated. Macbeth ruled Scotland from around I040 A.D. to I058 A.D., when he was killed and at which time the law of tanistry2, in effect from 843 A.D., ended. The practice of this law meant that no son of a king on the throne could succeed his father immediately; instead, the first ranking adult member of the nearest or junior branch of the family should, by election, succeed the enthroned king, acting, until his own succession, as military leader of all the king's forces (as Macbeth did in the play), and, in turn, that king's successor would be the first ranking adult member of the