A. C. Bradley's Shakespearean Tragedy, p. 474

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Bradley, A. C. Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, Macbeth.

2nd ed. London: Macmillan, 1905.

PAGE 474
NOTES ON MACBETH

reckoned, as they surely must be (for they may be, and are, highly significant), those speeches which end with complete rhymed lines must also be reckoned. (2) I have counted any speech exceeding a line in length, however little the excess may be; e.g.

I'll fight till from my bones my flesh be hacked.
Give me my armour:

considering that the incomplete line here may be just as significant as an incomplete line ending a longer speech. If a speech begins within a line and ends brokenly, of course I have not counted it when it is equivalent to a five-foot line; e.g.

                  Wife, children, servants, all
That could be found:

but I do count such a speech (they are very rare) as

                  My lord, I do not know:
But truly I do fear it:

for the same reason that I count

                 You know not
Whether it was his wisdom or his fear.

Of the speeches thus counted, those which end somewhere within the line I find to be in Othello about 54 per cent.; in Hamlet about 57; in King Lear about 69; in Macbeth about 75.¹ The order is the same as König's, but the figures differ a good deal. I presume in the last three cases this comes from the difference in method; but I think König's figures for Othello cannot be right, for I have tried several methods and find that the result is in no case far from the result of my own, and I am almost inclined to conjecture that König's 41^.4 is really the percentage of speeches ending with the close of a line, which would give 58^.6 for the percentage of the broken-ended speeches.²
   ¹In the parts of Timon (Globe text) assigned by Mr. Fleay to Shakespeare, I find the percentage to be about 74^.5. König gives 62^.8 as the percentage in the whole of the play.
   ²I have noted also what must be a mistake in the case of Pericles. König gives 17^.1 as the percentage of the speeches with broken ends. I was astounded to see the figure, considering the style in the undoubtedly Shakespearean parts; and I find that, on my method, in Acts III., IV., V., the percentage is about 71, in the first two Acts (which show very slight, if any, traces of Shakespeare's hand) about 19. I cannot imagine the origin of the mistake here.

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