Neville's test for whether you have understood that the world is a play, and it is put as a feeling rather than as an argument. Sitting in the audience, stirred by the play, watching her try to rub the spot out, you are crying at what she has done and what she prompted her husband to do - and you hope it will never in eternity be wiped out. You want that spot to remain on that hand as a reminder of her violence, the horrible ambition that resulted in an innocent murder. But the curtain comes down, and if you know she is a grand actress you do not want the spot to remain at all. You only want it to remain on the part she played, but not on the actress who played it - and while you are carried with emotion you want it to remain. The application is immediate and he makes it in the next sentence: in this wonderful play of ours you want this one snuffed off and that one snuffed off, just because we don't know it's a play. At 2239 it is doing hard work, because the lecture is given four days after the assassination of a president, and the spot he is asking the room not to want permanent belongs to the man who fired. Two lectures (2061, 2239). Keep it apart from the other three Macbeths in the corpus: the witches (1171, 1281, 1896), the tale told by an idiot (M995, at 1906, 2052 and reversed at 1493), and the Robert Hutchins teaching point at 1098.