LECTURE II

Our thoughts are ours, their ends none of our own;

'their ends' are the issues or outcomes of our thoughts, and these, says the speaker, are not our own. The tragic world is a world of action, and action is the translation of thought into reality. We see men and women confidently attempting it. They strike into the existing order of things in pursuance of their ideas. But what they achieve is not what they intended; it is terribly unlike it. They understand nothing, we say to ourselves, of the world on which they operate. They fight blindly in the dark, and the power that works through them makes them the instrument of a design which is not theirs. They act freely, and yet their action binds them hand and foot. And it makes no difference whether they meant well or ill. No one could mean better than Brutus, but he contrives misery for his country and death for himself. No one could mean worsethan Iago, and he too is caught in the web he spins for others. Hamlet, recoiling from the rough duty of revenge, is pushed into blood-guiltiness he never dreamed of, and forced at last on the revenge he could not will. His adversary's murders, and no less his adversary's remorse, bring about the opposite of what they sought. Lear follows an old man's whim, half generous, half selfish; and in a moment it looses all the powers of darkness upon him. Othello agonises over an empty fiction, and, meaning to execute solemn justice, butchers innocence and strangles love. They understand themselves no better than the world about them. Coriolanus thinks that his heart is iron, and it melts like snow before a fire. Lady Macbeth, who thought she could dash out her own child's brains, finds herself hounded to death by the smell of a stranger's blood. Her husband thinks that to gain a crown he would jump the life to come, and finds that the crown has brought him all the horrors of that life. Everywhere, in this tragic world, man's thought, translated into act, is transformed into the opposite of itself. His act, the movement of a few ounces of matter in a moment of time, becomes a monstrous flood which spreads over a kingdom. And whatsoever he dreams of doing, he achieves that which he least dreamed of, his own destruction.

All this makes us feel the blindness and helplessness of man. Yet by itself it would hardly suggest the idea of fate, because it shows man as in some degree, however slight, the cause of his own undoing. But other impressions come to aid it. It is aided by everything which makes us feel that a man is, as we say, terribly unlucky; and of this there is, even in Shakespeare, not a little. Here come in some of the accidents already considered, Juliet's waking from her trance a minute too late, Desdemona's loss of her handkerchiefat the only moment when the loss would have mattered, that insignificant delay which cost Cordelia's life. Again, men act, no doubt, in accordance with their characters; but what is it that brings them just the one problem which is fatal to them and would be easy to another, and sometimes brings it to them just when they are least fitted to face it? How is it that Othello comes to be the companion of the one man in the world who is at once able enough, brave enough, and vile enough to ensnare him? By what strange fatality does it happen that Lear has such daughters and Cordelia such sisters? Even character itself contributes to these feelings of fatality. How could men escape, we cry, such vehement propensities as drive Romeo, Antony, Coriolanus, to their doom? And why is it that a man's virtues help to destroy him, and that his weakness or defect is so intertwined with everything that is admirable in him that we can hardly separate them even in imagination?

If we find in Shakespeare's tragedies the source of impressions like these, it is important, on the other hand, to notice what we donotfind there. We find practically no trace of fatalism in its more primitive, crude and obvious forms. Nothing, again, makes us think of the actions and sufferings of the persons as somehow arbitrarily fixed beforehand without regard to their feelings, thoughts and resolutions. Nor, I believe, are the facts ever so presented that it seems to us as if the supreme power, whatever it may be, had a special spite against a family or an individual. Neither, lastly, do we receive the impression (which, it must be observed, is not purely fatalistic) that a family, owing to some hideous crime or impiety in early days, is doomed in later days to continue a career of portentous calamities and sins. Shakespeare, indeed, does not appear to have taken much interestin heredity, or to have attached much importance to it. (See, however, 'heredity' in the Index.)

What, then, is this 'fate' which the impressions already considered lead us to describe as the ultimate power in the tragic world? It appears to be a mythological expression for the whole system or order, of which the individual characters form an inconsiderable and feeble part; which seems to determine, far more than they, their native dispositions and their circumstances, and, through these, their action; which is so vast and complex that they can scarcely at all understand it or control its workings; and which has a nature so definite and fixed that whatever changes take place in it produce other changes inevitably and without regard to men's desires and regrets. And whether this system or order is best called by the name of fate or no,[12]it can hardly be denied that it does appear as the ultimate power in the tragic world, and that it has such characteristics as these. But the name 'fate' may be intended to imply something more—to imply that this order is a blank necessity, totally regardless alike of human weal and of the difference between good and evil or right and wrong. And such an implication many readers would at once reject. They would maintain, on the contrary, that this order shows characteristics of quite another kind from those which made us give it the name of fate, characteristics which certainly should not induce usto forget those others, but which would lead us to describe it as a moral order and its necessity as a moral necessity.

Let us turn, then, to this idea. It brings into the light those aspects of the tragic fact which the idea of fate throws into the shade. And the argument which leads to it in its simplest form may be stated briefly thus: 'Whatever may be said of accidents, circumstances and the like, human action is, after all, presented to us as the central fact in tragedy, and also as the main cause of the catastrophe. That necessity which so much impresses us is, after all, chiefly the necessary connection of actions and consequences. For these actions we, without even raising a question on the subject, hold the agents responsible; and the tragedy would disappear for us if we did not. The critical action is, in greater or less degree, wrong or bad. The catastrophe is, in the main, the return of this action on the head of the agent. It is an example of justice; and that order which, present alike within the agents and outside them, infallibly brings it about, is therefore just. The rigour of its justice is terrible, no doubt, for a tragedy is a terrible story; but, in spite of fear and pity, we acquiesce, because our sense of justice is satisfied.'

Now, if this view is to hold good, the 'justice' of which it speaks must be at once distinguished from what is called 'poetic justice.' 'Poetic justice' means that prosperity and adversity are distributed in proportion to the merits of the agents. Such 'poetic justice' is in flagrant contradiction with the facts of life, and it is absent from Shakespeare's tragic picture of life; indeed, this very absence is a ground of constant complaint on the part of Dr. Johnson.Δράσαντι παθειν, 'the doer must suffer'—this we find in Shakespeare. We also find that villainy never remains victorious and prosperous at the last. But an assignment of amounts of happiness and misery, an assignment even of life and death, in proportion to merit, we do not find. No one who thinks of Desdemona and Cordelia; or who remembers that one end awaits Richard III. and Brutus, Macbeth and Hamlet; or who asks himself which suffered most, Othello or Iago; will ever accuse Shakespeare of representing the ultimate power as 'poetically' just.

And we must go further. I venture to say that it is a mistake to use at all these terms of justice and merit or desert. And this for two reasons. In the first place, essential as it is to recognise the connection between act and consequence, and natural as it may seem in some cases (e.g.Macbeth's) to say that the doer only gets what he deserves, yet in very many cases to say this would be quite unnatural. We might not object to the statement that Lear deserved to suffer for his folly, selfishness and tyranny; but to assert that he deserved to suffer what he did suffer is to do violence not merely to language but to any healthy moral sense. It is, moreover, to obscure the tragic fact that the consequences of action cannot be limited to that which would appear to us to follow 'justly' from them. And, this being so, when we call the order of the tragic world just, we are either using the word in some vague and unexplained sense, or we are going beyond what is shown us of this order, and are appealing to faith.

But, in the second place, the ideas of justice and desert are, it seems to me, inallcases—even those of Richard III. and of Macbeth and Lady Macbeth—untrue to our imaginative experience. When we are immersed in a tragedy, we feel towards dispositions, actions, and persons such emotions as attraction and repulsion, pity, wonder, fear, horror,perhaps hatred; but we do notjudge. This is a point of view which emerges only when, in reading a play, we slip, by our own fault or the dramatist's, from the tragic position, or when, in thinking about the play afterwards, we fall back on our everyday legal and moral notions. But tragedy does not belong, any more than religion belongs, to the sphere of these notions; neither does the imaginative attitude in presence of it. While we are in its world we watch what is, seeing that so it happened and must have happened, feeling that it is piteous, dreadful, awful, mysterious, but neither passing sentence on the agents, nor asking whether the behaviour of the ultimate power towards them is just. And, therefore, the use of such language in attempts to render our imaginative experience in terms of the understanding is, to say the least, full of danger.[13]

Let us attempt then to re-state the idea that the ultimate power in the tragic world is a moral order. Let us put aside the ideas of justice and merit, and speak simply of good and evil. Let us understand by these words, primarily, moral good and evil, but also everything else in human beings which we take to be excellent or the reverse. Let us understand the statement that the ultimate power or order is 'moral' to mean that it does not show itself indifferent to good and evil, or equally favourable or unfavourable to both, but shows itself akin to good and alien from evil.And, understanding the statement thus, let us ask what grounds it has in the tragic fact as presented by Shakespeare.

Here, as in dealing with the grounds on which the idea of fate rests, I choose only two or three out of many. And the most important is this. In Shakespearean tragedy the main source of the convulsion which produces suffering and death is never good: good contributes to this convulsion only from its tragic implication with its opposite in one and the same character. The main source, on the contrary, is in every case evil; and, what is more (though this seems to have been little noticed), it is in almost every case evil in the fullest sense, not mere imperfection but plain moral evil. The love of Romeo and Juliet conducts them to death only because of the senseless hatred of their houses. Guilty ambition, seconded by diabolic malice and issuing in murder, opens the action inMacbeth. Iago is the main source of the convulsion inOthello; Goneril, Regan and Edmund inKing Lear. Even when this plain moral evil is not the obviously prime source within the play, it lies behind it: the situation with which Hamlet has to deal has been formed by adultery and murder.Julius Caesaris the only tragedy in which one is even tempted to find an exception to this rule. And the inference is obvious. If it is chiefly evil that violently disturbs the order of the world, this order cannot be friendly to evil or indifferent between evil and good, any more than a body which is convulsed by poison is friendly to it or indifferent to the distinction between poison and food.

Again, if we confine our attention to the hero, and to those cases where the gross and palpable evil is not in him but elsewhere, we find that the comparatively innocent hero still shows some marked imperfection or defect,—irresolution,precipitancy, pride, credulousness, excessive simplicity, excessive susceptibility to sexual emotions, and the like. These defects or imperfections are certainly, in the wide sense of the word, evil, and they contribute decisively to the conflict and catastrophe. And the inference is again obvious. The ultimate power which shows itself disturbed by this evil and reacts against it, must have a nature alien to it. Indeed its reaction is so vehement and 'relentless' that it would seem to be bent on nothing short of good in perfection, and to be ruthless in its demand for it.

To this must be added another fact, or another aspect of the same fact. Evil exhibits itself everywhere as something negative, barren, weakening, destructive, a principle of death. It isolates, disunites, and tends to annihilate not only its opposite but itself. That which keeps the evil man[14]prosperous, makes him succeed, even permits him to exist, is the good in him (I do not mean only the obviously 'moral' good). When the evil in him masters the good and has its way, it destroys other people through him, but it also destroyshim. At the close of the struggle he has vanished, and has left behind him nothing that can stand. What remains is a family, a city, a country, exhausted, pale and feeble, but alive through the principle of good which animates it; and, within it, individuals who, if they have not the brilliance or greatness of the tragic character, still have won our respect and confidence. And the inference would seem clear. If existence in an order depends on good, and if the presence of evil is hostile to such existence, the inner being or soul of this order must be akin to good.

These are aspects of the tragic world at least as clearly marked as those which, taken alone, suggest the idea of fate. And the idea which they in their turn, when taken alone, may suggest, is that of an order which does not indeed award 'poetic justice,' but which reacts through the necessity of its own 'moral' nature both against attacks made upon it and against failure to conform to it. Tragedy, on this view, is the exhibition of that convulsive reaction; and the fact that the spectacle does not leave us rebellious or desperate is due to a more or less distinct perception that the tragic suffering and death arise from collision, not with a fate or blank power, but with a moral power, a power akin to all that we admire and revere in the characters themselves. This perception produces something like a feeling of acquiescence in the catastrophe, though it neither leads us to pass judgment on the characters nor diminishes the pity, the fear, and the sense of waste, which their struggle, suffering and fall evoke. And, finally, this view seems quite able to do justice to those aspects of the tragic fact which give rise to the idea of fate. They would appear as various expressions of the fact that the moral order acts not capriciously or like a human being, but from the necessity of its nature, or, if we prefer the phrase, by general laws,—a necessity or law which of course knows no exception and is as 'ruthless' as fate.

It is impossible to deny to this view a large measure of truth. And yet without some amendment it can hardly satisfy. For it does not include the whole of the facts, and therefore does not wholly correspond with the impressions they produce. Let it be granted that the system or order which shows itself omnipotent against individuals is, in the sense explained, moral. Still—at any rate for the eye of sight—the evil against which it asserts itself, andthe persons whom this evil inhabits, are not really something outside the order, so that they can attack it or fail to conform to it; they are within it and a part of it. It itself produces them,—produces Iago as well as Desdemona, Iago's cruelty as well as Iago's courage. It is not poisoned, it poisons itself. Doubtless it shows by its violent reaction that the poisonispoison, and that its health lies in good. But one significant fact cannot remove another, and the spectacle we witness scarcely warrants the assertion that the order is responsible for the good in Desdemona, but Iago for the evil in Iago. If we make this assertion we make it on grounds other than the facts as presented in Shakespeare's tragedies.

Nor does the idea of a moral order asserting itself against attack or want of conformity answer in full to our feelings regarding the tragic character. We do not think of Hamlet merely as failing to meet its demand, of Antony as merely sinning against it, or even of Macbeth as simply attacking it. What we feel corresponds quite as much to the idea that they areitsparts, expressions, products; that in their defect or evilitis untrue to its soul of goodness, and falls into conflict and collision with itself; that, in making them suffer and waste themselves,itsuffers and wastes itself; and that when, to save its life and regain peace from this intestinal struggle, it casts them out, it has lost a part of its own substance,—a part more dangerous and unquiet, but far more valuable and nearer to its heart, than that which remains,—a Fortinbras, a Malcolm, an Octavius. There is no tragedy in its expulsion of evil: the tragedy is that this involves the waste of good.

Thus we are left at last with an idea showing two sides or aspects which we can neither separate nor reconcile. The whole or order against which the individual part shows itself powerless seemsto be animated by a passion for perfection: we cannot otherwise explain its behaviour towards evil. Yet it appears to engender this evil within itself, and in its effort to overcome and expel it it is agonised with pain, and driven to mutilate its own substance and to lose not only evil but priceless good. That this idea, though very different from the idea of a blank fate, is no solution of the riddle of life is obvious; but why should we expect it to be such a solution? Shakespeare was not attempting to justify the ways of God to men, or to show the universe as a Divine Comedy. He was writing tragedy, and tragedy would not be tragedy if it were not a painful mystery. Nor can he be said even to point distinctly, like some writers of tragedy, in any direction where a solution might lie. We find a few references to gods or God, to the influence of the stars, to another life: some of them certainly, all of them perhaps, merely dramatic—appropriate to the person from whose lips they fall. A ghost comes from Purgatory to impart a secret out of the reach of its hearer—who presently meditates on the question whether the sleep of death is dreamless. Accidents once or twice remind us strangely of the words, 'There's a divinity that shapes our ends.' More important are other impressions. Sometimes from the very furnace of affliction a conviction seems borne to us that somehow, if we could see it, this agony counts as nothing against the heroism and love which appear in it and thrill our hearts. Sometimes we are driven to cry out that these mighty or heavenly spirits who perish are too great for the little space in which they move, and that they vanish not into nothingness but into freedom. Sometimes from these sources and from others comes a presentiment, formless but haunting and even profound, that all the fury of conflict, with its waste and woe, is less than half the truth, evenan illusion, 'such stuff as dreams are made on.' But these faint and scattered intimations that the tragic world, being but a fragment of a whole beyond our vision, must needs be a contradiction and no ultimate truth, avail nothing to interpret the mystery. We remain confronted with the inexplicable fact, or the no less inexplicable appearance, of a world travailing for perfection, but bringing to birth, together with glorious good, an evil which it is able to overcome only by self-torture and self-waste. And this fact or appearance is tragedy.[15]

FOOTNOTES:[1]Julius Caesaris not an exception to this rule. Caesar, whose murder comes in the Third Act, is in a sense the dominating figure in the story, but Brutus is the 'hero.'[2]Timon of Athens, we have seen, was probably not designed by Shakespeare, but evenTimonis no exception to the rule. The sub-plot is concerned with Alcibiades and his army, and Timon himself is treated by the Senate as a man of great importance.Arden of FevershamandA Yorkshire Tragedywould certainly be exceptions to the rule; but I assume that neither of them is Shakespeare's; and if either is, it belongs to a different species from his admitted tragedies. See, on this species, Symonds,Shakspere's Predecessors, ch. xi.[3]Even a deed would, I think, be counted an 'accident,' if it were the deed of a very minor person whose character had not been indicated; because such a deed would not issue from the little world to which the dramatist had confined our attention.[4]Comedy stands in a different position. The tricks played by chance often form a principal part of the comic action.[5]It may be observed that the influence of the three elements just considered is to strengthen the tendency, produced by the sufferings considered first, to regard the tragic persons as passive rather than as agents.[6]An account of Hegel's view may be found inOxford Lectures on Poetry.[7]The reader, however, will find considerable difficulty in placing some very important characters in these and other plays. I will give only two or three illustrations. Edgar is clearly not on the same side as Edmund, and yet it seems awkward to range him on Gloster's side when Gloster wishes to put him to death. Ophelia is in love with Hamlet, but how can she be said to be of Hamlet's party against the King and Polonius, or of their party against Hamlet? Desdemona worships Othello, yet it sounds odd to say that Othello is on the same side with a person whom he insults, strikes and murders.[8]I have given names to the 'spiritual forces' inMacbethmerely to illustrate the idea, and without any pretension to adequacy. Perhaps, in view of some interpretations of Shakespeare's plays, it will be as well to add that I do not dream of suggesting that in any of his dramas Shakespeare imagined two abstract principles or passions conflicting, and incorporated them in persons; or that there is any necessity for a reader to define for himself the particular forces which conflict in a given case.[9]Aristotle apparently would exclude them.[10]Richard II. is perhaps an exception, and I must confess that to me he is scarcely a tragic character, and that, if he is nevertheless a tragic figure, he is so only because his fall from prosperity to adversity is so great.[11]I say substantially; but the concluding remarks onHamletwill modify a little the statements above.[12]I have raised no objection to the use of the idea of fate, because it occurs so often both in conversation and in books about Shakespeare's tragedies that I must suppose it to be natural to many readers. Yet I doubt whether it would be so if Greek tragedy had never been written; and I must in candour confess that to me it does not often occur while I am reading, or when I have just read, a tragedy of Shakespeare. Wordsworth's lines, for example, aboutpoor humanity's afflicted willStruggling in vain with ruthless destinydo not represent the impression I receive; much less do images which compare man to a puny creature helpless in the claws of a bird of prey. The reader should examine himself closely on this matter.[13]It is dangerous, I think, in reference to all really good tragedies, but I am dealing here only with Shakespeare's. In not a few Greek tragedies it is almost inevitable that we should think of justice and retribution, not only because thedramatis personaeoften speak of them, but also because there is something casuistical about the tragic problem itself. The poet treats the story in such a way that the question, Is the hero doing right or wrong? is almost forced upon us. But this is not so with Shakespeare.Julius Caesaris probably the only one of his tragedies in which the question suggests itself to us, and this is one of the reasons why that play has something of a classic air. Even here, if we ask the question, we have no doubt at all about the answer.[14]It is most essential to remember that an evil man is much more than the evil in him. I may add that in this paragraph I have, for the sake of clearness, considered evil in its most pronounced form; but what is said would apply,mutatis mutandis, to evil as imperfection, etc.[15]Partly in order not to anticipate later passages, I abstained from treating fully here the question why we feel, at the death of the tragic hero, not only pain but also reconciliation and sometimes even exultation. As I cannot at present make good this defect, I would ask the reader to refer to the wordReconciliationin the Index. See also, inOxford Lectures on Poetry,Hegel's Theory of Tragedy, especially pp. 90, 91.

FOOTNOTES:

[1]Julius Caesaris not an exception to this rule. Caesar, whose murder comes in the Third Act, is in a sense the dominating figure in the story, but Brutus is the 'hero.'

[2]Timon of Athens, we have seen, was probably not designed by Shakespeare, but evenTimonis no exception to the rule. The sub-plot is concerned with Alcibiades and his army, and Timon himself is treated by the Senate as a man of great importance.Arden of FevershamandA Yorkshire Tragedywould certainly be exceptions to the rule; but I assume that neither of them is Shakespeare's; and if either is, it belongs to a different species from his admitted tragedies. See, on this species, Symonds,Shakspere's Predecessors, ch. xi.

[3]Even a deed would, I think, be counted an 'accident,' if it were the deed of a very minor person whose character had not been indicated; because such a deed would not issue from the little world to which the dramatist had confined our attention.

[4]Comedy stands in a different position. The tricks played by chance often form a principal part of the comic action.

[5]It may be observed that the influence of the three elements just considered is to strengthen the tendency, produced by the sufferings considered first, to regard the tragic persons as passive rather than as agents.

[6]An account of Hegel's view may be found inOxford Lectures on Poetry.

[7]The reader, however, will find considerable difficulty in placing some very important characters in these and other plays. I will give only two or three illustrations. Edgar is clearly not on the same side as Edmund, and yet it seems awkward to range him on Gloster's side when Gloster wishes to put him to death. Ophelia is in love with Hamlet, but how can she be said to be of Hamlet's party against the King and Polonius, or of their party against Hamlet? Desdemona worships Othello, yet it sounds odd to say that Othello is on the same side with a person whom he insults, strikes and murders.

[8]I have given names to the 'spiritual forces' inMacbethmerely to illustrate the idea, and without any pretension to adequacy. Perhaps, in view of some interpretations of Shakespeare's plays, it will be as well to add that I do not dream of suggesting that in any of his dramas Shakespeare imagined two abstract principles or passions conflicting, and incorporated them in persons; or that there is any necessity for a reader to define for himself the particular forces which conflict in a given case.

[9]Aristotle apparently would exclude them.

[10]Richard II. is perhaps an exception, and I must confess that to me he is scarcely a tragic character, and that, if he is nevertheless a tragic figure, he is so only because his fall from prosperity to adversity is so great.

[11]I say substantially; but the concluding remarks onHamletwill modify a little the statements above.

[12]I have raised no objection to the use of the idea of fate, because it occurs so often both in conversation and in books about Shakespeare's tragedies that I must suppose it to be natural to many readers. Yet I doubt whether it would be so if Greek tragedy had never been written; and I must in candour confess that to me it does not often occur while I am reading, or when I have just read, a tragedy of Shakespeare. Wordsworth's lines, for example, aboutpoor humanity's afflicted willStruggling in vain with ruthless destinydo not represent the impression I receive; much less do images which compare man to a puny creature helpless in the claws of a bird of prey. The reader should examine himself closely on this matter.

poor humanity's afflicted willStruggling in vain with ruthless destiny

do not represent the impression I receive; much less do images which compare man to a puny creature helpless in the claws of a bird of prey. The reader should examine himself closely on this matter.

[13]It is dangerous, I think, in reference to all really good tragedies, but I am dealing here only with Shakespeare's. In not a few Greek tragedies it is almost inevitable that we should think of justice and retribution, not only because thedramatis personaeoften speak of them, but also because there is something casuistical about the tragic problem itself. The poet treats the story in such a way that the question, Is the hero doing right or wrong? is almost forced upon us. But this is not so with Shakespeare.Julius Caesaris probably the only one of his tragedies in which the question suggests itself to us, and this is one of the reasons why that play has something of a classic air. Even here, if we ask the question, we have no doubt at all about the answer.

[14]It is most essential to remember that an evil man is much more than the evil in him. I may add that in this paragraph I have, for the sake of clearness, considered evil in its most pronounced form; but what is said would apply,mutatis mutandis, to evil as imperfection, etc.

[15]Partly in order not to anticipate later passages, I abstained from treating fully here the question why we feel, at the death of the tragic hero, not only pain but also reconciliation and sometimes even exultation. As I cannot at present make good this defect, I would ask the reader to refer to the wordReconciliationin the Index. See also, inOxford Lectures on Poetry,Hegel's Theory of Tragedy, especially pp. 90, 91.

Having discussed the substance of a Shakespearean tragedy, we should naturally go on to examine the form. And under this head many things might be included; for example, Shakespeare's methods of characterisation, his language, his versification, the construction of his plots. I intend, however, to speak only of the last of these subjects, which has been somewhat neglected;[16]and, as construction is a more or less technical matter, I shall add some general remarks on Shakespeare as an artist.

As a Shakespearean tragedy represents a conflict which terminates in a catastrophe, any suchtragedy may roughly be divided into three parts. The first of these sets forth or expounds the situation,[17]or state of affairs, out of which the conflict arises; and it may, therefore, be called the Exposition. The second deals with the definite beginning, the growth and the vicissitudes of the conflict. It forms accordingly the bulk of the play, comprising the Second, Third and Fourth Acts, and usually a part of the First and a part of the Fifth. The final section of the tragedy shows the issue of the conflict in a catastrophe.[18]

The application of this scheme of division is naturally more or less arbitrary. The first part glides into the second, and the second into the third, and there may often be difficulty in drawing the lines between them. But it is still harder to divide spring from summer, and summer from autumn; and yet spring is spring, and summer summer.

The main business of the Exposition, which we will consider first, is to introduce us into a little world of persons; to show us their positions in life, their circumstances, their relations to one another, and perhaps something of their characters; and to leave us keenly interested in the question what will come out of this condition of things. We are left thus expectant, not merely because some of the persons interest us at once, but also because their situation in regard to one another points to difficulties in the future. This situation is not one of conflict,[19]but it threatens conflict. For example, we see first the hatred of the Montagues and Capulets; and then we seeRomeo ready to fall violently in love; and then we hear talk of a marriage between Juliet and Paris; but the exposition is not complete, and the conflict has not definitely begun to arise, till, in the last scene of the First Act, Romeo the Montague sees Juliet the Capulet and becomes her slave.

The dramatist's chief difficulty in the exposition is obvious, and it is illustrated clearly enough in the plays of unpractised writers; for example, inRemorse, and even inThe Cenci. He has to impart to the audience a quantity of information about matters of which they generally know nothing and never know all that is necessary for his purpose.[20]But the process of merely acquiring information is unpleasant, and the direct imparting of it is undramatic. Unless he uses a prologue, therefore, he must conceal from his auditors the fact that they are being informed, and must tell them what he wants them to know by means which are interesting on their own account. These means, with Shakespeare, are not only speeches but actions and events. From the very beginning of the play, though the conflict has not arisen, things are happening and being done which in some degree arrest, startle, and excite; and in a few scenes we have mastered the situation of affairs without perceiving the dramatist's designs upon us. Not that this is always so with Shakespeare. In the opening scene of his earlyComedy of Errors, and in the opening speech ofRichard III., we feel that the speakers are addressing us; and in the second scene of theTempest(for Shakespeare grew at last rather negligent of technique) thepurpose of Prospero's long explanation to Miranda is palpable. But in general Shakespeare's expositions are masterpieces.[21]

His usual plan in tragedy is to begin with a short scene, or part of a scene, either full of life and stir, or in some other way arresting. Then, having secured a hearing, he proceeds to conversations at a lower pitch, accompanied by little action but conveying much information. For example,Romeo and Julietopens with a street-fight,Julius CaesarandCoriolanuswith a crowd in commotion; and when this excitement has had its effect on the audience, there follow quiet speeches, in which the cause of the excitement, and so a great part of the situation, are disclosed. InHamletandMacbeththis scheme is employed with great boldness. InHamletthe first appearance of the Ghost occurs at the fortieth line, and with such effect that Shakespeare can afford to introduce at once a conversation which explains part of the state of affairs at Elsinore; and the second appearance, having again increased the tension, is followed by a long scene, which contains no action but introduces almost all thedramatis personaeand adds the information left wanting. The opening ofMacbethis even more remarkable, for there is probably no parallel to its first scene, where the senses and imagination are assaulted by a storm of thunder and supernatural alarm. This scene is only eleven lines long, but its influence is so great that the next can safely be occupied with a mere report of Macbeth's battles,—a narrative which would have won much less attention if it had opened the play.

When Shakespeare begins his exposition thus he generally at first makes people talk about the hero, but keeps the hero himself for some time out of sight, so that we await his entrance with curiosity, and sometimes with anxiety. On the other hand, if the play opens with a quiet conversation, this is usually brief, and then at once the hero enters and takes action of some decided kind. Nothing, for example, can be less like the beginning ofMacbeththan that ofKing Lear. The tone is pitched so low that the conversation between Kent, Gloster, and Edmund is written in prose. But at the thirty-fourth line it is broken off by the entrance of Lear and his court, and without delay the King proceeds to his fatal division of the kingdom.

This tragedy illustrates another practice of Shakespeare's.King Learhas a secondary plot, that which concerns Gloster and his two sons. To make the beginning of this plot quite clear, and to mark it off from the main action, Shakespeare gives it a separate exposition. The great scene of the division of Britain and the rejection of Cordelia and Kent is followed by the second scene, in which Gloster and his two sons appear alone, and the beginning of Edmund's design is disclosed. InHamlet, though the plot is single, there is a little group of characters possessing a certain independent interest,—Polonius, his son, and his daughter; and so the third scene is devoted wholly to them. And again, inOthello, since Roderigo is to occupy a peculiar position almost throughout the action, he is introduced at once, alone with Iago, and his position is explained before the other characters are allowed to appear.

But why should Iago open the play? Or, if this seems too presumptuous a question, let us put it in the form, What is the effect of his opening the play? It is that we receive at the very outset a strongimpression of the force which is to prove fatal to the hero's happiness, so that, when we see the hero himself, the shadow of fate already rests upon him. And an effect of this kind is to be noticed in other tragedies. We are made conscious at once of some power which is to influence the whole action to the hero's undoing. InMacbethwe see and hear the Witches, inHamletthe Ghost. In the first scene ofJulius Caesarand ofCoriolanusthose qualities of the crowd are vividly shown which render hopeless the enterprise of the one hero and wreck the ambition of the other. It is the same with the hatred between the rival houses inRomeo and Juliet, and with Antony's infatuated passion. We realise them at the end of the first page, and are almost ready to regard the hero as doomed. Often, again, at one or more points during the exposition this feeling is reinforced by some expression that has an ominous effect. The first words we hear from Macbeth, 'So foul and fair a day I have not seen,' echo, though he knows it not, the last words we heard from the Witches, 'Fair is foul, and foul is fair.' Romeo, on his way with his friends to the banquet, where he is to see Juliet for the first time, tells Mercutio that he has had a dream. What the dream was we never learn, for Mercutio does not care to know, and breaks into his speech about Queen Mab; but we can guess its nature from Romeo's last speech in the scene:

My mind misgivesSome consequence yet hanging in the starsShall bitterly begin his fearful dateWith this night's revels.

When Brabantio, forced to acquiesce in his daughter's stolen marriage, turns, as he leaves the council-chamber, to Othello, with the warning,

Look to her, Moor, if thou hast eyes to see;She has deceived her father, and may thee,

this warning, and no less Othello's answer, 'My life upon her faith,' make our hearts sink. The whole of the coming story seems to be prefigured in Antony's muttered words (i.ii. 120):

These strong Egyptian fetters I must break,Or lose myself in dotage;

and, again, in Hamlet's weary sigh, following so soon on the passionate resolution stirred by the message of the Ghost:

The time is out of joint. Oh cursed spite,That ever I was born to set it right.

These words occur at a point (the end of the First Act) which may be held to fall either within the exposition or beyond it. I should take the former view, though such questions, as we saw at starting, can hardly be decided with certainty. The dimensions of this first section of a tragedy depend on a variety of causes, of which the chief seems to be the comparative simplicity or complexity of the situation from which the conflict arises. Where this is simple the exposition is short, as inJulius CaesarandMacbeth. Where it is complicated the exposition requires more space, as inRomeo and Juliet,Hamlet, andKing Lear. Its completion is generally marked in the mind of the reader by a feeling that the action it contains is for the moment complete but has left a problem. The lovers have met, but their families are at deadly enmity; the hero seems at the height of success, but has admitted the thought of murdering his sovereign; the old king has divided his kingdom between two hypocritical daughters, and has rejected his true child; the hero has acknowledged a sacred duty of revenge, but is weary of life: and we ask, What will come of this? Sometimes, I may add, a certain time is supposed to elapse before the events which answer our question make theirappearance and the conflict begins; inKing Lear, for instance, about a fortnight; inHamletabout two months.

We come now to the conflict itself. And here one or two preliminary remarks are necessary. In the first place, it must be remembered that our point of view in examining the construction of a play will not always coincide with that which we occupy in thinking of its whole dramatic effect. For example, that struggle in the hero's soul which sometimes accompanies the outward struggle is of the highest importance for the total effect of a tragedy; but it is not always necessary or desirable to consider it when the question is merely one of construction. And this is natural. The play is meant primarily for the theatre; and theatrically the outward conflict, with its influence on the fortunes of the hero, is the aspect which first catches, if it does not engross, attention. For the average play-goer of every period the main interest ofHamlethas probably lain in the vicissitudes of his long duel with the King; and the question, one may almost say, has been which will first kill the other. And so, from the point of view of construction, the fact that Hamlet spares the King when he finds him praying, is, from its effect on the hero's fortunes, of great moment; but the cause of the fact, which lies within Hamlet's character, is not so.

In the second place we must be prepared to find that, as the plays vary so much, no single way of regarding the conflict will answer precisely to the construction of all; that it sometimes appears possible to look at the construction of a tragedy in two quite different ways, and that it is material to find the best of the two; and that thus, in any given instance, it is necessary first to define the opposing sides in the conflict. I will give oneor two examples. In some tragedies, as we saw in our first lecture, the opposing forces can, for practical purposes, be identified with opposing persons or groups. So it is inRomeo and JulietandMacbeth. But it is not always so. The love of Othello may be said to contend with another force, as the love of Romeo does; but Othello cannot be said to contend with Iago as Romeo contends with the representatives of the hatred of the houses, or as Macbeth contends with Malcolm and Macduff. Again, inMacbeththe hero, however much influenced by others, supplies the main driving power of the action; but inKing Learhe does not. Possibly, therefore, the conflict, and with it the construction, may best be regarded from different points of view in these two plays, in spite of the fact that the hero is the central figure in each. But if we do not observe this we shall attempt to find the same scheme in both, and shall either be driven to some unnatural view or to a sceptical despair of perceiving any principle of construction at all.

With these warnings, I turn to the question whether we can trace any distinct method or methods by which Shakespeare represents the rise and development of the conflict.

(1) One at least is obvious, and indeed it is followed not merely during the conflict but from beginning to end of the play. There are, of course, in the action certain places where the tension in the minds of the audience becomes extreme. We shall consider these presently. But, in addition, there is, all through the tragedy, a constant alternation of rises and falls in this tension or in the emotional pitch of the work, a regular sequence of more exciting and less exciting sections. Some kind of variation of pitch is to be found, of course, in all drama, for it rests on the elementary facts that relief must be given after emotional strain, and that contrast isrequired to bring out the full force of an effect. But a good drama of our own time shows nothing approaching to theregularitywith which in the plays of Shakespeare and of his contemporaries the principle is applied. And the main cause of this difference lies simply in a change of theatrical arrangements. In Shakespeare's theatre, as there was no scenery, scene followed scene with scarcely any pause; and so the readiest, though not the only, way to vary the emotional pitch was to interpose a whole scene where the tension was low between scenes where it was high. In our theatres there is a great deal of scenery, which takes a long time to set and change; and therefore the number of scenes is small, and the variations of tension have to be provided within the scenes, and still more by the pauses between them. With Shakespeare there are, of course, in any long scene variations of tension, but the scenes are numerous and, compared with ours, usually short, and variety is given principally by their difference in pitch.

It may further be observed that, in a portion of the play which is relatively unexciting, the scenes of lower tension may be as long as those of higher; while in a portion of the play which is specially exciting the scenes of low tension are shorter, often much shorter, than the others. The reader may verify this statement by comparing the First or the Fourth Act in most of the tragedies with the Third; for, speaking very roughly, we may say that the First and Fourth are relatively quiet acts, the Third highly critical. A good example is the Third Act ofKing Lear, where the scenes of high tension (ii., iv., vi.) are respectively 95, 186 and 122 lines in length, while those of low tension (i., iii., v.) are respectively 55, 26 and 26 lines long. Scene vii., the last of the Act, is, I may add, a very exciting scene, though it follows scene vi., and therefore the tone of scene vi. is greatly lowered during its final thirty lines.

(2) If we turn now from the differences of tension to the sequence of events within the conflict, we shall find the principle of alternation at work again in another and a quite independent way. Let us for the sake of brevity call the two sides in the conflict A and B. Now, usually, as we shall see presently, through a considerable part of the play, perhaps the first half, the cause of A is, on the whole, advancing; and through the remaining part it is retiring, while that of B advances in turn. But, underlying this broad movement, all through the conflict we shall find a regular alternation of smaller advances and retirals; first A seeming to win some ground, and then the counter-action of B being shown. And since we always more or less decidedly prefer A to B or B to A, the result of this oscillating movement is a constant alternation of hope and fear, or rather of a mixed state predominantly hopeful and a mixed state predominantly apprehensive. An example will make the point clear. InHamletthe conflict begins with the hero's feigning to be insane from disappointment in love, and we are shown his immediate success in convincing Polonius. Let us call this an advance of A. The next scene shows the King's great uneasiness about Hamlet's melancholy, and his scepticism as to Polonius's explanation of its cause: advance of B. Hamlet completely baffles Rosencrantz and Guildenstern, who have been sent to discover his secret, and he arranges for the test of the play-scene: advance of A. But immediately before the play-scene his soliloquy on suicide fills us with misgiving; and his words to Ophelia, overheard, so convince the King that love isnotthe cause of his nephew's strange behaviour, that he determines to get rid of him by sending him to England: advance of B. The play-scene proves a complete success: decided advance of A. Directly after it Hamlet spares the King at prayer, and in an interview with his motherunwittingly kills Polonius, and so gives his enemy a perfect excuse for sending him away (to be executed): decided advance of B. I need not pursue the illustration further. This oscillating movement can be traced without difficulty in any of the tragedies, though less distinctly in one or two of the earliest.

(3) Though this movement continues right up to the catastrophe, its effect does not disguise that much broader effect to which I have already alluded, and which we have now to study. In all the tragedies, though more clearly in some than in others, one side is distinctly felt to be on the whole advancing up to a certain point in the conflict, and then to be on the whole declining before the reaction of the other. There is therefore felt to be a critical point in the action, which proves also to be a turning point. It is critical sometimes in the sense that, until it is reached, the conflict is not, so to speak, clenched; one of the two sets of forces might subside, or a reconciliation might somehow be effected; while, as soon as it is reached, we feel this can no longer be. It is critical also because the advancing force has apparently asserted itself victoriously, gaining, if not all it could wish, still a very substantial advantage; whereas really it is on the point of turning downward towards its fall. This Crisis, as a rule, comes somewhere near the middle of the play; and where it is well marked it has the effect, as to construction, of dividing the play into five parts instead of three; these parts showing (1) a situation not yet one of conflict, (2) the rise and development of the conflict, in which A or B advances on the whole till it reaches (3) the Crisis, on which follows (4) the decline of A or B towards (5) the Catastrophe. And it will be seen that the fourth and fifth parts repeat, though with a reversal of direction as regards A or B, the movement of the second and third, working towardsthe catastrophe as the second and third worked towards the crisis.

In developing, illustrating and qualifying this statement, it will be best to begin with the tragedies in which the movement is most clear and simple. These areJulius CaesarandMacbeth. In the former the fortunes of the conspiracy rise with vicissitudes up to the crisis of the assassination (iii.i.); they then sink with vicissitudes to the catastrophe, where Brutus and Cassius perish. In the latter, Macbeth, hurrying, in spite of much inward resistance, to the murder of Duncan, attains the crown, the upward movement being extraordinarily rapid, and the crisis arriving early: his cause then turns slowly downward, and soon hastens to ruin. In both these tragedies the simplicity of the constructional effect, it should be noticed, depends in part on the fact that the contending forces may quite naturally be identified with certain persons, and partly again on the fact that the defeat of one side is the victory of the other. Octavius and Antony, Malcolm and Macduff, are left standing over the bodies of their foes.

This is not so inRomeo and JulietandHamlet, because here, although the hero perishes, the side opposed to him, being the more faulty or evil, cannot be allowed to triumph when he falls. Otherwise the type of construction is the same. The fortunes of Romeo and Juliet rise and culminate in their marriage (ii.vi.), and then begin to decline before the opposition of their houses, which, aided by accidents, produces a catastrophe, but is thereupon converted into a remorseful reconciliation. Hamlet's cause reaches its zenith in the success of the play-scene (iii.ii.). Thereafter the reaction makes way, and he perishes through the plot of the King and Laertes. But they are not allowed to survive their success.

The construction in the remaining Roman plays follows the same plan, but in both plays (as inRichard II.andRichard III.) it suffers from the intractable nature of the historical material, and is also influenced by other causes. InCoriolanusthe hero reaches the topmost point of success when he is named consul (ii.iii.), and the rest of the play shows his decline and fall; but in this decline he attains again for a time extraordinary power, and triumphs, in a sense, over his original adversary, though he succumbs to another. InAntony and Cleopatrathe advance of the hero's cause depends on his freeing himself from the heroine, and he appears to have succeeded when he becomes reconciled to Octavius and marries Octavia (iii.ii.); but he returns to Egypt and is gradually driven to his death, which involves that of the heroine.

There remain two of the greatest of the tragedies, and in both of them a certain difficulty will be felt.King Learalone among these plays has a distinct double action. Besides this, it is impossible, I think, from the point of view of construction, to regard the hero as the leading figure. If we attempt to do so, we must either find the crisis in the First Act (for after it Lear's course is downward), and this is absurd; or else we must say that the usual movement is present but its direction is reversed, the hero's cause first sinking to the lowest point (in the Storm-scenes) and then rising again. But this also will not do; for though his fortunes may be said to rise again for a time, they rise only to fall once more to a catastrophe. The truth is, that after the First Act, which is really filled by the exposition, Lear suffers but hardly initiates action at all; and the right way to look at the matter,from the point of view of construction, is to regard Goneril, Regan and Edmund as the leading characters. It is they who, in the conflict, initiateaction. Their fortune mounts to the crisis, where the old King is driven out into the storm and loses his reason, and where Gloster is blinded and expelled from his home (iii.vi. and vii.). Then the counter-action begins to gather force, and their cause to decline; and, although they win the battle, they are involved in the catastrophe which they bring on Cordelia and Lear. Thus we may still find inKing Learthe usual scheme of an ascending and a descending movement of one side in the conflict.

The case ofOthellois more peculiar. In its whole constructional effectOthellodiffers from the other tragedies, and the cause of this difference is not hard to find, and will be mentioned presently. But how, after it is found, are we to define the principle of the construction? On the one hand the usual method seems to show itself. Othello's fortune certainly advances in the early part of the play, and it may be considered to reach its topmost point in the exquisite joy of his reunion with Desdemona in Cyprus; while soon afterwards it begins to turn, and then falls to the catastrophe. But the topmost point thus comes very early (ii.i.), and, moreover, is but faintly marked; indeed, it is scarcely felt as a crisis at all. And, what is still more significant, though reached by conflict, it is not reached by conflict with the force which afterwards destroys it. Iago, in the early scenes, is indeed shown to cherish a design against Othello, but it is not Iago against whom he has at first to assert himself, but Brabantio; and Iago does not even begin to poison his mind until the third scene of the Third Act.

Can we then, on the other hand, following the precedent ofKing Lear, and remembering the probable chronological juxtaposition of the two plays, regard Iago as the leading figure from the point of view of construction? This might at firstseem the right view; for it is the case thatOthelloresemblesKing Learin having a hero more acted upon than acting, or rather a hero driven to act by being acted upon. But then, if Iago is taken as the leading figure, the usual mode of construction is plainly abandoned, for there will nowhere be a crisis followed by a descending movement. Iago's cause advances, at first slowly and quietly, then rapidly, but it does nothing but advance until the catastrophe swallows his dupe and him together. And this way of regarding the action does positive violence, I think, to our natural impressions of the earlier part of the play.

I think, therefore, that the usual scheme is so far followed that the drama represents first the rise of the hero, and then his fall. But, however this question may be decided, one striking peculiarity remains, and is the cause of the unique effect ofOthello. In the first half of the play the main conflict is merely incubating; then it bursts into life, and goes storming, without intermission or change of direction, to its close. Now, in this peculiarityOthellois quite unlike the other tragedies; and in the consequent effect, which is that the second half of the drama is immeasurably more exciting than the first, it is approached only byAntony and Cleopatra. I shall therefore reserve it for separate consideration, though in proceeding to speak further of Shakespeare's treatment of the tragic conflict I shall have to mention some devices which are used inOthelloas well as in the other tragedies.

Shakespeare's general plan, we have seen, is to show one set of forces advancing, in secret or open opposition to the other, to some decisive success, and then driven downward to defeat by the reaction it provokes. And the advantages of this plan, as seen in such a typical instance asJuliusCaesar, are manifest. It conveys the movement of the conflict to the mind with great clearness and force. It helps to produce the impression that in his decline and fall the doer's act is returning on his own head. And, finally, as used by Shakespeare, it makes the first half of the play intensely interesting and dramatic. Action which effects a striking change in an existing situation is naturally watched with keen interest; and this we find in some of these tragedies. And the spectacle, which others exhibit, of a purpose forming itself and, in spite of outward obstacles and often of inward resistance, forcing its way onward to a happy consummation or a terrible deed, not only gives scope to that psychological subtlety in which Shakespeare is scarcely rivalled, but is also dramatic in the highest degree.

But when the crisis has been reached there come difficulties and dangers, which, if we put Shakespeare for the moment out of mind, are easily seen. An immediate and crushing counter-action would, no doubt, sustain the interest, but it would precipitate the catastrophe, and leave a feeling that there has been too long a preparation for a final effect so brief. What seems necessary is a momentary pause, followed by a counter-action which mounts at first slowly, and afterwards, as it gathers force, with quickening speed. And yet the result of this arrangement, it would seem, must be, for a time, a decided slackening of tension. Nor is this the only difficulty. The persons who represent the counter-action and now take the lead, are likely to be comparatively unfamiliar, and therefore unwelcome, to the audience; and, even if familiar, they are almost sure to be at first, if not permanently, less interesting than those who figured in the ascending movement, and on whom attention has been fixed. Possibly, too, their necessary prominencemay crowd the hero into the back-ground. Hence the point of danger in this method of construction seems to lie in that section of the play which follows the crisis and has not yet approached the catastrophe. And this section will usually comprise the Fourth Act, together, in some cases, with a part of the Third and a part of the Fifth.

Shakespeare was so masterly a playwright, and had so wonderful a power of giving life to unpromising subjects, that to a large extent he was able to surmount this difficulty. But illustrations of it are easily to be found in his tragedies, and it is not always surmounted. In almost all of them we are conscious of that momentary pause in the action, though, as we shall see, it does not generally occurimmediatelyafter the crisis. Sometimes he allows himself to be driven to keep the hero off the stage for a long time while the counter-action is rising; Macbeth, Hamlet and Coriolanus during about 450 lines, Lear for nearly 500, Romeo for about 550 (it matters less here, because Juliet is quite as important as Romeo). How can a drama in which this happens compete, in its latter part, withOthello? And again, how can deliberations between Octavius, Antony and Lepidus, between Malcolm and Macduff, between the Capulets, between Laertes and the King, keep us at the pitch, I do not say of the crisis, but even of the action which led up to it? Good critics—writers who have criticised Shakespeare's dramas from within, instead of applying to them some standard ready-made by themselves or derived from dramas and a theatre of quite other kinds than his—have held that some of his greatest tragedies fall off in the Fourth Act, and that one or two never wholly recover themselves. And I believe most readers would find, if they examined their impressions, that to their mindsJulius Caesar,Hamlet,King LearandMacbethhave all a tendency to 'drag' in this section of the play, and that the first and perhaps also the last of these four fail even in the catastrophe to reach the height of the greatest scenes that have preceded the Fourth Act. I will not ask how far these impressions are justified. The difficulties in question will become clearer and will gain in interest if we look rather at the means which have been employed to meet them, and which certainly have in part, at least, overcome them.

(a) The first of these is always strikingly effective, sometimes marvellously so. The crisis in which the ascending force reaches its zenith is followed quickly, or even without the slightest pause, by a reverse or counter-blow not less emphatic and in some cases even more exciting. And the effect is to make us feel a sudden and tragic change in the direction of the movement, which, after ascending more or less gradually, now turns sharply downward. To the assassination of Caesar (iii.i.) succeeds the scene in the Forum (iii.ii.), where Antony carries the people away in a storm of sympathy with the dead man and of fury against the conspirators. We have hardly realised their victory before we are forced to anticipate their ultimate defeat and to take the liveliest interest in their chief antagonist. InHamletthe thrilling success of the play-scene (iii.ii.) is met and undone at once by the counter-stroke of Hamlet's failure to take vengeance (iii.iii.) and his misfortune in killing Polonius (iii.iv.). Coriolanus has no sooner gained the consulship than he is excited to frenzy by the tribunes and driven into exile. On the marriage of Romeo follows immediately the brawl which leads to Mercutio's death and the banishment of the hero (ii.vi. andiii.i.). In all of these instances excepting that ofHamletthe scene of the counter-stroke is at least as exciting as that of the crisis, perhaps more so. Most people, if asked to mentionthe scene that occupies thecentreof the action inJulius Caesarand inCoriolanus, would mention the scenes of Antony's speech and Coriolanus' banishment. Thus that apparently necessary pause in the action does not, in any of these dramas, come directly after the crisis. It is deferred; and in several cases it is by various devices deferred for some little time;e.g.inRomeo and Juliettill the hero has left Verona, and Juliet is told that her marriage with Paris is to take place 'next Thursday morn' (end of Actiii.); inMacbethtill the murder of Duncan has been followed by that of Banquo, and this by the banquet-scene. Hence the point where this pause occurs is very rarely reached before the end of the Third Act.

(b) Either at this point, or in the scene of the counter-stroke which precedes it, we sometimes find a peculiar effect. We are reminded of the state of affairs in which the conflict began. The opening ofJulius Caesarwarned us that, among a people so unstable and so easily led this way or that, the enterprise of Brutus is hopeless; the days of the Republic are done. In the scene of Antony's speech we see this same people again. At the beginning ofAntony and Cleopatrathe hero is about to leave Cleopatra for Rome. Where the play takes, as it were, a fresh start after the crisis, he leaves Octavia for Egypt. InHamlet, when the counter-stroke succeeds to the crisis, the Ghost, who had appeared in the opening scenes, reappears. Macbeth's action in the first part of the tragedy followed on the prediction of the Witches who promised him the throne. When the action moves forward again after the banquet-scene the Witches appear once more, and make those fresh promises which again drive him forward. This repetition of a first effect produces a fateful feeling. It generally also stimulates expectation as to the new movement about to begin. InMacbeththe scene is,in addition, of the greatest consequence from the purely theatrical point of view.

(c) It has yet another function. It shows, in Macbeth's furious irritability and purposeless savagery, the internal reaction which accompanies the outward decline of his fortunes. And in other plays also the exhibition of such inner changes forms a means by which interest is sustained in this difficult section of a tragedy. There is no point inHamletwhere we feel more hopeless than that where the hero, having missed his chance, moralises over his irresolution and determines to cherish now only thoughts of blood, and then departs without an effort for England. One purpose, again, of the quarrel-scene between Brutus and Cassius (iv.iii), as also of the appearance of Caesar's ghost just afterwards, is to indicate the inward changes. Otherwise the introduction of this famous and wonderful scene can hardly be defended on strictly dramatic grounds. No one would consent to part with it, and it is invaluable in sustaining interest during the progress of the reaction, but it is an episode, the removal of which would not affect the actual sequence of events (unless we may hold that, but for the emotion caused by the quarrel and reconciliation, Cassius would not have allowed Brutus to overcome his objection to the fatal policy of offering battle at Philippi).

(d) The quarrel-scene illustrates yet another favourite expedient. In this section of a tragedy Shakespeare often appeals to an emotion different from any of those excited in the first half of the play, and so provides novelty and generally also relief. As a rule this new emotion is pathetic; and the pathos is not terrible or lacerating, but, even if painful, is accompanied by the sense of beauty and by an outflow of admiration or affection, which come with an inexpressible sweetness after the tension of the crisis and the first counter-stroke. So it iswith the reconciliation of Brutus and Cassius, and the arrival of the news of Portia's death. The most famous instance of this effect is the scene (iv.vii.) where Lear wakes from sleep and finds Cordelia bending over him, perhaps the most tear-compelling passage in literature. Another is the short scene (iv.ii.) in which the talk of Lady Macduff and her little boy is interrupted by the entrance of the murderers, a passage of touching beauty and heroism. Another is the introduction of Ophelia in her madness (twice in different parts ofiv.v.), where the effect, though intensely pathetic, is beautiful and moving rather than harrowing; and this effect is repeated in a softer tone in the description of Ophelia's death (end of Activ.). And inOthellothe passage where pathos ofthiskind reaches its height is certainly that where Desdemona and Emilia converse, and the willow-song is sung, on the eve of the catastrophe (iv.iii.).

(e) Sometimes, again, in this section of a tragedy we find humorous or semi-humorous passages. On the whole such passages occur most frequently in the early or middle part of the play, which naturally grows more sombre as it nears the close; but their occasional introduction in the Fourth Act, and even later, affords variety and relief, and also heightens by contrast the tragic feelings. For example, there is a touch of comedy in the conversation of Lady Macduff with her little boy. Purely and delightfully humorous are the talk and behaviour of the servants in that admirable scene where Coriolanus comes disguised in mean apparel to the house of Aufidius (iv.v.); of a more mingled kind is the effect of the discussion between Menenius and the sentinels inv.ii.; and in the very middle of the supreme scene between the hero, Volumnia and Virgilia, little Marcius makes us burst out laughing (v.iii.) A little before the catastrophe inHamletcomes the grave-digger passage, a passage ever welcome, butof a length which could hardly be defended on purely dramatic grounds; and still later, occupying some hundred and twenty lines of the very last scene, we have the chatter of Osric with Hamlet's mockery of it. But the acme of audacity is reached inAntony and Cleopatra, where, quite close to the end, the old countryman who brings the asps to Cleopatra discourses on the virtues and vices of the worm, and where his last words, 'Yes, forsooth: I wish you joy o' the worm,' are followed, without the intervention of a line, by the glorious speech,

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