shakespearean tragedy

Shakespearean Tragedy

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Title: Shakespearean Tragedy Lectures on Hamlet,Othello, King Lear, Macbeth

Author: A. C. Bradley

Shakespearean Tragedy 1

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SHAKESPEAREAN TRAGEDY

MACMILLAN AND CO., LIMITED

LONDONBOMBAYCALCUTTAMADRASMELBOURNE

THE MACMILLAN COMPANY

NEW YORKBOSTONCHICAGODALLASSANFRANCISCO

THE MACMILLAN CO. OF CANADA, LTD.

TORONTO


SHAKESPEAREAN TRAGEDY

LECTURES ON

HAMLET, OTHELLO, KING LEAR

MACBETH

BY

A.C. BRADLEY

LL.D. LITT.D., FORMERLY PROFESSOR OF POETRY INTHE UNIVERSITY OF OXFORD

SECOND EDITION (_THIRTEENTH IMPRESSION_)

MACMILLAN AND CO., LIMITED ST. MARTIN'S STREET,LONDON

1919

_COPYRIGHT._

First Edition 1904.

Second Edition March 1905.


Reprinted August 1905, 1906, 1908, 1910, 1911, 1912,1914, 1915, 1916, 1918, 1919.

GLASGOW: PRINTED AT THE UNIVERSITY PRESS BYROBERT MACLEHOSE AND CO. LTD.

TO MY STUDENTS

PREFACE

These lectures are based on a selection from materialsused in teaching at Liverpool, Glasgow, and Oxford; and Ihave for the most part preserved the lecture form. Thepoint of view taken in them is explained in the Introduction.I should, of course, wish them to be read in their order, anda knowledge of the first two is assumed in the remainder;but readers who may prefer to enter at once on thediscussion of the several plays can do so by beginning atpage 89.

Any one who writes on Shakespeare must owe much to hispredecessors. Where I was conscious of a particularobligation, I have acknowledged it; but most of my readingof Shakespearean criticism was done many years ago, andI can only hope that I have not often reproduced as myown what belongs to another.


Many of the Notes will be of interest only to scholars, whomay find, I hope, something new in them.

I have quoted, as a rule, from the Globe edition, and havereferred always to its numeration of acts, scenes, andlines.

_November, 1904._

* * * * *

NOTE TO SECOND AND SUBSEQUENT IMPRESSIONS

In these impressions I have confined myself to makingsome formal improvements, correcting indubitablemistakes, and indicating here and there my desire tomodify or develop at some future time statements whichseem to me doubtful or open to misunderstanding. Thechanges, where it seemed desirable, are shown by theinclusion of sentences in square brackets.

CONTENTS

PAGE INTRODUCTION 1

LECTURE I.


THE SUBSTANCE OF SHAKESPEAREAN TRAGEDY 5

LECTURE II.

CONSTRUCTION IN SHAKESPEARE'S TRAGEDIES 40

LECTURE III.

SHAKESPEARE'S TRAGIC PERIOD--HAMLET 79

LECTURE IV.

HAMLET 129

LECTURE V.

OTHELLO 175

LECTURE VI.

OTHELLO 207

LECTURE VII.

KING LEAR 243

LECTURE VIII.


KING LEAR 280

LECTURE IX.

MACBETH 331

LECTURE X.

MACBETH 366

NOTE A. Events before the opening of the action in Hamlet401

NOTE B. Where was Hamlet at the time of his father'sdeath? 403

NOTE C. Hamlet's age 407

NOTE D. 'My tables--meet it is I set it down' 409

NOTE E. The Ghost in the cellarage 412

NOTE F. The Player's speech in Hamlet 413

NOTE G. Hamlet's apology to Laertes 420

NOTE H. The exchange of rapiers 422


NOTE I. The duration of the action in Othello 423

NOTE J. The 'additions' in the Folio text of Othello. ThePontic sea 429

NOTE K. Othello's courtship 432

NOTE L. Othello in the Temptation scene 434

NOTE M. Questions as to Othello, IV. i. 435

NOTE N. Two passages in the last scene of Othello 437

NOTE O. Othello on Desdemona's last words 438

NOTE P. Did Emilia suspect Iago? 439

NOTE Q. Iago's suspicion regarding Cassio and Emilia 441

NOTE R. Reminiscences of Othello in King Lear 441

NOTE S. King Lear and Timon of Athens 443

NOTE T. Did Shakespeare shorten _King Lear_? 445

NOTE U. Movements of the _dramatis person_ in KingLear, II 448


NOTE V. Suspected interpolations in King Lear 450

NOTE W. The staging of the scene of Lear's reunion withCordelia 453

NOTE X. The Battle in King Lear 456

NOTE Y. Some difficult passages in King Lear 458

NOTE Z. Suspected interpolations in Macbeth 466

NOTE AA. Has Macbeth been abridged? 467

NOTE BB. The date of Macbeth. Metrical Tests 470

NOTE CC. When was the murder of Duncan first plotted?480

NOTE DD. Did Lady Macbeth really faint? 484

NOTE EE. Duration of the action in Macbeth. Macbeth'sage. 'He has no children' 486

NOTE FF. The Ghost of Banquo 492

INDEX 494


INTRODUCTION

In these lectures I propose to consider the four principaltragedies of Shakespeare from a single point of view.Nothing will be said of Shakespeare's place in the historyeither of English literature or of the drama in general. Noattempt will be made to compare him with other writers. Ishall leave untouched, or merely glanced at, questionsregarding his life and character, the development of hisgenius and art, the genuineness, sources, texts,inter-relations of his various works. Even what may becalled, in a restricted sense, the 'poetry' of the fourtragedies--the beauties of style, diction, versification--I shallpass by in silence. Our one object will be what, again in arestricted sense, may be called dramatic appreciation; toincrease our understanding and enjoyment of these worksas dramas; to learn to apprehend the action and some ofthe personages of each with a somewhat greater truth andintensity, so that they may assume in our imaginations ashape a little less unlike the shape they wore in theimagination of their creator. For this end all those studiesthat were mentioned just now, of literary history and thelike, are useful and even in various degrees necessary. Butan overt pursuit of them is not necessary here, nor is anyone of them so indispensable to our object as that closefamiliarity with the plays, that native strength and justice ofperception, and that habit of reading with an eager mind,


which make many an unscholarly lover of Shakespeare afar better critic than many a Shakespeare scholar.

Such lovers read a play more or less as if they were actorswho had to study all the parts. They do not need, ofcourse, to imagine whereabouts the persons are to stand,or what gestures they ought to use; but they want to realisefully and exactly the inner movements which producedthese words and no other, these deeds and no other, ateach particular moment. This, carried through a drama, isthe right way to read the dramatist Shakespeare; and theprime requisite here is therefore a vivid and intentimagination. But this alone will hardly suffice. It isnecessary also, especially to a true conception of thewhole, to compare, to analyse, to dissect. And suchreaders often shrink from this task, which seems to themprosaic or even a desecration. They misunderstand, Ibelieve. They would not shrink if they remembered twothings. In the first place, in this process of comparison andanalysis, it is not requisite, it is on the contrary ruinous, toset imagination aside and to substitute some supposed'cold reason'; and it is only want of practice that makes theconcurrent use of analysis and of poetic perception difficultor irksome. And, in the second place, these dissectingprocesses, though they are also imaginative, are still, andare meant to be, nothing but means to an end. When theyhave finished their work (it can only be finished for the


time) they give place to the end, which is that sameimaginative reading or re-creation of the drama from whichthey set out, but a reading now enriched by the products ofanalysis, and therefore far more adequate and enjoyable.

This, at any rate, is the faith in the strength of which Iventure, with merely personal misgivings, on the path ofanalytic interpretation. And so, before coming to the first ofthe four tragedies, I propose to discuss some preliminarymatters which concern them all. Though each is individualthrough and through, they have, in a sense, one and thesame substance; for in all of them Shakespeare representsthe tragic aspect of life, the tragic fact. They have, again,up to a certain point, a common form or structure. Thissubstance and this structure, which would be found todistinguish them, for example, from Greek tragedies, may,to diminish repetition, be considered once for all; and inconsidering them we shall also be able to observecharacteristic differences among the four plays. And to thismay be added the little that it seems necessary to premiseon the position of these dramas in Shakespeare's literarycareer.

Much that is said on our main preliminary subjects willnaturally hold good, within certain limits, of other dramas ofShakespeare beside Hamlet, Othello, King Lear, andMacbeth. But it will often apply to these other works only in


part, and to some of them more fully than to others. Romeoand Juliet, for instance, is a pure tragedy, but it is an earlywork, and in some respects an immature one. _RichardIII._ and _Richard II._, Julius Caesar, Antony andCleopatra, and Coriolanus are tragic histories or historicaltragedies, in which Shakespeare acknowledged in practicea certain obligation to follow his authority, even when thatauthority offered him an undramatic material. Probably hehimself would have met some criticisms to which theseplays are open by appealing to their historical character,and by denying that such works are to be judged by thestandard of pure tragedy. In any case, most of these plays,perhaps all, do show, as a matter of fact, considerabledeviations from that standard; and, therefore, what is saidof the pure tragedies must be applied to them withqualifications which I shall often take for granted withoutmention. There remain Titus Andronicus and Timon ofAthens. The former I shall leave out of account, because,even if Shakespeare wrote the whole of it, he did so beforehe had either a style of his own or any characteristic tragicconception. Timon stands on a different footing. Parts of itare unquestionably Shakespeare's, and they will bereferred to in one of the later lectures. But much of thewriting is evidently not his, and as it seems probable thatthe conception and construction of the whole tragedyshould also be attributed to some other writer, I shall omitthis work too from our preliminary discussions.


LECTURE I

THE SUBSTANCE OF SHAKESPEAREAN TRAGEDY

The question we are to consider in this lecture may bestated in a variety of ways. We may put it thus: What is thesubstance of a Shakespearean tragedy, taken inabstraction both from its form and from the differences inpoint of substance between one tragedy and another? Orthus: What is the nature of the tragic aspect of life asrepresented by Shakespeare? What is the general factshown now in this tragedy and now in that? And we areputting the same question when we ask: What isShakespeare's tragic conception, or conception of tragedy?

These expressions, it should be observed, do not implythat Shakespeare himself ever asked or answered such aquestion; that he set himself to reflect on the tragic aspectsof life, that he framed a tragic conception, and still lessthat, like Aristotle or Corneille, he had a theory of the kindof poetry called tragedy. These things are all possible; howfar any one of them is probable we need not discuss; butnone of them is presupposed by the question we are goingto consider. This question implies only that, as a matter offact, Shakespeare in writing tragedy did represent a certainaspect of life in a certain way, and that through


examination of his writings we ought to be able, to someextent, to describe this aspect and way in terms addressedto the understanding. Such a description, so far as it is trueand adequate, may, after these explanations, be calledindifferently an account of the substance ofShakespearean tragedy, or an account of Shakespeare'sconception of tragedy or view of the tragic fact.

Two further warnings may be required. In the first place,we must remember that the tragic aspect of life is only oneaspect. We cannot arrive at Shakespeare's whole dramaticway of looking at the world from his tragedies alone, as wecan arrive at Milton's way of regarding things, or atWordsworth's or at Shelley's, by examining almost any oneof their important works. Speaking very broadly, one maysay that these poets at their best always look at things inone light; but Hamlet and _Henry IV._ and Cymbelinereflect things from quite distinct positions, andShakespeare's whole dramatic view is not to be identifiedwith any one of these reflections. And, in the second place,I may repeat that in these lectures, at any rate for the mostpart, we are to be content with his dramatic view, and arenot to ask whether it corresponded exactly with hisopinions or creed outside his poetry--the opinions or creedof the being whom we sometimes oddly call 'Shakespearethe man.' It does not seem likely that outside his poetry hewas a very simple-minded Catholic or Protestant or Atheist,


as some have maintained; but we cannot be sure, as withthose other poets we can, that in his works he expressedhis deepest and most cherished convictions on ultimatequestions, or even that he had any. And in his dramaticconceptions there is enough to occupy us.

1

In approaching our subject it will be best, withoutattempting to shorten the path by referring to famoustheories of the drama, to start directly from the facts, and tocollect from them gradually an idea of ShakespeareanTragedy. And first, to begin from the outside, such atragedy brings before us a considerable number of persons(many more than the persons in a Greek play, unless themembers of the Chorus are reckoned among them); but itis pre-eminently the story of one person, the 'hero,'[1] or atmost of two, the 'hero' and 'heroine.' Moreover, it is only inthe love-tragedies, Romeo and Juliet and Antony andCleopatra, that the heroine is as much the centre of theaction as the hero. The rest, including Macbeth, are singlestars. So that, having noticed the peculiarity of these twodramas, we may henceforth, for the sake of brevity, ignoreit, and may speak of the tragic story as being concernedprimarily with one person.


The story, next, leads up to, and includes, the death of thehero. On the one hand (whatever may be true of tragedyelsewhere), no play at the end of which the hero remainsalive is, in the full Shakespearean sense, a tragedy; andwe no longer class Troilus and Cressida or Cymbeline assuch, as did the editors of the Folio. On the other hand, thestory depicts also the troubled part of the hero's life whichprecedes and leads up to his death; and an instantaneousdeath occurring by 'accident' in the midst of prosperitywould not suffice for it. It is, in fact, essentially a tale ofsuffering and calamity conducting to death.

The suffering and calamity are, moreover, exceptional.They befall a conspicuous person. They are themselves ofsome striking kind. They are also, as a rule, unexpected,and contrasted with previous happiness or glory. A tale, forexample, of a man slowly worn to death by disease,poverty, little cares, sordid vices, petty persecutions,however piteous or dreadful it might be, would not be tragicin the Shakespearean sense.

Such exceptional suffering and calamity, then, affecting thehero, and--we must now add--generally extending far andwide beyond him, so as to make the whole scene a sceneof woe, are an essential ingredient in tragedy and a chiefsource of the tragic emotions, and especially of pity. Butthe proportions of this ingredient, and the direction taken


by tragic pity, will naturally vary greatly. Pity, for example,has a much larger part in King Lear than in Macbeth, and isdirected in the one case chiefly to the hero, in the otherchiefly to minor characters.

Let us now pause for a moment on the ideas we have sofar reached. They would more than suffice to describe thewhole tragic fact as it presented itself to the mediaevalmind. To the mediaeval mind a tragedy meant a narrativerather than a play, and its notion of the matter of thisnarrative may readily be gathered from Dante or, stillbetter, from Chaucer. Chaucer's _Monk's Tale_ is a seriesof what he calls 'tragedies'; and this means in fact a seriesof tales de Casibus Illustrium Virorum,--stories of the Fallsof Illustrious Men, such as Lucifer, Adam, Hercules andNebuchadnezzar. And the Monk ends the tale of Croesusthus:

Anhanged was Cresus, the proud kyng; His roial tronmyghte hym nat availle. Tragdie is noon oother manerthyng, Ne kan in syngyng cri ne biwaille But for thatFortune alwey wole assaile With unwar strook the regnsthat been proude; For whan men trusteth hire, thanne wolshe faille, And covere hire brighte fac with a clowde.

A total reverse of fortune, coming unawares upon a manwho 'stood in high degree,' happy and apparently


secure,--such was the tragic fact to the mediaeval mind. Itappealed strongly to common human sympathy and pity; itstartled also another feeling, that of fear. It frightened menand awed them. It made them feel that man is blind andhelpless, the plaything of an inscrutable power, called bythe name of Fortune or some other name,--a power whichappears to smile on him for a little, and then on a suddenstrikes him down in his pride.

Shakespeare's idea of the tragic fact is larger than this ideaand goes beyond it; but it includes it, and it is worth whileto observe the identity of the two in a certain point which isoften ignored. Tragedy with Shakespeare is concernedalways with persons of 'high degree'; often with kings orprinces; if not, with leaders in the state like Coriolanus,Brutus, Antony; at the least, as in Romeo and Juliet, withmembers of great houses, whose quarrels are of publicmoment. There is a decided difference here betweenOthello and our three other tragedies, but it is not adifference of kind. Othello himself is no mere privateperson; he is the General of the Republic. At the beginningwe see him in the Council-Chamber of the Senate. Theconsciousness of his high position never leaves him. At theend, when he is determined to live no longer, he is asanxious as Hamlet not to be misjudged by the great world,and his last speech begins,


Soft you; a word or two before you go. I have done thestate some service, and they know it.[2]

And this characteristic of Shakespeare's tragedies, thoughnot the most vital, is neither external nor unimportant. Thesaying that every death-bed is the scene of the fifth act of atragedy has its meaning, but it would not be true if the word'tragedy' bore its dramatic sense. The pangs of despisedlove and the anguish of remorse, we say, are the same in apeasant and a prince; but, not to insist that they cannot beso when the prince is really a prince, the story of theprince, the triumvir, or the general, has a greatness anddignity of its own. His fate affects the welfare of a wholenation or empire; and when he falls suddenly from theheight of earthly greatness to the dust, his fall produces asense of contrast, of the powerlessness of man, and of theomnipotence--perhaps the caprice--of Fortune or Fate,which no tale of private life can possibly rival.

Such feelings are constantly evoked by Shakespeare'stragedies,--again in varying degrees. Perhaps they are thevery strongest of the emotions awakened by the earlytragedy of _Richard II._, where they receive a concentratedexpression in Richard's famous speech about the anticDeath, who sits in the hollow crown

That rounds the mortal temples of a king,


grinning at his pomp, watching till his vanity and his fanciedsecurity have wholly encased him round, and then comingand boring with a little pin through his castle wall. Andthese feelings, though their predominance is subdued inthe mightiest tragedies, remain powerful there. In the figureof the maddened Lear we see

A sight most pitiful in the meanest wretch, Past speaking ofin a king;

and if we would realise the truth in this matter we cannotdo better than compare with the effect of King Lear theeffect of Tourgnief's parallel and remarkable tale ofpeasant life, A King Lear of the Steppes.

2

A Shakespearean tragedy as so far considered may becalled a story of exceptional calamity leading to the deathof a man in high estate. But it is clearly much more thanthis, and we have now to regard it from another side. Noamount of calamity which merely befell a man, descendingfrom the clouds like lightning, or stealing from the darknesslike pestilence, could alone provide the substance of itsstory. Job was the greatest of all the children of the east,and his afflictions were well-nigh more than he could bear;but even if we imagined them wearing him to death, that


would not make his story tragic. Nor yet would it becomeso, in the Shakespearean sense, if the fire, and the greatwind from the wilderness, and the torments of his fleshwere conceived as sent by a supernatural power, whetherjust or malignant. The calamities of tragedy do not simplyhappen, nor are they sent; they proceed mainly fromactions, and those the actions of men.

We see a number of human beings placed in certaincircumstances; and we see, arising from the co-operationof their characters in these circumstances, certain actions.These actions beget others, and these others beget othersagain, until this series of inter-connected deeds leads byan apparently inevitable sequence to a catastrophe. Theeffect of such a series on imagination is to make us regardthe sufferings which accompany it, and the catastrophe inwhich it ends, not only or chiefly as something whichhappens to the persons concerned, but equally assomething which is caused by them. This at least may besaid of the principal persons, and, among them, of thehero, who always contributes in some measure to thedisaster in which he perishes.

This second aspect of tragedy evidently differs greatly fromthe first. Men, from this point of view, appear to us primarilyas agents, 'themselves the authors of their proper woe';and our fear and pity, though they will not cease or


diminish, will be modified accordingly. We are now toconsider this second aspect, remembering that it too isonly one aspect, and additional to the first, not a substitutefor it.

The 'story' or 'action' of a Shakespearean tragedy does notconsist, of course, solely of human actions or deeds; butthe deeds are the predominant factor. And these deedsare, for the most part, actions in the full sense of the word;not things done ''tween asleep and wake,' but acts oromissions thoroughly expressive of thedoer,--characteristic deeds. The centre of the tragedy,therefore, may be said with equal truth to lie in actionissuing from character, or in character issuing in action.

Shakespeare's main interest lay here. To say that it lay inmere character, or was a psychological interest, would bea great mistake, for he was dramatic to the tips of hisfingers. It is possible to find places where he has given acertain indulgence to his love of poetry, and even to histurn for general reflections; but it would be very difficult,and in his later tragedies perhaps impossible, to detectpassages where he has allowed such freedom to theinterest in character apart from action. But for the oppositeextreme, for the abstraction of mere 'plot' (which is a verydifferent thing from the tragic 'action'), for the kind ofinterest which predominates in a novel like The Woman in


White, it is clear that he cared even less. I do not meanthat this interest is absent from his dramas; but it issubordinate to others, and is so interwoven with them thatwe are rarely conscious of it apart, and rarely feel in anygreat strength the half-intellectual, half-nervous excitementof following an ingenious complication. What we do feelstrongly, as a tragedy advances to its close, is that thecalamities and catastrophe follow inevitably from the deedsof men, and that the main source of these deeds ischaracter. The dictum that, with Shakespeare, 'character isdestiny' is no doubt an exaggeration, and one that maymislead (for many of his tragic personages, if they had notmet with peculiar circumstances, would have escaped atragic end, and might even have lived fairly untroubledlives); but it is the exaggeration of a vital truth.

This truth, with some of its qualifications, will appear moreclearly if we now go on to ask what elements are to befound in the 'story' or 'action,' occasionally or frequently,beside the characteristic deeds, and the sufferings andcircumstances, of the persons. I will refer to three of theseadditional factors.

(_a_) Shakespeare, occasionally and for reasons whichneed not be discussed here, represents abnormalconditions of mind; insanity, for example, somnambulism,hallucinations. And deeds issuing from these are certainly


not what we called deeds in the fullest sense, deedsexpressive of character. No; but these abnormal conditionsare never introduced as the origin of deeds of any dramaticmoment. Lady Macbeth's sleep-walking has no influencewhatever on the events that follow it. Macbeth did notmurder Duncan because he saw a dagger in the air: hesaw the dagger because he was about to murder Duncan.Lear's insanity is not the cause of a tragic conflict any morethan Ophelia's; it is, like Ophelia's, the result of a conflict;and in both cases the effect is mainly pathetic. If Lear werereally mad when he divided his kingdom, if Hamlet werereally mad at any time in the story, they would cease to betragic characters.

(_b_) Shakespeare also introduces the supernatural intosome of his tragedies; he introduces ghosts, and witcheswho have supernatural knowledge. This supernaturalelement certainly cannot in most cases, if in any, beexplained away as an illusion in the mind of one of thecharacters. And further, it does contribute to the action,and is in more than one instance an indispensable part ofit: so that to describe human character, withcircumstances, as always the sole motive force in thisaction would be a serious error. But the supernatural isalways placed in the closest relation with character. It givesa confirmation and a distinct form to inward movementsalready present and exerting an influence; to the sense of


failure in Brutus, to the stifled workings of conscience inRichard, to the half-formed thought or the horrified memoryof guilt in Macbeth, to suspicion in Hamlet. Moreover, itsinfluence is never of a compulsive kind. It forms no morethan an element, however important, in the problem whichthe hero has to face; and we are never allowed to feel thatit has removed his capacity or responsibility for dealingwith this problem. So far indeed are we from feeling this,that many readers run to the opposite extreme, and openlyor privately regard the supernatural as having nothing to dowith the real interest of the play.

(_c_) Shakespeare, lastly, in most of his tragedies allowsto 'chance' or 'accident' an appreciable influence at somepoint in the action. Chance or accident here will be found, Ithink, to mean any occurrence (not supernatural, of course)which enters the dramatic sequence neither from theagency of a character, nor from the obvious surroundingcircumstances.[3] It may be called an accident, in thissense, that Romeo never got the Friar's message aboutthe potion, and that Juliet did not awake from her longsleep a minute sooner; an accident that Edgar arrived atthe prison just too late to save Cordelia's life; an accidentthat Desdemona dropped her handkerchief at the mostfatal of moments; an accident that the pirate ship attackedHamlet's ship, so that he was able to return forthwith toDenmark. Now this operation of accident is a fact, and a


prominent fact, of human life. To exclude it wholly fromtragedy, therefore, would be, we may say, to fail in truth.And, besides, it is not merely a fact. That men may start acourse of events but can neither calculate nor control it, isa tragic fact. The dramatist may use accident so as tomake us feel this; and there are also other dramatic usesto which it may be put. Shakespeare accordingly admits it.On the other hand, any large admission of chance into thetragic sequence[4] would certainly weaken, and mightdestroy, the sense of the causal connection of character,deed, and catastrophe. And Shakespeare really uses itvery sparingly. We seldom find ourselves exclaiming, 'Whatan unlucky accident!' I believe most readers would have tosearch painfully for instances. It is, further, frequently easyto see the dramatic intention of an accident; and somethings which look like accidents have really a connectionwith character, and are therefore not in the full senseaccidents. Finally, I believe it will be found that almost allthe prominent accidents occur when the action is welladvanced and the impression of the causal sequence istoo firmly fixed to be impaired.

Thus it appears that these three elements in the 'action' aresubordinate, while the dominant factor consists in deedswhich issue from character. So that, by way of summary,we may now alter our first statement, 'A tragedy is a storyof exceptional calamity leading to the death of a man in


high estate,' and we may say instead (what in its turn isone-sided, though less so), that the story is one of humanactions producing exceptional calamity and ending in thedeath of such a man.[5]

* * * * *

Before we leave the 'action,' however, there is anotherquestion that may usefully be asked. Can we define this'action' further by describing it as a conflict?

The frequent use of this idea in discussions on tragedy isultimately due, I suppose, to the influence of Hegel's theoryon the subject, certainly the most important theory sinceAristotle's. But Hegel's view of the tragic conflict is not onlyunfamiliar to English readers and difficult to expoundshortly, but it had its origin in reflections on Greek tragedyand, as Hegel was well aware, applies only imperfectly tothe works of Shakespeare.[6] I shall, therefore, confinemyself to the idea of conflict in its more general form. Inthis form it is obviously suitable to Shakespearean tragedy;but it is vague, and I will try to make it more precise byputting the question, Who are the combatants in thisconflict?

Not seldom the conflict may quite naturally be conceivedas lying between two persons, of whom the hero is one; or,


more fully, as lying between two parties or groups, in oneof which the hero is the leading figure. Or if we prefer tospeak (as we may quite well do if we know what we areabout) of the passions, tendencies, ideas, principles,forces, which animate these persons or groups, we maysay that two of such passions or ideas, regarded asanimating two persons or groups, are the combatants. Thelove of Romeo and Juliet is in conflict with the hatred oftheir houses, represented by various other characters. Thecause of Brutus and Cassius struggles with that of Julius,Octavius and Antony. In _Richard II._ the King stands onone side, Bolingbroke and his party on the other. InMacbeth the hero and heroine are opposed to therepresentatives of Duncan. In all these cases the greatmajority of the dramatis personae fall without difficulty intoantagonistic groups, and the conflict between these groupsends with the defeat of the hero.

Yet one cannot help feeling that in at least one of thesecases, Macbeth, there is something a little external in thisway of looking at the action. And when we come to someother plays this feeling increases. No doubt most of thecharacters in Hamlet, King Lear, Othello, or Antony andCleopatra can be arranged in opposed groups;[7] and nodoubt there is a conflict; and yet it seems misleading todescribe this conflict as one between these groups. Itcannot be simply this. For though Hamlet and the King are


mortal foes, yet that which engrosses our interest anddwells in our memory at least as much as the conflictbetween them, is the conflict within one of them. And so itis, though not in the same degree, with Antony andCleopatra and even with _Othello_; and, in fact, in a certainmeasure, it is so with nearly all the tragedies. There is anoutward conflict of persons and groups, there is also aconflict of forces in the hero's soul; and even in JuliusCaesar and Macbeth the interest of the former can hardlybe said to exceed that of the latter.

The truth is, that the type of tragedy in which the heroopposes to a hostile force an undivided soul, is not theShakespearean type. The souls of those who contend withthe hero may be thus undivided; they generally are; but, asa rule, the hero, though he pursues his fated way, is, atleast at some point in the action, and sometimes at many,torn by an inward struggle; and it is frequently at suchpoints that Shakespeare shows his most extraordinarypower. If further we compare the earlier tragedies with thelater, we find that it is in the latter, the maturest works, thatthis inward struggle is most emphasised. In the last ofthem, Coriolanus, its interest completely eclipses towardsthe close of the play that of the outward conflict. Romeoand Juliet, _Richard III._, _Richard II._, where the herocontends with an outward force, but comparatively littlewith himself, are all early plays.


If we are to include the outer and the inner struggle in aconception more definite than that of conflict in general, wemust employ some such phrase as 'spiritual force.' This willmean whatever forces act in the human spirit, whethergood or evil, whether personal passion or impersonalprinciple; doubts, desires, scruples, ideas--whatever cananimate, shake, possess, and drive a man's soul. In aShakespearean tragedy some such forces are shown inconflict. They are shown acting in men and generatingstrife between them. They are also shown, less universally,but quite as characteristically, generating disturbance andeven conflict in the soul of the hero. Treasonous ambitionin Macbeth collides with loyalty and patriotism in Macduffand Malcolm: here is the outward conflict. But thesepowers or principles equally collide in the soul of Macbethhimself: here is the inner. And neither by itself could makethe tragedy.[8]

We shall see later the importance of this idea. Here weneed only observe that the notion of tragedy as a conflictemphasises the fact that action is the centre of the story,while the concentration of interest, in the greater plays, onthe inward struggle emphasises the fact that this action isessentially the expression of character.

3


Let us turn now from the 'action' to the central figure in it;and, ignoring the characteristics which distinguish theheroes from one another, let us ask whether they have anycommon qualities which appear to be essential to the tragiceffect.

One they certainly have. They are exceptional beings. Wehave seen already that the hero, with Shakespeare, is aperson of high degree or of public importance, and that hisactions or sufferings are of an unusual kind. But this is notall. His nature also is exceptional, and generally raises himin some respect much above the average level ofhumanity. This does not mean that he is an eccentric or aparagon. Shakespeare never drew monstrosities of virtue;some of his heroes are far from being 'good'; and if hedrew eccentrics he gave them a subordinate position in theplot. His tragic characters are made of the stuff we findwithin ourselves and within the persons who surroundthem. But, by an intensification of the life which they sharewith others, they are raised above them; and the greatestare raised so far that, if we fully realise all that is implied intheir words and actions, we become conscious that in reallife we have known scarcely any one resembling them.Some, like Hamlet and Cleopatra, have genius. Others, likeOthello, Lear, Macbeth, Coriolanus, are built on the grandscale; and desire, passion, or will attains in them a terribleforce. In almost all we observe a marked one-sidedness, a


predisposition in some particular direction; a totalincapacity, in certain circumstances, of resisting the forcewhich draws in this direction; a fatal tendency to identifythe whole being with one interest, object, passion, or habitof mind. This, it would seem, is, for Shakespeare, thefundamental tragic trait. It is present in his early heroes,Romeo and Richard II., infatuated men, who otherwise risecomparatively little above the ordinary level. It is a fatal gift,but it carries with it a touch of greatness; and when there isjoined to it nobility of mind, or genius, or immense force,we realise the full power and reach of the soul, and theconflict in which it engages acquires that magnitude whichstirs not only sympathy and pity, but admiration, terror, andawe.

The easiest way to bring home to oneself the nature of thetragic character is to compare it with a character of anotherkind. Dramas like Cymbeline and the _Winter's Tale_,which might seem destined to end tragically, but actuallyend otherwise, owe their happy ending largely to the factthat the principal characters fail to reach tragic dimensions.And, conversely, if these persons were put in the place ofthe tragic heroes, the dramas in which they appearedwould cease to be tragedies. Posthumus would never haveacted as Othello did; Othello, on his side, would have metIachimo's challenge with something more than words. If,like Posthumus, he had remained convinced of his wife's


infidelity, he would not have repented her execution; if, likeLeontes, he had come to believe that by an unjustaccusation he had caused her death, he would never havelived on, like Leontes. In the same way the villain Iachimohas no touch of tragic greatness. But Iago comes nearer toit, and if Iago had slandered Imogen and had supposed hisslanders to have led to her death, he certainly would nothave turned melancholy and wished to die. One reasonwhy the end of the Merchant of Venice fails to satisfy us isthat Shylock is a tragic character, and that we cannotbelieve in his accepting his defeat and the conditionsimposed on him. This was a case where Shakespeare'simagination ran away with him, so that he drew a figurewith which the destined pleasant ending would notharmonise.

In the circumstances where we see the hero placed, histragic trait, which is also his greatness, is fatal to him. Tomeet these circumstances something is required which asmaller man might have given, but which the hero cannotgive. He errs, by action or omission; and his error, joiningwith other causes, brings on him ruin. This is always sowith Shakespeare. As we have seen, the idea of the tragichero as a being destroyed simply and solely by externalforces is quite alien to him; and not less so is the idea ofthe hero as contributing to his destruction only by acts inwhich we see no flaw. But the fatal imperfection or error,


which is never absent, is of different kinds and degrees. Atone extreme stands the excess and precipitancy ofRomeo, which scarcely, if at all, diminish our regard forhim; at the other the murderous ambition of Richard III. Inmost cases the tragic error involves no conscious breachof right; in some (_e.g._ that of Brutus or Othello) it isaccompanied by a full conviction of right. In Hamlet there isa painful consciousness that duty is being neglected; inAntony a clear knowledge that the worse of two courses isbeing pursued; but Richard and Macbeth are the onlyheroes who do what they themselves recognise to bevillainous. It is important to observe that Shakespeare doesadmit such heroes,[9] and also that he appears to feel, andexerts himself to meet, the difficulty that arises from theiradmission. The difficulty is that the spectator must desiretheir defeat and even their destruction; and yet this desire,and the satisfaction of it, are not tragic feelings.Shakespeare gives to Richard therefore a power whichexcites astonishment, and a courage which extortsadmiration. He gives to Macbeth a similar, though lessextraordinary, greatness, and adds to it a conscience soterrifying in its warnings and so maddening in itsreproaches that the spectacle of inward torment compels ahorrified sympathy and awe which balance, at the least, thedesire for the hero's ruin.


The tragic hero with Shakespeare, then, need not be'good,' though generally he is 'good' and therefore at oncewins sympathy in his error. But it is necessary that heshould have so much of greatness that in his error and fallwe may be vividly conscious of the possibilities of humannature.[10] Hence, in the first place, a Shakespeareantragedy is never, like some miscalled tragedies,depressing. No one ever closes the book with the feelingthat man is a poor mean creature. He may be wretchedand he may be awful, but he is not small. His lot may beheart-rending and mysterious, but it is not contemptible.The most confirmed of cynics ceases to be a cynic whilehe reads these plays. And with this greatness of the tragichero (which is not always confined to him) is connected,secondly, what I venture to describe as the centre of thetragic impression. This central feeling is the impression ofwaste. With Shakespeare, at any rate, the pity and fearwhich are stirred by the tragic story seem to unite with, andeven to merge in, a profound sense of sadness andmystery, which is due to this impression of waste. 'What apiece of work is man,' we cry; 'so much more beautiful andso much more terrible than we knew! Why should he be soif this beauty and greatness only tortures itself and throwsitself away?' We seem to have before us a type of themystery of the whole world, the tragic fact which extendsfar beyond the limits of tragedy. Everywhere, from thecrushed rocks beneath our feet to the soul of man, we see


power, intelligence, life and glory, which astound us andseem to call for our worship. And everywhere we see themperishing, devouring one another and destroyingthemselves, often with dreadful pain, as though they cameinto being for no other end. Tragedy is the typical form ofthis mystery, because that greatness of soul which itexhibits oppressed, conflicting and destroyed, is thehighest existence in our view. It forces the mystery uponus, and it makes us realise so vividly the worth of thatwhich is wasted that we cannot possibly seek comfort inthe reflection that all is vanity.

4

In this tragic world, then, where individuals, however greatthey may be and however decisive their actions mayappear, are so evidently not the ultimate power, what isthis power? What account can we give of it which willcorrespond with the imaginative impressions we receive?This will be our final question.

The variety of the answers given to this question showshow difficult it is. And the difficulty has many sources. Mostpeople, even among those who know Shakespeare welland come into real contact with his mind, are inclined toisolate and exaggerate some one aspect of the tragic fact.Some are so much influenced by their own habitual beliefs


that they import them more or less into their interpretationof every author who is 'sympathetic' to them. And evenwhere neither of these causes of error appears to operate,another is present from which it is probably impossiblewholly to escape. What I mean is this. Any answer we giveto the question proposed ought to correspond with, or torepresent in terms of the understanding, our imaginativeand emotional experience in reading the tragedies. Wehave, of course, to do our best by study and effort to makethis experience true to Shakespeare; but, that done to thebest of our ability, the experience is the matter to beinterpreted, and the test by which the interpretation mustbe tried. But it is extremely hard to make out exactly whatthis experience is, because, in the very effort to make itout, our reflecting mind, full of everyday ideas, is alwaystending to transform it by the application of these ideas,and so to elicit a result which, instead of representing thefact, conventionalises it. And the consequence is not onlymistaken theories; it is that many a man will declare that hefeels in reading a tragedy what he never really felt, whilehe fails to recognise what he actually did feel. It is not likelythat we shall escape all these dangers in our effort to findan answer to the question regarding the tragic world andthe ultimate power in it.

It will be agreed, however, first, that this question must notbe answered in 'religious' language. For although this or


that dramatis persona may speak of gods or of God, of evilspirits or of Satan, of heaven and of hell, and although thepoet may show us ghosts from another world, these ideasdo not materially influence his representation of life, nor arethey used to throw light on the mystery of its tragedy. TheElizabethan drama was almost wholly secular; and whileShakespeare was writing he practically confined his view tothe world of non-theological observation and thought, sothat he represents it substantially in one and the same waywhether the period of the story is pre-Christian orChristian.[11] He looked at this 'secular' world most intentlyand seriously; and he painted it, we cannot but conclude,with entire fidelity, without the wish to enforce an opinion ofhis own, and, in essentials, without regard to anyone'shopes, fears, or beliefs. His greatness is largely due to thisfidelity in a mind of extraordinary power; and if, as a privateperson, he had a religious faith, his tragic view can hardlyhave been in contradiction with this faith, but must havebeen included in it, and supplemented, not abolished, byadditional ideas.

Two statements, next, may at once be made regarding thetragic fact as he represents it: one, that it is and remains tous something piteous, fearful and mysterious; the other,that the representation of it does not leave us crushed,rebellious or desperate. These statements will beaccepted, I believe, by any reader who is in touch with


Shakespeare's mind and can observe his own. Indeedsuch a reader is rather likely to complain that they arepainfully obvious. But if they are true as well as obvious,something follows from them in regard to our presentquestion.

From the first it follows that the ultimate power in the tragicworld is not adequately described as a law or order whichwe can see to be just and benevolent,--as, in that sense, a'moral order': for in that case the spectacle of suffering andwaste could not seem to us so fearful and mysterious as itdoes. And from the second it follows that this ultimatepower is not adequately described as a fate, whethermalicious and cruel, or blind and indifferent to humanhappiness and goodness: for in that case the spectaclewould leave us desperate or rebellious. Yet one or other ofthese two ideas will be found to govern most accounts ofShakespeare's tragic view or world. These accounts isolateand exaggerate single aspects, either the aspect of actionor that of suffering; either the close and unbrokenconnection of character, will, deed and catastrophe, which,taken alone, shows the individual simply as sinningagainst, or failing to conform to, the moral order anddrawing his just doom on his own head; or else thatpressure of outward forces, that sway of accident, andthose blind and agonised struggles, which, taken alone,show him as the mere victim of some power which cares


neither for his sins nor for his pain. Such views contradictone another, and no third view can unite them; but theseveral aspects from whose isolation and exaggerationthey spring are both present in the fact, and a view whichwould be true to the fact and to the whole of ourimaginative experience must in some way combine theseaspects.

Let us begin, then, with the idea of fatality and glance atsome of the impressions which give rise to it, withoutasking at present whether this idea is their natural or fittingexpression. There can be no doubt that they do arise andthat they ought to arise. If we do not feel at times that thehero is, in some sense, a doomed man; that he and othersdrift struggling to destruction like helpless creatures borneon an irresistible flood towards a cataract; that, faulty asthey may be, their fault is far from being the sole orsufficient cause of all they suffer; and that the power fromwhich they cannot escape is relentless and immovable, wehave failed to receive an essential part of the full tragiceffect.

The sources of these impressions are various, and I willrefer only to a few. One of them is put into words byShakespeare himself when he makes the player-king inHamlet say:


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

'their ends' are the issues or outcomes of our thoughts, andthese, says the speaker, are not our own. The tragic worldis a world of action, and action is the translation of thoughtinto reality. We see men and women confidently attemptingit. They strike into the existing order of things in pursuanceof their ideas. But what they achieve is not what theyintended; 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 worksthrough them makes them the instrument of a design whichis not theirs. They act freely, and yet their action bindsthem hand and foot. And it makes no difference whetherthey meant well or ill. No one could mean better thanBrutus, but he contrives misery for his country and deathfor himself. No one could mean worse than Iago, and hetoo is caught in the web he spins for others. Hamlet,recoiling from the rough duty of revenge, is pushed intoblood-guiltiness he never dreamed of, and forced at last onthe revenge he could not will. His adversary's murders, andno less his adversary's remorse, bring about the oppositeof what they sought. Lear follows an old man's whim, halfgenerous, half selfish; and in a moment it looses all thepowers of darkness upon him. Othello agonises over anempty 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 likesnow before a fire. Lady Macbeth, who thought she coulddash out her own child's brains, finds herself hounded todeath by the smell of a stranger's blood. Her husbandthinks that to gain a crown he would jump the life to come,and finds that the crown has brought him all the horrors ofthat 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 amoment of time, becomes a monstrous flood whichspreads over a kingdom. And whatsoever he dreams ofdoing, he achieves that which he least dreamed of, his owndestruction.

All this makes us feel the blindness and helplessness ofman. 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 cometo aid it. It is aided by everything which makes us feel thata man is, as we say, terribly unlucky; and of this there is,even in Shakespeare, not a little. Here come in some of theaccidents already considered, Juliet's waking from hertrance a minute too late, Desdemona's loss of herhandkerchief at the only moment when the loss would havemattered, 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 oneproblem which is fatal to them and would be easy toanother, and sometimes brings it to them just when theyare least fitted to face it? How is it that Othello comes to bethe companion of the one man in the world who is at onceable enough, brave enough, and vile enough to ensnarehim? By what strange fatality does it happen that Lear hassuch daughters and Cordelia such sisters? Even characteritself contributes to these feelings of fatality. How couldmen escape, we cry, such vehement propensities as driveRomeo, Antony, Coriolanus, to their doom? And why is itthat a man's virtues help to destroy him, and that hisweakness or defect is so intertwined with everything that isadmirable in him that we can hardly separate them even inimagination?

If we find in Shakespeare's tragedies the source ofimpressions like these, it is important, on the other hand, tonotice what we do not find there. We find practically notrace of fatalism in its more primitive, crude and obviousforms. Nothing, again, makes us think of the actions andsufferings of the persons as somehow arbitrarily fixedbeforehand without regard to their feelings, thoughts andresolutions. Nor, I believe, are the facts ever so presentedthat it seems to us as if the supreme power, whatever itmay be, had a special spite against a family or anindividual. Neither, lastly, do we receive the impression


(which, it must be observed, is not purely fatalistic) that afamily, owing to some hideous crime or impiety in earlydays, is doomed in later days to continue a career ofportentous calamities and sins. Shakespeare, indeed, doesnot appear to have taken much interest in heredity, or tohave attached much importance to it. (See, however,'heredity' in the Index.)

What, then, is this 'fate' which the impressions alreadyconsidered lead us to describe as the ultimate power in thetragic world? It appears to be a mythological expression forthe whole system or order, of which the individualcharacters form an inconsiderable and feeble part; whichseems to determine, far more than they, their nativedispositions and their circumstances, and, through these,their action; which is so vast and complex that they canscarcely at all understand it or control its workings; andwhich has a nature so definite and fixed that whateverchanges take place in it produce other changes inevitablyand without regard to men's desires and regrets. Andwhether this system or order is best called by the name offate or no,[12] it can hardly be denied that it does appearas the ultimate power in the tragic world, and that it hassuch characteristics as these. But the name 'fate' may beintended to imply something more--to imply that this orderis a blank necessity, totally regardless alike of human wealand of the difference between good and evil or right and


wrong. And such an implication many readers would atonce reject. They would maintain, on the contrary, that thisorder shows characteristics of quite another kind fromthose which made us give it the name of fate,characteristics which certainly should not induce us toforget those others, but which would lead us to describe itas a moral order and its necessity as a moral necessity.

5

Let us turn, then, to this idea. It brings into the light thoseaspects of the tragic fact which the idea of fate throws intothe shade. And the argument which leads to it in itssimplest form may be stated briefly thus: 'Whatever may besaid of accidents, circumstances and the like, humanaction is, after all, presented to us as the central fact intragedy, 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 andconsequences. For these actions we, without even raisinga question on the subject, hold the agents responsible; andthe tragedy would disappear for us if we did not. Thecritical action is, in greater or less degree, wrong or bad.The catastrophe is, in the main, the return of this action onthe head of the agent. It is an example of justice; and thatorder which, present alike within the agents and outsidethem, infallibly brings it about, is therefore just. The rigour


of its justice is terrible, no doubt, for a tragedy is a terriblestory; but, in spite of fear and pity, we acquiesce, becauseour sense of justice is satisfied.'

Now, if this view is to hold good, the 'justice' of which itspeaks must be at once distinguished from what is called'poetic justice.' 'Poetic justice' means that prosperity andadversity are distributed in proportion to the merits of theagents. Such 'poetic justice' is in flagrant contradiction withthe facts of life, and it is absent from Shakespeare's tragicpicture of life; indeed, this very absence is a ground ofconstant complaint on the part of Dr. Johnson. [Greek:Drasanti pathein], 'the doer must suffer'--this we find inShakespeare. We also find that villainy never remainsvictorious and prosperous at the last. But an assignment ofamounts of happiness and misery, an assignment even oflife and death, in proportion to merit, we do not find. Noone who thinks of Desdemona and Cordelia; or whoremembers that one end awaits Richard III. and Brutus,Macbeth and Hamlet; or who asks himself which sufferedmost, Othello or Iago; will ever accuse Shakespeare ofrepresenting the ultimate power as 'poetically' just.

And we must go further. I venture to say that it is a mistaketo use at all these terms of justice and merit or desert. Andthis for two reasons. In the first place, essential as it is torecognise 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 hedeserves, yet in very many cases to say this would bequite unnatural. We might not object to the statement thatLear deserved to suffer for his folly, selfishness andtyranny; but to assert that he deserved to suffer what hedid suffer is to do violence not merely to language but toany healthy moral sense. It is, moreover, to obscure thetragic fact that the consequences of action cannot belimited to that which would appear to us to follow 'justly'from them. And, this being so, when we call the order ofthe tragic world just, we are either using the word in somevague and unexplained sense, or we are going beyondwhat is shown us of this order, and are appealing to faith.

But, in the second place, the ideas of justice and desertare, it seems to me, in all cases--even those of Richard III.and of Macbeth and Lady Macbeth--untrue to ourimaginative experience. When we are immersed in atragedy, we feel towards dispositions, actions, and personssuch emotions as attraction and repulsion, pity, wonder,fear, horror, perhaps hatred; but we do not judge. This is apoint of view which emerges only when, in reading a play,we slip, by our own fault or the dramatist's, from the tragicposition, or when, in thinking about the play afterwards, wefall back on our everyday legal and moral notions. Buttragedy does not belong, any more than religion belongs,


to the sphere of these notions; neither does the imaginativeattitude in presence of it. While we are in its world wewatch what is, seeing that so it happened and must havehappened, feeling that it is piteous, dreadful, awful,mysterious, but neither passing sentence on the agents,nor asking whether the behaviour of the ultimate powertowards them is just. And, therefore, the use of suchlanguage in attempts to render our imaginative experiencein terms of the understanding is, to say the least, full ofdanger.[13]

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

Here, as in dealing with the grounds on which the idea offate rests, I choose only two or three out of many. And themost important is this. In Shakespearean tragedy the main


source of the convulsion which produces suffering anddeath is never good: good contributes to this convulsiononly from its tragic implication with its opposite in one andthe same character. The main source, on the contrary, is inevery case evil; and, what is more (though this seems tohave been little noticed), it is in almost every case evil inthe fullest sense, not mere imperfection but plain moralevil. The love of Romeo and Juliet conducts them to deathonly because of the senseless hatred of their houses.Guilty ambition, seconded by diabolic malice and issuing inmurder, opens the action in Macbeth. Iago is the mainsource of the convulsion in _Othello_; Goneril, Regan andEdmund in King Lear. Even when this plain moral evil isnot the obviously prime source within the play, it liesbehind it: the situation with which Hamlet has to deal hasbeen formed by adultery and murder. Julius Caesar is theonly tragedy in which one is even tempted to find anexception to this rule. And the inference is obvious. If it ischiefly evil that violently disturbs the order of the world, thisorder cannot be friendly to evil or indifferent between eviland good, any more than a body which is convulsed bypoison is friendly to it or indifferent to the distinctionbetween poison and food.

Again, if we confine our attention to the hero, and to thosecases where the gross and palpable evil is not in him butelsewhere, we find that the comparatively innocent hero


still shows some marked imperfection ordefect,--irresolution, precipitancy, pride, credulousness,excessive simplicity, excessive susceptibility to sexualemotions, and the like. These defects or imperfections arecertainly, in the wide sense of the word, evil, and theycontribute decisively to the conflict and catastrophe. Andthe inference is again obvious. The ultimate power whichshows itself disturbed by this evil and reacts against it,must have a nature alien to it. Indeed its reaction is sovehement and 'relentless' that it would seem to be bent onnothing short of good in perfection, and to be ruthless in itsdemand for it.

To this must be added another fact, or another aspect ofthe same fact. Evil exhibits itself everywhere as somethingnegative, barren, weakening, destructive, a principle ofdeath. It isolates, disunites, and tends to annihilate not onlyits opposite but itself. That which keeps the evil man[14]prosperous, makes him succeed, even permits him toexist, is the good in him (I do not mean only the obviously'moral' good). When the evil in him masters the good andhas its way, it destroys other people through him, but italso destroys him. At the close of the struggle he hasvanished, and has left behind him nothing that can stand.What remains is a family, a city, a country, exhausted, paleand feeble, but alive through the principle of good whichanimates it; and, within it, individuals who, if they have not


the brilliance or greatness of the tragic character, still havewon our respect and confidence. And the inference wouldseem clear. If existence in an order depends on good, andif the presence of evil is hostile to such existence, the innerbeing or soul of this order must be akin to good.

These are aspects of the tragic world at least as clearlymarked as those which, taken alone, suggest the idea offate. And the idea which they in their turn, when takenalone, may suggest, is that of an order which does notindeed award 'poetic justice,' but which reacts through thenecessity of its own 'moral' nature both against attacksmade 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 rebelliousor desperate is due to a more or less distinct perceptionthat the tragic suffering and death arise from collision, notwith a fate or blank power, but with a moral power, a powerakin to all that we admire and revere in the charactersthemselves. This perception produces something like afeeling of acquiescence in the catastrophe, though itneither leads us to pass judgment on the characters nordiminishes the pity, the fear, and the sense of waste, whichtheir struggle, suffering and fall evoke. And, finally, thisview seems quite able to do justice to those aspects of thetragic fact which give rise to the idea of fate. They wouldappear as various expressions of the fact that the moral


order acts not capriciously or like a human being, but fromthe necessity of its nature, or, if we prefer the phrase, bygeneral laws,--a necessity or law which of course knows noexception and is as 'ruthless' as fate.

It is impossible to deny to this view a large measure oftruth. And yet without some amendment it can hardlysatisfy. For it does not include the whole of the facts, andtherefore does not wholly correspond with the impressionsthey produce. Let it be granted that the system or orderwhich shows itself omnipotent against individuals is, in thesense explained, moral. Still--at any rate for the eye ofsight--the evil against which it asserts itself, and thepersons whom this evil inhabits, are not really somethingoutside the order, so that they can attack it or fail toconform to it; they are within it and a part of it. It itselfproduces 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 reactionthat the poison is poison, and that its health lies in good.But one significant fact cannot remove another, and thespectacle we witness scarcely warrants the assertion thatthe order is responsible for the good in Desdemona, butIago for the evil in Iago. If we make this assertion we makeit on grounds other than the facts as presented inShakespeare's tragedies.


Nor does the idea of a moral order asserting itself againstattack or want of conformity answer in full to our feelingsregarding the tragic character. We do not think of Hamletmerely as failing to meet its demand, of Antony as merelysinning against it, or even of Macbeth as simply attackingit. What we feel corresponds quite as much to the idea thatthey are its parts, expressions, products; that in their defector evil it is untrue to its soul of goodness, and falls intoconflict and collision with itself; that, in making them sufferand waste themselves, it suffers and wastes itself; and thatwhen, to save its life and regain peace from this intestinalstruggle, it casts them out, it has lost a part of its ownsubstance,--a part more dangerous and unquiet, but farmore valuable and nearer to its heart, than that whichremains,--a Fortinbras, a Malcolm, an Octavius. There isno tragedy in its expulsion of evil: the tragedy is that thisinvolves the waste of good.

Thus we are left at last with an idea showing two sides oraspects which we can neither separate nor reconcile. Thewhole or order against which the individual part showsitself powerless seems to be animated by a passion forperfection: we cannot otherwise explain its behaviourtowards evil. Yet it appears to engender this evil withinitself, and in its effort to overcome and expel it it isagonised with pain, and driven to mutilate its ownsubstance and to lose not only evil but priceless good. That


this idea, though very different from the idea of a blankfate, is no solution of the riddle of life is obvious; but whyshould we expect it to be such a solution? Shakespearewas not attempting to justify the ways of God to men, or toshow the universe as a Divine Comedy. He was writingtragedy, and tragedy would not be tragedy if it were not apainful mystery. Nor can he be said even to point distinctly,like some writers of tragedy, in any direction where asolution might lie. We find a few references to gods or God,to the influence of the stars, to another life: some of themcertainly, all of them perhaps, merely dramatic--appropriateto the person from whose lips they fall. A ghost comes fromPurgatory to impart a secret out of the reach of itshearer--who presently meditates on the question whetherthe sleep of death is dreamless. Accidents once or twiceremind us strangely of the words, 'There's a divinity thatshapes our ends.' More important are other impressions.Sometimes from the very furnace of affliction a convictionseems borne to us that somehow, if we could see it, thisagony counts as nothing against the heroism and lovewhich appear in it and thrill our hearts. Sometimes we aredriven to cry out that these mighty or heavenly spirits whoperish 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 apresentiment, formless but haunting and even profound,that all the fury of conflict, with its waste and woe, is less


than half the truth, even an illusion, 'such stuff as dreamsare made on.' But these faint and scattered intimations thatthe tragic world, being but a fragment of a whole beyondour vision, must needs be a contradiction and no ultimatetruth, avail nothing to interpret the mystery. We remainconfronted with the inexplicable fact, or the no lessinexplicable appearance, of a world travailing forperfection, but bringing to birth, together with gloriousgood, an evil which it is able to overcome only byself-torture and self-waste. And this fact or appearance istragedy.[15]

FOOTNOTES:

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

[Footnote 2: Timon of Athens, we have seen, was probablynot designed by Shakespeare, but even Timon is noexception to the rule. The sub-plot is concerned withAlcibiades and his army, and Timon himself is treated bythe Senate as a man of great importance. Arden ofFeversham and A Yorkshire Tragedy would certainly beexceptions to the rule; but I assume that neither of them isShakespeare'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.]

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

[Footnote 4: Comedy stands in a different position. Thetricks played by chance often form a principal part of thecomic action.]

[Footnote 5: It may be observed that the influence of thethree elements just considered is to strengthen thetendency, produced by the sufferings considered first, toregard the tragic persons as passive rather than asagents.]

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

[Footnote 7: The reader, however, will find considerabledifficulty in placing some very important characters in theseand other plays. I will give only two or three illustrations.Edgar is clearly not on the same side as Edmund, and yetit seems awkward to range him on Gloster's side when


Gloster wishes to put him to death. Ophelia is in love withHamlet, but how can she be said to be of Hamlet's partyagainst the King and Polonius, or of their party againstHamlet? Desdemona worships Othello, yet it sounds oddto say that Othello is on the same side with a person whomhe insults, strikes and murders.]

[Footnote 8: I have given names to the 'spiritual forces' inMacbeth merely to illustrate the idea, and without anypretension to adequacy. Perhaps, in view of someinterpretations of Shakespeare's plays, it will be as well toadd that I do not dream of suggesting that in any of hisdramas Shakespeare imagined two abstract principles orpassions conflicting, and incorporated them in persons; orthat there is any necessity for a reader to define for himselfthe particular forces which conflict in a given case.]

[Footnote 9: Aristotle apparently would exclude them.]

[Footnote 10: Richard II. is perhaps an exception, and Imust confess that to me he is scarcely a tragic character,and that, if he is nevertheless a tragic figure, he is so onlybecause his fall from prosperity to adversity is so great.]

[Footnote 11: I say substantially; but the concludingremarks on Hamlet will modify a little the statementsabove.]


[Footnote 12: I have raised no objection to the use of theidea of fate, because it occurs so often both inconversation and in books about Shakespeare's tragediesthat I must suppose it to be natural to many readers. Yet Idoubt whether it would be so if Greek tragedy had neverbeen written; and I must in candour confess that to me itdoes not often occur while I am reading, or when I havejust read, a tragedy of Shakespeare. Wordsworth's lines,for example, about

poor humanity's afflicted will Struggling in vain with ruthlessdestiny

do not represent the impression I receive; much less doimages which compare man to a puny creature helpless inthe claws of a bird of prey. The reader should examinehimself closely on this matter.]

[Footnote 13: It is dangerous, I think, in reference to allreally good tragedies, but I am dealing here only withShakespeare's. In not a few Greek tragedies it is almostinevitable that we should think of justice and retribution, notonly because the dramatis personae often speak of them,but also because there is something casuistical about thetragic problem itself. The poet treats the story in such away that the question, Is the hero doing right or wrong? isalmost forced upon us. But this is not so with Shakespeare.


Julius Caesar is probably the only one of his tragedies inwhich the question suggests itself to us, and this is one ofthe reasons why that play has something of a classic air.Even here, if we ask the question, we have no doubt at allabout the answer.]

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

[Footnote 15: Partly in order not to anticipate laterpassages, I abstained from treating fully here the questionwhy we feel, at the death of the tragic hero, not only painbut also reconciliation and sometimes even exultation. As Icannot at present make good this defect, I would ask thereader to refer to the word Reconciliation in the Index. Seealso, in Oxford Lectures on Poetry, _Hegel's Theory ofTragedy_, especially pp. 90, 91.]

LECTURE II

CONSTRUCTION IN SHAKESPEARE'S TRAGEDIES


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

1

As a Shakespearean tragedy represents a conflict whichterminates in a catastrophe, any such tragedy may roughlybe divided into three parts. The first of these sets forth orexpounds the situation,[17] or state of affairs, out of whichthe conflict arises; and it may, therefore, be called theExposition. The second deals with the definite beginning,the growth and the vicissitudes of the conflict. It formsaccordingly the bulk of the play, comprising the Second,Third and Fourth Acts, and usually a part of the First and apart of the Fifth. The final section of the tragedy shows theissue of the conflict in a catastrophe.[18]

The application of this scheme of division is naturally moreor less arbitrary. The first part glides into the second, andthe second into the third, and there may often be difficulty


in drawing the lines between them. But it is still harder todivide spring from summer, and summer from autumn; andyet spring is spring, and summer summer.

The main business of the Exposition, which we willconsider first, is to introduce us into a little world ofpersons; to show us their positions in life, theircircumstances, their relations to one another, and perhapssomething of their characters; and to leave us keenlyinterested in the question what will come out of thiscondition of things. We are left thus expectant, not merelybecause some of the persons interest us at once, but alsobecause their situation in regard to one another points todifficulties in the future. This situation is not one ofconflict,[19] but it threatens conflict. For example, we seefirst the hatred of the Montagues and Capulets; and thenwe see Romeo ready to fall violently in love; and then wehear talk of a marriage between Juliet and Paris; but theexposition is not complete, and the conflict has notdefinitely begun to arise, till, in the last scene of the FirstAct, Romeo the Montague sees Juliet the Capulet andbecomes her slave.

The dramatist's chief difficulty in the exposition is obvious,and it is illustrated clearly enough in the plays ofunpractised writers; for example, in Remorse, and even inThe Cenci. He has to impart to the audience a quantity of


information about matters of which they generally knownothing and never know all that is necessary for hispurpose.[20] But the process of merely acquiringinformation is unpleasant, and the direct imparting of it isundramatic. Unless he uses a prologue, therefore, he mustconceal from his auditors the fact that they are beinginformed, and must tell them what he wants them to knowby means which are interesting on their own account.These means, with Shakespeare, are not only speechesbut actions and events. From the very beginning of theplay, though the conflict has not arisen, things arehappening and being done which in some degree arrest,startle, and excite; and in a few scenes we have masteredthe situation of affairs without perceiving the dramatist'sdesigns upon us. Not that this is always so withShakespeare. In the opening scene of his early Comedy ofErrors, and in the opening speech of _Richard III._, we feelthat the speakers are addressing us; and in the secondscene of the Tempest (for Shakespeare grew at last rathernegligent of technique) the purpose of Prospero's longexplanation to Miranda is palpable. But in generalShakespeare's expositions are masterpieces.[21]

His usual plan in tragedy is to begin with a short scene, orpart of a scene, either full of life and stir, or in some otherway arresting. Then, having secured a hearing, heproceeds to conversations at a lower pitch, accompanied


by little action but conveying much information. Forexample, Romeo and Juliet opens with a street-fight, JuliusCaesar and Coriolanus with a crowd in commotion; andwhen this excitement has had its effect on the audience,there follow quiet speeches, in which the cause of theexcitement, and so a great part of the situation, aredisclosed. In Hamlet and Macbeth this scheme isemployed with great boldness. In Hamlet the firstappearance of the Ghost occurs at the fortieth line, andwith such effect that Shakespeare can afford to introduceat once a conversation which explains part of the state ofaffairs at Elsinore; and the second appearance, havingagain increased the tension, is followed by a long scene,which contains no action but introduces almost all thedramatis personae and adds the information left wanting.The opening of Macbeth is even more remarkable, forthere is probably no parallel to its first scene, where thesenses and imagination are assaulted by a storm ofthunder and supernatural alarm. This scene is only elevenlines long, but its influence is so great that the next cansafely be occupied with a mere report of Macbeth'sbattles,--a narrative which would have won much lessattention if it had opened the play.

When Shakespeare begins his exposition thus he generallyat first makes people talk about the hero, but keeps thehero himself for some time out of sight, so that we await his


entrance with curiosity, and sometimes with anxiety. Onthe other hand, if the play opens with a quiet conversation,this is usually brief, and then at once the hero enters andtakes action of some decided kind. Nothing, for example,can be less like the beginning of Macbeth than that of KingLear. The tone is pitched so low that the conversationbetween Kent, Gloster, and Edmund is written in prose. Butat the thirty-fourth line it is broken off by the entrance ofLear and his court, and without delay the King proceeds tohis fatal division of the kingdom.

This tragedy illustrates another practice of Shakespeare's.King Lear has a secondary plot, that which concernsGloster and his two sons. To make the beginning of thisplot quite clear, and to mark it off from the main action,Shakespeare gives it a separate exposition. The greatscene of the division of Britain and the rejection of Cordeliaand Kent is followed by the second scene, in which Glosterand his two sons appear alone, and the beginning ofEdmund's design is disclosed. In Hamlet, though the plot issingle, there is a little group of characters possessing acertain independent interest,--Polonius, his son, and hisdaughter; and so the third scene is devoted wholly to them.And again, in Othello, since Roderigo is to occupy apeculiar position almost throughout the action, he isintroduced at once, alone with Iago, and his position isexplained before the other characters are allowed to


appear.

But why should Iago open the play? Or, if this seems toopresumptuous a question, let us put it in the form, What isthe effect of his opening the play? It is that we receive atthe very outset a strong impression of the force which is toprove fatal to the hero's happiness, so that, when we seethe hero himself, the shadow of fate already rests uponhim. And an effect of this kind is to be noticed in othertragedies. We are made conscious at once of some powerwhich is to influence the whole action to the hero'sundoing. In Macbeth we see and hear the Witches, inHamlet the Ghost. In the first scene of Julius Caesar and ofCoriolanus those qualities of the crowd are vividly shownwhich render hopeless the enterprise of the one hero andwreck the ambition of the other. It is the same with thehatred between the rival houses in Romeo and Juliet, andwith Antony's infatuated passion. We realise them at theend of the first page, and are almost ready to regard thehero as doomed. Often, again, at one or more pointsduring the exposition this feeling is reinforced by someexpression that has an ominous effect. The first words wehear from Macbeth, 'So foul and fair a day I have not seen,'echo, though he knows it not, the last words we heard fromthe Witches, 'Fair is foul, and foul is fair.' Romeo, on hisway with his friends to the banquet, where he is to seeJuliet for the first time, tells Mercutio that he has had a


dream. What the dream was we never learn, for Mercutiodoes not care to know, and breaks into his speech aboutQueen Mab; but we can guess its nature from Romeo's lastspeech in the scene:

My mind misgives Some consequence yet hanging in thestars Shall bitterly begin his fearful date With this night'srevels.

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

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

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

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

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


The time is out of joint. Oh cursed spite, That ever I wasborn 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 orbeyond it. I should take the former view, though suchquestions, as we saw at starting, can hardly be decidedwith certainty. The dimensions of this first section of atragedy depend on a variety of causes, of which the chiefseems to be the comparative simplicity or complexity of thesituation from which the conflict arises. Where this issimple the exposition is short, as in Julius Caesar andMacbeth. Where it is complicated the exposition requiresmore space, as in Romeo and Juliet, Hamlet, and KingLear. Its completion is generally marked in the mind of thereader by a feeling that the action it contains is for themoment complete but has left a problem. The lovers havemet, but their families are at deadly enmity; the hero seemsat the height of success, but has admitted the thought ofmurdering his sovereign; the old king has divided hiskingdom between two hypocritical daughters, and hasrejected his true child; the hero has acknowledged asacred duty of revenge, but is weary of life: and we ask,What will come of this? Sometimes, I may add, a certaintime is supposed to elapse before the events which answerour question make their appearance and the conflictbegins; in King Lear, for instance, about a fortnight; in


Hamlet about two months.

2

We come now to the conflict itself. And here one or twopreliminary remarks are necessary. In the first place, itmust be remembered that our point of view in examiningthe construction of a play will not always coincide with thatwhich we occupy in thinking of its whole dramatic effect.For example, that struggle in the hero's soul whichsometimes accompanies the outward struggle is of thehighest importance for the total effect of a tragedy; but it isnot always necessary or desirable to consider it when thequestion is merely one of construction. And this is natural.The play is meant primarily for the theatre; and theatricallythe

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