If we are to include the outer and the inner struggle in a conception more definite than that of conflict in general, we must employ some such phrase as 'spiritual force.' This will mean whatever forces act in the human spirit, whether good or evil, whether personal passion or impersonal principle; doubts, desires, scruples, ideas-whatever can animate, shake, possess, and drive a man's soul. [19]In a Shakespearean tragedy some such forces are shown in conflict.
A. C. BradleyA total reverse of fortune, coming unawares upon a man who 'stood in high degree,' happy and apparently secure,-such was the tragic fact to the mediaeval mind. It appealed strongly to common human sympathy and pity; it startled also another feeling, that of fear. It frightened men and awed them. It made them feel that man is blind and helpless, the plaything of an inscrutable power, called by the name of Fortune or some other name,-a power which appears to smile on him for a little, and then on a sudden strikes him down in his pride.
A. C. BradleyThe centre of the tragedy, therefore, may be said with equal truth to lie in action issuing from character, or in character issuing in action.
A. C. BradleyThe suffering and calamity are, moreover, exceptional. They befall a conspicuous person. They are themselves of some striking kind. They are also, as a rule, unexpected, and contrasted with previous happiness or glory. A tale, for example, 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 tragic in the Shakespearean sense.
A. C. Bradley