Most people, even among those who know Shakespeare well and come into real contact with his mind, are inclined to isolate and exaggerate some one aspect of the tragic fact.

Shakespeare also introduces the supernatural into some of his tragedies; he introduces ghosts, and witches who have supernatural knowledge.

In speaking, for convenience, of devices and expedients, I did not intend to imply that Shakespeare always deliberately aimed at the effects which he produced.

We cannot arrive at Shakespeare's whole dramatic way of looking at the world from his tragedies alone, as we can arrive at Milton's way of regarding things, or at Wordsworth's or at Shelley's, by examining almost any one of their important works.

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.

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.

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.