Shakespeare's idea of the tragic fact is larger than this idea and goes beyond it; but it includes it, and it is worth while to observe the identity of the two in a certain point which is often ignored.

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.

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.

Shakespeare very rarely makes the least attempt to surprise by his catastrophes. They are felt to be inevitable, though the precise way in which they will be brought about is not, of course, foreseen.

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.

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.

In approaching our subject it will be best, without attempting to shorten the path by referring to famous theories of the drama, to start directly from the facts, and to collect from them gradually an idea of Shakespearean Tragedy.