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

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.

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.

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.

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.

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.

A Shakespearean tragedy as so far considered may be called a story of exceptional calamity leading to the death of a man in high estate. But it is clearly much more than this, and we have now to regard it from another side.