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14 any more than Ophelia’s; it is, like Ophelia’s, the result of a conflict; and in both cases the effect is mainly pathetic. If Lear were really mad when he divided his kingdom, if Hamlet were really mad at any time in the story, they would cease to be tragic characters.

(b) Shakespeare also introduces the supernatural into some of his tragedies; he introduces ghosts, and witches who have supernatural knowledge. This supernatural element certainly cannot in most cases, if in any, be explained away as an illusion in the mind of one of the characters. And further, it does contribute to the action, and is in more than one instance an indispensable part of it: so that to describe human character, with circumstances, as always the sole motive force in this action would be a serious error. But the supernatural is always placed in the closest relation with character. It gives a confirmation and a distinct form to inward movements already present and exerting an influence; to the sense of failure in Brutus, to the stifled workings of conscience in Richard, to the half-formed thought or the horrified memory of guilt in Macbeth, to suspicion in Hamlet. Moreover, its influence is never of a compulsive kind. It forms no more than an element, however important, in the problem which the hero has to face; and we are never allowed to feel that it has removed his capacity or responsibility for dealing with this problem. So far indeed are we from feeling this, that many readers run to the opposite extreme, and openly or privately regard the supernatural as having nothing to do with the real interest of the play.

(c) Shakespeare, lastly, in most of his tragedies allows to ‘chance’ or ‘accident’ an appreciable influence at some point in the action. Chance or accident here will be found, I think, to mean any occurrence (not supernatural, of course) which