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RV 323 (Rh) element is present, though difficult to make out with certainty what it is or whence it proceeds. And I will try to make this out, and to state it methodically.

(a) It is not due in any perceptible degree to the fact, which we have just been examining, that Cordelia through her tragic imperfection contributes something to the conflict and catastrophe; and I drew attention to that imperfection without any view to our present problem. The critics who emphasise it at this point in the drama are surely untrue to Shakespeare’s mind; and still more completely astray are those who lay stress on the idea that Cordelia, in bringing a foreign army to help her father, was guilty of treason to her country. When she dies we regard her, practically speaking, simply as we regard Ophelia or Desdemona, as an innocent victim swept away in the convulsion caused by the error or guilt of others.

(b) Now this destruction of the good through the evil of others is one of the tragic facts of life, and no one can object to the use of it, within certain limits, in tragic art. And, further, those who because of it declaim against the nature of things, declaim without thinking. It is obviously the other side of the fact that the effects of good spread far and wide beyond the doer of good; and we should ask ourselves whether we really could wish (supposing it conceivable) to see this double-sided fact abolished. Nevertheless the touch of reconciliation that we feel in contemplating the death of Cordelia is not due, or is due only in some slight degree, to a perception that the event is true to life, admissible in tragedy, and a case of a law which we cannot seriously desire to see abrogated.

(c) What then is this feeling, and whence does—it come? I believe we shall find that it is a