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Rh to end tragically, but actually end otherwise, owe their happy ending largely to the fact that the principal characters fail to reach tragic dimensions. And, conversely, if these persons were put in the place of the tragic heroes, the dramas in which they appeared would cease to be tragedies. Posthumus would never have acted as Othello did; Othello, on his side, would have met Iachimo’s challenge with something more than words. If, like Posthumus, he had remained convinced of his wife’s infidelity, he would not have repented her execution; if, like Leontes, he had come to believe that by an unjust accusation he had caused her death, he would never have lived on, like Leontes. In the same way the villain Iachimo has no touch of tragic greatness. But Iago comes nearer to it, and if Iago had slandered Imogen and had supposed his slanders to have led to her death, he certainly would not have turned melancholy and wished to die. One reason why the end of the Merchant of Venice fails to satisfy us is that Shylock is a tragic character, and that we cannot believe in his accepting his defeat and the conditions imposed on him. This was a case where Shakespeare’s imagination ran away with him, so that he drew a figure with which the destined pleasant ending would not harmonise.

In the circumstances where we see the hero placed, his tragic trait, which is also his greatness, is fatal to him. To meet these circumstances something is required which a smaller man might have given, but which the hero cannot give. He errs, by action or omission; and his error, joining with other causes, brings on him ruin. This is always so with Shakespeare. As we have seen, the idea of the tragic hero as a being destroyed simply and solely by external forces is quite alien to him; and not less so is the idea of the hero as contributing to his destruction only by acts in which we see no