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Rh tragedy is never, like some miscalled tragedies, depressing. No one ever closes the book with the feeling that man is a poor mean creature. He may be wretched and he may be awful, but he is not small. His lot may be heart-rending and mysterious, but it is not contemptible. The most confirmed of cynics ceases to be a cynic while he reads these plays. And with this greatness of the tragic hero (which is not always confined to him) is connected, secondly, what I venture to describe as the centre of the tragic impression. This central feeling is the impression of waste. With Shakespeare, at any rate, the pity and fear which are stirred by the tragic story seem to unite with, and even to merge in, a profound sense of sadness and mystery, which is due to this impression of waste. ‘What a piece of work is man,’ we cry; ‘so much more beautiful and so much more terrible than we knew! Why should he be so if this beauty and greatness only tortures itself and throws itself away?’ We seem to have before us a type of the mystery of the whole world, the tragic fact which extends far beyond the limits of tragedy. Everywhere, from the crushed rocks beneath our feet to the soul of man, we see power, intelligence, life and glory, which astound us and seem to call for our worship. And everywhere we see them perishing, devouring one another and destroying themselves, often with dreadful pain, as though they came into being for no other end. Tragedy is the typical form of this mystery, because that greatness of soul which it exhibits oppressed, conflicting and destroyed, is the highest existence in our view. It forces the mystery upon us, and it makes us realise so vividly the worth of that which is wasted that we cannot possibly seek comfort in the reflection that all is vanity.