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52 the catastrophe as the second and third worked towards the crisis.

In developing, illustrating and qualifying this statement, it will be best to begin with the tragedies in which the movement is most clear and simple. These are Julius Caesar and Macbeth, In the former the fortunes of the conspiracy rise with vicissitudes up to the crisis of the assassination ( i.); they then sink with vicissitudes to the catastrophe, where Brutus and Cassius perish. In the latter, Macbeth, hurrying, in spite of much inward resistance, to the murder of Duncan, attains the crown, the upward movement being extraordinarily rapid, and the crisis arriving early: his cause then turns slowly downward, and soon hastens to ruin. In both these tragedies the simplicity of the constructional effect, it should be noticed, depends in part on the fact that the contending forces may quite naturally be identified with certain persons, and partly again on the fact that the defeat of one side is the victory of the other. Octavius and Antony, Malcolm and Macduff, are left standing over the bodies of their foes.

This is not so in Romeo and Juliet and Hamlet because here, although the hero perishes, the side opposed to him, being the more faulty or evil, cannot be allowed to triumph when he falls. Otherwise the type of construction is the same. The fortunes of Romeo and Juliet rise and culminate in their marriage ( vi.), and then begin to decline before the opposition of their houses, which, aided by accidents, produces a catastrophe, but is thereupon converted into a remorseful reconciliation. Hamlet’s cause reaches its zenith in the success of the play-scene ( ii.). Thereafter the reaction makes way, and he perishes through the plot of the King and Laertes. But they are not allowed to survive their success.