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64 blind us to our better knowledge, and give to the catastrophe an added pain. Those in the audience who are ignorant of Macbeth and who take more simply than most readers now can do the mysterious prophecies concerning Birnam Wood and the man not born of woman, feel, I imagine, just before the catastrophe, a false fear that the hero may yet escape.

(h) I will mention only one point more. In some cases Shakespeare spreads the catastrophe out, so to speak, over a considerable space, and thus shortens that difficult section which has to show the development of the counter-action. This is possible only where there is, besides the hero, some character who engages our interest in the highest degree, and with whose fate his own is bound up. Thus the murder of Desdemona is separated by some distance from the death of Othello. The most impressive scene in Macbeth, after that of Duncan’s murder, is the sleep-walking scene; and it may truly, if not literally, be said to show the catastrophe of Lady Macbeth. Yet it is the opening scene of the Fifth Act, and a number of scenes in which Macbeth’s fate is still approaching intervene before the close. Finally, in Antony and Cleopatra the heroine equals the hero in importance, and here the death of Antony actually occurs in the Fourth Act, and the whole of the Fifth is devoted to Cleopatra.

Let us now turn to Othello and consider briefly its exceptional scheme of construction. The advantage of this scheme is obvious. In the second half of the tragedy there is no danger of ‘dragging,’ of any awkward pause, any undue lowering of pitch, any need of scenes which, however fine, are more or less episodic. The tension is extreme, and it is relaxed only for brief intervals to permit of some slight relief. From the moment when Iago begins