Job was the greatest of all the children of the east, and his afflictions were well-nigh more than he could bear; but even if we imagined them wearing him to death, that would not make his story tragic.
In the first place, it must be remembered that our point of view in examining the construction of a play will not always coincide with that which we occupy in thinking of its whole dramatic effect.
When Shakespeare begins his exposition thus he generally at first makes people talk about the hero, but keeps the hero himself for some time out of sight, so that we await his entrance with curiosity, and sometimes with anxiety.
Shakespeare very rarely makes the least attempt to surprise by his catastrophes. They are felt to be inevitable, though the precise way in which they will be brought about is not, of course, foreseen.
In Shakespearean tragedy the main source of the convulsion which produces suffering and death is never good: good contributes to this convulsion only from its tragic implication with its opposite in one and the same character.
We might not object to the statement that Lear deserved to suffer for his folly, selfishness and tyranny; but to assert that he deserved to suffer what he did suffer is to do violence not merely to language but to any healthy moral sense.
Both Brutus and Hamlet are highly intellectual by nature and reflective by habit. Both may even be called, in a popular sense, philosophic; Brutus may be called so in a stricter sense.
We cannot arrive at Shakespeare's whole dramatic way of looking at the world from his tragedies alone, as we can arrive at Milton's way of regarding things, or at Wordsworth's or at Shelley's, by examining almost any one of their important works.
In approaching our subject it will be best, without attempting to shorten the path by referring to famous theories of the drama, to start directly from the facts, and to collect from them gradually an idea of Shakespearean Tragedy.
