In a Shakespearean tragedy some such forces are shown in conflict. They are shown acting in men and generating strife between them. They are also shown, less universally, but quite as characteristically, generating disturbance and even conflict in the soul of the hero. Treasonous ambition in Macbeth collides with loyalty and patriotism in Macduff and Malcolm: here is the outward conflict. But these powers or principles equally collide in the soul of Macbeth himself: here is the inner. And neither by itself could make the tragedy.[1]
We shall see later the importance of this idea. Here we need only observe that the notion of tragedy as a conflict emphasises the fact that action is the centre of the story, while the concentration of interest, in the greater plays, on the inward struggle emphasises the fact that this action is essentially the expression of character.
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Let us turn now from the ‘action’ to the central figure in it; and, ignoring the characteristics which distinguish the heroes from one another, let us ask whether they have any common qualities which appear to be essential to the tragic effect.
One they certainly have. They are exceptional beings. We have seen already that the hero, with Shakespeare, is a person of high degree or of public importance, and that his actions or sufferings are of an unusual kind. But this is not all. His nature also is exceptional, and generally raises him
- ↑ I have given names to the ‘spiritual forces’ in Macbeth merely to illustrate the idea, and without any pretension to adequacy. Perhaps, in view of some interpretations of Shakespeare’s plays, it will be as well to add that I do not dream of suggesting that in any of his dramas Shakespeare imagined two abstract principles or passions conflicting, and incorporated them in persons; or that there is any necessity for a reader to define for himself the particular forces which conflict in a given case.
