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Nor does the idea of a moral order asserting itself against attack or want of conformity answer in full to our feelings regarding the tragic character.
Andrew Coyle Bradley
2 Likes
2 Comments
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Most people, even among those who know Shakespeare well and come into real contact with his mind, are inclined to isolate and exaggerate some one aspect of the tragic fact.
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King Lear alone among these plays has a distinct double action. Besides this, it is impossible, I think, from the point of view of construction, to regard the hero as the leading figure.
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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.
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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.
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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.
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But, in addition, there is, all through the tragedy, a constant alternation of rises and falls in this tension or in the emotional pitch of the work, a regular sequence of more exciting and less exciting sections.
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