Ideas of Good and Evil.
is why, I said to myself, French dramatic poetry is so often a little rhetorical, for rhetoric is the will trying to do the work of the imagination. The Shakespearean Drama gets the emotion of multitude out of the sub-plot which copies the main plot, much as a shadow upon the wall copies one's body in the firelight. We think of King Lear less as the history of one man and his sorrows than as the history of a whole evil time. Lear's shadow is in Gloster, who also has ungrateful children, and the mind goes on imagining other shadows, shadow beyond shadow till it has pictured the world. In Hamlet, one hardly notices, so subtly is the web woven, that the murder of Hamlet's father and the sorrow of Hamlet are shadowed in the lives of Fortinbras and Ophelia and Laertes, whose fathers, too, have been killed. It is so in all the plays, or in all but all, and very commonly the sub-plot is the main plot working itself out in more ordinary men and women, and so
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