or two examples. In some tragedies, as we saw in our first lecture, the opposing forces can, for practical purposes, be identified with opposing persons or groups. So it is in Romeo and Juliet and Macbeth. But it is not always so. The love of Othello may be said to contend with another force, as the love of Romeo does; but Othello cannot be said to contend with Iago as Romeo contends with the representatives of the hatred of the houses, or as Macbeth contends with Malcolm and Macduff. Again, in Macbeth the hero, however much influenced by others, supplies the main driving power of the action; but in King Lear he does not. Possibly, therefore, the conflict, and with it the construction, may best be regarded from different points of view in these two plays, in spite of the fact that the hero is the central figure in each. But if we do not observe this we shall attempt to find the same scheme in both, and shall either be driven to some unnatural view or to a sceptical despair of perceiving any principle of construction at all.
With these warnings, I turn to the question whether we can trace any distinct method or methods by which Shakespeare represents the rise and development of the conflict.
(1) One at least is obvious, and indeed it is followed not merely during the conflict but from beginning to end of the play. There are, of course, in the action certain places where the tension in the minds of the audience becomes extreme. We shall consider these presently. 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. Some kind of variation of pitch is to be found, of course, in all drama, for it rests on the elementary facts that relief must be given after emotional strain, and that contrast is
