chance often form a principal part of the comic action.]

[Footnote 5: It may be observed that the influence of the three elements
just considered is to strengthen the tendency, produced by the
sufferings considered first, to regard the tragic persons as passive
rather than as agents.]

[Footnote 6: An account of Hegel's view may be found in _Oxford Lectures
on Poetry_.]

[Footnote 7: The reader, however, will find considerable difficulty in
placing some very important characters in these and other plays. I will
give only two or three illustrations. Edgar is clearly not on the same
side as Edmund, and yet it seems awkward to range him on Gloster's side
when Gloster wishes to put him to death. Ophelia is in love with Hamlet,
but how can she be said to be of Hamlet's party against the King and
Polonius, or of their party against Hamlet? Desdemona worships Othello,
yet it sounds odd to say that Othello is on the same side with a person
whom he insults, strikes and murders.]

[Footnote 8: 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.]

[Footnote 9: Aristotle apparently would exclude them.]