question, Is the hero doing right or wrong? is almost forced upon us.
But this is not so with Shakespeare. _Julius Caesar_ is probably the
only one of his tragedies in which the question suggests itself to us,
and this is one of the reasons why that play has something of a classic
air. Even here, if we ask the question, we have no doubt at all about
the answer.]

[Footnote 14: It is most essential to remember that an evil man is much
more than the evil in him. I may add that in this paragraph I have, for
the sake of clearness, considered evil in its most pronounced form; but
what is said would apply, _mutatis mutandis_, to evil as imperfection,
etc.]

[Footnote 15: Partly in order not to anticipate later passages, I
abstained from treating fully here the question why we feel, at the
death of the tragic hero, not only pain but also reconciliation and
sometimes even exultation. As I cannot at present make good this defect,
I would ask the reader to refer to the word _Reconciliation_ in the
Index. See also, in _Oxford Lectures on Poetry_, _Hegel's Theory of
Tragedy_, especially pp. 90, 91.]




LECTURE II

CONSTRUCTION IN SHAKESPEARE'S TRAGEDIES


Having discussed the substance of a Shakespearean tragedy, we should