of the crisis, perhaps more so. Most people, if asked to mention the
scene that occupies the _centre_ of the action in _Julius Caesar_ and in
_Coriolanus_, would mention the scenes of Antony's speech and
Coriolanus' banishment. Thus that apparently necessary pause in the
action does not, in any of these dramas, come directly after the crisis.
It is deferred; and in several cases it is by various devices deferred
for some little time; _e.g._ in _Romeo and Juliet_ till the hero has
left Verona, and Juliet is told that her marriage with Paris is to take
place 'next Thursday morn' (end of Act III.); in _Macbeth_ till the
murder of Duncan has been followed by that of Banquo, and this by the
banquet-scene. Hence the point where this pause occurs is very rarely
reached before the end of the Third Act.

(_b_) Either at this point, or in the scene of the counter-stroke which
precedes it, we sometimes find a peculiar effect. We are reminded of the
state of affairs in which the conflict began. The opening of _Julius
Caesar_ warned us that, among a people so unstable and so easily led
this way or that, the enterprise of Brutus is hopeless; the days of the
Republic are done. In the scene of Antony's speech we see this same
people again. At the beginning of _Antony and Cleopatra_ the hero is
about to leave Cleopatra for Rome. Where the play takes, as it were, a
fresh start after the crisis, he leaves Octavia for Egypt. In _Hamlet_,
when the counter-stroke succeeds to the crisis, the Ghost, who had
appeared in the opening scenes, reappears. Macbeth's action in the first
part of the tragedy followed on the prediction of the Witches who
promised him the throne. When the action moves forward again after the
banquet-scene the Witches appear once more, and make those fresh
promises which again drive him forward. This repetition of a first
effect produces a fateful feeling. It generally also stimulates
expectation as to the new movement about to begin. In _Macbeth_ the