their ends none of our own;
'their ends' are the issues or outcomes of our thoughts, and these, says the speaker, are not our own. The tragic world is a world of action, and action is the translation of thought into reality. We see men and women confidently attempting it. They strike into the existing order of things in pursuance of their ideas. But what they achieve is not what they intended; it is terribly unlike it. They understand nothing, we say to ourselves, of the world on which they operate. They fight blindly in the dark, and the power that works through them makes them the instrument of a design which is not theirs. They act freely, and yet their action binds them hand and foot. And it makes no difference whether they meant well or ill. No one could mean better than Brutus, but he contrives misery for his country and death for himself. No one could mean worse than Iago, and he too is caught in the web he spins for others. Hamlet, recoiling from the rough duty of revenge, is pushed into blood-guiltiness he never dreamed of, and forced at last on the revenge he could not will. His adversary's murders, and no less his adversary's remorse, bring about the opposite of what they sought. Lear follows an old man's whim, half generous, half selfish; and in a moment it looses all the powers of darkness upon him. Othello agonises over an empty fiction, and, meaning to execute solemn justice, butchers innocence and strangles love. They understand themselves no better than the world about them. Coriolanus thinks that his heart is iron, and it melts like snow before a fire. Lady Macbeth, who thought she could dash out her own child's brains, finds herself hounded to death by the smell of a stranger's blood. Her husband thinks that to gain a crown he would jump the life to come, and finds that the crown has brought him all the horrors of that life. Everywhere, in this tragic world, man's thought, translated into act, is transformed into the opposite of itself. His act, the movement of a few ounces of matter in a moment of time, becomes a monstrous flood which spreads over a kingdom. And whatsoever he dreams of doing, he achieves that which he least dreamed of, his own destruction. All this makes us feel the blindness and helplessness of man. Yet by itself it would hardly suggest the idea of fate, because it shows man as in some degree, however slight, the cause of his own undoing. But other impressions come to aid it. It is aided by everything which makes us feel that a man is, as we say, terribly unlucky; and of this there is, even in Shakespeare, not a little. Here come in some of the accidents already considered, Juliet's waking from her trance a minute too late, Desdemona's loss of her handkerchief at the only moment when the loss would have mattered, that insignificant delay which cost Cordelia's life. Again, men act, no doubt, in accordance with their characters; but what is it that brings them just the one problem which is fatal to them and would be easy to another, and sometimes brings it to them just when they are least fitted to face it? How is it that Othello comes to be the companion of the one man in the world who is at once able enough, brave enough, and vile enough to ensnare him? By what strange fatality does it happen that Lear has such daughters and Cordelia such sisters? Even character itself contributes to these feelings of fatality. How could men escape, we cry, such vehement propensities as drive Romeo, Antony, Coriolanus, to their doom? And why is it that a man's virtues help to destroy him, and that his weakness or defect is so intertwined with everything that is admirable in him that we can hardly separate them even in imagination? If we find in Shakespeare's tragedies the source of impressions like these, it is important, on the other hand, to notice what we do not find there. We find practically no trace of fatalism in its more primitive, crude and obvious forms. Nothing, again, makes us think of the actions and sufferings of the persons as somehow arbitrarily fixed beforehand without regard to their feelings, thoughts and resolutions. Nor, I believe, are the facts ever so presented that it seems to us as if the supreme power, whatever it may be, had a special spite against a family or an individual. Neither, lastly, do we receive the impression (which, it must be observed, is not purely fatalistic) that a family, owing to some hideous crime or impiety in early days, is doomed in later days to continue a career of portentous calamities and sins. Shakespeare, indeed, does not appear to have taken much interest in heredity, or to have attached much importance to it. (See, however, 'heredity' in the Index.) What, then, is this 'fate' which the impressions already considered lead us to describe as the ultimate power in the tragic world? It appears to be a mythological expression for the whole system or order, of which the individual characters form an inconsiderable and feeble part; which seems to determine, far more than they, their native dispositions and their circumstances, and, through these, their action; which is so vast and complex that they can scarcely at all understand it or control its workings; and which has a nature so definite and fixed that whatever changes take place in it produce other changes inevitably and without regard to men's desires and regrets. And whether this system or order is best called by the name of fate or no,[12] it can hardly be denied that it does appear as the ultimate power in the tragic world, and that it has such characteristics as these. But the name 'fate' may be intended to imply something more – to imply that this order is a blank necessity, totally regardless alike of human weal and of the difference between good and evil or right and wrong. And such an implication many readers would at once reject. They would maintain, on the contrary, that this order shows characteristics of quite another kind from those which made us give it the name of fate, characteristics which certainly should not induce us to forget those others, but which would lead us to describe it as a moral order and its necessity as a moral necessity.
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Let us turn, then, to this idea. It brings into the light those aspects of the tragic fact which the idea of fate throws into the shade. And the argument which leads to it in its simplest form may be stated briefly thus: 'Whatever may be said of accidents, circumstances and the like, human action is, after all, presented to us as the central fact in tragedy, and also as the main cause of the catastrophe. That necessity which so much impresses us is, after all, chiefly the necessary connection of actions and consequences. For these actions we, without even raising a question on the subject, hold the agents responsible; and the tragedy would disappear for us if we did not. The critical action is, in greater or less degree, wrong or bad. The catastrophe is, in the main, the return of this action on the head of the agent. It is an example of justice; and that order which, present alike within the agents and outside them, infallibly brings it about, is therefore just. The rigour of its justice is terrible, no doubt, for a tragedy is a terrible story; but, in spite of fear and pity, we acquiesce, because our sense of justice is satisfied. 'Now, if this view is to hold good, the 'justice' of which it speaks must be at once distinguished from what is called 'poetic justice.' 'Poetic justice' means that prosperity and adversity are distributed in proportion to the merits of the agents. Such 'poetic justice' is in flagrant contradiction with the facts of life, and it is absent from Shakespeare's tragic picture of life; indeed, this very absence is a ground of constant complaint on the part of Dr. Johnson. Δράσαντι παθειν, 'the doer must suffer'– this we find in Shakespeare. We also find that villainy never remains victorious and prosperous at the last. But an assignment of amounts of happiness and misery, an assignment even of life and death, in proportion to merit, we do not find. No one who thinks of Desdemona and Cordelia; or who remembers that one end awaits Richard III. and Brutus, Macbeth and Hamlet; or who asks himself which suffered most, Othello or Iago; will ever accuse Shakespeare of representing the ultimate power as 'poetically' just. And we must go further. I venture to say that it is a mistake to use at all these terms of justice and merit or desert. And this for two reasons. In the first place, essential as it is to recognise the connection between act and consequence, and natural as it may seem in some cases (e.g. Macbeth's) to say that the doer only gets what he deserves, yet in very many cases to say this would be quite unnatural. We might not object to the statement that Lear deserved to suffer for his folly, selfishness and tyranny; but to assert that he deserved to suffer what he did suffer is to do violence not merely to language but to any healthy moral sense. It is, moreover, to obscure the tragic fact that the consequences of action cannot be limited to that which would appear to us to follow 'justly' from them. And, this being so, when we call the order of the tragic world just, we are either using the word in some vague and unexplained sense, or we are going beyond what is shown us of this order, and are appealing to faith.But, in the second place, the ideas of justice and desert are, it seems to me, in all cases – even those of Richard III. and of Macbeth and Lady Macbeth – untrue to our imaginative experience. When we are immersed in a tragedy, we feel towards dispositions, actions, and persons such emotions as attraction
