impression of the force which is to prove fatal to the hero’s happiness, so that, when we see the hero himself, the shadow of fate already rests upon him. And an effect of this kind is to be noticed in other tragedies. We are made conscious at once of some power which is to influence the whole action to the hero’s undoing. In Macbeth we see and hear the Witches, in Hamlet the Ghost. In the first scene of Julius Caesar and of Coriolanus those qualities of the crowd are vividly shown which render hopeless the enterprise of the one hero and wreck the ambition of the other. It is the same with the hatred between the rival houses in Romeo and Juliet, and with Antony’s infatuated passion. We realise them at the end of the first page, and are almost ready to regard the hero as doomed. Often, again, at one or more points during the exposition this feeling is reinforced by some expression that has an ominous effect. The first words we hear from Macbeth, ‘So foul and fair a day I have not seen,’ echo, though he knows it not, the last words we heard from the Witches, ‘Fair is foul, and foul is fair.’ Romeo, on his way with his friends to the banquet, where he is to see Juliet for the first time, tells Mercutio that he has had a dream. What the dream was we never learn, for Mercutio does not care to know, and breaks into his speech about Queen Mab; but we can guess its nature from Romeo’s last speech in the scene:
Some consequence yet hanging in the stars
Shall bitterly begin his fearful date
With this night’s revels.
When Brabantio, forced to acquiesce in his daughter’s stolen marriage, turns, as he leaves the council-chamber, to Othello, with the warning,
She has deceived her father, and may thee,
