on strictly dramatic grounds.  No one would consent to part with it, and it is invaluable in sustaining interest during the progress of the reaction, but it is an episode, the removal of which would not affect the actual sequence of events (unless we may hold that, but for the emotion caused by the quarrel and reconciliation, Cassius would not have allowed Brutus to overcome his objection to the fatal policy of offering battle at Philippi).

(d) The quarrel-scene illustrates yet another favourite expedient.  In this section of a tragedy Shakespeare often appeals to an emotion different from any of those excited in the first half of the play, and so provides novelty and generally also relief.  As a rule this new emotion is pathetic; and the pathos is not terrible or lacerating, but, even if painful, is accompanied by the sense of beauty and by an outflow of admiration or affection, which come with an inexpressible sweetness after the tension of the crisis and the first counter-stroke.  So it is with the reconciliation of Brutus and Cassius, and the arrival of the news of Portia’s death.  The most famous instance of this effect is the scene (IV. vii.) where Lear wakes from sleep and finds Cordelia bending over him, perhaps the most tear-compelling passage in literature.  Another is the short scene (IV. ii.) in which the talk of Lady Macduff and her little boy is interrupted by the entrance of the murderers, a passage of touching beauty and heroism.  Another is the introduction of Ophelia in her madness (twice in different parts of IV. v.), where the effect, though intensely pathetic, is beautiful and moving rather than harrowing; and this effect is repeated in a softer tone in the description of Ophelia’s death (end of Act IV.).  And in Othello the passage where pathos of this kind reaches its height is certainly that where Desdemona and Emilia converse, and the willow-song is sung, on the eve of the catastrophe (IV. iii.).

(e) Sometimes, again, in this section of a tragedy we find humorous or semi-humorous passages.  On the whole such passages occur most frequently in the early or middle part of the play, which naturally grows more sombre as it nears the close; but their occasional introduction in the Fourth Act, and even later, affords variety and relief, and also heightens by contrast the tragic feelings.  For example, there is a touch of comedy in the conversation of Lady Macduff with her little boy.  Purely and delightfully humorous are the talk and behaviour of the servants in that admirable scene where Coriolanus comes disguised in mean apparel to the house of Aufidius (IV. v.); of a more mingled kind is the effect of the discussion between Menenius and the sentinels in V. ii.; and in the very middle of the supreme scene between the hero, Volumnia and Virgilia, little Marcius makes us burst out laughing (V. iii.) A little before the catastrophe in Hamlet comes the grave-digger passage, a passage ever welcome, but of a length which