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
scene is, in addition, of the greatest consequence from the purely
theatrical point of view.

(_c_) It has yet another function. It shows, in Macbeth's furious
irritability and purposeless savagery, the internal reaction which
accompanies the outward decline of his fortunes. And in other plays also
the exhibition of such inner changes forms a means by which interest is
sustained in this difficult section of a tragedy. There is no point in
_Hamlet_ where we feel more hopeless than that where the hero, having
missed his chance, moralises over his irresolution and determines to
cherish now only thoughts of blood, and then departs without an effort
for England. One purpose, again, of the quarrel-scene between Brutus and
Cassius (IV. iii), as also of the appearance of Caesar's ghost just
afterwards, is to indicate the inward changes. Otherwise the
introduction of this famous and wonderful scene can hardly be defended
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