Tragedy, in the classical sense of the genre, requires death as a definitive ending. Despite the heroic status of the protagonist, or perhaps because of it, his death offers hope for his or her people, through the memory of his heroic actions and perceived sacrifice for the community. The expression of grief over the protagonist’s death in the concluding stages of the tragedy is, therefore, a reflection of his sacrifice and what it has revealed about God’s plan for those who remain behind, rather than a reflection of his unfortunate state. The sufferings of the hero were linked to an explicitly Christian morality; in Julius Caesar, for example, Shakespeare manipulates the tale of a famous pagan who came to a bad end into a was a famous pagan who came to a bad end into a tale of Christian morality, reinforcing the justness of God’s judgment. Associated with this is the notion that the trials of the hero both reveals the uncertainty of fate and links individual history to a greater communal history. The tragic conclusion, therefore, confirms the value of a communal Christian belief in the mysteriousness of the divine and death as a transition rather than an ending. In contrast, the classical tragic ending is an individual attempt to decipher the mysteries of the human experience, calling such communal faiths into question rather than reaffirming them. Hence, Shakespearean tragedy can be seen as a confrontation between two disparate notions of religious doctrine, and represents the transition from medieval dramatic structures into the humanism of the Enlightenment.