naturally go on to examine the form. And under this head many things
might be included; for example, Shakespeare's methods of
characterisation, his language, his versification, the construction of
his plots. I intend, however, to speak only of the last of these
subjects, which has been somewhat neglected;[16] and, as construction is
a more or less technical matter, I shall add some general remarks on
Shakespeare as an artist.


1

As a Shakespearean tragedy represents a conflict which terminates in a
catastrophe, any such tragedy may roughly be divided into three parts.
The first of these sets forth or expounds the situation,[17] or state of
affairs, out of which the conflict arises; and it may, therefore, be
called the Exposition. The second deals with the definite beginning, the
growth and the vicissitudes of the conflict. It forms accordingly the
bulk of the play, comprising the Second, Third and Fourth Acts, and
usually a part of the First and a part of the Fifth. The final section
of the tragedy shows the issue of the conflict in a catastrophe.[18]

The application of this scheme of division is naturally more or less
arbitrary. The first part glides into the second, and the second into
the third, and there may often be difficulty in drawing the lines
between them. But it is still harder to divide spring from summer, and
summer from autumn; and yet spring is spring, and summer summer.

The main business of the Exposition, which we will consider first, is to
introduce us into a little world of persons; to show us their positions
in life, their circumstances, their relations to one another, and