ABSTRACT
Shakespeare's tragedies seem to conform outwardly to the conventional Aristotelian triangle well enough to foster on the one hand the impression that the triangular scheme is the only possible one and those playwrights. Such as Fletcher who have worked on other principles are lacking in form, while on the other certain un-Aristotelian tendencies. The action is slow in getting under way, yet, although the scenes might almost be termed static, at least by comparison with Shakespeare's more baroque successors, the emotional tension is extremely high. The series sets in with the Reynaldo-scene, a scene unique in Shakespeare in that its main purpose is to underline a time gap, a gap, too, caused not by any necessity of the action but introduced for the sake of the portraiture, to make clear the objective nature of Hamlet's procrastination.
