Mirror reflection, echo, doublet, parallelism, correspondence, pairing-it is a basic possibility for the artist that separate different events may be seen to be also similar. So a pattern begins to emerge. Whether or not it is true that the human mind has a binary basis of operation, whether or not the Greek mind had a special tendency to order the world in terms of polarity and analogy,1 it is the case that the Greek tragedians often set up pairs of scenes, and almost invariably set up the similarities in order to bring out the differences. While the similarities may rest primarily in contextual or verbal parallelism there is as often as not a visual dimension to the mirror effect; the double exposure of the stage picture reinforces the patterning. Again the particular spareness of Greek tragedy lends itself to such devices. The components are few and large, the invitation to find pairings easy to convey. Also the tendency to a central catastrophic reversal (peripeteia in Aristotle’s terminology) encourages arrangement by doublets on either side of the fulcrum. Of course, there are plentiful examples of this technique in other schools of drama, but, on the whole, their richness and complexity of incident obliges their correspondences to be less tellingly obvious than in Greek tragedy. One Shakespearean example. In II.v. of Romeo and Juliet the nurse teases Juliet by holding back her news of an assignation with Romeo; in III.ii she does not clearly convey to Juliet the news of Tybalt’s murder. The distinct similarity in the scenes brings out the way that Juliet’s life is blighted by the event which turns the play from a comedy to a tragedy. Later the parallelism of Juliet’s taking the false ‘poison’ (IV.iii) and Romeo’s taking his true one (V.iii) subserves the same downward movement. The doubling is undeniable; but it is only a slight factor among many.