The compositional pattern documented in this book consists of two elements. The first is taken from Romeo and Juliet and is relatively simple. It consists of a situation in which both Romeo and Juliet find themselves: each survives the death of the other. The protagonists of Shakespeare’s greatest tragedies are put into this same situation: each survives the death of the woman he loves most. The second element is taken from Richard III and is more complex: it involves the motives of the protagonist. Each of the protagonists, like Richard, has two sets of motives, primary and secondary. The primary motives are unformulated to the his con¬scious mind, less clear, unavowed, but also more profound, more character¬istic, more general, more real, more important. The secondary motives are his ostensible motives; they are clear, partic¬ular, consciously known, openly professed, but ultimately more superficial, less charac¬teristic, less real or even unreal, less important.
