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THE NATURAL DIVISIONS OF A DRAMATIC PLOT
William Henry Hudson
Introduction:
Hudson identifies six key stages in a dramatic plot, plus some general considerations about its structure and purpose. These stages—exposition, initial incident, rising action, crisis, falling action, and catastrophe—are the building blocks of effective drama. They ensure a cohesive narrative that progresses logically, engages emotionally, and resolves meaningfully.
1. Exposition
The exposition is the opening phase of the play where the groundwork for the story is laid.
Purpose:
It introduces the audience to the principal characters, the setting, and the world of the play.
Establishes the mood, tone, and overarching theme.
Provides critical background information about the circumstances or events leading up to the story’s main conflict.
Characteristics:
The exposition is often subtle, unfolding naturally through dialogue or action, rather than through explicit explanation.
It may hint at future conflicts or events to build curiosity.
Example:
In Hamlet, the play begins with the ghost of King Hamlet appearing to the guards and Horatio. This sets the tone of mystery and unease while hinting at the larger conflict of revenge and betrayal.
2. Initial Incident or Exciting Force
This is the moment or event that disturbs the equilibrium established in the exposition and initiates the main conflict.
Purpose:
It acts as the catalyst for the story, thrusting the protagonist into the central conflict.
Grabs the audience’s attention and escalates their interest in the unfolding drama.
Characteristics:
It is often a single, decisive event or action.
It introduces the key problem or challenge the protagonist must confront.
Example:
In Romeo and Juliet, the initial incident occurs when Romeo meets Juliet at the Capulet ball. Their mutual attraction sets the stage for the forbidden love story that follows.
3. Rising Action
The rising action is the sequence of events and developments that intensify the conflict introduced by the exciting force.
Purpose:
To build suspense and emotional involvement as the story progresses toward its climax.
To develop characters, deepen relationships, and introduce subplots.
Characteristics:
This phase often includes obstacles, misunderstandings, or complications that make the conflict more complex and engaging.
It tests the protagonist, often revealing their strengths and weaknesses.
Example:
In Macbeth, the rising action includes Macbeth’s internal struggle with his ambition and his wife’s manipulation, culminating in the murder of King Duncan. This murder propels Macbeth further into a web of guilt and paranoia.
4. Crisis
The crisis, or climax, is the turning point of the play—the moment of greatest tension and importance.
Purpose:
It serves as the pivotal event that determines the direction of the narrative’s resolution.
It forces the protagonist to make a significant decision or face the consequences of earlier actions.
Characteristics:
The crisis is often accompanied by heightened emotional intensity.
It is irreversible; the actions or decisions made here dictate the conclusion.
Example:
In Othello, the crisis occurs when Othello, consumed by jealousy and manipulated by Iago, decides to kill Desdemona. This moment seals his tragic fate.
5. Falling Action or Dénouement
The falling action follows the climax and focuses on the unraveling of the conflict’s consequences.
Purpose:
To show the repercussions of the crisis and guide the story toward its resolution.
To provide moments of suspense or dramatic irony as the audience anticipates the conclusion.
Characteristics:
This phase often involves a decline in emotional intensity, as the dramatic tension begins to resolve.
Secondary conflicts or subplots may also be resolved here.
Example:
In Julius Caesar, the falling action includes the battles between the conspirators and the forces of Octavius and Antony, leading to Brutus and Cassius’ eventual defeat and suicide.
6. Catastrophe or Conclusion
The catastrophe is the final resolution of the plot, providing closure to the narrative.
Purpose:
It concludes the story, addressing all remaining conflicts or questions.
It serves as a moral or thematic statement, offering insight into the play’s broader meaning.
Characteristics:
In tragedies, the catastrophe often involves the death or downfall of the protagonist, emphasizing the consequences of their flaws or choices.
In comedies, it typically results in reconciliation, harmony, or celebration.
Example:
In King Lear, the catastrophe is marked by the deaths of Lear and Cordelia. The play ends on a note of profound tragedy, reflecting the devastating impact of Lear’s pride and poor judgment.
7. Some General Considerations
Hudson adds that while these divisions are a natural framework for most dramatic plots, effective dramatists often exercise flexibility to suit their creative vision. He provides the following additional considerations:
- Unity of Action: The plot should focus on a single, coherent conflict without unnecessary digressions.
- Emotional Engagement: Each stage should evoke the intended emotions, such as curiosity, tension, or catharsis.
- Proportion and Balance: The divisions must be balanced, ensuring no single stage overshadows the others.
- Adaptability: A rigid application of these divisions may stifle creativity; instead, dramatists should use them as guidelines to craft compelling narratives.
Conclusion
Hudson’s framework of the natural divisions of a dramatic plot serves as a guide to understanding the structure and dynamics of drama. Each stage—from exposition to catastrophe—plays a crucial role in shaping the narrative and engaging the audience. By adhering to these principles, dramatists create works that are not only coherent and compelling but also resonate with timeless emotional and intellectual appeal.
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