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In Minos, King of Crete, the first play in his trilogy The Agonists, we may find ourselves at the outset not a little irritated by his habit of stage-managing with a view to a public that likes sensational and scenic effects. Shakespeare used thunder and lightning at the beginning of The Tempest, but only a very modern modern poet could use these devices as an introduction to tragedy.
From, the first scene to the last, each tale must be posed in the author's mind exactly as it will be proved to be at the end. It is the author's aim and mission to place completely before his audience the souls of the "agonists" laying bare the complications of motive, and throwing into relief the delicate shades of motive that sway them.
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