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In other words, if the play had gone deeper into human nature, the preliminaries of the crisis would have had to be traced in some detail, possibly in a first act, introductory to the actual opening, but more probably, and better, in an exposition following the crisply touched einleitende Akkord. This brings us to the question how an exposition may best be managed.
It is curious to note that both in The Vikings and in The Pretenders, two plays which are in some measure comparable with Shakespearean tragedies, he opens with a firmly-touched einleitende Akkord. In The Vikings, Ornulf and his sons encounter and fight with Sigurd and his men, very much after the fashion of the Montagues and Capulets in Romeo and Juliet.
In his tragedies, on the other hand, he was apt to lead off with a crisp, somewhat startling passage of more or less vehement action, appealing rather to the nerves than to the intelligence such a passage as Gustav Freytag, in his Technik des Dramas, happily entitles an einleitende Akkord, an introductory chord.
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