Tempo of Racinian tragedy Unlike such plays as Hamlet and The Tempest, in which a dramatic first scene precedes the exposition, a Racinian tragedy opens very quietly, but even so in a mood of suspense. In Andromaque Pyrrhus's unenviable wavering between Hermione and the eponymous heroine has been going on for a year and has exasperated all three. Up to the time when Britannicus begins, Néron has been a good ruler, a faithful disciple of Seneca and Burrhus, and a dutiful son; but he is now beginning to show a spirit of independence. With the introduction of a new element (Oreste's demand that Astyanax should be handed over to the Greeks; Junie's abduction; Abner's unconscious disclosure that the time to proclaim Joas has finally come), an already tense situation becomes, or has become, critical. In a darkening atmosphere, a succession of fluctuating states of mind on the part of the main characters brings us to the resolution – generally in the fourth Act, but not always (Bajazet, Athalie) – of what by now is an unbearable discordance. Hermione entrusts the killing of Pyrrhus to Oreste; wavers for a moment when the King comes into her presence; then, condemns him with her own mouth. No sooner has Burrhus regained his old ascendancy over Néron, and reconciled him with his half-brother, than Narcisse most skilfully overcomes the emperor's scruples of conscience and sets him on a career of vice of which Britannicus's murder is merely the prelude. By the beginning of Act IV of Phèdre, Œnone has besmirched Hippolyte's character, and the Queen does nothing during that Act to exculpate him. With the working-out of a situation usually decided by the end of Act IV, the tragedies move to a swift conclusion.
tEmpo Of raciniAn TrAgeDy unLIKE suCh plAYs as Hamlet And ThE tempESt, in which A drAmatic First scene prEcedes The eXpOSition, A racINiaN TraGEdy Opens vERy quIeTly, BUt eVen So in a moOd of SuSPenSe. iN ANdrOmaqUE pyRrHUs's uneNviaBlE waVering beTwEeN HeRmioNe anD thE epoNymOus heroine haS beeN going on foR a yEar ANd HaS ExasperATED all three. up tO the tIme wHeN bRItanNIcUs BEGInS, néroN has been A goOd Ruler, A faithfUl dIscipLe of senEca anD burRHUs, and A dutIful Son; but hE IS now BeGiNNiNg to sHow a SpiRiT OF inDePendencE. wIth tHE introDUCtiON OF A New element (oreste's deManD that astYAnax shOuld be handed ovER to tHe GreEks; JuNie's ABduCtIOn; abNer's unCoNsciOUs disClOSure tHAt the TimE tO proclaIM joAS hAS finaLLy cOmE), aN already tEnsE siTUation bEcomeS, oR has beCome, critIcal. in A dArkeniNG AtmoSphEre, A succession of flUctuAting statEs OF mind on The pArt of THe main cHaRactERs bRiNgs Us tO the Resolution – geNerallY In tHE Fourth act, But Not ALwayS (baJazet, athaliE) – Of wHAT bY now is An unbeaRABle discOrdanCe. HErmioNE enTRuSTS tHe kIllinG Of pYRrHUS to orestE; WavERs for A Moment when THe king cOMEs intO HER preSenCe; Then, condemNs him witH her OWN mouth. nO Sooner has burRHus REgaiNEd hIS old ascEndancy OvER néron, and reConciLed Him WITh his HALf-brothEr, than Narcisse mosT skILfULly oveRcOmes tHe emPerOr's scruplEs Of conScIence aNd sets hIM On a career of Vice of whIch britANNIcuS's MurdEr is mErELy The prelude. By THe bEGInNinG of act iV Of pHèdrE, œNOnE HAs BeSmIRcHed hiPpoLyte's CharActEr, and the qUEen does NOtHiNg During That act To eXculPate him. WIth The worKINg-out of a sItuation uSualLY decIdeD By thE end of acT iv, THe trageDiES MovE To a SwiFt conCluSiON.