A dramatic mistake in regard to the catastrophe, however, even supposing it to exist, would not seriously affect the whole play. The principal structural weakness of _King Lear_ lies elsewhere. It is felt to some extent in the earlier Acts, but still more (as from our study of Shakespeare's technique we have learnt to expect) in the Fourth and the first part of the Fifth. And it arises chiefly from the double action, which is a peculiarity of _King Lear_ among the tragedies. By the side of Lear, his daughters, Kent, and the Fool, who are the principal figures in the main plot, stand Gloster and his two sons, the chief persons of the secondary plot. Now by means of this double action Shakespeare secured certain results highly advantageous even from the strictly dramatic point of view, and easy to perceive. But the disadvantages were dramatically greater. The number of essential characters is so large, their actions and movements are so complicated, and events towards the close crowd on one another so thickly, that the reader's attention,[132] rapidly transferred from one centre of interest to another, is overstrained. He becomes, if not intellectually confused, at least emotionally fatigued. The battle, on which everything turns, scarcely affects him. The deaths of Edmund, Goneril, Regan and Gloster seem 'but trifles here'; and anything short of the incomparable pathos of the close would leave him cold. There is something almost ludicrous in the insignificance of this battle, when it is compared with the corresponding battles in _Julius Caesar_ and _Macbeth_; and though there may have been further reasons for its insignificance, the main one is simply that there was no room to give it its due effect among such a host of competing interests.[133]