In one important respect, however, this definition falls short of describing Greek tragedy, and is still more inadequate for modern. Aristotle emphasized the action above the characterization, and devoted much attention to the requirements of the plot. He did not, moreover, recognize the importance of the element of conflict, whether between man and circumstance, or between men, or within the mind of man. The Greek tragedies themselves had not failed to exhibit such conflicts; the medieval drama, notably in the moralities, emphasized moral conflict; and Renaissance tragedy, wherever it showed any independence, particularly in England and Shakespeare, took for its theme the conflict of human will with other forces. The importance of this modification of the Aristotelian view received only slow critical recognition. But it was everywhere exemplified in practice, in French classical drama as well as in Shakespeare, in plays imitating the Greeks as well as in plays revolting from their models. After a time this modification of the classical tradition came to have a distinct place in literary theory. Hegel gave it philosophical elaboration, and, in the romantic movement, when dramatists in different languages turned to Shakespeare for a model, they naturally assumed what may be called the Shakespearean definition. This important amendment to the tragic tradition may be briefly stated:-- The action of a tragedy should represent a conflict of wills, or of will with circumstance, or will with itself, and should therefore be based on the characters of the persons involved. A typical tragedy is concerned with a great personality engaged in a struggle that ends disastrously.