(In this case the mild Othello, more and more drifting consciously into
the grip of the mild Iago--I use the terms "Othello" and "Iago" merely
to avoid, if not "hero," at least "villain"; the sensitive temperament
allowing the rapacious temperament to become effective.)
(a) The main character in perplexity as to how far he shall combat the
drift of things.
(b) The opposed character's perception of this.
(These sub-sections are, of course, sub-sections for a psychological
novel; one would have different but equivalent "joints" in a novel of
action.)
(c) Effect of all this on third character. (In this case female,
attracted to "man-of-action" quality).
(d) A.'s general perception of these things and his weighing of values,
a phase solely for the psychological novel.
(e) Weighing of how much A.'s perception of the relations between B. and
C. is to be dénouement, and how much, more or less, known.