While in Poe's "The Black Cat," one tragedy is a preliminary of the climax and another is in a manner the result of it; but the real climax is the discovery of the cat:
... a dozen stout arms were toiling at the wall. It fell bodily. The corpse, already greatly decayed and clotted with gore, stood erect before the eyes of the spectators. On its head, with red extended mouth and solitary eye of fire, sat the hideous beast whose craft had seduced me into murder, and whose informing voice had consigned me to the hangman. I had walled the monster up within the tomb!
Nor does the mere introduction of a tragedy make a climax, for though the following paragraphs contain two tragedies, there is no climactic force:
Joseph, who had been sitting with his head on his knees, and wondering what in the world was going to happen, raised his head, and exclaimed, on seeing his brother, "You have come after me—" At this instant some one struck him on the head with a pistol, which brought him to the floor. But Harry, hearing the familiar voice, and seeing the man also, knew too well who it was. He shouted at the top of his voice, "Stop! Wait! This thing must be investigated!" Telling them who the prisoner was, and pleading with them, he was finally able to disperse the mob, though against their own will.
The next morning, when Mamie was brought to consciousness again, she begged that he should not be punished.
On learning the truth he was immediately released, but the bitter grief, mingled with so much excitement, was more than he could endure. He died that night at ten.
The bitterness occasioned by this catastrophe remained in the bosom of Mamie, and she too died of a broken heart.
The plot of a certain type of story requires subordinate and preliminary climaxes to relieve the tension or advance the action, as already stated.[42] Such periods, when given genuine climactic force, are antagonistic to the spirit of the short story, in that they violate the unity, and a story containing them is usually faulty otherwise; but such stories have been written by good writers and so must be recognized here. The preliminary climaxes must be sufficiently few, sufficiently subordinate and sufficiently distant not to detract from the force of the chief climax. The main point is to see that one of the preliminary climaxes is not really the climax, for inexperienced writers sometimes allow their stories to run on longer than they should; or they confuse what is merely an incident with what should be made the main crisis. In "The Ambitious Guest" there is only one climax; but in Hawthorne's "Mr. Higginbotham's Catastrophe" I find no less than five critical points, which I here subpend with the numbers of the paragraphs in which they occur:
¶ 7.
"Old Mr. Higginbotham of Kimballton was murdered in his orchard at eight o'clock last night by an Irishman and a nigger. They strung him up to the branch of a St. Michael's pear tree where nobody would find him till the morning."