Text retrieval software revolutionizes our perception of a text, allowing us to read Shakespeare's plays both horizontally (from beginning to end) and vertically, as the software aligns the various acts and scenes according to occurrences of a single word, phrase, or category of words. Act, Scene, and Line divisions are convenient for reference to the works of Shakespeare, but many other explicit structures are considerably more important for literary and textual research. Unlike WordCruncher, TACT can make use of an unlimited number of both hierarchical and non-hierarchical structures, such as compositor stints, speakers, prose/verse distinctions, typefaces, classical scenes, traditional scenes, original lineation, modern lineation, languages, copytexts, formes, and much more. This paper explores some of the complexities of tagging all these features in the original quarto and folio texts of Shakespeare's tragedies for use with TACT, and describes some ways in which the writer has found the combination a useful desktop tool for his own research. Representative examples are drawn from the second quarto of Hamlet, including the distribution and connotations of a variety of imagery (like ears, beds, drinking, and the theatre), the prevalence of the prefixes over and o're, the use of first-person singular pronouns by certain characters, and the distribution of several common exclamations. Mention is also made of more complicated studies of Shakespeare's use of Petrarchan diction in Q1 A Midsummer Night's Dream, and of textual evidence for revision derived from variant speech prefixes in Q1 Love's Labour's Lost. Text retrieval software, particularly TACT, can offer a great wealth of wit, in an instant, but the user must supply the wisdom to properly interpret the results.