There’s quite a bit of conflict even in our opening scene. Christian and Cyrano are both in love with the Lady Roxane. However, the powerful Comte de Guiche has other plans for her – first trying to marry her off to Vicomte de Valvert, then lusting after her himself. Love triangles always spell trouble, as do grudges and trigger-happy glove-slapping duelists.
This is the play’s primary conflict – should Cyrano be satisfied with winning Roxane’s love, though he cannot have it for himself? Is it OK for him to deceive the object of his affection like this? Is he willing to make her happy though it means misery for himself?
Christian certainly complicates things for Cyrano by being incredibly difficult during the balcony scene – he almost blows their cover. But the real complication is the everyone-goes-to-war-and-will-likely-die bit. And until Roxane pulls her fake reading of the letter, her situation isn’t exactly straightforward either.
That is quite the climax. Notice how the emotional peak (Roxane’s new-found and non-shallow love) matches the mental peak (Christian realizing what’s up with the wooing gig) and the physical peak (Christian getting shot). Coincidence? Probably not.
And the audience is all, "Oh, no! Sounds like we’re in the suspense stage!"
As soon as we know for sure that Cyrano is on the way out, we’re into the denouement stage. All is revealed as Roxane finally looks up from embroidery, which means we don’t have the suspense of deceit and guise anymore either.
In his last living moments, Cyrano maintains his goal from Act I: "To be in all things admirable." He dies still fighting, on his feet, and focused on his untarnished white plume.