(_a_) The principle of dramatic poetry
[(_α_) Depends on conditions of collision, human passion,
and characters. Leads to action and resolution
(_β_) Mediation between epic and lyric poetry. Has to bring
before vision action or event, but it is self-conscious
personality which is the vital force. Dramatic action must
submit to a process of development. Has to exhibit not so
much lyrical emotion as situation. Action the executed
will recognized as such in its ultimate purpose. The
external world only borrowed in so far as it is bound to
this purpose. More concentrated than the Epic. Action so
treated that it inevitably meets with opposition. Nature of
the divine forces operative. The Drama propounds the vital
energy of a principle of Necessity
(_γ_) The nature of the demand on the dramatic poet in
respect to the divine energy. The drama is the resolution
of the one-sided aspect of these powers, the self-stability
whereof is disclosed in dramatic character]
(_b_) Dramatic Composition
[(_α_) The unity as contrasted with the Epos and the Lyric.
Unity of place, time, and action. First no support to from
Aristotle. Nature of demand upon the imagination relative
to fact of direct vision. Unity of action alone invariable.
Romantic drama less consistent than classical. Examples from
Shakespeare
(_β_) Mode of _dénouement._ Embrace of material in Epos
more extensive. Mean between that and lyrical poetry.
True dramatic progression, a continuous movement onwards
to catastrophe. Possesses a beginning, middle and end.
Aristotle. Significance of acts and their number. In
English, French, and German drama generally five
(_γ_) Nature of means, _e.g.,_ dramatic diction, etc.
Realistic mode of expression as contrasted with one
conventional to the theatre. Must neither be too formal nor
too unpolished or colloquial. Choral interlude, monologue,
and dialogue. Verse-measure mainly iambic]
(_c_) The relation of the dramatic composition to the Public
[(_α_) Distinct Public to cater for and under obligation to
it. Fashion of German writers to scorn the Public. Mistaken
view. How far possible to reproduce foreign or ancient drama
(_β_) Dramatis personae must be vital not merely personified
interests. Real emphasis on the collision involved. Goethe's
"Iphigeneia"
(_γ_) Attitude of poet himself. The impression of the
whole as the product of one original creative force most
important. Necessity that the dramatic poet master the
eternal and essential foundation of human character and
action. Worst case where he seeks to flatter a popular
prejudice. Reference to contemporary event. Aristophanes.
Didactic matter only admissible in so far as it is no bar to
the freedom of the entire artistic product]