If we consider the manner of treatment as a whole, we shall find the rhapsodist, who recites what is completely past, appearing as a wise man, with calm deliberation surveying the events. It will be the purpose of his recital to get his hearers into an even frame of mind, so that they will listen to him long and willingly. He will divide the interest evenly, because it is impossible for him to counteract quickly a too vivid impression. He will, according to his pleasure, go back in point of time or anticipate what is to come. We may follow him everywhere, for he makes his appeal only to the imagination, which originates its own images and which is to a certain extent indifferent as to which images are called up. The rhapsodist as a higher being ought not to appear himself in his poem; he would read best of all behind a curtain, so that we may separate everything personal from his work, and may believe we are hearing only the voice of the Muses. The actor represents the very reverse of this. He presents himself as a definite individuality. It is his desire to have us take interest exclusively in him and in his immediate surroundings, so that we may feel with him the sufferings of his soul and of his body, may share his embarrassments and forget ourselves in him. To be sure he, too, will proceed by degrees, but he can risk far more vivid effects, because by his actual presence before the eyes of the audience he can neutralize a stronger impression even by a weaker one. The senses of spectators and listeners must be constantly stimulated. They must not rise to a contemplative frame of mind, but must follow eagerly; their imagination must be completely suppressed; no demands must be made upon it; and even what is narrated must be vividly brought before their vision, as it were, in terms of action. FOOTNOTES: [6] By Goethe and Schiller. SUPPLEMENT TO ARISTOTLE’S _POETICS_[7] (1827) Every one who has concerned himself at all about the theory of poetic art--and of tragedy in particular--will remember a passage in Aristotle which has caused the commentators much difficulty, without their ever having been able to convince themselves wholly of its meaning. In his definition of tragedy this great writer seems to demand of it that, through the representation of stirring deeds and events, which should arouse pity and fear, the soul of the spectator should be purified of these passions. My thoughts and convictions in regard to this passage I can best impart by a translation of it:-- “Tragedy is the imitation of a significant and complete action, which has a certain extension in time and is portrayed in beautiful language by separate individuals, each of whom plays a rôle, instead of having all represented by one person as in the narration of a story or epic. After a course of events arousing pity and fear, the action closes with the equilibration of these passions.”