Of the ancient dramatists, the Greeks alone are of any importance. In this branch of art the Romans were at first mere translators of the Greeks, and afterwards imitators, and not always very successful ones. Besides, of their dramatic labours very little has been preserved. Among modern nations an endeavour to restore the ancient stage, and, where possible, to improve it, has been shown in a very lively manner by the Italians and the French. In other nations, also, attempts of the same kind, more or less earnest, have at times, especially of late, been made in tragedy; for in comedy, the form under which it appears in Plautus and Terence has certainly been more generally prevalent. Of all studied imitations of the ancient tragedy the French is the most brilliant essay, has acquired the greatest renown, and consequently deserves the most attentive consideration. After the French come the modern Italians; viz., Metastasio and Alfieri. The romantic drama, which, strictly speaking, can neither be called tragedy nor comedy in the sense of the ancients, is indigenous only to England and Spain. In both it began to flourish at the same time, somewhat more than two hundred years ago, being brought to perfection by Shakspeare in the former country, and in the latter by Lope de Vega. The German stage is the last of all, and has been influenced in the greatest variety of ways by all those which preceded it. It will be most appropriate, therefore, to enter upon its consideration last of all. By this course we shall be better enabled to judge of the directions which it has hitherto taken, and to point out the prospects which are still open to it.