But how does a dramatic work become theatrical, or fitted to appear with advantage on the stage? In single instances it is often difficult to determine whether a work possesses such a property or not. It is indeed frequently the subject of great controversy, especially when the self-love of authors and actors comes into collision; each shifts the blame of failure on the other, and those who advocate the cause of the author appeal to an imaginary perfection of the histrionic art, and complain of the insufficiency of the existing means for its realization. But in general the answer to this question is by no means so difficult. The object proposed is to produce an impression on an assembled multitude, to rivet their attention, and to excite their interest and sympathy. In this respect the poet's occupation coincides with that of the orator. How then does the latter attain his end? By perspicuity, rapidity, and energy. Whatever exceeds the ordinary measure of patience or comprehension he must diligently avoid. Moreover, when a number of men are assembled together, they mutually distract each other's attention whenever their eyes and ears are not drawn to a common object without and beyond themselves. Hence the dramatic poet, as well as the orator, must from the very commencement, by strong impressions, transport his hearers out of themselves, and, as it were, take bodily possession of their attention. There is a species of poetry which gently stirs a mind attuned to solitary contemplation, as soft breezes elicit melody from the Aeolian harp. However excellent this poetry may be in itself, without some other accompaniments its tones would be lost on the stage. The melting _harmonica_ is not calculated to regulate the march of an army, and kindle its military enthusiasm. For this we must have piercing instruments, but above all a strongly-marked rhythm, to quicken the pulsation and give a more rapid movement to the animal spirits. The grand requisite in a drama is to make this rhythm perceptible in the onward progress of the action. When this has once been effected, the poet may all the sooner halt in his rapid career, and indulge the bent of his own genius. There are points, when the most elaborate and polished style, the most enthusiastic lyrics, the most profound thoughts and remote allusions, the smartest coruscations of wit, and the most dazzling flights of a sportive or ethereal fancy, are all in their place, and when the willing audience, even those who cannot entirely comprehend them, follow the whole with a greedy ear, like music in unison with their feelings. Here the poet's great art lies in availing himself of the effect of contrasts, which enable him at one time to produce calm repose, profound contemplation, and even the self-abandoned indifference of exhaustion, or at another, the most tumultuous emotions, the most violent storm of the passions. With respect to theatrical fitness, however, it must not be