The Classic School modulates from the idea of dignity. Its attributes are unity, calmness, gravity, symmetry, power, harmonic severity. Its symbol is the Greek Parthenon, whose plain spaces marble images people with purity and silence. The Romantic School modulates from the idea of sensational effect. Its attributes are variety, change, excitement, sudden contrasts, alternations of accord and discord, vehement extremes. Its symbol is the Christian Cathedral, whose complicated cells and arches palpitate as the strains of the organ swell and die within them trembling with sensibility and mystery. The ancient tragedian represented man as a plaything of destiny, sublimely helpless in the grasp of his own doings and the will of the gods. The chief interest was in the evolution of the character, which had but one dominant chord raised with a cunning simplicity through ever-converging effects to a single overwhelming climax. The modern tragedian impersonates man as now the toy and now the master of his fate, a creature of a hundred contradictions, his history full of contrasts and explosive crises. The chief interest is in the complications of the character and the situations of the plot so combined as to keep the sympathies and antipathies in varying but constant excitement. The vices of the former school are proud rigidity and frigidity, pompous formality and mechanical bombast. The vices of the latter school, on the other hand, are incongruity, sensational extravagance, and affectation. The Classic virtue is unity set in relief, but a mathematical chill was its fault. The Romantic virtue is variety set in relief, but its bane was inconsistency. The true tone of the heart, however, and the breathing warmth of life which it brings to the stage more than atone for all its defects and excesses.