This, too, is an answer to the objection that if confrontation is the dramatic essential, bare opposition, because the clearest confrontation, would be the greatest drama, and the "Suppliants" of Euripedes be indeed an example of it. Bare opposition is never real confrontation in our sense, for that must be an arrest, a mutual antagonism of all impulses of soul and sense. It must possess the whole man. It needs to take in "all thoughts, all passions, all delights," to be complete, and the measure of its completeness is the measure of its aesthetic value. In the same way, the demand for profound truth and significance in the drama is clearly to be reached from the purely dramatic need. Inner "possession," the condition for our dramatic tension, depends not alone on the cumulation of suggestions-- suggestion in its, so to speak, quantitative aspect. The attitude of a character must be necessary in itself: that is, it must be true to the great and general laws of life. If it is fundamentally false, even with the longest and completest preparation, it rings hollow. We cannot completely enter into it. Thus we see that the one central requirement, the dramatic germ, leads to the most far-reaching demands for logic, sanity, and morality in the ideas of a play. This should not be interpreted as exhausting the aesthetic value of logic and morality in the drama. The drama is a species of literature: and these qualities, apart from the fact that they are necessary to the full dramatic moment, have also an aesthetic effect proper to themselves. Thus the development ha the beauty which lies in a necessary progress; but this beauty is common to the epic, the novel, and the symphony, while the unity given by the confrontation and tension of simultaneous forces belongs to the drama alone. It is therefore development as serving the dramatic end that I have deduced.