"How exactly like you that is," said Ottmar: "you are always the same old Lothair; always changing your mind; always a member of the opposition. If I had brought him, you would have been the very first to find fault with me most bitterly. You say Leander is intelligent, clever, and witty. Very well; so he is--all that and more. Everything he writes has a roundness and a finish which evinces soundness of criticism and clearness of judgment; but, in the first place, I don't believe there is a man on this earth who is so absolutely devoid of any trace of the Serapiontic principle. Everything he writes he has most maturely thought out, weighed, and considered in all its aspects, but never really _seen_. His reasoning faculty does not control his imagination; it puts itself in its place. Then he delights in a wordy prolixity which is unendurable to the hearer, if not to the reader; works of his which one must admit to possess plenty of talent and interest, are tedious beyond expression when he reads them aloud." "There is a curious question there, connected with reading aloud; I mean as to things _adapted_ for reading aloud," said Cyprian; "it seems as if not only the most vivid life were essential to them, but that they should be restricted to a certain definite length." "The reason, I think," said Theodore, "is that the reader must not declaim; experience tells us that _that_ is unendurable; he ought merely to slightly indicate the various feelings that arise in the course of the action, preserving a quiet tone; and this tone, after a time, produces an irresistibly narcotic effect." "What I think," said Ottmar, "is, that a story or poem, to be adapted for reading aloud, ought to approach very closely to the dramatic, or be dramatic altogether; but then again, why is it that most comedies and tragedies are unsatisfactory when read aloud?--that is, become boring and wearisome?" "Just because they are quite _un_dramatic, said Lothair; "or because too much has been left for the effect of the action of the actors on the stage; or because the poem is so weak and feeble in itself that it does not call up before the listener's mind any picture in clear, distinct colours, and with living figures, except with the help of the actors and the stage. However, we are losing sight of Leander, as to whom I maintain, notwithstanding what Ottmar says to the contrary, that he well deserves to be admitted to our circle."