(_γ_) The third and final important aspect we have to investigate in our present connection is the nature of the _external means_, in so far as the employment of the same by dramatic art can be held distinct from and independent of the actual scenic representation that is otherwise essential to its complete display. An account of the specific nature of diction which is frequently dramatic generally, secondly, of the distinguishing features of the monologue, dialogue, and the like, and, lastly, of verse measure, will be all that is necessary here. As we have more than once insisted in the drama the fact of the action is not the external aspect to which we refer, but the exposition of the ideal spirit of the action, not merely in respect to the _dramatis personae_ and their passion, pathos, resolve, interaction, and mediation, but also relatively to the universal essence of the action in its conflict and destiny. It is this ideally pregnant spirit, in so far as poetry gives embodiment to it in poetic form, which pre-eminently discovers an appropriate expression in the language of poetry, viewing this, as we should, as the most spiritual way of expressing emotions and ideas. (_αα_) But, moreover, just as the drama combines the principles of the Epos and the Lyric, dramatic diction, too, is compelled both to carry and assert within itself elements that are lyrical and those that are epic. The _lyrical_ approach is rather a special feature of modern drama, and as a rule in those cases where the personal life is or tends to be self-absorbed, and seeks in its decision and action throughout to retain the self-consciousness of its inward resources. But none the less this unveiling of the individual heart-life, if it is to remain dramatic, ought not merely to be the exploitation of a vague and variable cloud of emotions, memories, and visions; it should keep its relation to the action constant throughout, should make its result identical with that of the different phases of the same. In contrast to this subjective pathos the epic character of the diction, which we may define as the _objective_ pathos, is mainly concerned with the unfolding of what is substantive in dramatic relations, ends, and persons on lines rather directed to the vision of the audience. Such a point of view can also in part assume a lyrical tone, remaining when it does so dramatic only in so far as it does not more entirely in its independent force form the progress of the action and its asserted relation to the same. And over and above this, as a second residue, so to speak, of epic poetry, we may have the records of narrative, descriptions of battles and the like thrown in. But these also, in genuine dramatic composition, ought to be marked with greater compression and animated movement, and, relatively to their presentment as narrative, a necessary connection with the progress of the action should be evident.