would be attributable to the tragedies of the ancients, if we did not, apart from our changed habits in respect to scenic reproduction and certain aspects of the national consciousness, make the further demand of a profounder psychological penetration and a greater breadth of particular characterization. So far, however, as the _subject-matter_ of ancient tragedy is concerned, it could never at any time fail in its effect. We may, therefore, broadly affirm that, in proportion as a dramatic work accepts for its content wholly specific rather than typical characters and passions, conditioned, that is, exclusively by definite tendencies of a particular epoch of history, instead of mainly concerning itself with human interests substantive in all times, to that extent, despite of all its other advantages, it will be more transitory. (_β_) And, _further_, it is necessary that universal human ends and actions of this kind should emphasize their poetic individualization to the point of animated life itself. Dramatic composition does not merely address itself to our sense of vitality, a sense which even the public certainly ought to possess, but it must itself, in all essentials, offer a living actual presence of situations, conditions, characters, and actions. (_αα_) I have already, in a previous passage of this work,[19] entered into some detail relatively to the aspect of local environment, customs, usages and other matters which affect the visual representation of action. In this respect dramatic individualization ought to be either so thoroughly poetical, vital, and rich with interest that we can discount what is alien to our sense, and feel ourselves attracted to the performance by this vital claim on our attention, or it should not pretend to do more than present such characteristics as external form, which is entirely outshone by the spiritual and ideal characteristics which underlie it.