Poetry, alone among the arts, completely dispenses with the sensuous medium of the objective world of phenomena. Inasmuch moreover as the drama does not interpret to the imaginative vision the exploits of the past, or express an ideal personal experience to mind and soul, but rather is concerned to depict an action in all the reality of its actual presence, it would fall into contradiction with itself if it were forced to remain limited to the means, which poetry, simply as such, is in a position to offer. The present action no doubt belongs entirely to the personal self, and from this point of view complete expression is possible through the medium of language. From an opposite one, however, the movement of action is towards objective reality, and it requires the complete man to express its movement in his corporeal existence, deed and demeanour, as well as the physiognomical expression of emotions and passions, and not only these on their own account, but in their effect on other men, and the reactions which are thereby brought into being. Moreover, in the display of individuality in its actual presence, we require further an external environment, a specific _locale_, in which such movement and action is achieved. Consequently dramatic poetry, by virtue of the fact that no one of these aspects can be permitted to remain in their immediate condition of contingency, but have all to be reclothed in an artistic form as phases of fine art itself, is compelled to avail itself of the assistance of pretty well all the other arts. The surrounding scene is to some extent, just as the temple is, an architectonic environment, and in part also external Nature, both aspects being conceived and executed in pictorial fashion. In this _locale_ the sculpturesque figures are presented with the animation of life, and their volition and emotional states are artistically elaborated, not merely by means of expressive recitation, but also through a picturesque display of gesture and of posture and movement, which, in its objective form, is inspired by the inward soul-life. In this respect we may have brought home to us a distinction which recalls a feature I have at an earlier stage indicated in the sphere of music as the opposition implied in the arts of declamation and melody. In other words, just as in declamatory music language in its spiritual signification is the aspect of most importance, to the characteristic expression of which the musical aspect is entirely subordinate, whereas the movement of melody is unfolded freely on its own account in its own specific medium, although it too is able to assimilate the content of language--so also dramatic poetry, on the one hand, avails itself of those sister arts merely as instrumental to a material basis and environment, out of which the language of poetry is in its free domination asserted as the commanding central focus, upon and around which all else really revolves. From the further point of