Viewing for a moment the course of our present inquiry in retrospect, it will be seen that we have, _first,_ established the principle of dramatic poetry in its widest and more specific characteristics, and, further, in its relation to the general public. _Secondly_, we deduced from the fact of the drama's presenting an action distinct and independent in its actually visible development the conclusion that a fully complete sensuous reproduction is also essential, such as is for the first time possible under artistic conditions in the theatrical performance. In order that the action, however, may adapt itself to an external realization of this kind, it is necessary that both in poetic conception and detailed execution it should be absolutely definite and complete. This is only effected, our _third_ point, by resolving dramatic poetry into _particular types_, receiving their typical character, which is in part one of opposition and also one of mediatory relation to such opposition, from the distinction, in which not only the end but also the characters, as also the conflict and entire result of the action, are manifested. The most important aspects emphasized by such distinction and subject to an historical development are those peculiar to tragedy and comedy respectively, as also the comparative value of either mode of composition. This inquiry in dramatic poetry is for the first time so essentially important that it forms the basis of classification for the different types. In considering more closely the nature of these distinctions we shall do well to discuss their subject-matter in the following order. _First_, we must define the general principle of tragedy, comedy, and the so-called drama. _Secondly_, we must indicate the character of ancient and modern dramatic poetry, to the contrast between which the distinctive relation of the above-named types is referable in their historical development. _Thirdly_, we will attempt, in conclusion, to examine the concrete modes, which these types, though mainly comedy and tragedy, are able to exhibit within the boundary of this opposition. (_a_) _The Principle of Tragedy, Comedy, and the Drama, or Social Play_