this case, however, the accommodation is due to a _deus ex machinâ_ and the actual source of such is not traceable to the personal attitude of the parties themselves. In the modern play, however, it is the individual characters alone who find themselves induced by the course of their own action to such an abandonment of the strife, and to a reciprocal reconciliation of their aims and personalities. From this point of view the "Iphigeneia" of Goethe is a genuine model of a play of this kind, and it is more so than his "Tasso," in which in the first place the reconciliation with Antonio is rather an affair of temperament and personal acknowledgment that Antonio possesses the genuine knowledge of life, which is absent from the character of Tasso, and along with this that the claim of ideal life, which Tasso had rigidly adhered to in its conflict with actual conditions, adaptability and grace of manners, retains its force throughout with an audience merely in an ideal sense, and relatively to actual conditions at most asserts itself as an excuse for the poet and a general sympathy for his position. (_γγ_) As a rule, however, the boundary lines of their intermediate type fluctuate more than is the case with tragedy or comedy. It is also exposed to a further danger of breaking away from the true dramatic type, or ceasing to be genuine poetry. In other words, owing to the fact that the opposing factors, which have to secure a peaceful conclusion from out of their own division, are from the start not antithetical to one another with the emphasis asserted by tragedy; the poet is for this reason compelled to devote the full strength of his presentation to the psychological analysis of character, and to make the course of the situations a mere instrument of such characterization. Or, as an alternative, he admits a too extensive field for the display of the material aspect of historical or ethical conditions; and, under the pressure of such material, he tends to restrict his effort to keep the attention alive to the interest of the series of events evolved alone. To this class of composition we may assign a host of our more recent theatrical pieces, which rather aim at theatrical effect than claim to be poetry. They do not so much seek to affect us as genuine poetical productions as to reach our emotions generally as men and women; or they aim on the one hand simply at recreation, and on the other at the moral education of public taste; but while doing so they are almost equally concerned to provide ample opportunity to the actor for the display of his trained art and virtuosity in the most brilliant manner. (_b_) _The Difference between Ancient and Modern Dramatic Poetry_