And further, in conjunction with a personal self-assertion of this type we may have presented the full extension of individual idiosyncrasy, not merely in respect to the soul-life simply, but also in relation to external circumstances and conditions, within which the action proceeds. And it is owing to this that in distinctive form the simple conflicts which characterize more classical dramatic composition, we now meet with the variety and exuberance of the characters dramatized, the unforeseen surprises of the ever new and complicated developments of plot, the maze of intrigue, the contingency of events, and, in a word, all those aspects of the modern drama which claim our attention, and the unfettered appearance of which, as opposed to the overwhelming emphasis attached to what is essentially most fundamental in the content, accentuates the type of romantic art in its distinction from the classic type. But again, even in the cases above indicated, and despite all this apparently untrammelled particularity, the whole ought to continue to be both dramatic and poetical. In other words, on the one hand, the harshness of the collision, which has to be fought through, ought to be visibly obliterated, and on the other, pre-eminently in tragedy, the predominant presence of a more exalted order of the world, whether we adopt the conception of Providence or Fatality, ought to plainly discover itself in and through the course and issue of the action. (_c_) _The Concrete Development of Dramatic Poetry and its Types_ Within the essential distinctions of conception and poetical achievement which we have just considered the different types of dramatic art assert themselves, and, for the first time in such association, and in so far as their development follows either one or the other direction, attain a really genuine completeness. We have, therefore, in concluding the present work, still to concentrate our inquiry upon the concrete mode under which they receive such a configuration.