[General character that of classic individuality. Image and metaphor not so largely used. Emphasizes mainly on the sensuous verbal quantity in the rhythm of its movement. The dance not unfrequently attached. Point of departure hymns. Elegiac measure. The lyric of the chorus. Pindar. Roman lyric less original] (_c_) Romantic Lyric. [In certain nations epic material treated as lyrical narrative. Lyric composition of modern nations still pagan. In the Christian Middle Ages. That based on the principle of Protestantism. Klopstock and his influence] C. Dramatic Poetry 1. The Drama as a poetic work of art (_a_) The principle of dramatic poetry [(_α_) Depends on conditions of collision, human passion, and characters. Leads to action and resolution (_β_) Mediation between epic and lyric poetry. Has to bring before vision action or event, but it is self-conscious personality which is the vital force. Dramatic action must submit to a process of development. Has to exhibit not so much lyrical emotion as situation. Action the executed will recognized as such in its ultimate purpose. The external world only borrowed in so far as it is bound to this purpose. More concentrated than the Epic. Action so treated that it inevitably meets with opposition. Nature of the divine forces operative. The Drama propounds the vital energy of a principle of Necessity (_γ_) The nature of the demand on the dramatic poet in respect to the divine energy. The drama is the resolution of the one-sided aspect of these powers, the self-stability whereof is disclosed in dramatic character] (_b_) Dramatic Composition [(_α_) The unity as contrasted with the Epos and the Lyric. Unity of place, time, and action. First no support to from Aristotle. Nature of demand upon the imagination relative to fact of direct vision. Unity of action alone invariable. Romantic drama less consistent than classical. Examples from Shakespeare (_β_) Mode of _dénouement._ Embrace of material in Epos more extensive. Mean between that and lyrical poetry. True dramatic progression, a continuous movement onwards to catastrophe. Possesses a beginning, middle and end. Aristotle. Significance of acts and their number. In English, French, and German drama generally five (_γ_) Nature of means, _e.g.,_ dramatic diction, etc. Realistic mode of expression as contrasted with one conventional to the theatre. Must neither be too formal nor too unpolished or colloquial. Choral interlude, monologue, and dialogue. Verse-measure mainly iambic] (_c_) The relation of the dramatic composition to the Public [(_α_) Distinct Public to cater for and under obligation to it. Fashion of German writers to scorn the Public. Mistaken view. How far possible to reproduce foreign or ancient drama