New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1894-12-30

consequence Freytag condenses muc' p''''o
ply into brief compass when ne writes sum
truths these: ...
An action in itself. is not dramatic Passonase
feeling. in itself, is not dramauc. w nassion
entation OF a passion for itself. bur OF paSs,y
which leads to action, is the business OF .,s
art: not the presentation OF an event, 10 A., ~
but for its effect on the hnna, uassonate emo
artists mission The exposition OF pass'' ,, not.
,,or as such Is in the province Oh the !'lc ~,
tnc Up o Nan i'm the drama, must APP
ePIV po1', noworfuI restraint excitement trans
Ia fa,,nr The action mist always %
composed of individual parts which belong ho ~ he he
same event. and this must extend HUN Mac
ginning TO the end of the piece. :.,,n,,s"
hn,h as far as the banquet scene; Oo'I Ur,
"Othello." Romeo and Juliet, 'u, nd ..pichard
Lear" up to the hoVel seer, "n clements
III' contain the most powerful drama n.
tha, have ever been created by leu'o''
rroytay saws Teuton rather than 'aAo"
:. nov, Of claiming Shakespeare for Gerria''s'
Inn. that is a tr!he. The old SaXohs oe'
came from Germany. but nobody KNOW" '
about Shakespeares ancestry, or "h'' ''"" .t
or man Shakespeare actually was ~ !" 80
for the purpose of the essayis' WI VI oe.a,,,.o
IN know that he was mas'e' % r,
49,, +, constructing plays that move l"e
,,ou,tv was born in him.-and 1t is iacul's '"''
,nust ne born and cannot be acquire"' ~
I, mover has been. All the treatiseS anu
hooks I'm the world will never fhahe '
=. ,ho crootor Of dramatic works that i've ny
their inherent lpe. Yet the DOCKS are " -,
,,o tudent and possibly studious peIuS'' %
, works as that Of sreytag might han' Inv
,o,orm,nab,e brood Of the callow thca'ric'' w
r,r,.r,alists who mistake the wish 10 VIII
tr ,be facuty of writing. bricfer. clearer an"
.tas. bore to human patience freSUas P''
.on,s arc excellent. The action must pre'on'
cor,n,s.,A unity; II must be probable II must "
,,pnortant: and it must make the play i''e'-
uo,h,e nv showing its meaning In the strohs IN
,,a,,.,t nj the characters with continuous pro
gressiye increase Of effects The Drama ,"
- introduction rise climax. fall ana ca'd
,rnnhe Nothing could be clearer or more SCI.
evident than those old propositions. trey''e
selicity Is that he has illustrated ca" 'l'r
,In,, hv annie examination of the reasons
urbIc, ,,nderle every statement OF Principe an"
L.. ulustr,,ions which not only sustain tne uu'''
ht, clarity II This writer's analysis OF IesslnE'
Coethc and Schiller as dranatls'si- =.
he awards the palm 10 Scnil"r,-lS "Sp'' ,".ls 80.
..'s,,, Tho finest faculty manifested IN the
book ~ the power OF GeneraZa,l"n I'.,.,n,,s
g. mot light the mental process Is not VNdc'ou's,
,ha oxnosiiion = never brilliant. but the i"Su,a
~ study the materials OF knowledge ar u, .ts
rros,oI sltilfullv combined. and often ciiecuNt,5
Ii,,i,vnd The observation ON the on ~ IN
r,,,, ~, man To perceive I'm every living pf,"e
" 5,,,,Ietn personality In which soul IKE thdl
~ tho observers is supposed as th' an, - 49,,
,,rr,n,e will afford an example oi that l'.lcI'S.
IN. remarks on Shakespeare are h't 80
s'u,d I'M; i'm general they ar" WIS., anu ""''
rhn hook will be- welcomed by serious f'aue'S'