cording to the masters of the art, should not exceed fourteen; and, according to Horace, no more than four should appear on the stage, at one time.

11. The second particular quality of the drama, relates to the fiction, and mimical representation of characters; which must be rendered according to nature, by the actors, and is a very necessary quality for the successful effect of the drama, as well as for the amusement of the audience.

12. The third particular quality, has reference to the use of vocal and instrumental music, for the sake of producing a greater effect, and delighting the audience; hence, it must be very select, and harmonious. When songs are intermixed in the drama, it is called a melodrama;

(10.) What is the number of actors assigned in a drama, by the masters of the art?

How many actors, and no more, should appear on the stage at one time, according to Horace?

(11.) To what does the second particular quality of the drama relate?

Is the representation of characters according to nature, a necessary quality in a drama ?

(12.) To what does the third particular quality of the drama

refer?

What must be the vocal and instrumental music used in

a drama?

When is the drama called a Melo-drama?

and when a musical drama comprises several airs, choruses, and recitations, it is called opera.

13. The drama is divided into two principal species; viz: comedy, and tragedy; and into other inferior species; namely: tragi-comedy and farce.

14. Comedy is "a dramatic composition, describing, above others, the acts of a person which are of a light and amusing character; and which are illustrative of human failings, of the manners of society, of the incidents of life; and are always concluded by a pleasant termination."

15. Tragedy is a "dramatic composition, written in verse, representing the signal action of a conspicuous person, connected with other notable events, and generally followed by a fatal issue."

16. The general and particular qualities of the drama, above expounded, relate, of course, to both its primary and secondary branches; except, that the ornaments must be well suited to the subject, which, in the comedy and tragedy, differs very much in its termination.

When is it called Opera?

(13.) How is the drama divided?

(14.) What is Comedy?

(15.) What is Tragedy?

(16.) To what branches of the drama do the general and particular qualities just expounded, relate?

17.

Tragi-comedy is "a drama which com

prises both tragedy and comedy."

This sort of drama is very much in favor in modern times; as also, melodramas.

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18. Farce is a comedy of a low style, relating to some ludicrous acts and events, of one or more persons of inferior rank, for the special purpose of amusement;" when music is added to it, is called a burletta.

19. The dramatic writers of high order, whose works are received as standards of dramatic composition, are, among the ancient, Sophocles, Euripides, and Aristophanes, in the Greek language; Plautus and Terence, in the Latin. Among the modern writers, in the French language, are, Racine and Molière; in English, are, Shakspeare, Ben. Jonson, Beaumont, Fletcher, Dryden, Otway, and Congreve; besides, some German, Italian, and Spanish writers, of high eminence.

20. We shall conclude this subject on dramatic composition, with an example from Terence,

(17.) What is Tragi-Comedy ?

(18.) What is a Farce? When is it called Burletta?

(19.) Who are the distinguished dramatic writers, both mod

ern and ancient?

(20.) Have you any example of dramatic composition?

illustrative

of the exact delineation of character which is required in a dramatic composition. The example refers to a boastful Captain, named Thraso, and to Gnatho, his parasite or flatterer, in the play of Eunuchus :

ACT THE THIRD.

SCENE I.

Enter THRASO and GNATHO.

THRA. Did Thais really return me many thanks? GNA. Exceeding thanks.

THRA. Was she delighted, say you?

GNA. Not so much, indeed, at the present itself, as because it was given by you; really, in right earnest, she does exult at that.

Enter PARMENO unseen, from LACHES' house.

PAR. (apart.) I've come here to be on the lookout, that when there is an opportunity I may take the presents. But see, here's the captain.

THRA. Undoubtedly it is the case with me, that everything I do is a cause for thankfulness.

GNA. Upon my faith, I've observed it.

THRA. The most mighty King, even, always used to give me especial thanks for whatever I did; but not so to others.

GNA. He who has the wit that you have, often by his words appropriates to himself the glory that has been achieved by the labor of others.

THF. You've just hit it.

GNA. The king, then, kept you in his eye.

THRA. Just so.

GNA. To enjoy your society.

THRA. True; he entrusted to me all his army, all his state secrets.

GNA. Astonishing.

THRA. Then if, on any occasion, a surfeit of society, or a dislike of business, came upon him, when he was desirous to take some recreation; just as though—you understand?

GNA. I know; just as though on occasion he would rid his mind of those anxieties.

THRA. You have it. Then he used to take me aside as his only boon companion.

GNA. Whew! you are telling of a King of refined

taste.

THRA. Aye, he is a person of that sort; a man of but very few acquaintanceships.

GNA. (aside.) Indeed, of none, I fancy, if he's on intimate terms with you.

THRA. All the people envied me, and attacked me privately. I don't care one straw. They envied me dreadfully; but one in particular, whom the King had appointed over the Indian elephants. Once, when he became particularly troublesome, "Prithee, Strato," are you so fierce because you hold command over the wild beasts?"

said I,

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GNA. Cleverly said, upon my faith, and shrewdly. Astounding! You did give the fellow a home thrust. What said he?

THRA. Dumbfounded, instantaneously.