DRA 
DRAMA, a poem in which the action is 
represented. 
To the Greeks we owe the invention of 
both forms of dramatic composition, tra- 
gedy and comedy. These exhibitions were 
extremely simple. The action was conti- 
nued from beginning to end, without pauses 
or intervals ; there was no, change of scene : 
and the attention of the spectators was con- 
tinually occupied either by the actors or 
the chorus. It was necessary, therefore, 
in order to give probability to the fiction, 
that the rule of the tlu-ee unities should be 
strictly observed. The poem was confined, 
and the same action, out of which arose 
the incidents requisite to support it to its 
conclusion, and all tending to one great 
point. No episodes were admissible but 
such as were so connected witli the main 
story as not to be suppressed or transposed 
without altering or destroying the plot. 
The unity of place, on a stage which ad- 
mitted of no change of scene, must, of 
course, be rigorously attended to, and the 
fable so constructed as to draw all the cha- 
racters to the same spot. This, notwith- 
standing the inconveniences which ai’ose 
from it, was an indispensable rule, as any 
violation of it would completely destroy the 
illusion. The time, strictly speaking, was 
that of the representation. It might com- 
prehend twenty-four hours, but by no 
means could it extend beyond that time. 
The precept of Aristotle even goes to de- 
scribe the length of the poem ; it could 
not exceed thirteen or fourteen hundred 
verses. 
A drama composed on these principles 
could afford but little variety of incident 
and character ; it must depend for its suc- 
cess on the poetical talent of its author, and 
on tlie interest he could thereby excite in 
the breasts of his audience, for the cha- 
racters he introduced. 
The modern stage gives wider scope to 
the imagination, and renders the strict ob- 
servance of the unities less necessary. The 
introduction of pauses by the division of 
acts justifies a change of scene, and also al- 
lows a longer extension of time, without 
any violation of probability. Thus, a 
greater range of subjects for dramatic re- 
presentation is provided, while at the same 
time as the obstructions of art are removed, 
the mirror, if we may so express it, be- 
comes more true to nature. The poet may 
so construct his drama as to lead the imagi- 
nation of his audience along with him, and 
thus may pass in review the striking events 
DRA 
of history ; while, by the aid of scenic il. 
lusion, the transition from place to place, 
becomes as consistent with probability as 
the transition from one period of time to 
another. 
Yet there are who insist on the applica- 
tion of the Grecian rules to the modern dra- 
ma. The French, in particular, observe them 
strictly. Their best pieces are composed on 
the ancient model ; the scene never changed, 
and the action continued and ended on the 
same spot where it is supposed to begin. 
The time, likewise, seldom exceeds that pre- 
scribed by the Greek critic, and is often 
confined to that of the representation. 
Hence the national taste is so decidedly 
formed, that the best production of the 
English school would only afford them mat- 
ter of ridicule, for its obvious violation of 
the long-established laws of criticism. 
The unity of action is certainly essential 
to that probability which supports the the- 
atrical illusion. Yet even the observance of 
this rule is not incompatible with variation 
of scene and extension of time, though it 
requires a masterly genius to manage them 
judiciously. In the works of our immortal 
Shakspeare we often see this talent exem- 
plified. We behold in his Macbeth the 
transition from the hero to the villain, and 
view the awful retribution, though long 
withheld, yet finally overwhelm the guilty. 
Yet who thinks of objecting to so grand a 
play, because the scene shifts fi-om Inver- 
ness to the English court and back again, 
or because a period of seventeen years 
elapses from the murder of Duncan to the 
death of the usurper. 
Hence the rules ought to be subservient 
to the great end of dramatic representa- 
tion, the instruction of mankind by im- 
pressive and striking lessons, and we may 
conclude with our great critic, that “ the 
unities of time and place are not essential 
to a just drama; and that though they may 
sometimes conduce to pleasure, tliey are 
always to be sacrificed to the nobler beau- 
ties of variety and instruction ; that a play 
written with nice observation of critical 
rules is to be contemplated as an elaborate 
curiosity, as the product of superfluous and 
ostentatious art, by which is shown rather 
what is possible than what is necessary.” 
DRAPERY, in sculpture and painting, 
signifies the representation of the clothing of 
human figures, and also hangings, tapestry, 
curtains, and most other things that are not 
carnations or landscapes. See Painting 
aud Sculpture. 
