for themselves.

Of the ancient dramatists, the Greeks alone are of any importance. In this
branch of art the Romans were at first mere translators of the Greeks, and
afterwards imitators, and not always very successful ones. Besides, of
their dramatic labours very little has been preserved. Among modern
nations an endeavour to restore the ancient stage, and, where possible, to
improve it, has been shown in a very lively manner by the Italians and the
French. In other nations, also, attempts of the same kind, more or less
earnest, have at times, especially of late, been made in tragedy; for in
comedy, the form under which it appears in Plautus and Terence has
certainly been more generally prevalent. Of all studied imitations of the
ancient tragedy the French is the most brilliant essay, has acquired the
greatest renown, and consequently deserves the most attentive
consideration. After the French come the modern Italians; viz., Metastasio
and Alfieri. The romantic drama, which, strictly speaking, can neither be
called tragedy nor comedy in the sense of the ancients, is indigenous only
to England and Spain. In both it began to flourish at the same time,
somewhat more than two hundred years ago, being brought to perfection by
Shakspeare in the former country, and in the latter by Lope de Vega.

The German stage is the last of all, and has been influenced in the
greatest variety of ways by all those which preceded it. It will be most
appropriate, therefore, to enter upon its consideration last of all. By
this course we shall be better enabled to judge of the directions which it
has hitherto taken, and to point out the prospects which are still open to
it.

When I promise to go through the history of the Greek and Roman, of the
Italian and French, and of the English and Spanish theatres, in the few