diverse in kind, and not merely different in degree. They may be called
romantic dramas, or dramatic romances.

A deviation from the simple forms and unities of the ancient stage is an
essential principle, and, of course, an appropriate excellence, of the
romantic drama. For these unities were to a great extent the natural
form of that which in its elements was homogeneous, and the
representation of which was addressed pre-eminently to the outward
senses;--and though the fable, the language and the characters appealed
to the reason rather than to the mere understanding, inasmuch as they
supposed an ideal state rather than referred to an existing
reality,--yet it was a reason which was obliged to accommodate itself to
the senses, and so far became a sort of more elevated understanding. On
the other hand, the romantic poetry--the Shakspearian drama--appealed to
the imagination rather than to the senses, and to the reason as
contemplating our inward nature, and the workings of the passions in
their most retired recesses. But the reason, as reason, is independent
of time and space; it has nothing to do with them; and hence the
certainties of reason have been called eternal truths. As for
example--the endless properties of the circle:--what connection have
they with this or that age, with this or that country?--The reason is
aloof from time and space;--the imagination is an arbitrary controller
over both;--and if only the poet have such power of exciting our
internal emotions as to make us present to the scene in imagination
chiefly, he acquires the right and privilege of using time and space as
they exist in imagination, and obedient only to the laws by which the
imagination itself acts. These laws it will be my object and aim to
point out as the examples occur, which illustrate them. But here let me
remark what can never be too often reflected on by all who would
intelligently study the works either of the Athenian dramatists, or of