"The term dramatic is applicable to two classes of emotions: those which are sufficiently vigorous to crystallize into will and act, and those which are aroused by an act. It accordingly includes the psychical processes which go on within the human soul from the initiation of a feeling up to passionate desire and activity, and also the influences exerted upon the soul by the acts of oneself or of others. In other words, it includes the outward movement of the will from the depths of the nature toward the external world, and the inward movement of impression from the external world which influence the inner nature: or, in fine, the coming into existence of an act; and its consequences for the soul. Neither action in itself nor passionate emotion in itself is dramatic. The function of dramatic art is not the representation of passion in itself, but of passion leading to action; it is not the representation of an event in itself, but of its reflections in the human soul. The representation of passionate emotion in itself, as such, is the function of the lyric; the depicting of interesting events, as such, is the business of the epic."[1]
This explanation of dramatic art at first seems very thorough and complete. It certainly includes more than the play, although worked out with special reference to the play. But any true study of dramatic art must recognize the fact that the play, important as it is, is only one of its aspects.
This definition, fine as it is, needs careful consideration, and possibly may be found, after all, inadequate. If it refers at all to some of the most important aspects, the reference is vague. Dramatic art must also include points of view, insight into motives, the nature and necessity of situation, and especially the discovery by one man of another's attitude of mind.
The definition is notable because it does not define dramatic art, as is so apt to be the case, by limitation. When any form of art is defined by limitation, the next great artist that arises will break the shackles of such a rule, and show its utter inadequacy. When Sir Joshua Reynolds said blue could not be used as the general color scheme of a picture, Gainsborough responded with the now famous painting, "The Blue Boy."