the piece. From this point the action proceeds to the
close or _denouement_. The knot is untied; the complications in which
the leading characters have become involved are either happily removed
or lead to the inevitable catastrophe. Avoiding every digression, the
action should go forward rapidly, in order not to weary the patience and
dissipate the interest of the spectator. The _denouement_ should not be
dependent upon some foreign element introduced at the last moment, but
should spring naturally from the antecedent action.

In addition to the five principal parts just indicated--introduction,
rise or tying of the knot, climax, fall or untying of the knot, and
_denouement_--there are three other elements or factors that need to be
pointed out. The first is the cause or exciting impulse of the dramatic
action, and naturally stands between the introduction and the rise or
tying of the knot. The second is the cause or tragic impulse of the
counteraction, and stands between the climax and the fall or untying of
the knot. The third is the cause or impulse that sometimes holds the
action in check for a moment before reaching its final issue, and stands
between the fall and the _denouement_.

The structure and eight component parts of a complete or ideal drama may
be represented in a diagram as follows.

_C_ A = Introduction.
/ \ B = Rise or tying of knot.
/ _\__b C = Climax.
/ \ D = Fall or untying of knot.
/ B \ E = _Denouement._
/ \ D a = Cause or exciting impulse.
/ \ b = Tragic impulse.
_/__a _\__c c = Impulse of last suspense.
/ \
_/__A __\__E

+61. Characters and Manners.+ Apart from the plot or story the interest
of a drama depends to a large extent on the _dramatis personae_. In the
classic drama the characters are few and dignified; in the romantic
drama, as first developed in the age of Shakespeare, the characters are
numerous and drawn from every class of society. The same difference is
found in the classic school of France, represented by Corneille,
Moliere, and Racine, and the romantic school founded by Victor Hugo.

The characters should be clearly drawn and sufficiently differentiated.
Each one should have his peculiar individuality, and be reasonably
co