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From the INTRODUCTORY - ON THE STAGE. THINGS dramatic and things theatrical are often confounded together in the minds of English people, who, being for the most part neither the one nor the other, speak and write of them as if they were identical, instead of, as they are, so dissimilar that they are nearly opposite. That which is dramatic in human nature is the passionate, emotional, humorous element, the simplest portion of our composition, after our mere instincts, to which it is closely allied, and this has no relation whatever, beyond its momentary excitement and gratification, to that which imitates it, and is its theatrical reproduction; the dramatic is the real, of which the theatrical is the false. Both nations and individuals in whom the dramatic temperament strongly preponderates are rather remarkable for a certain vivid simplicity of nature, which produces sincerity and vehemence of emotion and expression, but is entirely without the consciousness which is never absent from the theatrical element. Children are always dramatic, but only theatrical when they become aware that they are objects of admiring attention; in which case the assuming and dissembling capacity of acting develops itself comically and sadly enough in them. The Italians, nationally and individually, are dramatic; the French, on the contrary, theatrical; we English of the present day are neither the one nor the other, though our possession of the noblest dramatic literature in the world proves how deeply at one time our national character was imbued with elements which are now so latent as almost to be of doubtful existence; while, on the other hand, our American progeny are, as a nation, devoid of the dramatic element, and have a considerable infusion of that which is theatrical, delighting, like the Athenians of old, in processions, shows, speeches, oratory, demonstrations, celebrations, and declarations, and such displays of public and private sentiment as would be repugnant to English taste and feeling; to which theatrical tendency, and the morbid love of excitement which is akin to it, I attribute the fact that Americans, both nationally and individually, are capable of a certain sympathy with the French character, in which we are wanting. The combination of the power of representing passion and emotion with that of imagining or conceiving it-that is, of the theatrical talent with the dramatic temperament - is essential to make a good actor; their combination in the highest possible degree alone makes a great one. There is a specific comprehension of effect and the means of producing it, which, in some persons, is a distinct capacity, and this forms what actors call the study of their profession; and in this, which is the alloy necessary to make theatrical that which is only dramatic, lies the heart of their mystery and the snare of their craft in more ways than one: and this, the actor's business, goes sometimes absolutely against the dramatic temperament, which is nevertheless essential to it....

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