FOOTNOTES
[1] Cf. Hermann Deckinger, Die Darstellung der persönlichen Motive bei Aischylos und Sophokles (1911), p. 1.
[2] Cf. Aristotle Poetics 1449a8. The other passages cited in this paragraph are ibid. 1449b33 and 1450a10, 1450b17-21, 1453b1-3, 1462a12, and 1462a14-17.
[3] Cf. his paper entitled “Dramatic Criticism and the Theatre” in Creative Criticism, p. 56 (1917).
[4] Cf. Aristotle Rhetoric 1403b33 (Jebb’s translation). This statement needs to be interpreted in the light of [pp. 190 f.], below.
[5] Cf. op. cit., p. 56. The italics are mine.
[6] Cf. Clayton Hamilton, The Theory of the Theatre (1910), p. 3; and J. B. Matthews, North American Review, CLXXXVII (1908), 213 f.: “They believe that the playhouse has now, has had in the past, and must always have a monopoly of the dramatic form. They cannot recognize the legitimacy of a play which is not intended to be played. They know that the great dramatist of every period when the drama has flourished has always planned his plays for performance in the theater of his own time, by the actors of his own time, and before the spectators of his own time”; and The Independent, LXVIII (1910), 187: “In other words, the literary quality is something that may be added to a drama, but which is not essential to its value as a play in the theater itself.”
[7] Cf. Conversations with Eckermann, March 28, 1827 (Oxenford’s translation).
[8] Cf. The Inn of Tranquillity (1912), p. 277.
[9] Cf. Classical Philology, IX (1914), 96.