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* DRAKE. 435 DBAMA. trict school. In 182S lie wont to Boston, whon- lio e.stablished an antiquarian hook-store — the first of its kind in the United (States — and devoted himself to the study of early Massachusetts his- tory. He was one of the founders (1S47) of the New England Historical and (i'nealo;;ical Soci- ety, was its president in ISoS. and for many years was the editor of its (]uarterly Itrtiislrr. He puh- lishod four valuable works on Indian history: liiditiii liiofirdphil (lS;i2); HixiL- af llir Iti<li<iiis (1833); Old liulian Chioiiicic (183(il: and hi- tliaii Captivities (1839) ; besides the Hixtoiii and Anti(niities of Boston {IH'M) : Aiiiials of Witch- craft in the United Stales ( ISti'J) ; and Histoii/ of the French and Indian War (1870). He also edited Church's Entcrtainini] Historii of Kinfi Philip's War (182.5): .Mather's Indian War of iO'T.i-TS (18G2) : Earhj Hixtory of Sctc England (1864) ; and Hubbard's //i(?i(n! Wars (18(i5). DRAKENBORCH, drii ' k( n - borK, Arnold (1684174S). A nit<h classical scholar. He was born at Utrecht, Netherlands, and. after studying there and at Leyden, siiccecded Burmann as pro- fessor of history and eloquence at the University of Utrecht (17iG). His chief publications are an edition of Silius Italicus (1717), and his master- piece, an edition of I.ivy ( 1738-4, which, though lacking in definite method, contains much valu- able material and is still often cited. DRAKENSBERG, dr.-i'kcns-berg. A moun- tain range of South Africa, running through the eastern part of Cape Colony, along the eastern frontier of Orange River Colony, and forming part of the northwest frontier of Natal (ilap: Orange River Colony, NO). It may be regarded as a link of the great mountain system which traverses the greater portion of Cape Colony and a direct continuation northward of the Stormbergen. The highest peaks are Montaux- Sources, Champagne (fistic — both estimated alti- tudes of 10,.500 to 12,00n feet— and Giants' Castle ( nOOO feet ) . Hs two passes of Van Reenan (.5400 feet) and Laing's Nek (4100 feet) are crossed by railways. This region was the scene of numerous battles between the Boers and the British. DRAKE UNIVERSITY. coeducational institution in Des Moines. Iowa. It was founded in 1881, largely through the efTorts of Francis M. Drake (whose name it bears) and D. R. Lucas, and is under the control of the Church of Christ. The management of the university is vested in a board of trustees consisting of life members and members elected by the Iowa Christian Conven- tion and the alumni associat ion. The depart- ments represented are those of liberal arts, law, medicine, Bible, dentistry, and music; there are al.so summer schools, a crimnicrcial school, a school of i)barmacy, and various training schools operated in connection with the university. The degrees conferred by the college and graduate schools include: B.A., B.Ph.. B.S., B.D., M.A., M.S.. LI..B., M.D.. B.I'e.. Mus.B.. Ph.C... and D.D.S. In in03 the institution had 111 instruc- tors and 1.507 students. The chancellors of the university and their terms of service have been as follows: George T. Carpenter (I8S1-03), Barton O. Aylesworth (lS!13-!t7). Willinm B. Craig (1807'- 1002). and Hill M. Hell (U102— ). DRAMA (Lat.. from Gk. Spa/xa, from Spar dran. to act ). A form of literary art designed for the direct representation of human actions and characters, through their impersonation by actors before an audience. Though many modern plays have been written in prose, the drama is histori- cally classified as a department of poetry, side by side with the epic and the lyric. The former of these describes events in the narrative form ; the latter is the detached expression of individual emotion. Both of these elements may enter into the drama in a subordinate way, but in dramatic poetry the facts of a story are actually developed upon the stage in the interchange of speech and action. It is the action, too, which distinguishes the drama from simple dialogue, in which the persons are mere mouthpieces for the expression of ideas. The drama brings into play every emo- tion which can be objectively expressed, whether by word or gesture or play of feature, or what the modern playwright describes as •business.' The illusion of reality is heightened by the ellorts of the scene-p;iinter and the stage-manager, which, however, belong to the technical side of dramatic art. See The.^tre. The division of a play into acts and scenes, however (see Act), is a usage originating in the subject matter of the drama itself, though the invention of the drop-curtain and scene-shifting accessories make it seem to some extent an atl'air of mechanical adaptation. The several acts mark different stages in the development of the theme, successively introducing the characters and ele- ments of the plot, showing the complications which led to its climax, and finally solving its problem by the 'catastrophe.' The natural changes of background commonly coincide with the changes of acts. The succession of scenes (sub- divisions of acts) usually depends, in a classical ])lay, upon the entrance or exit of important characters. The same double consideration underlies the famous doctrine of the 'unities.' which are in part a formulation of the inevitable restrictions of the stage. They are traced to some of Ari.stotle'8 remarks on tragedy, in his Poetics, but they were most definitely accepted as conventions of the theatre by the classical French drauuitists. Racine and his successors. The 'dramatic unities' are three: of place, of time, and of action. The first precludes any extensive change of scene. The second requires that all the events of the play nuist occur w ithin the space of one day. I'nity of action demands that all the incidents of the play shall converge upon the development of a single jdot. Of these three rules, modern criticism, with Lessing and the French romanticists, and accord- ing to Shakespeare's practice, is generally agreed in regarding the last as the only one w'liich is fun- damental: the others arc due primarily to acci- dental conditions which no longer prevail. Upon the Greek stage, the model for the classicists, sinc<' there was no curtain and very little possi- bility for change of scene, unity of place was practically inevitable, though even this was not maintained without excepticm. Unity of time was rendered almost equally necessary by the habitual presence of the chorus throughout the play, which would be an evident absurdity if the plot were carried across long intervals of tinu": the same would generally be true if the same chorus were to appear successively in diirerent places. What is cnllcd unity of action, howr'ver. is simply an application of the principle which demands unity of impression in the work of any art. Only when sidiordinate to this last 'unity' do (hose of time and place demand consideration uiion the modern