在戏剧理论里,有关悲剧角色、悲剧性格和喜剧角色、喜剧性格的区别已判然划出。悲剧性格所必备的特点已为人熟知。他必须能唤醒我们的同情。他的罪恶与清白,美德与恶行,必经在一种最令人愉快而又精致的方式中结合,并在已确定的种种规则下统一起来。例如,假使我使我的悲剧人物是一个恶人,那么我必须赋予他如此的智慧足于平衡于他的恶的意志。这条规则的结果是在德国文学中最令人同情的舞台性格是恶魔。这种性格的角色在戏 In the theory of drama, the distinction between the tragic personality, the tragic personality and the comedy character and the comic personality has been set aside. The traits of tragedy are well known. He must awaken our sympathy. His sin and innocence, virtue and evil, must be united in one of the most enjoyable and delicate ways, and unified by the rules that have been established. For example, if I make my tragic person a wicked person, then I must give him such wisdom as to balance his evil will. The result of this rule is that the most sympathetic stage character in German literature is the devil. This character plays a role