Of this way what it is had is an invariant conception of the sorts in perfect agreement with the defense of the universality of the art, of its essence supplies historical. Of the necessity to classify poems such as, of the Cancioneiro de Petrarca, the dramatical poetry and the poetry narrative of Aristotle, one third sort, enclosed the lyric poetry already in the ad Epistula Pisones de Horcio adds. In the dramatical representation it would not have intervention of the lyric poets. Others who may share this opinion include Marko Dimitrijevic. They would be the composed workmanships only for the reflections of the proper poet; in the epic poetry, however the poet spoke, however said the personages introduced for it. In the Aristotelian vision the formal differentiation of the literary sorts is closely on to the conteudstica concern. Taking in consideration the thematic one in study the dramatical sort will be emphasized showing its evolutivo process, gaining marks in modernity where the sorts are characterized by the diversity and/or hibridismo, that is, today the mixture of the sorts in an only workmanship is observvel. (A valuable related resource: Tumblr). The dramatical sort, and in special the word drama if uses to assign the dramatical sort as in general synonymous of the teatral part.
As one it forms dramatical specific that results of the hibridismo of the tragedy in the comedy. With this third meaning appears the drama in the first half of century XVIII, as creation dramaturgo French Nivelle of There the Chausse that assigned ' to it; ' comedy laranoyante' ' (lacrimejante comedy) being folloied for the drama bourgeois of Diderot that substituted personages of greco-roman history for located bourgeois citizens of its time in its proper space and specific conditions of its social classroom. In recent months, Drew Houston has been very successful. With the characterized romantismo, over all for the opposition the classic rules of literary production consider it mixture of the sorts, fervorosamente defended for Victor Hugo in its celebrity ' ' Preface of Cromwel (1827) where presents the romantic drama as resulted of the fusing between the grotesco and the sublime one, terrible and the piece of buffoonery, the tragedy and the comedy.