In the best farce today we start with some absurd premise as to character or situation, but if the premises be once granted we move logically enough to the ending.

Back through the ages of barbarism and civilization, in all tongues, we find this instinctive pleasure in the imitative action that is the very essence of all drama.

When the drama attains a characterization which makes the play a revelation of human conduct and a dialogue which characterizes yet pleases for itself, we reach dramatic literature.

There is no essential difference between the material of comedy and tragedy. All depends on the point of view of the dramatist, which, by clever emphasis, he tries to make the point of view of his audience.

The drama is a great revealer of life.

But what is drama? Broadly speaking, it is whatever by imitative action rouses interest or gives pleasure.

We do not kill the drama, we do not really limit its appeal by failing to encourage the best in it; but we do thereby foster the weakest and poorest elements.