No drama, however great, is entirely independent of the stage on which it is given.

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.

In all the great periods of the drama perfect freedom of choice and subject, perfect freedom of individual treatment, and an audience eager to give itself to sympathetic listening, even if instruction be involved, have brought the great results.

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.

Possibly, a crush is merely the attraction a person has for another person. Most relationships start with some sort of attraction. You see someone you like or you see things about a person you like and feel attracted to them. Many mistake this for love, but attraction is a powerful force.

What then is tragedy? In the Elizabethan period it was assumed that a play ending in death was a tragedy, but in recent years we have come to understand that to live on is sometimes far more tragic than death.

The drama is a great revealer of life.