Rare is the human being, immature or mature, who has never felt an impulse to pretend he is some one or something else.

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.

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.

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.

Out of the past come the standards for judging the present; standards in turn to be shaped by the practice of present-day dramatists into broader standards for the next generation.

Acted drama requires surrender of one's self, sympathetic absorption in the play as it develops.

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