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.

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.

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.

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

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.

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.

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