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

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.

Drama read to oneself is never drama at its best, and is not even drama as it should be.

The drama is a great revealer of life.

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.

Farce treats the improbable as probable, the impossible as possible.