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.

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

The drama is a great revealer of life.

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.

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