In reading plays, however, it should always be remembered that any play, however great, loses much when not seen in action.

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

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.

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.

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

Sensitive, responsive, eagerly welcomed everywhere, the drama, holding the mirror up to nature, by laughter and by tears reveals to mankind the world of men.