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.

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.

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.

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

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.

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