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

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

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.

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

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.

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

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.