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

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

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.

Possibly, a crush is merely the attraction a person has for another person. Most relationships start with some sort of attraction. You see someone you like or you see things about a person you like and feel attracted to them. Many mistake this for love, but attraction is a powerful force.

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.

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.