There is a maxim particularly suitable to those who follow any art: "Don't talk about what you do!" And yet, once in a way, one must clear the mind and put into words what lies at the back of endeavour. What, then, is lying at the back of any growth or development there may have been of late in drama? In my belief, simply an outcrop of sincerity--of fidelity to mood, to impression, to self. A man here and there has turned up who has imagined something true to what he has really seen and felt, and has projected it across the foot-lights in such a way as to make other people feel it. This is all that has happened lately on our stage. And if it be growth, it will not be growth in quantity, since there is nothing like sincerity for closing the doors of theatres. For, just consider what sincerity excludes: All care for balance at the author's bank--even when there is no balance; all habit of consulting the expression on the public's face; all confectioning of French plays; all the convenient practice of adding up your plots on the principle that two and two make five. These it excludes. It includes: Nothing because it pays; nothing because it will make a sensation; no situations faked; no characters falsified; no fireworks; only something imagined and put down in a passion of sincerity. What plays, you may say, are left? Well, that was the development in our drama before this war began. The war arrested it, as it arrested every movement of the day in civil life. But whether in war or peace, the principles which underlie art remain the same and are always worth consideration.