He was not overstepping the mark when he pointed with pride at that army of plays. This list is the greatest monument, perhaps, to his boundless ambition and energy, for it contains the four hundred original productions he made in America, besides the one hundred and twenty-five plays he put on in London. That Charles should have produced so many plays is not surprising. He adored the theater; it was his very being. To him, in truth, all the world was a stage. Everything that he saw as he walked the streets or rode in a cab or viewed from a railway train he re-visualized and considered in the terms of the playhouse. If he saw an impressive bit of scenery he would say, "Wouldn't that make a fine background?" If he heard certain murmurs in the country or the tumult of a crowd on the highway, he instinctively said, "How fine it would be to reproduce that sound." He only read books with a view of their adaptability to plays. Where other men found diversion and recreation in golfing, motoring, or walking, Charles sought entertainment in reading manuscripts. He was never without a play; when he traveled he carried dozens. In the matter of plays Frohman had what was little less than a contempt for the avowedly academic. He refused to be drawn into discussions of the so-called "high brow" drama. When some one asked him to name the greatest of English dramatists he replied, quick as a flash: "The one who writes the last great play." "Whom do you consider the greatest American dramatist?" was the question once put to him. His smiling answer was: "The one whose play the greatest number of good Americans go to see." On this same occasion he was asked, "What seat in the theater do you consider the best to view a drama or a musical comedy from?" "The paid one," he retorted. Back in Charles's mind was a definite and well-ordered policy about plays. His first production on any stage was a melodrama, and, though in later years he ran the whole range from grave to gay, he was always true to his first love. This is one reason why Sardou's "Diplomacy" was, in many respects, his ideal of a play. It has thrills, suspense, love interests, and emotion. He revived it again and again, and it never failed to give him a certain pleasure. Once in London Frohman unbosomed himself about play requirements, and this is what he said: "I start out by asking certain requirements of every piece. If it be a drama, it must have healthfulness and comedy as well as seriousness. We are a young people, but only in the sense of healthy-mindedness. There is no real taste among us for the erotic or the decadent. It is foreign to us because, as a people, we have not felt the corroding touch of decadence. Nor is life here all drab. Hence I expect lights as well as shadows in every play I accept.