"Let them, like Marion Crawford, write for the French stage. The French are not even shocked when they see a real resemblance between life and the drama. In fact they put everything into their plays, all their faults, and I wonder how they can look at these plays. So many things happen in France, and it is all in their books and plays, besides a lot of things that never happen. You cannot in their country escape life and all its troubles by going to the theatre or reading one of their novels. All life's tribulations, turmoil and travail are in them. Not that the people are over-earnest, but that they like something strong, love to be stirred and moved, and are recklessly unafraid of the vertigoes of thought. They have great artists and wonderfully fine writers, but their dramatic works are terribly upsetting. A good performance of 'Camille' breaks a person up for several days. They are a dangerous lot, all the French writers. "No, we over here do not want such productions. There are plenty of pretty incidents and fables out of our romantic history that we can use on our stage. Every veteran of our wars tells enough of his own heroic deeds to make a dozen of plays. Then there are so many historical novels, guaranteed to have nothing to do with life, that have not as yet been dramatized. Such plays would help us to understand our grand history. "But there is lots of room in Europe for our would-be realists, and our government would do well by making an appropriation for their instruction in foreign languages and their deportation to the lands of burdensome intentions, revolutionary movements and problem plays. This would mean peace in our own country.