For daring originality both of form and content Bernard Shaw is easily the first living dramatist of England. He is a true son of Ibsen, in that he insists on thinking in the theater, as well as in the experimental nature of his technic, which has led him to shape for himself the drama of character and thesis he has chosen to write. To the thousands who know his name through newspaper publicity or the vogue of some piece of his in the playhouse, Shaw is simply a witty Irishman, dealer in paradox and wielder of a shillelah swung to break the heads of Philistines for the sheer Celtic love of a row. To the few, however, an honorable minority now rapidly increasing, he is a deeply earnest, constructive social student and philosopher, who uses a popular amusement as a vehicle for the wider dissemination of perfectly serious views: a socialist, a mystic who believes in the Life Force sweeping man on (if man but will) to a high destiny, and a lover of fellow man who in his own words regards his life as belonging to the community and wishes to serve it, in order that he may be "thoroughly used up" when he comes to die. He has conquered as a playwright because beneath the sparkling sally, the startling juxtaposition of character and the apparent irreverence there hides a genuinely religious nature. Shaw shows himself an "immoralist" only in the sense that he attacks jejune, vicious pseudo-morals now existent. For sheer acting values in the particulars of dialogue, character, scenic effectiveness, feeling for climax and unity of aim such plays as _Candida_, _Arms and the Man_, _Captain Brassbound's Profession_, _The Devil's Disciple_, _John Bull's Other Island_, _Man and Superman_, _The Showing Up of Blanco Posnett_, and others yet, are additions to the serious comedy of England likely to be of lasting luster, so far as contemporary vision can penetrate. One of the most interesting developments of recent years has been the Irish theater movement, in itself part of the general rehabilitation of the higher imaginative life of that remarkable people. The drama of the gentle idealist poet Yeats, of the shrewdly observant Lady Gregory and of the grimly realistic yet richly romantic Synge has carried far beyond their little country, so that plays like Yeats' _The Land of Heart's Desire_ and _The Hour Glass_, Lady Gregory's _Spreading the News_ and Synge's _Riders to the Sea_ and _The Playboy of the Western World_ are heard wherever the English language is understood, this stage literature being aided in its travels by the excellent company of Irish Players founded to exploit it and giving the world a fine example of the success that may come from a single-eyed devotion to an ideal: namely, the presentation for its own sake of the simple typical native life of the land.