Of all these playwrights, rising or risen, who have got a hearing after the veterans first mentioned, Galsworthy seems most significant for the profound social earnestness of his thought, the great dignity of his art and the fact that he rarely fails to respect the stage demand for objective interest and story appeal. Some of these new dramatists go too far in rejecting almost scornfully the legitimate theater mood of amusement and the necessity of a method differing from the more analytic way of fiction. Mr. Galsworthy, however, though severe to austerity in his conceptions and nothing if not serious in treatment, certainly puts upon us something of the compelling grip of the true dramatist in such plays as _The Silver Box_, _Strife_ and, strongest of them all and one of the finest examples of modern tragedy, Justice, where the themes are so handled as to increase their intrinsic value. This able and high-aiming novelist, when he turns to another technic, takes the trouble to acquire it and becomes a stage influence to reckon with. _The Pigeon_, the most genial outcome of his dramatic art, is a delightful play: and _The Eldest Son_, _The Fugitive_ and _The Mob_, if none of them have been stage successes, stand for work of praiseworthy strength. On the side of poetry, and coming a little before the Irish drama attracted general attention, Stephen Phillips proved that a poet could learn the technic of the theater and satisfy the demands of reader and play-goer. Saturated with literary traditions, frankly turning to history, legend, and literature itself for his inspiration, Mr. Phillips has written a number of acting dramas, all of them possessing stage value, while remaining real poetry. His best things are _Paolo and Francesca_ and _Herod_, the former a play of lovely lyric quality and genuinely dramatic moments of suspense and climax; the latter a powerful handling of the Bible motive. Very fine too in its central character is _Nero_; and _Ulysses_, while less suited to the stage, where it seems spectacle rather than drama, is filled with noble poetry and has a last act that is a little play in itself. Several of Mr. Phillips' best plays have been elaborately staged and successfully produced by representative actor-managers like Sir Herbert Beerbohm Tree and Sir George Alexander. Still with poetry in mind, it may be added that Lawrence Binyon has given evidence of distinct power in dramatic poetry in his _Attila_, and the delicate Pierrot play, _Prunella_, by Messrs. Housman and Granville Barker is a success in quite another genre.