Moody, though he wrote his stage plays in prose, was essentially the poet in viewpoint and imagination. A poet too, despite the fact that more than half his work is in prose, is Percy Mackaye, the son of a distinguished earlier playwright and theater reformer, author of _Hazel Kirke_ and _Paul Kauvar_. Mr. Mackaye's prose comedy _Mater_, high comedy in the best sense, and his satiric burlesque, _Anti-Matrimony_, together with the thoughtful drama _Tomorrow_, which seeks to incorporate the new conception of eugenics in a vital story of the day, are good examples of one aspect of his work; and _Jeanne d'Arc_, _Sapho_ and _Phaon_, verse plays, and the romantic spectacle play, _A Thousand Years Ago_, illustrate his poetic endeavor. Taking a hint from a short story by Hawthorne, he has written in _The Scarecrow_ one of the strongest and noblest serious dramas yet wrought by an American. He has also done much for the pageant and outdoor masque, as his _The Canterbury Pilgrims_, _Sanctuary_ and _St. Louis, A Civic Masque_, presented in May of 1914 on an heroic scale in that city, testify. A poet, whether in lyric or dramatic expression, is Josephine Preston Peabody. Her lovely reshaping of the familiar legend known best in the hands of Browning, _The Piper_, took the prize at the Stratford on Avon spring Shakespeare festival some years ago, and has been successful since both in England and America. Her other dramatic writing has not as yet met so well the stage demands, but is conspicuous for charm and ideality. In the imaginative field of romance, poetry and allegory we may also place the Americanized Englishman, Charles Rann Kennedy, who has put the touch of the poet and prophet upon homely modern material. His beautiful morality play, _The Servant in the House_, secured his reputation and later plays from _The Winter Feast_ to _The Idol Breaker_, inclusive of several shorter pieces, the one act form being definitely practiced by this author, have been interesting work, skillful of technic and surcharged with social sympathy and significance. Edward Knoblauch, the author of _The Faun_, of _Milestones_ in collaboration with Mr. Bennett, and of the fantastic oriental divertissement, _Kismet_; and Austin Strong, who wrote _The Toymaker of Nuremberg_, are among the younger dramatists from whom much may yet be expected. In this enumeration, all too scant to do justice to newer drama in the United States, especially in the field of realistic satire and humorous perception of the large-scaled clashes of our social life, it must be understood that I perforce omit to mention fully two score able and earnest young workers who are showing a most creditable desire to depict American conditions and have learned, or are rapidly learning, the use of their stage tools. The purpose here is to name enough of personal accomplishment to buttress the claim that a promising school has arisen on the native soil with aims and methods similar to those abroad.