The play has a story, of course, and that story is so handled as to constitute a plot: meaning a tangle of circumstances in which the fates of a handful of human beings are involved, a tangle to which it is the business of the plot to give meaning and direction. But back of the story, in any drama that rises to some worth, there is a theme, in a sense. Thus, the theme of _Macbeth_ is the degenerating effect of sin upon the natures of the king and his spouse; and the theme of Ibsen's _A Doll's House_ is the evil results of treating a grown-up woman as if she were a mere puppet with little or no relation to life's serious realities. The thing that gives dignity and value to any play is to be found just here: a distinctive theme, which is over and above the interest of story-plot, sinks into the consciousness of the spectator or reader, and gives him stimulating thoughts about life and living long after he may have quite forgotten the fable which made the framework for this suggestive impulse of the dramatist. Give the statement a practical test. Plenty of plays suffice well enough perhaps to fill an evening pleasantly, yet have no theme at all, no idea which one can take with him from the playhouse and ruminate at leisure. For, although the story may be skillfully handled and the technic of the piece be satisfying, if it is not _about_ anything, the rational auditor is vaguely dissatisfied and finds in the final estimate that all such plays fall below those that really have a theme. To illustrate: Mr. Augustus Thomas's fine play, _The Witching Hour_, has a theme embedded in a good, old-fashioned melodramatic story; and this is one of the reasons for its great success. But the same author's _Mrs. Leffingwell's Boots_, though executed with practiced skill, has no theme at all and therefore is at the best an empty, if amusing, trifle, far below the dramatist's full powers. Frankly, it is a pot boiler. And, similarly, Mr. Thomas's capital western American drama, _Arizona_, while primarily and apparently story for its own sake, takes on an added virtue because it illustrates, in a story-setting, certain typical and worthy American traits to be found at the time and under those conditions in the far west. To have a theme is not to be didactic, neither to argue for a thesis nor moot a problem. It is simply to have an opinion about life involved in and rising naturally out of the story, and never, never lugged in by the heels. The true dramatist does not tell a story because he has a theme he wishes to impose upon the audience; on the contrary, he tells his story because he sees life that way, in terms of plot, of drama, and in its course, and in spite of himself, a certain notion or view about sublunary things enters into the structure of the whole creation, and emanates from it like an atmosphere. One of the very best comedies of modern times is the late Sidney Grundy's _A Pair of Spectacles_. It has sound technic, delightful characterization, and a