expense of what is to follow. A number of things this act can, however, accomplish. It can, with the chief stress and strain over, exhibit characters in whom the audience has come to have a warm interest in some further pleasant manifestation of their personality, thus offering incidental entertainment. The interest in such stage persons must be very strong to make this a sufficient reason for prolonging a play. Or, if the drama be tragic in its nature, some lighter turn of events, or some brighter display of psychology, may be presented to mitigate pain and soften the awe and terror inspired by the main theme; as, for instance, Shakespeare alleviates the deaths of the lovers in Romeo and Juliet by the reconciliation of the estranged families over their fair young bodies. A better mood for leaving the playhouse is thus created, without any lying about life. The Greeks did this by the use of lyric song at the end of their tragedies; melodrama does it by an often violent wresting of events to smooth out the trouble, as well as by lessening our interest in character as such. Also, and here is, I believe, its prime function, the last act can show the logical outflow of the situation already laid down and brought to its issue in the preceding acts of the drama. Another danger lurks in this for the technician, as may be shown. It would almost seem that, in view of the largely supererogatory character of this final act, inasmuch as the play seems practically over with the _scene a faire_, it might be best honestly to end the piece with its most exciting, arresting scene and cut out the final half hour altogether.