It was suggested on an earlier page and may now be still more evident that intelligent theater-going begins long before one goes to the theater. It depends upon preparation of various kinds; upon a sense of the theater as a social institution, and of the renewed literary quality of the drama to-day; upon a knowledge of the specific problems of the player and playwright, and of the aids to this knowledge furnished by the best dramatic criticism; upon familiarity too with the printed drama, past and present, in a fast multiplying library that deals with the stage and dramatic writing. The last statement may be amplified here. A few years ago, there was hardly a serious publication either in England or America devoted to the legitimate interests of the stage from the point of view of the patron of the theater, the critic-in-the-seat whom we have so steadily had in mind. Such periodicals as existed were produced rather in the interests of the stage people, actors, producers, and the like. This has now changed very much for the better. Confining the survey to this country, the monthly called _The Theater_ has some value in making the reader aware of current activities. The two monthlies, _The American Playwright_ and _The Dramatist_, edited respectively by William T. Price and Luther B. Anthony, are given to the technical consideration of contemporary drama in the light of permanent principles, and are very useful. The quarterly, _The Drama_, edited and published under the auspices of The Drama League of America, is a dignified and earnest attempt to represent the cultural work of all that has to do with the stage; and a feature of it is the regular appearance of a complete play not hitherto in print. Another quarterly, _Poet Lore_, although not given over exclusively to matters dramatic, has been honorably conspicuous for many years for its able critical treatment of the theater and play; and especially for its translations of foreign dramas, much of the best material from abroad being first given English form in its columns. At Madison, Wisconsin, _The Play Book_ is a monthly also edited by theater specialists and often containing illuminating articles and reviews. And, of course, in the better class periodicals, monthly and weekly, papers in this field are appearing nowadays with increasing frequency, a testimonial to the general growth of interest. Critics of the drama like W. P. Eaton, Clayton Hamilton, Arthur Ruhl, Norman Hapgood, William Winter, Montrose J. Moses, Channing Pollock, James O'Donnell Bennett, James S. Metcalf, and James Huneker are to be read in the daily press, in periodicals, or in collected book form. Advanced movements abroad are chronicled in _The Mask_, the publication founded by Gordon Craig; and in _Poetry and Drama_. It is reasonable to believe that, with the renewed appreciation of the theater, the work of the dramatic critic as such will be felt to be more and more important