by regarding sound theater entertainment as a need and therefore a right of the people; in a word, by taking one's play-going with good sense, trained taste and right feeling, a person finds himself becoming a broader and better human being. He will be quicker in his sympathies, more comprehensive in his outlook, and will react more satisfactorily to life in general. All this may happen, although in turning to the theater his primary purpose may be to seek amusement. Is it a counsel of perfection to ask for this? Hardly, when so much has already occurred pointing out the better way. The civilized theater has begun to come; the prepotent influence of the audience is recognized. Surely the gain made, and the imperfections that still exist, are stimulants to that further bettering of conditions whose familiar name is Progress. In all considerations of the theater, it would be a good thing to allow the unfortunate word "elevate" to drop from the vocabulary. It misleads and antagonizes. It is better to say that the view presented in this book is one that wishes to make the playhouse innocently pleasant, rational, and sound as art. If by "elevate" we mean these things, well and good. But there is no reason why to elevate the stage should be to depress the box office--except a lack of understanding between the two. Uniting in the correct view, the two should rise and fall together. In fact, touching audience, actors, playwrights, producers, and the society that is behind them all, intelligent cooeperation is the open sesame. With that for a banner cry, mountains may be moved. NOTES: [A] A fact humorously yet keenly suggested in Bernard Shaw's clever piece, _The Dark Lady of the Sonnets_. [B] When our theater has become thoroughly artistic, plays will not, as at present, be stretched out beyond the natural size, but will be confined to a shorter playing time and the evening filled out with a curtain raiser or after piece, as is now so common abroad. [C] For a good discussion of this, see "The Genesis of Hamlet," by Charlton M. Lewis (Houghton, Mifflin & Company). [D] Gordon Craig's book on _The Art of The Theatre_ may be consulted for further light upon a movement that is very significant and likely to be far-reaching in time, in its influence upon future stage and dramatic conditions. * * * * * etext transcriber's note: The following typographical errors have been corrected ... departure from theme follow => departure from theme follows it is well if the intermediate act do not => it is well if the intermediate act does not dedelivered his curtain speech => delivered his curtain speech leigitimate => legitimate