There is no ill-considered thing that an author may write, or an actor do on the stage, no mistake or violation of common sense and good art, that may not be counterbalanced by some happiness which carries the play in spite of it. And conversely, there is no well-reasoned, profound, and true theory of play-writing or stage management which, if logically carried out, may not prove the very vehicle of damnation. The reason is that your theories are mere nets waved in the air some miles below the stars which they seem to imprison. Your true theories are true only to theory; the conditions always upset them. It is, therefore, not without some trepidation that I tread the paths of this subject. I almost fear the sound of my own voice and the conclusions of my own reason. This fear shall be my compass, this the silken thread, unwinding as I walk, which shall lead me back again out of the labyrinth and into the daylight. The aim of any dramatic performance is to have something happen on a stage that shall hold people’s attention for two hours and a half or three hours. Anything that does this is a good drama; and there are as many kinds of good drama as there are flowers in the meadow. All of these species are closely related to each other. They are modifications that spring up from the roots of old tradition, like shoots in an asparagus bed. The different great divisions and species of drama depend on the size and shape of the theatre used, more than on any other one thing. For the great theatre you must have slow speech, or, at any rate, a concentration of theme. For a small modern theatre you must have quicker motion and more variety. Not only the actor but the playwright must have some special size of theatre in his mind as he plans a play, and must adapt his whole art to that size, as he fashions his work. You might call this the first canon of the drama. Now, we have, at present, no controlling conventions, no overmastering habits of thought about stage matters, and this leads us to forget the original force, not to say tyranny, of convention in other ages. England has had no controlling convention in stage matters since Charles II’s time; and the English stage has thus become a free, wild sort of place where anything is permitted. It is like the exhibition of the “Independents” in Paris, where anyone may hire space and hang what pictures he please, leaving the public to reward or punish him for his temerity.