The disadvantage of this condition of things is that the public does not know what to expect, and therefore fine things may be misunderstood. The playwright is not sufficiently supported by the crutch of tradition. He has lost his task-master; but he has lost also the key to expression. A well-developed, formal tradition is as necessary to any powerful spiritual deliverance as a system of punctuation is to writing. It was not until Haydn and Mozart had developed the form of the symphony and sonata that Beethoven’s work became possible. The same holds true of all the arts; the great artist who finds no harness ready-made for his ideas must set to work like Giotto to painfully create a makeshift of his own. If we have to-day no great tyrant of contemporary convention in any of the arts, we have a hundred fashions. The age is eclectic; the conventional side of art is at a discount. Now in the drama, the conventional side of art is of peculiar importance. The more you surprise an audience, the less you will please it. The thing that entertains and relaxes people is to have something unmistakable and easy unrolled before them; something in which the problems are plainly stated and solved beyond the possibility of a doubt. The good man and bad man must be labeled; and so must the different sorts of plays receive labels--as, Comedy, Tragedy, Farce, Problem-play, Tank-drama, etc.; otherwise a great part of the attention of the audience will be exhausted in finding the right humor. The modern playwright has thus a problem that is new to the stage, the problem of giving the grand cue to the audience as to which kind of play is coming. After all, the condition of the contemporary stage is very much like the condition of contemporary painting. Any good historical gallery contains samples from the whole history of art. There are as well-defined classes of pictures as there are of dramas: _e. g._, the religious picture, the genre picture, the portrait, the landscape, etc.; and within each of these classes there exists a world of half-defined traditions in which educated persons are learned, and by which all artists are somewhat controlled. Now each of these classes was originally the product of an age devoted to it. But to-day the artist is eclectic. He is eclectic in spite of himself because he is not forced by universal expectation to do a particular thing: he must choose. Whether he be painter or dramatist, the artist in Western Europe to-day is born into an epoch of miscellaneous experiment. Let him choose. The spread of international education has brought about this state of things: art is becoming an international commodity.