Let anyone who doubts whether this creates a difficulty take an ordinary famous old comedy and rewrite it in a form in which it would be accepted as a new play by a London manager, and he will find the difficulty enormous. To the youthful dramatist this exercise is very valuable means of studying the art of construction. When, unassisted by the work of former adapters, he has succeeded in converting half-a-dozen eighteenth-century comedies into three or four act comedies, without any changes of scenery during an act, and has used all the matter of the old comedies in his versions and yet avoided the employment of the soliloquy, or the aside, or the explanatory dialogue in which A tells B what B knows already, he will have learnt a great deal of his craft. This explanatory dialogue is the sort of passage in which a son reminds his mother of the date of his birth, and the profession of his father, and of the period when she sent him to school and so on. It may be doubted confidently whether a change of style, which has increased so enormously the practical difficulties of writing acceptable plays, has been beneficial to drama. There are writers with wit and a sense of character who under the freer system of old days might have produced successful plays, but are never able to acquire the mechanical skill now demanded, and are kept off the stage by artificial regulations, some of them not based upon essential ideas of drama but in reality upon questions connected with scenery. One cannot have many changes of the elaborate scenery nowadays employed in comedy, and the illusion sought and to some extent obtained by these costly, complicated sets makes the very useful carpenter's scene impossible. It often happens that incongruities and absurdities in modern plays are due to desperate efforts to overcome these difficulties. Scenes take place in the drawing-room that ought to have been out of doors; things are said that should have been done; and there are long passages of dialogue where short scenes of action would be preferable. In a large number of cases the manuscripts we read are unacceptable because the authors have not complied with these requirements of the modern stage; and it is impossible for us, with the best will in the world, to reconstruct the works. We can only point out, regretfully, that they do not comply with these modern regulations, and we know quite well that the dramatists will be unable to make the necessary changes. The modern system has had the great disadvantage of putting out of the range of the average writer of comedy a good many subjects that deserve treatment, but can only be handled with success by writers of great experience or those who possess remarkable gifts for the semi-mechanical work of construction, which are not necessarily allied to the higher qualities needed by the dramatist.