What do these plays really teach us? I think I have seen almost all of them, and the composite picture in my mind is one of an absurdly distorted, exaggerated, and misleading view of actual social surroundings, suggesting wrong problems, wrong complaints, and wrong remedies. When I studied the reports of the vice commissions of the large American and European cities, the combined image in my consciousness was surely a stirring and alarming one, but it had no similarity with the character of those melodramatic vagaries. Even the best and most famous of these fabrications throw wrong sidelights on the social problems, and by a false emphasis inhibit the feeling for the proportions of life. If in “The Fight” the father, a senator, visits a disorderly house, unlocks the room in which the freshest fruit is promised him, and finds there his young daughter who has just been abducted by force, the facts themselves are just as absurd as the following scenes, in which this father shows that the little episode did not make the slightest impression on him. He coolly continues to fight against those politicians who want to remove such places from the town. In “Bought and Paid For” marriage itself is presented as white slavery. The woman has to tolerate the caresses of her husband, even when he has drunk more champagne than is wise for him. The play makes us believe that she must suffer his love because she was poor before she married and he has paid her with a life of luxury. Where are we to end if such logic in questions of sexual intercourse is to benumb common sense? England brought us “The Blindness of Virtue,” the story of a boy and a girl whom we are to believe to be constantly in grave danger because they are ignorant, while in reality nothing happens, and everything suggests that the moral danger for this particular girl would have been much greater if she had known how to enjoy love without consequences.