Howard's femininity, in comparison with Fitch's, was equally as observant; it was not as literarily brilliant in its "small talk." But though the effervescent chatter, handled with increasing dexterity by him, is now old-fashioned, "Old Dry Ink" shows that the scenes in his plays were not merely cleverly arrived at, but were philosophically digested. How different the dialogue from the notes! This article was written in 1906; it conveys many impressions of early feminine struggles for political independence. The fact is, Mr. Howard often expressed his disappointment over the showing women made in the creative arts, and that he was not willing to let the bars down in his own profession is indicated by the fact that, during his life-time, women dramatists were not admitted as members into the club he founded. The reader is referred to two other articles by Mr. Howard--one, "Trash on the Stage," included in the "Memorial" volume; the other, on "The American Drama," which is reproduced here, because, written in 1906, and published in a now obsolete newspaper magazine, it is difficult of procuring, and stands, possibly, for Mr. Howard's final perspective of a native drama he did so much to make known as native. The most national of Howard's plays is "Shenandoah;" it is chosen for the present volume as representative of the military drama, of which there are not many examples, considering the Civil War possibilities for stage effect. Clyde Fitch's "Barbara Frietchie," James A. Herne's "Griffith Davenport," Fyles and Belasco's "The Girl I Left Behind Me," Gillette's "Secret Service," and William DeMille's "The Warrens of Virginia"--a mere sheaf beside the Revolutionary list which might be compiled.