If the tragedies of Shakespeare reveal their principal secret to be the realistic treatment of master passions, what shall we say to such comedies as "Midsummer Night's Dream," "As You Like It," "Much Ado About Nothing," and such? It is very difficult to define in what consists their success, apart from the beauty of their love stories, their dainty language, their charming feminine characters, and a cloud of accessories, none of which can properly be called the main secret. The first two, I think, owe their beauty principally to the dissection of that passion of love which forms the motive of "Romeo and Juliet." The author treats us to nothing but love scenes and scenes in mockery of love, and yet we never tire of them. In "Much Ado About Nothing," to be sure, there is an artificial plot of villany to hinder the love-making, but after all it is Benedick and Beatrice, making fun of love and getting caught in its toils, that make the charm of the piece, and the same device, minute analysis of love, makes "Twelfth Night" what it is. When we come to look below the surface we find, in the comedies as in the tragedies of Shakespeare, that the realistic treatment of some ruling passion forms the ultimate secret on which he works. To sum up in the aphoristic form the secrets affecting the motives of the greatest dramatic successes of the English stage, we can, I think, partially agree on one more canon: XV. Variety, suspense, satire, and realistic analysis of human passion are the secrets, so far discovered, of lasting dramatic successes.