In all the arts except the acted drama, it is easy even for the layman to distinguish work which is immediate and momentary from work which is permanent and real. It was the turbulent untutored crowd that clamored loudest in demanding that the Dewey Arch should be rendered permanent in marble: it was only the artists and the art-critics who were satisfied by the monument in its ephemeral state of frame and plaster. But in the drama, the layman often finds it difficult to distinguish between a piece intended merely for immediate entertainment and a piece that incorporates the Intention of Permanence. In particular he almost always fails to distinguish between what is really a character and what is merely an acting part. When a dramatist really creates a character, he imagines and projects a human being so truly conceived and so clearly presented that any average man would receive the impression of a living person if he were to read in manuscript the bare lines of the play. But when a playwright merely devises an acting part, he does nothing more than indicate to a capable actor the possibility of so comporting himself upon the stage as to convince his audience of humanity in his performance. From the standpoint of criticism, the main difficulty is that the actor's art may frequently obscure the dramatist's lack of art, and _vice versa_, so that a mere acting part may seem, in the hands of a capable actor, a real character, whereas a real character may seem, in the hands of an incapable actor, an indifferent acting part. Rip Van Winkle, for example, was a wonderful acting part for Joseph Jefferson; but it was, from the standpoint of the dramatist, not a character at all, as any one may see who takes the trouble to read the play. Beau Brummel, also, was an acting part rather than a character. And yet the layman, under the immediate spell of the actor's representative art, is tempted in such cases to ignore that the dramatist has merely modeled an image in the sand. Likewise, on a larger scale, the layman habitually fails to distinguish between a mere theatric entertainment and a genuine drama. A genuine drama always reveals through its imagined struggle of contesting wills some eternal truth of human life, and illuminates some real phases of human character. But a theatric entertainment may present merely a deftly fabricated struggle between puppets, wherein the art of the actor is given momentary exercise. To return to our comparison, a genuine drama is carved out of marble, and incorporates, consciously or not, the Intention of Permanence; whereas a mere theatric entertainment may be likened to a group of figures sculptured in the sand.