I. THE PUBLIC AND THE DRAMATIST 153 II. DRAMATIC ART AND THE THEATRE BUSINESS 161 III. THE HAPPY ENDING IN THE THEATRE 169 IV. THE BOUNDARIES OF APPROBATION 175 V. IMITATION AND SUGGESTION IN THE DRAMA 179 VI. HOLDING THE MIRROR UP TO NATURE 184 VII. BLANK VERSE ON THE CONTEMPORARY STAGE 193 VIII. DRAMATIC LITERATURE AND THEATRIC JOURNALISM 199 IX. THE INTENTION OF PERMANENCE 207 X. THE QUALITY OF NEW ENDEAVOR 212 XI. THE EFFECT OF PLAYS UPON THE PUBLIC 217 XII. PLEASANT AND UNPLEASANT PLAYS 222 XIII. THEMES IN THE THEATRE 228 XIV. THE FUNCTION OF IMAGINATION 233 INDEX 241 THE THEORY OF THE THEATRE I WHAT IS A PLAY? A play is a story devised to be presented by actors on a stage before an audience. This plain statement of fact affords an exceedingly simple definition of the drama,--a definition so simple indeed as to seem at the first glance easily obvious and therefore scarcely worthy of expression. But if we examine the statement thoroughly, phrase by phrase, we shall see that it sums up within itself the entire theory of the theatre, and that from this primary axiom we may deduce the whole practical philosophy of dramatic criticism. It is unnecessary to linger long over an explanation of the word "story." A story is a representation of a series of events linked together by the law of cause and effect and marching forward toward a predestined culmination,--each event exhibiting imagined characters performing imagined acts in an appropriate imagined setting. This definition applies, of course, to the epic, the ballad, the novel, the short-story, and all other forms of narrative art, as well as to the drama.