is, he studied Restoration drama as closely as he did the modern
French stage. How often he had to defend himself in the press from
the accusation of plagiarism, merely because he was complying with the
stage conventions of the moment!

It is unfortunate that his note-books are not available. But luckily
he wrote an article at one time which shows his method of thrashing
out the moral matrix of a scenario himself. It is called "Old Dry
Ink." Howard's irony slayed the vulgar, but, because in some quarters
his irony was not liked, he was criticized for his vulgarities.
Archer, for example, early laid this defect to the influence of the
Wyndham policy, in London, of courting blatant immorality in plays for
the stage.

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,