as of the "no quarter" school. He brings a certain manly subtlety to
bear on melodramatic subjects, as in "The Wolf" (April 18, 1908) and
"The Knife" (April 12, 1917); he seems to do as he pleases with his
treatment, as he did right at the start with his first successful
play. For, of "The Easiest Way" it may be said that, for the first
time in his managerial career, Mr. David Belasco agreed to accept
it with the condition that not a word of the manuscript should be
changed.

It is interesting to note about Walter that, though he may now
repudiate it, "The Easiest Way" stands distinct in its class; perhaps
the dramatist has ripened more in technique--one immediately feels the
surety and vital grip of dramatic expertness in Walter, much more
so than in George Broadhurst, Bayard Veiller, or other American
dramatists of his class. But he has not surpassed "The Easiest Way" in
the burning intention with which it was written.

As a dramatist, Walter adopts an interesting method; he tries out his
plays on the road, experimenting with various names, and re-casting
until ready for metropolitan production. His dramas have many
_aliases_, and it is a long case to prove an alibi; any student who
has attempted to settle dates will soon find that out. His military
play, written out of his experiences as a United States cavalryman in
the Spanish American War, was called "Boots and Saddles," after it
was given as "Sergeant James." "Fine Feathers," "The Knife," "The
Heritage," "Nancy Lee"--were all second or third choice as to name.

In his advancement, Mr. Walter gives much credit to three American
managers--Kirke LaShelle, and the Selwyn brothers, Archie and Edgar.
It was the Selwyns who, during his various ventures in the "show