felicity of their conclusions was left to the imagination instead of
being acted ruthlessly out on the boards. The themes of these plays
showed the usual obsession, and were manipulated in the usual attempt to
demonstrate that the way of transgressors is not so very hard after all.
They threw, all unconsciously, strange side-lights on the American man's
private estimate of the American woman, and the incidence of the
applause was extremely instructive.

The most satisfactory play that I saw, "Bought and Paid For," by George
Broadhurst, was not a problem-play, though Mr. Broadhurst is also a
purveyor of problem-plays. It was just an unpretentious fairy-tale about
the customary millionaire and the customary poor girl. The first act
was maladroit, but the others made me think that "Bought and Paid For"
was one of the best popular commercial Anglo-Saxon plays I had ever seen
anywhere. There were touches of authentic realism at the very crisis at
which experience had taught one to expect a crass sentimentality. The
fairy-tale was well told, with some excellent characterization, and very
well played. Indeed, Mr. Frank Craven's rendering of the incompetent
clerk was a masterly and unforgettable piece of comedy. I enjoyed
"Bought and Paid For," and it is on the faith of such plays, imperfect
and timid as they are, that I establish my prophecy of a more glorious
hereafter for the American drama.




VII

EDUCATION AND ART