us--if we had seen it in time.

One approaches the practical when he counsels us to "Take an
interesting theme." Certainly a workable proposition. Many dramatists
have done that--wherever they could find it. The method is not
altogether modern. Two insist upon the necessity of a carefully
considered plan, while two others announce that it is a matter of no
consequence what one does; and another still wants us to be sure and
begin work at the end instead of the beginning. Gondinet--most
delightful of all--tells us that his method of working is simply
atrocious, for all he asks when he contemplates writing a play is
whether the subject will be amusing to him. Tho that scarcely touches
the question of how to write it, it is a practical hint on favoring
conditions, for no one will dispute that one's best work is likely to be
preformed when he him self enjoys it. Sardou comes nearest to projecting
a faint ray of practical light on the subject when he avers that there
is no one necessary way to write a play, but that a dramatist must know
where he is going and take the best road that leads there. He omits,
however, to give instructions about finding that road--which some might
think important.

The foregoing indicates to some extent the buffeting about which a
searcher for practical advice on play-writing may find himself subject
in this collection of letters. He had better go for mere instruction to
those of a lower order of intellect, whose imaginative or creative
faculties do not monopolize their entire mental area.

But that will hardly serve him better, for the truth is that no one can
convey to him--whether by written words or orally--or even by signs and
miracles--the right and proper method of constructing a play. A few