his audience. Being himself the nature that brought them forth, he
guides them in the course predestined at their conception. So only have
they a chance of defying Time, which is always lying in wait to destroy
the false, topical, or fashionable, all--in a word--that is not based on
the permanent elements of human nature. The perfect dramatist rounds up
his characters and facts within the ring-fence of a dominant idea which
fulfils the craving of his spirit; having got them there, he suffers them
to live their own lives.

Plot, action, character, dialogue! But there is yet another subject for
a platitude. Flavour! An impalpable quality, less easily captured than
the scent of a flower, the peculiar and most essential attribute of any
work of art! It is the thin, poignant spirit which hovers up out of a
play, and is as much its differentiating essence as is caffeine of
coffee. Flavour, in fine, is the spirit of the dramatist projected into
his work in a state of volatility, so that no one can exactly lay hands
on it, here, there, or anywhere. This distinctive essence of a play,
marking its brand, is the one thing at which the dramatist cannot work,
for it is outside his consciousness. A man may have many moods, he has
but one spirit; and this spirit he communicates in some subtle,
unconscious way to all his work. It waxes and wanes with the currents of
his vitality, but no more alters than a chestnut changes into an oak.

For, in truth, dramas are very like unto trees, springing from seedlings,
shaping themselves inevitably in accordance with the laws fast hidden
within themselves, drinking sustenance from the earth and air, and in
conflict with the natural forces round them. So they slowly come to full
growth, until warped, stunted, or risen to fair and gracious height, they
stand open to all the winds. And the trees that spring from each
dramatist are of different race; he is the spirit of his own sacred
grove, into which no stray tree can by any chance enter.

One more platitude. It is not unfashionable to pit one form of drama
against another--holding up the naturalistic to the disadvantage of the
epic; the epic to the belittlement of the fantastic; the fantastic to the
detriment of the naturalistic. Little purpose is thus served. The
essential meaning, truth, beauty, and irony of things may be revealed
under all these forms. Vision over life and human nature can be as keen
and just, the revelation as