papers and books.

I stated in a former article in this magazine, "First Nights in London
and New York," that is was only within the last twenty-five or thirty
years that a comparison between the cities and the conditions had
become possible, for the reason that prior to that time there was
really no American drama. There were a few American plays, and their
first productions did not assume the least importance as social
events. As far as any comparison is possible between the early
American dramatists (I mean the first of the dramatists who were the
starting point in the later '60's and early '70's) and those of the
present day, I think of only two important points. There was one
advantage in each case. The earlier dramatists had their choice of
many great typical American characters, such as represented in _Solon
Shingle, Colonel Sellers, Joshua Whitcomb, Bardwell Slote, Mose, Davy
Crockett, Pudd'nhead Wilson,_ and many others.

This advantage was similar in a small way to the tremendous advantage
that the earliest Greek dramatists had in treating the elemental
emotions; on the other hand, we earlier writers in America were
liable to many errors, some of them actually childish, which the
young dramatist of to-day, in constant association with his fellow
playwrights, and placing his work almost in daily comparison with
theirs, could not commit. To do so a man would have to be a much
greater fool than were any of us; and the general improvement in the
technical work of plays by young dramatists now, even plays that
are essentially weak and which fail, is decided encouragement and
satisfaction to one of my age who can look back over the whole
movement.

The American dramatist of to-day, without those great and specially
prominent American characters who stood, as it were, ready to go on
the stage, has come to make a closer study of American society than
his predecessors did. They are keen also in seizing strikingly marked
new types in American life as they developed before the public from
decade to decade.

A notable instance is the exploitation by Charles Klein of the
present-day captain of industry in "The Lion and the Mouse." The
leading character in the play is differentiated on the stage, as in
life, from the Wall Street giant of about 1890, as illustrated in
one of my own plays, "The Henrietta." Mr. Klein's character of the
financial magnate has developed in this country since my active days
of playwriting, a