boldly, may be a greater menace to our social fabric and a more powerful inspiration than the wildest harangue of the soapbox orator.
Unfortunately, we in America have so far looked upon the theater as a place of amusement only, exclusive of ideas and inspiration. Because the modern drama of Europe has till recently been inaccessible in printed form to the average theater-goer in this country, he had to content himself with the interpretation, or rather misinterpretation, of our dramatic critics. As a result the social significance of the Modern Drama has well nigh been lost to the general public.
As to the native drama, America has so far produced very little worthy to be considered in a social light. Lacking the cultural and evolutionary tradition of the Old World, America has necessarily first to prepare the soil out of which sprouts creative genius.
The hundred and one springs of local and sectional life must have time to furrow their common channel into the seething sea of life at large, and social questions and problems make themselves felt, if not crystallized, before the throbbing pulse of the big national heart can find its reflex in a great literature—and specifically in the drama—of a social character. This evolution has been going on in this country for a considerable time, shaping the wide-spread unrest that is now be-
