for the stage. Some critics have averred that to declare a drama1 as being not for the stage is to make an announcement whose subject and predicate cancel each other. The question seems to be an unimportant matter of terminology. Compositions cast in this shape were, without doubt, originally written for the stage only, and as a consequence their nomenclature of "Act," "Scene," and the like, was drawn directly from the vehicle of representation. But in the course of time such a shape would reveal itself to be an eminently readable one; moreover, by dispensing with the theatre altogether, a freedom of treatment was attainable in this form that was denied where the material possibilities of stagery had to be rigorously remembered. With the careless mechanicism of human speech, the technicalities of practical mumming were retained in these productions when they had ceased to be concerned with the stage at all.
To say, then, in the present case, that a writing in play-shape is not to be played, is merely another way of stating that such writing has been done in a form for which there chances to be no brief definition save one already in use for works that it superficially but not entirely resembles.
Whether mental performance alone may not eventually be the fate of all drama other than that of contemporary or frivolous life, is a kindred question not without interest. The mind naturally flies to the triumphs of the Hellenic and Elizabethan theatre in
1 It is now called an Epic-drama (1909). xi