ful
devices as the aside and the soliloquy; and such simplification of form
that the typical play shall reduce itself most likely to three acts, and
is almost always less than five; a play that often has but one scene
where the action is compressed within the time limits of a few hours,
or, at the most, a day or two. All this is the outcome of the influence
of Ibsen with its subtlety, expository methods and its intenser
psychology. In word, dress, action and scene, too, this modern type of
drama approximates closer to life; and inclines to minimize scenery save
as congruous background, thus implying a distinct rebellion from the
stupidly literal scenic envisagement for which the influence of a
Belasco is responsible. The new technic also has, in its seeking for an
effect of verisimilitude, adopted the naturalistic key of life in its
acting values and has built small theaters better adapted to this
quieter, more penetrating presentation.

In regard to subject matter, and the author's attitude to his work, a
marked tendency may be seen to emphasize personality in the character
drawing, to make it of central interest (contrasted with plot) and a
bold attempt to present it in the more minute variations of motive and
act rather than in those more obvious reactions to life which have
hitherto characterized stage treatment; and equally noticeable if not
the dominant note of this latter-day drama, has been the social sympathy
expressed in it and making it fairly resonant with kindly human values:
the author's desire to see justice done to the under-dog in the social
struggle; to extend a fraternal hand to the derelicts of the earth, to
understand the poor and strive to help those who are weak or lost; all
the underlings and incompetents and ill-doers of earth find their
explainers and defenders in these writers. This is the note which sounds
in the fraternalism of Kennedy's _The Servant in the House_, the
arraignment of society in Walter's _The Easiest Way_ and Paterson's
_Rebellion_, the contrast of the ideals of east and west in Moody's _The
Great Divide_, and the democratic fellowship of Sheldon's _Salvation
Nell_. It is the note abroad which gives meaning to Hauptmann's _The
Weavers_, Galsworthy's _Justice_ and Wedekind's _The Awakening of
Spring_, different as they are from each other. It stands for a
tolerant, even loving comprehension of the other fellow's case. There is
in it a belief in the age, too, and in modern man;