In the dramatic world Shakespeare stands alone. Compared with him, even the classic is childish.
There is plenty of material for plays. The Republic has lived a great play—a great poem—a most marvelous drama. Here, on our soil, have happened some of the greatest events in the history of the world.
All human passions have been and are in full play here, and here as elsewhere, can be found the tragic, the comic, the beautiful, the poetic, the tears, the smiles, the lamentations and the laughter that are the necessary warp and woof with which to weave the living tapestries that we call plays.
We are beginning. We have found that American plays must be American in spirit. We are tired of imitations and adaptations. We want plays worthy of the great Republic. Some good work has recently been done, giving great hope for the future. Of course the realistic comes first; afterward the ideal. But here in America, as in all other lands, love is the eternal passion that will forever hold the stage. Around that everything else will move. It is the sun. All other passions are secondary. Their orbits are determined by the central force from which they receive their light and meaning.
Love, however, must be kept pure.
The great dramatist is, of necessity, a believer in virtue, in honesty, in courage and in the nobility of human nature. He must know that there are men and women that even a God could not corrupt; such knowledge, such feeling, is the foundation, and the only foundation, that can support the splendid structure, the many pillared stories and the swelling dome of the great drama.
—The New York Dramatic Mirror, December 26, 1891.