upon the man’s work in the next room?” His reply was:  “Good work rarely sells.” [Laughter.] My lords and gentlemen, if the dictum laid down by my friend be a sound one, I am placed to-night in a situation of some embarrassment.  For, in representing, as you honor me, by giving me leave to do, my brother dramatists, I confess I am not in the position to deny that their wares frequently “sell.” [Laughter.] I might, of course, artfully plead in extenuation of this condition of affairs that success in such a shape is the very last reward the dramatist toils for, or desires; that when the theatre in which his work is presented is thronged nightly no one is more surprised, more abashed than himself; that his modesty is so impenetrable, his artistic absorption so profound, that the sound of the voices of public approbation reduces him to a state of shame and dismay. [Laughter.] But did I advance this plea, I think it would at once be found to be a very shallow plea.  For in any department of life, social, political, or artistic, nothing is more difficult than to avoid incurring the suspicion that you mean to succeed in the widest application of that term, if you can.  If therefore there be any truth in the assertion that “good work rarely sells,” it would appear that I must, on behalf of certain of my brother dramatists, either bow my head in frank humiliation, or strike out some ingenious line of defence. ["Hear!  Hear!”]

But, my lords and gentlemen, I shall, with your sanction, adopt neither of those expedients; I shall simply beg leave to acknowledge freely, to acknowledge without a blush, that what is known as popular success is, I believe, greatly coveted, sternly fought for, by even the most earnest of those writers who deal in the commodity labelled “modern British drama.”  And I would, moreover, submit that of all the affectations displayed by artists of any craft, the affectation of despising the approval and support of the great public is the most mischievous and misleading. [Cheers.] Speaking at any rate of dramatic art, I believe that its most substantial claim upon consideration rests in its power of legitimately interesting a great number of people.  I believe this of any art; I believe it especially of the drama.  Whatever distinction the dramatist may attain in gaining the attention of the so-called select few, I believe that his finest task is that of giving back to a multitude their own thoughts and conceptions, illuminated, enlarged, and if needful, purged, perfected, transfigured.  The making of a play that shall be closely observant in its portrayal of character, moral in purpose, dignified in expression, stirring in its development, yet not beyond our possible experience of life; a drama, the unfolding of whose story shall be watched intently, responsively, night after night by thousands of men and women, necessarily of diversified temperaments, aims, and interests, men and women of all classes of society—­surely the writing of that drama, the weaving of that complex fabric, is one of the most arduous of the tasks which art has set us; surely its successful accomplishment is one of the highest achievements of which an artist is capable.