Events in three or four or five regions of the world can be woven together into one complex action.
Finally, we saw that every shade of feeling and emotion which fills the spectator's mind can mold the scenes in the photoplay until they appear the embodiment of our feelings.

In every one of these aspects the photoplay succeeds in doing what the drama of the theater does not attempt.
If this is the outcome of esthetic analysis on the one side, of psychological research on the other, we need only combine the results of both into a unified principle: _the photoplay tells us the human story by overcoming the forms of the outer world, namely, space, time, and causality, and by adjusting the events to the forms of the inner world, namely, attention, memory, imagination, and emotion._ We shall gain our orientation most directly if once more, under this point of view, we compare the photoplay with the performance on the theater stage.

We shall not enter into a discussion of the character of the regular theater and its drama.

We take this for granted.

Everybody knows that highest art form which the Greeks created and which from Greece has spread over Asia, Europe, and America.