“That this is really the case was made plain to me by the questions asked me, mostly by young men, about my Canterbury play, The Zeal of Thy House. The action of the play involves a dramatic presentation of a few fundamental Christian dogmas— in particular, the application to human affairs of the doctrine of the Incarnation. That the Church believed Christ to be in any real sense God, or that the eternal word was supposed to be associated in any way with the word of creation; that Christ was held to be at the same time man in any real sense of the word; that the doctrine of the Trinity could be considered to have any relation to fact or any bearing on psychological truth; that the Church considered pride to be sinful, or indeed took notice of any sin beyond the more disreputable sins of the flesh—all these things were looked upon as astonishing and revolutionary novelties, imported into the faith by the feverish imagination of a playwright. I protested in vain against this flattering tribute to my powers of invention, referring my inquirers to the creeds, to the gospels, and to the offices of the Church; I insisted that if my play were dramatic it was so, not in spite of the dogma, but because of it—that, in short, the dogma was the drama. The explanation was, however, not well received; it was felt that if there were anything attractive in Christian philosophy I must have put it there myself.”