It is often assumed that Eliot's central interest in Elizabethan drama was the development of his own poetic style; "The Possibility of a Poetic Drama" (1920) suggests that he had wider aims. Advocating drama based on popular entertainment techniques, he anticipates the conviction of his obituary essay on Marie Lloyd (December 1922) that the music-hall, with the audience-participation of the only kind of people capable of a full and genuine response, afforded the best opportunity for live drama. One of his major incentives in the study of poetic drama during its peak in England was the hope that it would give him hints on means by which drama could be revived as a form of art.