dition to discover and rescue Dramatic Art in America, failed
because two hundred and forty millionaires tried to help it. If enough
millionaires could have been staved off from that enterprise, or if it
could have been taken in hand either by fewer or more select
millionaires cooeperating with the public and with artists of all
classes, New Theatre of New York would not have been obliged, as it has
been since, to start all over again on a new basis. The blunders in
creative public work that men who get rich in the wrong way are always
sure to make had to be made first. They nearly always have to be made
first. There is hardly a single enterprise of higher social value in
which the world is interested to-day which is not being gravely
threatened in efficient service by letting in too many millionaires, and
by paying too much attention to what they think. If our people were
generally alive to the terrific sameness and monotony of a millionaire's
life "before and after," and if millionaires were looked over
discriminatingly before being allowed to take part in great public
enterprises like the cinema, for instance, the newspapers, the
hospitals, the theatres, there is hardly any limit to the new things
that public enterprises would begin to make happen in the world, and the
new men that would begin to function in them.

Of course, if what a great vision for the people--_i.e._, a public
enterprise is for, is to make money, it would be different. The mere
millionaire might understand, and his understanding might help. But if
an institution is founded (like a great theatre) to be a superb and
noble masterpiece of understanding and changing human nature; if it is
founded to be a creative and dominating influence, to build up the
ideals and fire the enthusiasm of a city, to lay the foundations of the
daily thoughts and the daily motives of a great people, the mere
millionaire finds, if he tries to manage it, that he is getting in
beyond his depth. A man who has made his money by exploiting and taking
advantage of the public can only be expected, in conducting a Theatre,
to be an authority on how to exploit a public and take advantage of it
still more, and how to make it go to the play that merely looks like the
play that it wants.

Millionaires as a class, unless they are men who have made their money
in the artist's or the inventor's spirit, really ought to be expected by
this time, except in the size of their cheques, to be