nd to reflect upon it in the light of acknowledged principles,
something can certainly be done to prepare prospective theater-goers for
appreciation of the profession of the player; substituting for the
blind, time-honored "I know what I like," the more civilized: "I approve
it for the following good and sufficient reasons." Even in school, and
still more in college, the teacher can cooeperate with the taught by
suggesting the plays to be seen, amateur as well as professional; and by
classroom discussion afterward, not only of the plays but concerning
their rendition. Students are quick to respond when this is done, for
the vital object lesson of current drama always appeals to them, and
they are glad to observe a connection between their amusement and their
culture. At present, or at least up to a very recent time, the
eccentricity of such a procedure would all but have endangered the
position of the teacher so foolhardy as to act upon the assumption that
the drama seen the night before could be in any way used to impart
permanent lessons concerning a great art to the minds of the pupils.
Luckily, a more liberal view is taking the place of this crass
Philistinism.

In a proper appreciation of the actor the hearer will look beyond the
pulchritude of an actress or the fit of an actor's clothes; he will
judge Miss Ethel Barrymore by her power of envisaging the part she
assumes, and not be overly interested in an argument as to her increase
of avoirdupois of late years. He will not allow himself to consume time
over the question whether Mr. William Gillette in private life is
addicted to chloral because Sherlock Holmes is a victim of that most
reprehensible habit.

And above all he will constantly remind himself that acting is the art
of impersonation, exactly that; and, therefore, just as high praise goes
to the player who admirably portrays a disagreeable part as to one in
whose mouth the playwright has set lines which make him beloved from
curtain to curtain. Yet the majority of persons in a typical American
theater audience hopefully confuse the part with the player, and award
praise or blame according as they like or dislike the part itself.

The intelligent auditor will also give approval to the stage artist who,
instead of drawing attention to himself by the use of exaggerated
methods, quietly does his work, keeps always within the stage picture,
and trusts to his truthful representation to secure conviction and