at the service
of the manager, and it was accordingly handed to him. The players
forthwith recovered their spirits; exposure of their deficiencies was
no longer possible; and the performance passed off to the satisfaction
of all concerned.

It has been suggested that gag is leniently, and even favourably
considered by audiences; and it should be added that dramatists often
connive at the interpolations of the theatre. For popular actors
characters are prepared in outline, as it were, with full room for the
embellishments to be added in representation. "Only tell me the
situations; never mind about the 'cackle,'" an established comedian
will observe to his author: "I'll 'fill it out,'" or "I shall be able
to 'jerk it in,' and make something of the part." It is to be feared,
indeed, that gag has secured a hold upon the stage, such as neither
time nor teaching can loosen. More than a century ago, in the
epilogue as supplied to Murphy's comedy, Garrick wrote:

Ye actors who act what our writers have writ,
Pray stick to your parts and spare your own wit;
For when with your own you unbridle your tongue,
I'll hold ten to one you are "all in the wrong!"

But this, with other cautioning of like effect, has availed but
little. The really popular actor gains a height above the reach of
censure. He has secured a verdict that is scarcely to be impeached or
influenced by exceptional criticism. Still it may be worth while to
urge upon him the importance of moderation, not so much for his own
art's sake--on that head over-indulgence may have made him
obdurate--but in regard to his playfellows of inferior standing. He is
their exemplar; his sins are their excuses; and the licence of one
thus vitiates the general system of representation.

The French stage is far more hedged round with restrictions than is
our own, and cultivates histrionic art with more scrupulous care. In
its better works gag is not tolerated, although free range is accorded
it in productions of the opera bouffe and vaudeville class. Here the
wildest liberty prevails, and the gagging actor is recognised as
exercising his privileges and his wit within lawful bounds. The
Parisian theatres may, indeed, be divided into the establishments
wherein gag is applauded, and those wherein it is abominated. By way
of a concluding note upon the subject, let an authentic story of
successful French gag be briefly narrated.

Potier, the famous comedian, was play