problem which, in a great measure, takes care of itself and in time works out and submits its own solution. The anomaly, every day presented, of the young person who, knowing nothing, feeling nothing, and having nothing to communicate except the desire of communication, nevertheless rushes upon the stage, is felt to be absurd. Where the faculty as well as the instinct exists, however, impulse soon recognises the curb of common sense, and the aspirant finds his level. In this way the dramatic profession is recruited. In this way the several types of dramatic artist — each type being distinct and each being expressive of a sequence from mental and spiritual ancestry are maintained. It is not too much to say that a natural law operates silently and surely behind each seemingly capricious chance, in this field of the conduct of life. A thoroughly adequate dramatic stockcompany may almost be said to be a thing of natural accretion. It is made up, like every other group, of the old, the middleaged, and the young; but, unlike every other group, it must contain the capacity to present, in a concrete image, each elemental type of human nature, and to reproduce, with the delicate exaggeration essential to dramatic art, every species of person; in order that all human life-whether of the street, the dwelling, the court, the camp, man in his common joys and sorrows, his vices, crimes, miseries, his loftiest aspirations and most ideal state - may be so copied that the picture will express all its beauty and sweetness, all its happiness and mirth, all its dignity, and all its moral admonition and significance, for the benefit of the world. Such a dramatic stock-company, for example (and this is but one of the commendable products of the modern stage), has grown up and crystallised into a form of refined power and symmetry, for the purpose to which it is devoted, under the management of Augustin Daly. pose is the acting of comedy. began management in 1869, and he has remained in it, almost continually, from that time to this. Many players, first and last, have served under his direction. His company has known vicissitudes. But the organisation has not lost its comprehensive form, its competent force, and its attractive quality of essential grace. No thoughtful observer of its career can have failed to perceive how prompt the manager has been to profit by every lesson of experience; what That pur- keen perception he has shown as to the essential constituents of a theatrical troop; with what fine judgment he has used the forces at his disposal; with what intrepid resolution and expeditious energy he has animated their spirit and guided their art; and how naturally those players have glided into their several stations and assimilated in one artistic family. How well balanced, how finely equipped, how distinctively able that company is, and what resources of poetry, thought, taste, character, humour, and general capacity it contains, may not, perhaps, be fully appreciated in the passing hour. "Non, si male nunc, et olim sic erit." Fifty years from now, when perchance some veteran, still bright and cheery "in the chimney-nook of age," shall sit in his armchair and prose about the past, with what complacent exultation will he speak of the beautiful Ada Rehan, so bewitching as Peggy in The Country Girl, so radiant, vehement, and stormily passionate as Katherine; of manly John Drew, with his nonchalant ease, incisive tone, and crisp and graceful method; of noble Charles Fisher, and sprightly and sparkling James Lewis, and genial, piquant, quaint Mrs. Gilbert! I mark the gentle triumph in that aged reminiscent voice, and can respect an old man's kindly and natural sympathy with the glories and delights of his vanished youth. But I think it is not necessary to wait till you are old before you begin to praise anything, and then to praise only the dead. Let us recognise what is good in our own time, and honour and admire it with grateful hearts. NOTE. At the Garrick club, London, June 26, 1885, it was my fortune to meet Mr. Fladgate, "father of the Garrick," who was then aged 86. The veteran displayed astonishing resources of memory and talked most instructively about the actors of the Kemble period. He declared John Philip Kemble to have been the greatest of actors, and said that his best impersonations were Penruddock, Zanga, and Coriolanus. Mrs. Siddons, he said, was incomparable, and the elder Mathews a great genius, the precursor of Dickens. For Edmund Kean he had no enthusiasm. Kean, he said, was at his best in Sir Edward Mortimer, and after that in Shylock. Miss O'Neill he remembered as the perfect Juliet: a beautiful, blue-eyed woman, who could easily weep, and who retained her beauty to the last, dying at 85, as Lady Wrixon Becher. II. HENRY IRVING AND ELLEN TERRY IN FAUST. IT T is not surprising that the votaries of Goethe's colossal poem- - a work which, although somewhat deformed and degraded with the pettiness of provincialism, is yet a grand and immortal creation of geniusshould find themselves dissatisfied with theatrical expositions of it. Although dramatic in form the poem is not continuously, directly, and compactly dramatic in movement. It cannot be converted into a play without being radically changed in structure and in the form of its diction. disastrous still, in the eyes of those votaries, it cannot be and it never has been converted into a play without a considerable sacrifice of its contents, its comprehensive scope, its poetry, and its ethical significance. In the poem it is the Man who predominates; it is not the Fiend. Mephistopheles, indeed, might, for the purpose of philosophical apprehension, be viewed as an embodied More |