drama, we shall not be too rigid in our exactions. The drama is the art of human nature in picturesque or characteristic action. Let us be liberal in our enjoyment of it. [31]Tragedy, comedy, historical-pastoral, pastoral-comical—remember the large-minded list of the greatest-minded poet—all are good, if wholesome—and will be wholesome if the public continue to take the healthy interest in theatres which they are now taking. The worst times for the stage have been those when play-going was left pretty much to a loose society, such as is sketched in the Restoration dramatists. If the good people continue to come to the theatre in increasing crowds, the stage, without losing any of its brightness, will soon be good enough, if it is not as yet, to satisfy the best of them. This is what I believe all sensible people in these times see. And if, on the one hand, you are ready to laugh at the old prejudices which have been so happily dissipated; on the other hand, how earnestly must you welcome the great aid to taste and thought and culture which comes to you thus in the [32]guise of amusement. Let me put this to you rather seriously; let me insist on the intellectual and moral use, alike to the most and least cultivated of us, of this art "most beautiful, most difficult, most rare," which I stand here to-day, not to apologize for, but to establish in the high place to which it is entitled among the arts and among the ameliorating influences of life. Grant that any of us understand a dramatist better for seeing him acted, and it follows, first, that all of us will be most indebted to the stage at the point where the higher and more ethereal faculties are liable in reading to failure and exhaustion, that is, stage-playing will be of most use to us where the mind requires help and inspiration to grasp and revel in lofty moral or imaginative conceptions, or where it needs aid and sharpening to appreciate and follow the niceties of repartee, or the delicacies of comic fancy. Secondly, it follows [33]that if this is so with the intellectual few, it must be infinitely more so with the unimaginative many of all ranks. They are not inaccessible to passion and poetry and refinement, but their minds do not go forth, as it were, to seek these joys; and even if they read works of poetic and dramatic fancy, which they rarely do, they would miss them on the printed page. To them, therefore, with the exception of a few startling incidents of real life, the theatre is the only channel through which are ever brought the great sympathies of the world of thought beyond their immediate ken. And thirdly, it follows from all this that the stage is, intellectually and morally, to all who have recourse to it, the source of some of the finest and best influences of which they are respectively susceptible. To the thoughtful and reading man it brings the life, the fire, the color, the vivid instinct, which are beyond the reach of [34]study. To the common indifferent man, immersed, as a rule, in the business and socialities of daily life, it brings visions of glory and adventure, of emotion and of broad human interest. It gives glimpses of the heights and depths of character and experience, setting him thinking and wondering even in the midst of amusement. To the most torpid and unobservant it exhibits the humorous in life and the sparkle and finesse of language, which in dull ordinary existence is stupidly shut out of knowledge or omitted from particular notice. To all it uncurtains a world, not that in which they live and yet not other than it—a world in which interest is heightened whilst the conditions of truth are observed, in which the capabilities of men and women are seen developed without losing their consistency to nature, and developed with a curious and wholesome fidelity to simple and universal instincts of clear right and wrong.[35] Be it observed—and I put it most uncompromisingly—I am not speaking or thinking of any unrealizable ideal, not of any lofty imagination of what might be, but of what is, wherever there are pit and gallery and foot-lights. More or less, and taking one evening with another, you may find support for an enthusiastic theory of stage morality and the high tone of audiences in most theatres in the country; and if you fancy that it is least so in the theatres frequented by the poor you make a great mistake, for in none is the appreciation of good moral fare more marked than in these.

In reference to the poorer classes, we all lament the wide prevalence of intemperate drinking. Well, is it not an obvious reflection that the worst performance seen on any of our stages cannot be so bad as drinking for a corresponding time in a gin-palace? I have pointed this contrast before, and I point it again.[36] The drinking we deplore takes place in company—bad company; it is enlivened by talk—bad talk. It is relished by obscenity. Where drink and low people come together these things must be. The worst that can come of stage pandering to the corrupt tastes of its basest patrons cannot be anything like this, and, as a rule, the stage holds out long against the invitation to pander; and such invitations, from the publicity and decorum that attend the whole matter, are neither frequent nor eager. A sort of decency sets in upon the coarsest person in entering even the roughest theatre. I have sometimes thought that, considering the liability to descend and the facility of descent, a special Providence watches over the morals and tone of our English stage. I do not desire to overcharge the eulogy. There never was a time when the stage had not conspicuous faults. There never was a time[37] when these were not freely admitted by those most concerned for the maintenance of the stage at its best. In Shakespeare, whenever the subject of the theatre is approached, we perceive signs that that great spirit, though it had a practical and business-like vein, and essayed no impossible enterprises, groaned under the necessities, or the demands of a public which desired frivolities and deformities which jarred upon the poet-manager's feelings. As we descend the course of time we find that each generation looked back to a supposed previous period when taste ranged higher, and when the inferior and offensive peculiarities of the existing stage were unknown. Yet from most of these generations we inherit works as well as traditions and biographical recollections which the world will never let die. The truth is that the immortal part of the stage is its nobler part. Ignoble accidents and interludes [38]come and go, but this lasts on forever. It lives, like the human soul, in the body of humanity—associated with much that is inferior, and hampered by many hindrances—but it never sinks into nothingness, and never fails to find new and noble work in creations of permanent and memorable excellence. Heaven forbid that I should seem to cover, even with a counterpane of courtesy, exhibitions of deliberate immorality. Happily this sort of thing is not common, and although it has hardly been practised by any one who, without a strain of meaning can be associated with the profession of acting, yet public censure, not active enough to repress the evil, is ever ready to pass a sweeping condemnation on the stage which harbors it. Our cause is a good one. We go forth, armed with the luminous panoply which genius has forged for us, to do battle with dulness, with coarseness, with apathy, with every[39] form of vice and evil. In every human heart there gleams a bright reflection of this shining armor. The stage has no lights or shadows that are not lights of life and shadows of the heart. To each human consciousness it appeals in