and it is because the public taste and knowledge in such matters have
grown that the actor has to play his part with the surroundings and
accessories which are sometimes pronounced to be a weight or drag
on action. Suitability is demanded in all things; and it must, for
instance, be apparent to all that the things suitable to a palace are
different to those usual in a hovel. There is nothing unsuitable in
Lear in kingly raiment in the hovel in the storm, because such is here
demanded by the exigencies of the play: but if Lear were to be first
shown in such guise in such a place with no explanation given of the
cause, either the character or the stage-manager would be simply taken
for a madman. This idea of suitability should always be borne in mind,
for it is in itself a sufficient answer to any thoughtless allegation
as to overloading a play with scenery.

Finally, in the consideration of the Art of Acting, it must never be
forgotten that its ultimate aim is beauty. Truth itself is only an
element of beauty, and to merely reproduce things vile and squalid and
mean is a debasement of Art. There is apt to be such a tendency in
an age of peace, and men should carefully watch its manifestations. A
morose and hopeless dissatisfaction is not a part of a true national
life. This is hopeful and earnest, and, if need be, militant. It is a
bad sign for any nation to yearn for, or even to tolerate, pessimism
in its enjoyment; and how can pessimism be other than antagonistic
to beauty? Life, with all its pains and sorrows, is a beautiful and
a precious gift; and the actor's Art is to reproduce this beautiful
thing, giving due emphasis to those royal virtues and those stormy
passions which sway the destinies of men. Thus the lesson given by
long experience--by the certain punishment of ill-doing--and by the
rewards that follow on bravery, forbearance, and self-sacrifice, are
on the mimic stage conveyed to men. And thus every actor who is more