to public ridicule in the rudest and most uncompromising way. Walpole acted with a certain boldness and cunning. The play was brought to him, was offered for sale to him. This was an audacious attempt at black-mailing; and at first it appeared to be successful. Walpole agreed to the terms, bought the play, paid the money, and then proceeded at once to make the fact that such a piece had been written, and but for his payment might have been played, an excuse for the introduction of a measure to put the whole English stage under restriction, and to brand it with terms of shame. He picked out carefully all the worst passages, {96} and had them copied, and sent round in private to the leading members of all parties in the House of Commons, and appealed to them to support him in passing a measure which he justified in advance by the illustrations of dramatic licentiousness thus brought under their own eyes. By this mode of action he secured beforehand an amount of support which made the passing of his Bill a matter of almost absolute certainty. Under these favorable conditions he introduced his Playhouse Bill. [Sidenote: 1737--The Press and the Theatre] The Playhouse Bill was a measure that attracted much attention, and provoked a very fierce controversy. It was a Bill to explain and amend so much of an Act made in the twelfth year of the reign of Queen Anne, entitled "An Act for reducing the laws relating to rogues, vagabonds, sturdy beggars, and vagrants, and sending them whither they ought to be sent," as relates to the common players of interludes. One clause empowered the Lord Chamberlain to prohibit the representation of any theatric performance, and compelled all persons to send copies of new plays, or new parts or prologues or epilogues added to old plays, fourteen days before performance, in order that they might be submitted to the Lord Chamberlain for his permission or prohibition. Every person who set up a theatre, or gave a theatrical exhibition, without having a legal settlement in the place where the exhibition was given, or authority by letters-patent from the Crown, or a license from the Lord Chamberlain, was to be deemed a rogue and vagabond, and subject to the penalties liberally doled out to such homeless offenders. The system of license thus virtually established by Walpole is the same that prevails in our own day. We do not, indeed, stigmatize managers and actors as rogues and vagabonds, even if they should happen to give a theatrical performance without the fully ascertained permission of the authorities, and we no longer keep up the monopoly of what used to be called the patent theatres. But the principle of Walpole's Act is the principle of our present system. A play must have the permission of the Lord Chamberlain before {97} it can be put on the stage; and while it is in course of performance the Lord Chamberlain can insist on any amendments or alterations in the dialogue or in the dresses which