Again, the intelligent play-goer will carefully distinguish in his mind between actor and playwright. Realizing that "the play's the thing," he will demand that even the so-called star (too often an actor foisted into prominence for a non-artistic reason) shall obey the laws of his art and those of drama, and not unduly minimize for personal reasons the work of his coadjutors in the play, nor that of the playwright who intended him to go so far and no further. The actor who, whatever his fame, and no matter how much an unthinking audience is complaisant when he does it, makes a practice of giving himself a center-of-the-stage prominence beyond what the drama calls for, is no artist, but a show man, neither more nor less, who deserves to be rated with the mountebanks rather than with the artists of his profession. But it may be feared that "stars" will continue to seek the stage center and crowd others of the cast out of the right focus, to say nothing of distorting the work of the dramatist, under the goad of megalomania, so long as a goodly number of unintelligent spectators egg him on. His favorite line of poetry will be that of Wordsworth: "Fair as a star when only one is shining in the sky." It is to help the personnel of such an audience that our theater-goer needs his training. A general realization of all this will definitely affect one's theater habit and make for the good of all that concerns the art of the playhouse. It will lead the properly prepared person to see a good play competently done, but with no supreme or far-famed actor in the company, in preference to a foolish play, or worse, carried by a "star"; or a play negligible as art or hopelessly _passe_ as art or interpretation of life for which an all-star cast has been provided, as if to take the eye of the spectator off the weaknesses of the drama. Often a standard play revived by one of these hastily gathered companies of noted players resolves itself into an interest in individual performances which must lack that organic unity which comes of longer association. The opportunity afforded to get a true idea of the play is made quite secondary, and sometimes entirely lost sight of.