If the parade is combined with the performance of a specially written masque, the combination would obviate many of the usual objections to the ordinary “safe and sane” Fourth. The masque would provide a most desirable dramatic and educative element. And, by charging a small admission fee, this performance would ordinarily pay the entire expense of the celebration, including the expense of engaging a competent pageant master. Now a pay performance without the free parade might, under the circumstances, be considered an undemocratic way of celebrating what should be our most democratic holiday. But in combination with a free parade the admission fee would be unobjectionable, and the masque would, more than anything else, stimulate that deep, thoughtful patriotism whose lack to-day is as grave a defect in our barbarous Fourth as its cruelty. The idea of the masque has as yet been worked out only tentatively. Its development is the business of a dramatic poet. Roughly speaking it would proceed somewhat as follows. When the procession arrives at the stadium the floats would enter in their historical order, each accompanied however, by only the small, specially trained nucleus of its marching escort. The floats would circle the inclosure once or twice, and then divide into two files, forming a lane of honor through which the Liberty float would move slowly and take up a position in the center of the inclosure. Its escort would then sing a chorus which ought to be as eloquent and beautiful and suggestive an exposition of the nature of abstract liberty as Swinburne’s “Hertha” is of the soul. When this is finished the Americans would approach this central figure of Liberty and recount, with music and dramatic action, perhaps, their struggle in her honor, ending with America sung with full chorus and band. Then the Americans would take up their position in the secondary place of honor opposite. Hereupon, keeping to their historic order, each nation would advance and after greeting the American float as the pioneer of liberty, would approach the goddess and briefly recite their deeds in her behalf, each particularly emphasizing the unique qualities which it brought to its own struggle, and which it is ready (by application) to bring to any further struggles in the same general cause. These national recitals might be managed in various ways. Dependent upon the size of the stadium and the available creative talent among the organizers, they might be spoken or sung, solo or in chorus, in prose or verse, or both. Of course it is desirable that the masque should be composed entirely by the best poet and set to music by the most inspired composer obtainable. But it is quite conceivable that local amateurs might rise to very satisfactory heights in an emergency. Even in case of rain it might still be possible for the leading characters to present this masque upon the stage of the largest local theater concert hall.