Thousands, enslaved by the conventional, distracted by the external, absorbed in the trivial, may be ignorant of the incomparable importance of the truth here expressed, care nothing about it, and give themselves up to selfish ambitions and contemptible materialities. This must be so, since the blind cannot see; and even the seeing eye sees in an object only what it brings the means of seeing; and the marvellous heights and depths of experience are fatally locked from the inexperienced. Nevertheless, the truth above affirmed survives its overlooking by the unworthy, and every man and woman gifted with profound insight and sensibility knows it and feels it beyond everything else. The great multitudes of society also have at least dim glimpses of it, strange presentiments of it, blind intuitions awakening a strong and incessant curiosity in that direction. This is the secret cause of the universal interest felt in the subject of love and in every instance of its transcendent experience or exemplification. One of the most central functions of art—whether written romance, painting, sculpture, music, or the drama—is directly or indirectly to celebrate this truth by giving it concentrated and relieved expression, and thus inciting the contemplators to aspire after their own highest bliss. To those whose emotions are rich and quick enough to interpret them, what are the finest songs of the composers but sighings for the fulfilment of affection, or raptures in its fruition, or wailings over its loss? With what unrivalled power Rubens, in his fearful pictures of love and war, has uncovered to the competent spectator the horrible tragedy all through history of the intimate association of lust and murder, libidinous passion and death! And pre-eminently the stage, in all its forms,—tragic, comic, and operatic,—has ever found, and always will find, its most fascinating employment and crowning mission in the open display—published to those who have the keys to read it, veiled from all who have not—of the varied bewitchments, evasions, agonies, and ecstasies of the passion of love between the sexes. That is the most effective actor or actress whose gamut of emotional being and experience, real and ideal, is greatest, and whose training gives completest command of the apparatus of expression, making the organism a living series of revelations, setting before the audience in visible play, in the most precise and intense manner, the working of love, in all its kinds and degrees, through the language of its occult signals. The competent actor shows to the competent gazer the exact rank and quality of the love actuating him by the adjustment of his behavior to it,—every look and tone, every changing rate and quality in the rhythm of his motions, every part of his body which leads or dominates in his bearing, whether head, shoulder, chest, elbow, hand, abdomen, hip, knee, or foot, having its determinate significance. Thus people are taught to