is shown. These same defects seem odious in a man. And yet the actor must endeavor to be as attractive as possible, even if he is obliged to have recourse to paint and to false beard and hair. He may be a Republican and he must uphold with warmth and conviction royalist theories. He may be a Conservative and must maintain anarchist principles, if such be the good pleasure of the author. At the Théâtre Français poor Maubant was a most advanced Radical and his stature and handsome face doomed him to play the parts of kings, emperors, and tyrants. As long as the rehearsals went on, Charlemagne or Cæsar could be heard swearing at tyrants, cursing the conquerors, and claiming the hardest punishments for them. I thoroughly enjoyed this struggle between the man and the actor. Perhaps this perpetual abstraction from himself gives the comedian a more feminine nature. However that may be, it is certain that the actor is jealous of the actress. The courtesy of the well-educated man vanishes before the footlights, and the comedian, who in private life would render a service to a woman in any difficulty, will pick a quarrel with her on the stage. He would risk his life to save her from any danger in the road, on the railway, or on a boat, but when once on the boards he will not do anything to help her out of a difficulty. If her memory should fail, or if she should make a false step, he would not hesitate to push her—I am going a long way, perhaps, but not so far as people may think. I have performed with some celebrated comedians who have played me some bad tricks. On the other hand, there are some actors who are admirable and who are more men than comedians when on the stage. Pierre Berton, Worms, and Guitry are, and always will be, the most perfect models of friendly and protecting courtesy toward the woman comedian. I have played in a number of pieces with each of them and, subject as I am to stage fright, I have always felt perfect confidence when acting with these three _artistes_. I knew that their intelligence was of a high order, that they had pity on me for my fright, and that they would be prepared for any nervous weaknesses caused by it. Pierre Berton and Worms, both of them very great _artistes_, left the stage in full artistic vigor and vital strength, Pierre Berton to devote himself to literature, and Worms—no one knows why. As to Guitry, much the youngest of the three, he is now the first _artiste_ on the French stage, for he is an admirable comedian and at the same time an artist, a very rare thing in a man. I know very few _artistes_ in France or in other countries with these two qualities combined. Henry Irving is an admirable _artiste_ but not a comedian; Coquelin is an admirable comedian, but he is not an _artiste_. Mounet-Sully has genius which he sometimes places at the service of the _artiste_ and sometimes at the service of the comedian, but on the other hand, he sometimes gives us exaggerations as _artiste_ and comedian