Now let us consider how such recruiting can be encouraged by the theatre. Nothing is easier. Let the King’s Reader of Plays, backed by the Press, make an unwritten but perfectly well understood regulation that members of Mrs Warren’s profession shall be tolerated on the stage only when they are beautiful, exquisitely dressed, and sumptuously lodged and fed; also that they shall, at the end of the play, die of consumption to the sympathetic tears of the whole audience, or step into the next room to commit suicide, or at least be turned out by their protectors and passed on to be “redeemed” by old and faithful lovers who have adored them in spite of their levities. Naturally, the poorer girls in the gallery will believe in the beauty, in the exquisite dresses, and the luxurious living, and will see that there is no real necessity for the consumption, the suicide, or the ejectment: mere pious forms, all of them, to save the Censor’s face. Even if these purely official catastrophes carried any conviction, the majority of English girls remain so poor, so dependent, so well aware that the drudgeries of such honest work as is within their reach are likely enough to lead them eventually to lung disease, premature death, and domestic desertion or brutality, that they would still see reason to prefer the primrose path to the strait path of virtue, since both, vice at worst and virtue at best, lead to the same end in poverty and overwork. It is true that the Board School mistress will tell you that only girls of a certain kind will reason in this way. But alas! that certain kind turns out on inquiry to be simply the pretty, dainty kind: that is, the only kind that gets the chance of acting on such reasoning. Read the first report of the Commission on the Housing of the Working Classes [Bluebook C 4402, 8d., 1889]; read the Report on Home Industries (sacred word, Home!) issued by the Women’s Industrial Council [Home Industries of Women in London, 1897, 1s., 12 Buckingham Street, W. C.]; and ask yourself whether, if the lot in life therein described were your lot in life, you would not prefer the lot of Cleopatra, of Theodora, of the Lady of the Camellias, of Mrs Tanqueray, of Zaza, of Iris. If you can go deep enough into things to be able to say no, how many ignorant half-starved girls will believe you are speaking sincerely? To them the lot of Iris is heavenly in comparison with their own. Yet our King, like his predecessors, says to the dramatist, “Thus, and thus only, shall you present Mrs Warren’s profession on the stage, or you shall starve. Witness Shaw, who told the untempting truth about it, and whom We, by the Grace of God, accordingly disallow and suppress, and do what in Us lies to silence.” Fortunately, Shaw cannot be silenced. “The harlot’s cry from street to street” is louder than the voices of all the kings. I am not dependent on the theatre, and cannot be starved into making