It became expedient that Will appeal to his father for financial assistance, a resort which he postponed as long as possible, since the old gentleman invariably accompanied his grudging remittances with advice, censure and no little contumely. Will could not understand why he was not "snapped up" at once, so he expressed it. He had made good in his last engagement, had kept himself well advertised (_vide_ the press-agent) and it would appear that, as a natural sequence, his services should be in demand. He commented on the statement made by several managers, viz.: they had nothing in his line. It was evident that in making a pronounced success in a certain _genre_ of plays he had become identified with the one type of hero and the managers could "see" him in no other. Managers are, with rare exceptions, an unimaginative lot. In no other way can one explain the deluge of plays patterned on the same type: for example, let a manager by hit or miss produce successfully a play built around the Far West, immediately there spring up a dozen of the ilk. Or, again, let a play of farcical construction score a hit; the public is immediately surfeited with a run of farces. So with the actor. Let him once become identified with heroes of romantic drama and the manager fears to entrust him with the dress-suit rôle, and vice versa. More and more I was impressed with the ephemeral quality of the actor's success. At best the actor's is an aleatory profession and, as in all games of chance, the losses score highest.