All through life she has endeavored to obtain only a home to enable her to bring her child up an honest woman. She has tried only to make her hand strong enough to keep and guide her. And these efforts have been as futile as her success as an artiste has been assured. Who shall say it is not the fault of those who have pointed the finger of scorn at a woman seeking only to do right? Lillian Russell is first and always an artiste; honest to those who can appreciate trust and fidelity; never a knocker; the fairest actress and singer that ever shared applause with a brother or sister artist; without a desire to dissipate; a true companion and possessor of all the attributes that make a true woman. Miss Russell, I kiss your hand. _Chapter XLVII_ DRAMATIC SCHOOLS I always lacked the moral courage to ask any member of my organization to resign, no matter what provocation I might have. In my entire experience I have discharged two actors--both actresses! One of these was hardly more than a girl, most intelligent and rather pretty, who was sent to me highly recommended and said to possess marked histrionic abilities. She had appeared successfully in amateur performances of Shakespearean rôles and taken first prize at one of the modern schools of acting. I cast her for a very minor rôle in one of my plays. In one scene where she had to criticize a picture of a celebrated artist in a speech of about fifteen lines (which required an intelligent rendering and a delivery which demanded at least elocutionary ability) she floundered about in a most incoherent and jumbling manner. And when she came to the particular speech for which I was sure she was qualified, the amateur Juliet fell, balcony and all! I never saw such an exemplification of incapacity! It was a verification of what I have always felt regarding "schools of acting." There have been a few, a very few, graduates of the supposed academies of acting who have made successes on the legitimate stage. But it was brought about only by discarding the methods of these bunco professors, who dare to teach an art of which they know not. The so-called professors of these schools as a rule have had their fundamental knowledge of the theatre only through books, and if an actor hangs out his sign you will find that his career has spelt failure or that he has become so pedantic that all theories of modern acting have been swept past his horizon. I maintain that acting, if it can be taught at all, should be taught by an actor. Elocution and emphasis can be taught by a plumber or a gunman with the requisite authorities at hand. But even when those qualities are mastered they belong to the rostrum, not to the playhouse.