There are many difficulties in treating the work of the actors and actresses briefly, but to handle it at length and in proportion would require a space which editors are unable to give. No doubt the first of the difficulties is the one already indicated. Wrongly or rightly, it is felt (even by journalists who do not accept the traditions of _The Daily Telegraph_) that there is a poverty-stricken air about the use of the same adjective in consecutive sentences, and though we try to be honest in opinion, we have a workman's vanity in our efforts which asserts itself strongly and causes us, at some sacrifice of accuracy, to vary the epithets. Moreover, single adjectives tell very little. To say that Mr X. acted admirably, Miss Y. gave a capital performance, Mr Z. played in excellent style, gives little information, and when there are half-a-dozen to be named it is almost impossible to ring the changes. Furthermore, perhaps unconsciously, we are moved, fatuously no doubt, by the feeling that the earlier part of the article is intensely interesting to all the world, but that no one save the players and their personal friends and enemies will even glance at these concluding sentences. Yet one knows that they are of serious importance to the persons actually concerned, though some of them say that they never read them. The fact that so many theatres are in the hands of actor-managers is one reason why these phrases are important, for the actor-manager is compelled very often to choose or refuse a player on the strength of hearsay testimony: ours is hearsay evidence in the most accessible form, and even the managers have some belief in the soundness of the judgment of several of us. They all recognise the fact that we tend to create public opinion, and that an actor or actress much spoken of admiringly in the papers excites the curiosity of playgoers, and is a useful addition to a cast. Consequently we feel that in speaking of or ignoring individual performers we are affecting them to some extent in earning their livelihood. There is a story concerning a critic upon whose death half the stage went into quarter-mourning. If it be true, it showed that he was very short-sighted in his amiability, for when dealing with an overcrowded profession one must remember that ill-earned praise of A may keep B, who is more worthy, from getting A's place, to which, of course, he has a better title. It is very hard to act upon this proposition, although it involves a duty, for it is much easier to imagine the positive hurt to A than the negative injury to B; the critic in question probably shut his eyes to this, if he ever thought of it, and died comfortably unaware of the fact that his indiscriminating praise had kept many meritorious people out of their rights.