The acting-editions of Shakespeare's plays are worth examining by students in order to ascertain how far they are consistent with the author's intention. Since the chronological order of the plays has been fixed with more or less certainty, the study of Shakespeare has become much easier, and his dramatic and poetical conceptions are more accurately realized than they ever were before. The time has now come when our acting-editions could be profitably revised. Eminent actors may prefer, perhaps, arranging versions from their own study of the text, but there must always exist a standard version for general use in the profession. I should like to see existing a playbook of "Hamlet" which has been altered and shortened by a joint board of actors and scholars. It should have a carefully written introduction describing minutely the play as it is believed the author conceived it. There should also be a short sketch of the persons represented, with hints to the actor where to look in omitted passages for glimpses of character; besides notes on obscure passages, unfamiliar expressions, and different readings; and a description of costume and scenery most appropriate to the play. Such a book might be the beginning of a new era for the Shakespearian drama on our stage, and, by stimulating actors to study their parts from an artistic point of view, and less from a theatrical one, it would enable the public to appreciate Shakespeare in the only place where he can be properly understood, and that is the theatre. "KING LEAR."[13] When I opened the newspapers to read the criticisms on a recent performance of "King Lear," and found that the first comments made were in praise of the costumes, the scenery, and the music, then I knew that once more Shakespeare and tragedy had failed to assert themselves in the English Theatre. Charlotte Bronte, the novelist, who was educated in Brussels, and saw Rachel in one of her greatest impersonations, once astounded a London dinner-party by saying that the English knew nothing about tragedy. In her diary she writes: "I have twice seen Macready act, once in 'Macbeth' and once in 'Othello.' It is the fashion to rave about his splendid acting; anything more false and artificial, less genuinely impressive than his whole style, I could scarcely have imagined. The fact is the stage system is altogether hollow nonsense. They act farces well enough; the actors comprehend their parts and do justice to them. They comprehend nothing about tragedy or Shakespeare, and it is a failure. I said so, and by so saying produced a blank silence, a mute consternation." Unfortunately, Charlotte Bronte's reproach still remains true. Perhaps, had she continued to protest, the public would then have recognized the truth of her remarks. As it was, she never again referred to the subject. Like most of our literary men and women, then and now, she preferred to remain discreetly silent upon all matters connected with Shakespeare and the stage.