We insist, and have for years, that the government monopolies of opinions, morals, and force, farmed out to amateur societies of Comstocks and Pinkertons, should be withdrawn. If necessary to public safety, let power be exercised _only_ by the government directly responsible to the people. It is this attempt to govern by monopolies in the interest of sects or industrial classes that gave rise to every one of the abuses to which the editor of THE ARENA has well called attention as "outrages of government." They are only outrages of government _by_ monopolies _for_ monopolies, and which it is the fundamental condition and mission of Nationalism to end forever. In all these cases, and in every case, the advocates and apologists of Anarchy, or of _Laissez-faire_ must not mistake their position, they are inevitably _the allies of the oppressor_. The integration of special classes, sects, and interests, is the natural law making "toleration" more and more impossible. The integral integration, then, of all for the equal support, and for the equal protection of all, in mutual harmony and progress, is the only condition of our liberty, peace, and safety. No rule in Arithmetic is plainer than this law of Sociology, and Nationalism is its expression. "RECOLLECTIONS OF OLD PLAY-BILLS."[5] BY CHARLES H. PATTEE. [5] Copyright by Charles H. Pattee. In offering to the public my recollections of old play-bills I cannot be said to be travelling over familiar ground. For it is worthy of remark that while many bygone periods of theatrical history have found their chroniclers, their panegyrists, their enthusiastic remembrances, the space filled by the events of the Boston stage of 1852 to the present day has remained without a comprehensive survey, without a careful retrospect of its many notable and brilliant illustrations. To supply this void, to endeavor at once to preserve the memories of past grandeurs (already fading with the generation who enjoyed them), and to furnish to the younger portion of theatre-goers some conception of what the stage has been in its "palmy days," I have employed my leisure in putting together this history of old play-bills. The changes which have overspread modern society, vast and manifold as they are admitted to be, are, perhaps, nowhere more perceptible than in the region known as the theatrical world. To one who has formed a link in that chain which formerly connected the higher ranks of society with the taste for dramatic art--with the cultivation of the beautiful and imaginative in both opera and drama--to such a one the contemplation of the altered relations now between the patrons of the drama and the ministers of art suggest many comparisons. The first stage performance I ever witnessed will not easily be forgotten. It took place in the Boston Museum in 1850; the plays were "Speed the Plough," and a local drama (now happily banished from the stage)