I do not know that the baleful fire of unchaste amour runs more fiercely in the veins of stage people. I only know that they give it more of a free field. You sometimes hear some bar-room comedian and booze recitationist, who draws a hamfatter's salary in a continuous vaudeville, declare to half drunken listeners that there are good women on the stage. So there are--some. But they are so rare that when they are found they shine like the jewel in the Ethiop's ear. It would be within the bounds of truth to say that for every virtuous woman behind the foot-lights there are ten prostitutes. Even those who try to keep their feet from the mire and succeed are given no credit for chastity by their fellow professionals. One night, in my never to be forgotten German hotel, I was assured in a thing in loud-patterned trousers and a snow-white overcoat with deep black collar and cuffs, that he knew Emma Abbott, then dead, was unfaithful to her husband, Eugene Wetherell, also dead. This was spoken of "honest little Emma." A purer woman never lived. I knew that he was lying and told him so, but he was ready with a tale of time, place and circumstance and brazened it out. In like manner I have been told tales of Mary Anderson and Modjeska and Viola Allen--all of them lies. They were the tributes which my gentle friends, male and female, paid to success in their beautiful but risky profession. It is not to be wondered that women who go on the stage lose their virtue. The wonder is that some of them preserve it, in spite of the life they lead and the company they are forced to keep. The very talents they possess render them susceptible to adulation and applause. They keep late hours. They are thrown constantly with conscienceless males. They breathe an atmosphere of excitement. If they display unusual capabilities, they are intoxicated nightly with the deep, rich, moving roar of high acclaim. Their nerves need bracing and they take to late suppers and champagne with absinthe in the mornings. From the woman who drinks to the woman who falls is not a far cry. I once asked Lizzie Annandale, the contralto, to tell me why so many stage girls surrendered their most precious possession within a year after their first night behind the scenes. She was a frank old party, willing to talk to a friend: