AT a season of the year when children invade both the stage and the auditorium of many theatres in unwonted numbers it would be at least topical to speculate as to the philosophy of pantomime and the artistic merits and defects of child actors and actresses. But while juvenile mimicry of adult conceptions of drama is entertaining enough, it is more to our purpose to consider the dramatic spirit as it is actually present in children themselves. Pantomimes certainly do not reflect this spirit, and, in spite of the sentimental, but hardly more childish influence of fairy-plays, are still aimed exclusively at adult audiences who grant themselves no other opportunity of appreciating the humours of the music-halls. Probably the ideal children’s play would have the colour of pantomime, the atmosphere of “Peter Pan,” the poetry of the “Blue Bird,” and, most important of all, a downright melodramatic plot. It is this last that is invariably lacking in entertainments nominally provided for children; it is the first consideration in the entertainments they provide for themselves. If grown-up people were in the habit, which unfortunately they are not, of meeting together in moments of relaxation and acting little extemporary plays, these plays would surely give a first-hand indication of the dramatic situations that interested them. Yet this is what children are always doing, and in terms of play every little boy is a dashing and manly actor and every little girl a beautiful and accomplished actress. From the first glad hour when little brother cries to little sister, “You be Red Riding Hood, and I’ll be the wolf and eat you!” the dramatic aspect of life is never absent from the mind of imaginative youth.