REVISION OF “SHE” 337 “LORD CHUMLEY” AND E. H. SOTHERN 340 “THE KAFFIR DIAMOND” 345 LOUIS ALDRICH 347 THE SCHOOL OF ACTING 348 THE TRUE SCHOOL IS THE STAGE 351 A REVIVAL OF “ELECTRA” 353 MANY NEW TASKS 355 “THE CHARITY BALL” 357 MRS. LESLIE CARTER 361 EPISODE OF “THE PRINCE AND THE PAUPER” 365 RETIREMENT FROM THE LYCEUM THEATRE 367 A LONG, LONG ROAD 370 CONFEDERATION WITH CHARLES FROHMAN 373 PROCTOR’S TWENTY-THIRD STREET THEATRE 374 THE PLAY OF “MEN AND WOMEN” 377 HATCHING “THE UGLY DUCKLING” 383 “THE UGLY DUCKLING.”--MRS. CARTER’S DEBUT 385 MORE FAILURE, AND A LAWSUIT 388 A POVERTY-STRICKEN STRUGGLE 392 “MISS HELYETT” AND MRS. CARTER 396 ORIGIN OF THE EMPIRE THEATRE 400 “THE GIRL I LEFT BEHIND ME” 403 EXCELLENCE OF THAT INDIAN DRAMA 406 THE VALUE OF SUGGESTION IN ART 417 A SUGGESTIVE REMINISCENCE OF FRONTIER DAYS 420 BELASCO AND CHARLES FROHMAN 421 A CHARLES FROHMAN LETTER 422 A BAFFLED ENTERPRISE IN CHICAGO 424 “THE YOUNGER SON” 428 FIGHTING FOR A CHANCE 431 STORY AND PRODUCTION OF “THE HEART OF MARYLAND.”--ITS GREAT SUCCESS 438 “THE FIRST BORN.”--A SUCCESS AND A FAILURE 447 BELASCO’S SECOND ENGLISH VENTURE.--“THE HEART OF MARYLAND” IN LONDON 451 “ZAZA,” AND THE ETHICAL QUESTION 456 PRODUCTION, AND CONTENTS, OF “ZAZA” 461 MRS. CARTER’S IMPERSONATION OF ZAZA 464 DEATH OF BELASCO’S MOTHER.--“CAN THE DEAD COME BACK?”--A STRANGE EXPERIENCE 466