In one service, however, that Belasco has rendered to the Theatre and the Public he is peculiarly a benefactor, and in doing that service he has encountered an antagonism and prevailed in adverse circumstances with which the elder theatrical managers never had to contend. It would be difficult to over-estimate the value of his intrepid opposition to the tyrannical monopoly known as “The Theatrical Syndicate.” His conflict with that arrogant, oppressive, pernicious organization, sustained through a period of about twelve years, and finally victorious, required unfaltering courage, tenacious purpose, skilful and prompt action, and tireless persistence. It exacted from him prodigious labor; it entailed upon him great expense and loss, and it compelled an expenditure of time and strength which, if he had been left free to devote it to his artistic labor, would have been productive of lasting benefit to the Drama. But the sacrifice was well made, because the Theatre and the Public profited by it,--as, earlier, and concurrently, they profited by the resolute contest against the Syndicate (a valiant and gallant fight for freedom and justice) waged by Harrison Grey Fiske and Minnie Maddern Fiske. It should be noted that Augustin Daly, Belasco’s immediate predecessor in the primacy of theatrical management in America,--who, also, was theatre manager, stage manager, playwriter, and “producer,” and who was consummate as an executive,--being assailed by the Syndicate (as he several times declared to me), became one of its active opponents and resisted its aggressions: but Daly, who died before its despotic power had become matured, had long been an established, powerful manager before it was formed, so that it could not do him much harm. Belasco, on the contrary, was constrained to fight his way to independence and influence against its active, relentless opposition and inveterate hostility, from almost the beginning of his career in theatrical management. WHAT ARE WE DISCUSSING?