The fact is that the Church has always spoken in strong terms against the theatre. Bishop Milner uses his customary violent language in that sense. "Everyone knows," he says, [3] "that actors and actresses by the laws of the Church and the particular constitutions of our mission [4] are considered as habitual sinners and in a state of damnation, to whom therefore the sacraments are to be denied. Setting aside, then, all other consideration, can any Christian think it lawful by his or her presence or money to assist in keeping these wretches in such a state?" And again, "What are the opinions, the taste, the conduct, and in a word, the lessons which are inculcated by the theatre? I say that the very best modern tragedies exhibit and recommend that pride, ambition, vainglory, impatience, anger and revenge which are the very reverse of our Divine Master's morality inculcated in the eight beatitudes. And with respect to all the comedies and almost all the tragedies, they are made up of the sentiments, the intrigues and the gratification of the concupiscence of the flesh under the specious and all-meaning name of Love." Probably few would be found to speak in that drastic manner to-day. It is, to say the least, remarkable that the actor's profession seems to contain a greater proportion of Catholics than almost any other, and although we cannot regard it as free from dangers, the activities of the Catholic Stage Guild, and the fact that it is under high ecclesiastical patronage show that the profession is not regarded as in itself illicit. Moreover, those who have come across actors in private life can testify to the fact that a large amount of real goodness exists among them, and that as a class, they are very charitable, and aim at high ideals. Nevertheless, the considerations put forward by Dr. Milner cannot be too lightly set aside, even under modern conditions. One of the dangers of the stage is that it unconsciously undermines Christian morality, substituting that of the world: extolling pride as a virtue, looking down on the humble as poor-spirited and the like. A Catholic spectator may honestly believe himself to be unharmed, whereas as a fact his hold on Christian principles may have been lowered, and worldly ideals substituted in their place. It is true indeed that a new stamp of theatrical representation has arisen since the date of Dr. Milner, typified by the Gilbert and Sullivan comic operas, or the burlesques which were so fashionable a generation or two ago. These produce much mirth and recreation, and are free from the danger alluded to. But it is worth noting that it is just these pieces which are most infected with improprieties of dress from which Christian eyes should be kept.