A somewhat similar remark applies to the Italian Opera, which was once the very height of fashion, and still retains a part at least of its former distinction. The plot or _libretto_ takes a comparatively secondary place and does not attract much attention, it being only the setting of the music, which is the chief attraction. But as a set-off, we are frequently brought face to face with a ballet of a most improper nature. Certainly the inference drawn by the ordinary frequenter of the theatre is that such performances are not wrong, and it is prudish to object to them. And if it be argued that one meets with similar worldly ideals in novels, or even in everyday life, or that the state of the London streets brings similar indecorum before one, the answer is simple: what one meets with by accident in everyday life is one thing; what is put for before us for our admiration and dressed in its most attractive form is a totally different one; and many a man drinks in an idea unthinkingly at the theatre which he would not assimilate in the same way by mixing in everyday life or even by reading a novel. In the case of a regular frequenter of the theatre, we find his whole outlook on life distorted by its morality. In similar way, though the views of Cardinal Manning against all kinds of theatrical entertainments are commonly admitted to have been extreme, what he says cannot be dismissed too easily, for it contains much truth. "Every theatre," he writes, "is the centre of a neighbourhood abounding in all manner of evil, which lives and thrives on the theatrical world. There are upon the stage many good men and many good women; but also of both many bad. The spirit and surroundings and tide of the stage are dangerous and downward. The classes and trades that thrive by it are too well known to need words from me. Why should anyone aid, abet, comfort or share in such a traffic, even by the price of a box or a single ticket? I had rather have no liability however limited in such a trade."