After Literature I presume that the Stage is the greatest public agency for the promotion of fine emotions, and it is to the honor of human nature that it is found (at least in our country) to be most popular when it fulfils its office best, and calls out sympathy for generous and heroic actions. When the Roman audience rose _en masse_ to applaud the line of Terence which first proclaimed the brotherhood of man,—“Homo sum: humani nihil a me alienum puto,”—the highest mission of the Drama was fulfilled. Of course no one desires the string of high emotion to be exclusively or perpetually harped upon; and for my own part I think that the mere production of the emotion of harmless merriment is one of the greatest boons of the stage. The contagion of laughter, in a theatre or out of it, is an altogether wholesome and beneficent thing. How it unseats black Care from our backs! How it carries away, as on a fresh spring breeze, a whole swarm of buzzing worries and grievances! How it warms our hearts for ever after to the people with whom we have once shared a good honest _fou rire_! “Behold how good and how pleasant a thing it is for brethren to dwell together in unity,” and (with all respect let us add) in hilarity! A good joke partaken with a man is like the Arab’s salt. Our common emotion of humorous pleasure is a bond between us which we would not thereafter lightly break. The education of the emotions of actors and actresses, apart from that which they afford to the emotions of the public, is a very curious subject of consideration. Great part of the training of an actor consists in learning to give the uttermost possible external expression to those emotions which it is the task of other people to reduce to a vanishing point. Undoubtedly (as one of the most gifted of the profession has remarked), the “habit of representing fictitious feeling tends to produce a superficial sensibility, and an exaggerated mode of expressing the same.” But it may be questioned whether this extreme be worse than the opposite, wherein the expression of the emotions is so effectually repressed that the feelings themselves die out for want of air and exercise,—a consummation not unknown in the reposeful “caste of Vere de Vere.”