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 on a slow ship. In their lofty eminence of pomposity they are challenged only by Anglican bishops and grand opera tenors. I have spoken of the danger they run of bursting. In the case of tenors it must sometimes actually happen; even the least of them swells visibly as he sings, and permanently as he grows older....

But why are actors, in general, such blatant and obnoxious asses, such arrant posturers and wind-bags? Why is it as surprising to find an unassuming and likable fellow among them as to find a Greek without fleas? The answer is quite simple. To reach it one needs but consider the type of young man who normally gets stage-struck. Is he, taking averages, the intelligent, alert, ingenious, ambitious young fellow? Is he the young fellow with ideas in him, and a yearning for hard and difficult work? Is he the diligent reader, the hard student, the eager inquirer? No. He is, in the overwhelming main, the neighborhood fop and beau, the human clothes-horse, the nimble squire of dames. The youths of more active mind, emerging from adolescence, turn to business and the professions; the men that they admire and seek to follow are men of genuine distinction, men who have actually done difficult and valuable things, men who have fought good (if often dishonest) fights and are respected and envied by other men. The stage-struck youth is of a softer and more shallow sort. He seeks, not a chance to test his mettle by hard and useful work, but an easy chance to