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Fancies versus Fads a perfect artist, but rather of a purse-proud parvenu. The perfect artist would be he who could put on a crown of gilt wire or tinsel and make us feel he was a king.

Moreover, if the principle is to be extended from properties to persons, it is not easy to see where the principle can stop. If we are to insist on real Asiatics to act "Chu Chin Chow," why not insist on real Venetians to act "The Merchant of Venice"? We did experiment recently, and I believe very successfully, in having the Jew acted by a real Jew. But I hardly think we should like to make it a rule that nobody must be allowed to act Shylock unless he can prove his racial right to call upon his father Abraham. Must the characters of Macbeth and Macduff only be represented by men with names like Macpherson and Macnab? Must the Prince of Denmark be native there and to the manner born? Must we import a crowd of Greeks before we are allowed to act "Troilus and Cressida," or a mob of real Egyptians to form the background of "Antony and Cleopatra"? Will it be necessary to kidnap an African gentleman out of Africa, by the methods of the slave trade, and force him into acting Othello? It was rather foolishly suggested at one time that our allies in Japan might be offended at the fantastic satire of "The Mikado." As a matter of fact, the satire of "The Mikado" is not at all directed against Japanese things, but exclusively against English things. But I certainly think there might be some little ill-feeling in Japan if gangs of Japanese coolies were shipped across two continents merely in order to act in it. If once this singular rule be recognized, a dramatist 112