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1867 thousands of pounds for the first run; and this just distribution of profits is infinitely the best, in the long run, for ACTORS.

There is still an impression prevalent in the world, that there is no connection between good work and good wages in this kind of industry. There was never a greater mistake. A few great men, exceptional in character as in circumstances, blind like Milton, exiled like Dante, prisoners like Bunyan and Cervantes, may have written for solace, or for fame, or from benevolence; but, as a rule, nothing gets the immortal work from first-rate men but money We need only mention Shakespeare, for every one knows that he wrote plays simply and solely as a matter of business, to draw money into the treasury of his theatre. He was author and publisher, actor as well, and thus derived a threefold benefit from his labors. Moliere, too, the greatest name in the literature of France, and the second in the dramatic literature of the world, was author, actor, and manager. Play-writing was the career of these great men. It was their business and vocation; and it is only in the way of his business and vocation that we can, as a rule, get from an artist the best and the utmost there is in him. Common honesty demands that a man shall do his best when he works for his own price. His honor and his safety are alike involved. All our courage and all our cowardice, all our pride and all our humility, all our generosity and all our selfishness, all that can incite and all that can scare us to exertion, may enter into the complex motive that is urging us on when we are doing the work by which we earn our right to exist. Nothing is of great and lasting account,—not religion, nor benevolence, nor law, nor science,—until it is so organized that honest and able men can live by it. Then it lures talent, character, ambition, wealth, and force to its support and illustration. The whole history of literature, so far as it is known, shows that literature flourishes when it is fairly rewarded, and declines when it is robbed of its just compensation. Mr. Reade has admirably demonstrated this in his "Eighth Commandment," a little book as full of wit, fact, argument, eloquence, and delicious audacity as any that has lately appeared.

There has been but one country in which literature has ever succeeded in raising itself to the power and dignity of a profession, and it is the only country which has ever enjoyed a considerable part of the market of the world for its literary wares. This is France, which has a kind of International Copyright in its language. Educated Russia reads few books that are not French, and in every country of Christendom it is taken for granted that an educated person reads this language. Wherever in Europe or America or India or Australia many books are sold, some French books are sold. Here in New York, for example, we have had for many years an elegant and well-appointed French bookstore, in which the standard works of French literature are temptingly displayed, and the new works are for sale within three weeks after their publication in Paris. Many of our readers, too, must have noticed the huge masses of French books exhibited in some of the second-hand bookstores of Nassau Street. French books, in fact, form a very considerable part of the daily business of the bookstores in every capital of the world. Nearly one hundred subscribers were obtained in the United States for the Nouvelle Biographie, in forty-six volumes, the total cost of which, bound, was more than two hundred of our preposterous dollars. Besides this large and steady sale of their works in every city on earth, French authors enjoy a protection to their rights at home which is most complete, and they address a public accustomed to pay for new books a price, in determining which the author was considered. Mr. Reade informs us that a first-rate dramatic success in Paris is worth to the author six thousand pounds sterling, and that this six thousand pounds is very frequently drawn from the