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DIFFERENT FORMS OF TRAGEDY 57
star, you are your own stage manager, you are sometimes your own librettist and composer, your costumer.
If you are loyal to yourself, you will be your own critic and perhaps the most reliable.
You will be your own property man and you will very judiciously provide for your little play the vital accessories — talent instead of routine, distinction instead of vulgarity, observation which you will train by studying mankind around you, and above all instruction instead of ignorance.
We are unfortunately still far from the ideal standard of dramatic art, to which the doors are widely opened — rightly or wrongly — to every one who wishes to enter with or without vocation for it.
Not the most modest musician, painter, or sculptor will dare knock at the door of his art without carrying with him the baggage of long, laborious preparatory studies; but some young man or woman will decide within twenty-four hours to go on the stage, in spite of a total ignorance of letters and of art, which could afford intellectual nourishment to their power of expression.
For in our days the dramatic artists — at least the great majority of them — the inter-
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