, I do not believe that the public demands of us that
we should give over our commercialism. Moreover, the public would have
no such right."

There is no need to criticise Mr Klaw's style: still it is rather
amusing to think that he sometimes discusses the literary quality of his
wares.

If there be any chance of our theatres becoming subject to a syndicate
which replies officially to its critics in such a fashion there is
serious danger to be considered. Now, according to certain statements by
Mr Belasco and by writers in and to _The Referee_, the Theatrical
Syndicate does, in fact, control to a very great extent the drama in
America, and there is no real doubt about the accuracy of the
proposition that the drama in the States is in a worse plight than the
drama in London. If, judging by the ordinary picked American productions
over here, the evidence were otherwise insufficient, the tone of Mr
Klaw's article would render it satisfying.

According to Mr Klaw, the Syndicate has conferred certain advantages
upon all persons connected with the theatre--except the critics and the
public. He does not venture to put his case any higher than that of a
trade combination, and it is clear that he at least does not consider
the theatre from the point of view of dramatic art. It is difficult to
accept this with equanimity. A phrase of his--"the theatre itself is a
business house, exhibiting the pictures of the dramatist and composer
under the proper light and most attractive auspices, just as the
picture-dealer has a picture-house in which he displays the best efforts
of the painters and illustrators"--is based on a curious fallacy.

The picture-dealer will not hurt his business if, in addition to
stocking the Royal Academy works, upon which he relies for his
bread-and-butter, in the front window, he devotes a little space at the
back to the unconventional efforts of the true artists. To do this costs
him nothing, and he may even make money by such a policy.

The manager of the strictly commercial theatre cannot follow the
picture-dealer's example; he must risk serious loss every time that he
produces a non-commercial piece. In one respect Mr Klaw is in agreement
with some of the English antagonists of the trust system; like them, he
is almost indignant at the idea that the theatre should attempt to
educate or dictate to the public. As a corollary, he and they must be
opposed to the idea that the dramatist or player should ha