susceptible; in public he will be pointed out, the idol of the masses; his crest will be on the tortoise-shell or ivory pin, which adorns the high coiffure of the stagestruck musumé ; finally, should he ever reach the head of his profession, he may hope to make as much as £5000 in four weeks, far surpassing the modest income of a prime minister or an archbishop.
But the author, instead of ruling the kingdom which he creates, is in most cases no more than a theatrical employé. In fact, the term "create" can only be used with much qualification, for the genesis of a play is curiously and multifariously planned. First, the manager sends for the author, and indicates the subject and period which he desires to form the bases of a drama; the author prepares and submits two or three drafts, from which the best is selected; then the cast is appointed, and the chief actors are consulted about their parts, which of course are modified to suit their suggestions; then the composer is called in, and, if the musical setting should lead to new alterations in the libretto, the author has no choice but to submit. When plays have to be constructed in this way, you cannot expect them to have any more artistic value than a London pantomime or "musical comedy." Nor has the author the satisfaction of salving the wounds to "artistic conscience" with consolatory gold. On the first run of a piece (the season is never longer than four or five weeks at a time) he may receive £20; a revival may bring him in £10 more, a provincial tour yet another 10. On the whole, he will be lucky to make £50, while the leading actor makes £5000. But then the audiences do not pay their money for the opportunity of solving historical problems or appreciating intellectual artistry: their object is simply to feast
