THE LANDSCAPE BEAUTIFUL 



by the horticulturist, that they bear full 

 loads of perfect apples. 



No; a progressive literature without 

 constant criticism is an impossibility. Most 

 productive writers recognize this. They 

 welcome intelligent criticism, even when 

 it rests heavily on their own works. Some 

 writers, and all publishers, industriously 

 cultivate criticism. 



The actor is, perhaps, as obviously 

 dependent on the critic as is any other 

 artist. In the first place, he works with a 

 compamy of fellow artists whose judgments 

 he must meet with some precision, in order 

 to make his playing go at all. Next, he is 

 usually supervised by a manager whose keen 

 criticism is supplied with peculiar sanc- 

 tions. In the third place, his acting must 

 pass under the scrutiny of the professional 

 critic who does not hesitate to say in the 

 morning paper that the whole business was 

 a shabby plagiarism of Booth or DeWolf 

 Hopper, without ginger, grace or giimption. 

 Finally, the public, passing in front of the 

 box office, pass a very positive sort of 

 criticism upon the art of both playwright 

 and actor. It is easy to point out instances 

 of able actors who have suffered under the 



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