On the whole, the stage villain appears to us to be a rather badly used individual. He never has any "estates" or property himself, and his only chance of getting on in the world is to sneak the hero's. He has an affectionate disposition, and never having any wife of his own he is compelled to love other people's; but his affection is ever unrequited, and everything comes wrong for him in the end.

Our advice to stage villains generally, after careful observation of (stage) life and (stage) human nature, is as follows:

Never be a stage villain at all if you can help it. The life is too harassing and the remuneration altogether disproportionate to the risks and labor.

If you have run away with the clergyman's daughter and she still clings to you, do not throw her down in the center of the stage and call her names. It only irritates her, and she takes a dislike to you and goes and warns the other girl.

Don't have too many accomplices; and if you have got them, don't keep sneering at them and bullying them. A word from them can hang you, and yet you do all you can to rile them. Treat them civilly and let them have their fair share of the swag.

Beware of the comic man. When you are committing a murder or robbing a safe you never look to see where the comic man is. You are so careless in that way. On the whole, it might be as well if you murdered the comic man early in the play.

Don't make love to the hero's wife. She doesn't like you; how can you expect her to? Besides, it isn't proper. Why don't you get a girl of your own?

Lastly, don't go down to the scenes of your crimes in the last act. You always will do this. We suppose it is some extra cheap excursion down there that attracts you. But