a few years ago, came from the sudden discovery by an elderly amateur of the play, amateur also of the handsome jeune premier—that the young'; man was false to him, despite a large subsidy. Four young Parisian actors of distinction are notoriously uranian. Another artiste on the French stage who has been called "the handsomest actor in France" is homosexual. One of the most distinguished of the protagonists in classic-romantic productions; also his colleague who just now is perhaps the most notable young comedian of Paris; another comedian adored by the smartest sets—all are homosexual. The most distinguished romantic actor on the German stage is uranian. The same may be said of a world-famous Austrian romantic actor, and of a dozen stars of the English stage—including one of an unusual popularity and beauty. But these are only types. Their like are legion. The late Viennese singer Theodore Reichmann had a long and successful life and career that was a tissue of homosexualism—either as to its romance or—crude materialism. Reichman left a long and minute diary, not likely to be published complete, so much would it displease Austrian censorship, and interest social Vienna.
Far less mysterious (indeed hardly any mystery) is the neurotic power of the spoken dramatic stage, compared with musical drama—music. But sexual excitement is often the essence of greater or lesser theatrism. Obviously plastic in the every-day theater, as on the operatic stage (but to more variety) the physical beauty of men, as of women, is minutely enhanced. The physique must be part of the attractive thrill. All the senses of sexual enjoyment and of a vague or vivid physical desire can be stirred,for the Uranian as he sits in his stall—in silence.
The Intellect-
ual, Aesthetic
and Artistic
Uraniad.
The philosopher may question whether a woman of robust, aggressive, fairly masculine mentality be not always con-
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