THE WAYS OF THE FRENCH

November is to be a gala month in the history of the American theatre. In response to an invitation from Secretary Hughes, M. Firmin Gemier, director and leading actor of Le Theatre National de l'Opera of Paris, is coming to New York with a considerable part of his company for a visit to the American stage.

That the State Department should have extended the invitation does not indicate a departure from the established attitude of the government toward the arts. Nothing more than a state courtesy, Mr. Hughes has merely returned the compliment of the French Ministry of Fine Arts in inviting James K. Hackett to Paris in 1921 to play "Macbeth".

American philosophy of the state is in this respect quite different from the French. The state exists to prevent infringement of the thou-shalt-not's of the law. Except for the exercise of this primary right, government is supposed to stand aloof, and in the arts, as in business, it boasts a policy of "laissez faire".

But it is quite conceivable that as time goes on art will gain in importance among American people as it has among the people of the older civilizations of Europe. In proportion as art takes a more prominent place in the life of the nation, the conviction will grow that government can construct as well as prohibit, that by lending its aid it can foster the development of a truly national art.