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was heard about troupes traveling “on their trunks.” The stories were not exaggerated, but life had its better side, too. The manager and the actor were daily companions; there was a mutual absorption of ideas; the manager learned to know and appraise the “artistic temperament”—which is a tangible asset when not a form of artificial grouch or congenital ill-nature—and to respect the actor’s point of view, while, reciprocally, the actor was able to place himself in the manager’s position and to get his point of view from close personal affiliation.
