Part 4 (2/2)

He, the young man coming home to see his girl, need never take an insurance ticket or even buy a _t.i.t Bits_. It would be needless expenditure in his case.

On the other hand, and to make matters equal, as it were, there are some stage people so delicate that it is next door to impossible to keep them alive.

The inconvenient husband is a most pathetic example of this. Medical science is powerless to save that man when the last act comes round; indeed, we doubt whether medical science, in its present state of development, could even tell what is the matter with him or why he dies at all. He looks healthy and robust enough and n.o.body touches him, yet down he drops, without a word of warning, stone-dead, in the middle of the floor--he always dies in the middle of the floor. Some folks like to die in bed, but stage people don't. They like to die on the floor. We all have our different tastes.

The adventuress herself is another person who dies with remarkable ease.

We suppose in her case it is being so used to it that makes her so quick and clever at it. There is no lingering illness and doctors' bills and upsetting of the whole household arrangements about her method. One walk round the stage and the thing is done.

All bad characters die quickly on the stage. Good characters take a long time over it, and have a sofa down in the drawing-room to do it on, and have sobbing relatives and good old doctors fooling around them, and can smile and forgive everybody. Bad stage characters have to do the whole job, dying speech and all, in about ten seconds, and do it with all their clothes on into the bargain, which must make it most uncomfortable.

It is repentance that kills off the bad people in plays. They always repent, and the moment they repent they die. Repentance on the stage seems to be one of the most dangerous things a man can be taken with.

Our advice to stage wicked people would undoubtedly be, ”Never repent.

If you value your life, don't repent. It always means sudden death!”

To return to our adventuress. She is by no means a bad woman. There is much good in her. This is more than proved by the fact that she learns to love the hero before she dies; for no one but a really good woman capable of extraordinary patience and gentleness could ever, we are convinced, grow to feel any other sentiment for that irritating a.s.s, than a desire to throw bricks at him.

The stage adventuress would be a much better woman, too, if it were not for the heroine. The adventuress makes the most complete arrangements for being n.o.ble and self-sacrificing--that is, for going away and never coming back, and is just about to carry them out, when the heroine, who has a perfect genius for being in the wrong place at the right time, comes in and spoils it all. No stage adventuress can be good while the heroine is about. The sight of the heroine rouses every bad feeling in her breast.

We can sympathize with her in this respect. The heroine often affects ourselves in precisely the same way.

There is a good deal to be said in favor of the adventuress. True, she possesses rather too much sarcasm and repartee to make things quite agreeable round the domestic hearth, and when she has got all her clothes on there is not much room left in the place for anybody else; but taken on the whole she is decidedly attractive. She has grit and go in her. She is alive. She can do something to help herself besides calling for ”George.”

She has not got a stage child--if she ever had one, she has left it on somebody else's doorstep which, presuming there was no water handy to drown it in, seems to be about the most sensible thing she could have done with it. She is not oppressively good.

She never wants to be ”unhanded” or ”let to pa.s.s.”

She is not always being shocked or insulted by people telling her that they love her; she does not seem to mind it if they do. She is not always fainting, and crying, and sobbing, and wailing, and moaning, like the good people in the play are.

Oh, they do have an unhappy time of it--the good people in plays! Then she is the only person in the piece who can sit on the comic man.

We sometimes think it would be a fortunate thing--for him--if they allowed her to marry and settle down quietly with the hero. She might make a man of him in time.

THE SERVANT-GIRL.

There are two types of servant-girl to be met with on the stage. This is an unusual allowance for one profession.

There is the lodging-house slavey. She has a good heart and a s.m.u.tty face and is always dressed according to the latest fas.h.i.+on in scarecrows. Her leading occupation is the cleaning of boots. She cleans boots all over the house, at all hours of the day. She comes and sits down on the hero's breakfast-table and cleans them over the poor fellow's food. She comes into the drawing-room cleaning boots.

She has her own method of cleaning them, too. She rubs off the mud, puts on the blacking, and polishes up all with the same brush. They take an enormous amount of polis.h.i.+ng. She seems to do nothing else all day long but walk about s.h.i.+ning one boot, and she breathes on it and rubs it till you wonder there is any leather left, yet it never seems to get any brighter, nor, indeed, can you expect it to, for when you look close you see it is a patent-leather boot that she has been throwing herself away upon all this time.

Somebody has been having a lark with the poor girl.

The lodging-house slavey brushes her hair with the boot brush and blacks the end of her nose with it.

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