The Essential G. B. Shaw: Celebrated Plays, Novels, Personal Letters, Essays & Articles. GEORGE BERNARD SHAW

were also passing by. The iron railings through which she saw him reminded her of the admirable and dangerous creatures which were passing and repassing behind iron bars in the park yonder. But she exulted, in her quiet manner, in the thought that, dangerous as he was, she had no fear of him. When his cabman had found him and driven him off she went to her desk, opened a private drawer in it, took out her falher’s last letter, and sat for some time looking at it without unfolding it.

      “It would be a strange thing, father,” she said, as if he were actually there to hear her, “if your paragon should turn aside from her friends, the artists, philosophers, and statesmen, to give herself to an illiterate prizefighter. I felt a pang of absolute despair when he replied to my forty thousand pounds a year with an unanswerable goodbye.”

      She locked up her father, as it were, in the drawer again, and rang the bell. Bashville appeared, somewhat perturbed.

      “If Mr. Byron calls again, admit him if I am at home.”

      “Yes, madam.”

      “Thank you.”

      “Begging your pardon, madam, but may I ask has any complaint been made of me?”

      “None.” Bashville was reluctantly withdrawing when she added, “Mr. Byron gave me to understand that you tried to prevent his entrance by force. You exposed yourself to needless risk by doing so; and you may make a rule in future that when people are importunate, and will not go away when asked, they had better come in until you get special instructions from me. I am not finding fault; on the contrary, I approve of your determination to carry out your orders; but under exceptional circumstances you may use your own discretion.”

      “He shoved the door into my face, and I acted on the impulse of the moment, madam. I hope you will forgive the liberty I took in locking the door of the boudoir. He is older and heavier than I am, madam; and he has the advantage of being a professional. Else I should have stood my ground.”

      “I am quite satisfied,” said Lydia, a little coldly, as she left the room.

      “How long you have been!” cried Alice, almost in hysterics, as Lydia entered. “Is he gone? What were those dreadful noises? IS anything the matter?”

      “Dancing and late hours are the matter,” said Lydia, coolly. “The season is proving too much for you, Alice.”

      “It is not the season; it is the man,” said Alice, with a sob.

      “Indeed? I have been in conversation with the man for more than half an hour; and Bashville has been in actual combat with him; yet we are not in hysterics. You have been sitting here at your ease, have you not?”

      “I am not in hysterics,” said Alice, indignantly.

      “So much the better,” said Lydia, gravely, placing her hand on the forehead of Alice, who subsided with a sniff.

      CHAPTER X

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      Mrs. Byron, under her stage name of Adelaide Gisborne, was now, for the second time in her career, much talked of in London, where she had boon for many years almost forgotten. The metropolitan managers of her own generation had found that her success in new parts was very uncertain; that she was more capricious than the most petted favorites of the public; and that her invariable reply to a business proposal was that she detested the stage, and was resolved never to set foot upon it again. So they had managed to do without her for so long that the younger London playgoers knew her by reputation only as an oldfashioned actress who wandered through the provinces palming herself off on the ignorant inhabitants as a great artist, and boring them with performances of the plays of Shakespeare. It suited Mrs. Byron well to travel with the nucleus of a dramatic company from town to town, staying a fortnight in each, and repeating half a dozen characters in which she was very effective, and which she knew so well that she never thought about them except when, as indeed often happened, she had nothing else to think about. Most of the provincial populations received her annual visits with enthusiasm. Among them she found herself more excitingly applauded before the curtain, her authority more despotic behind it, her expenses smaller, and her gains greater than in London, for which she accordingly cared as little as London cared for her. As she grew older she made more money and spent less. When she complained to Cashel of the cost of his education, she was rich. Since he had relieved her of that cost she had visited America, Egypt, India, and the colonies, and had grown constantly richer. From this great tour she had returned to England on the day when Cashel added the laurels of the Flying Dutchman to his trophies; and the next Sunday’s paper had its sporting column full of the prowess of Cashel Byron, and its theatrical column full of the genius of Adelaide Gisborne. But she never read sporting columns, nor he theatrical ones.

      The managers who had formerly avoided Mrs. Byron were by this time dead, bankrupt, or engaged in less hazardous pursuits. One of their successors had lately restored Shakespeare to popularity as signally as Cashel had restored the prize ring. He was anxious to produce the play of “King John,” being desirous of appearing as Faulconbridge, a part for which he was physically unfitted. Though he had no suspicion of his unfitness, he was awake to the fact that the favorite London actresses, though admirable in modern comedy, were not mistresses of what he called, after Sir Walter Scott, the “big bow wow” style required for the part of Lady Constance in Shakespeare’s history. He knew that he could find in the provinces many veteran players who knew every gesture and inflection of voice associated by tradition with the part; but he was afraid that they would remind Londoners of Richardson’s show, and get Faulconbridge laughed at. Then he thought of Adelaide Gisborne. For some hours after the idea came to him he was gnawed at by the fear that her performance would throw his into the shade. But his confidence in his own popularity helped his love of good acting to prevail; and he made the newly returned actress a tempting offer, instigating some journalist friends of his at the same time to lament over the decay of the grand school of acting, and to invent or republish anecdotes of Mrs. Siddons.

      This time Mrs. Byron said nothing about detesting the stage. She had really detested it once; but by the time she was rich enough to give up the theatre she had worn that feeling out, and had formed a habit of acting which was as irksome to shake off as any other habit. She also found a certain satisfaction in making money with ease and certainty, and she made so much that at last she began to trifle with plans of retirement, of playing in Paris, of taking a theatre in London, and other whims. The chief public glory of her youth had been a sudden triumph in London on the occasion of her first appearance on any stage; and she now felt a mind to repeat this and crown her career where it had begun. So she accepted the manager’s offer, and even went the length of reading the play of “King John” in order to ascertain what it was all about.

      The work of advertisement followed her assent. Portraits of Adelaide Gisborne were displayed throughout the town. Paragraphs in the papers mentioned large sums as the cost of mounting the historical masterpiece of the national bard. All the available seats in the theatre — except some six or seven hundred in the pit and gallery — were said to be already disposed of for the first month of the expected run of the performance. The prime minister promised to be present on the opening night. Absolute archaeologic accuracy was promised. Old paintings were compared to ascertain the dresses of the period. A scene into which the artist had incautiously painted a pointed arch was condemned as an anachronism. Many noblemen gave the actor-manager access to their collections of armor and weapons in order that his accoutrement should exactly counterfeit that of a Norman baron. Nothing remained doubtful except the quality of the acting.

      It happened that one of the most curious documents of the period in question was a scrap of vellum containing a fragment of a chronicle of Prince Arthur, with an illuminated portrait of his mother. It had been purchased for a trifling sum by the late Mr. Carew, and was now in the possession of Lydia, to whom the actor-manager applied for leave to inspect it. Leave being readily given, he visited the house in Regent’s Park, which he declared to be an inexhaustible storehouse of treasure. He deeply regretted, he said, that he could not show the portrait to Miss Gisborne. Lydia replied