hundred and fifty nights of "A Midsummer Night's Dream" at the
Princess's. It was certainly a very fascinating production, and many of
the effects were beautiful. I, by the way, had my share in marring one
of these during the run. When Puck was told to put a girdle round the
earth in forty minutes, I had to fly off the stage as swiftly as I
could, and a dummy Puck was whirled through the air from the point where
I disappeared. One night the dummy, while in full flying action, fell on
the stage, whereupon, in great concern for its safety, I ran on, picked
it up in my arms, and ran off with it amid roars of laughter! Neither of
the Keans was acting in this production, but there was some one in
authority to give me a sound cuff. Yet I had such excellent intentions.
'Tis ever thus!

I reveled in Puck and his impish pranks, and unconsciously realized that
it was a part in which the imagination could run riot. I believe I
played it well, but I did not _look_ well, and I must contradict
emphatically the kind assumption that I must have been a "delightful
little fairy." As Mamilius I was really a sweet little thing, but while
I was playing Puck I grew very gawky--not to say ugly! My hair had been
cut short, and my red cheeks stuck out too much. I was a sight!

The parts we play influence our characters to some extent, and Puck made
me a bit of a romp. I grew vain and rather "cocky," and it was just as
well that during the rehearsals for the Christmas pantomime in 1857 I
was tried for the part of the Fairy Dragonetta and rejected. I believe
that my failure was principally due to the fact that Nature had not
given me flashing eyes and raven hair--without which, as everyone knows,
no bad fairy can hold up her head and respect herself. But at the time I
felt distinctly rebuffed, and only the extreme beauty of my dress as the
maudlin "good fairy" Goldenstar consoled me. Milly Smith (afterwards