guileless, and yet had moments of suspicion and craftiness worthy of the
wisdom of the serpent. One moment he would call me "dearest child"; the
next, with indignant emphasis, "_Madam_!"

When "The Wandering Heir" had at last exhausted its great popularity, I
went on a tour with Charles Reade in several of his plays. In spite of
his many and varied interests, he had entirely succumbed to the magic of
the "irresistible theater," and it used to strike me as rather pathetic
to see a man of his power and originality working the stage sea at
nights, in company with a rough lad, in his dramatic version of "Hard
Cash." In this play, which was known as "Our Seaman," I had a part which
I could not bear to be paid twenty-five pounds a week for acting. I knew
that the tour was not a financial success, and I ventured to suggest
that it would be good economy to get some one else for Susan Merton. For
answer I got a fiery "Madam, you are a rat! You desert a sinking ship!"
My dear old companion, Boo, who was with me, resented this very much:
"How can you say such things to my Nelly?"

"Your Nelly!" said Charles Reade. "I love her a thousand times better
than you do, or any puling woman."

Another time he grew white with rage, and his dark eyes blazed, because
the same "puling woman" said very lightly and playfully: "Why did poor
Nell come home from rehearsal looking so tired yesterday? You work her
too hard." He thought this unfair, as the work had to be done, and
flamed out at us with such violence that it was almost impossible to
identify him with the kind old gentleman of the Colonel Newcome type
whom I had seen stand up at the Tom Taylors', on Sunday evenings, and
sing "The Girl I Left Behind Me" with such pathos that he himself was
moved to tears. But, though it was a painful time for both of us, it was