distinguished American artists, are entirely apocryphal, and have been
evolved by the critics who have given them to the world out of that
fertile soil, their own inner consciousness. There is certainly no
circumstance in her career which reflects more credit on Mary Anderson
than that her success, and the high position as an artist she has won thus
early in life, are due to her own almost unaided efforts. Well may it be
said of her--

"What merit to be dropped on fortune's hill?
The honor is to mount it."




CHAPTER III.

EARLY YEARS ON THE STAGE.


Between eight and nine years ago, Mary Anderson made her _debut_ at
Louisville, in the home of her childhood, and before an audience, many of
whom had known her from a child. This was how it came about. The season
had not been very successful at Macaulay's Theater, and one Milnes Levick,
an English stock-actor of the company, happened to be in some pecuniary
difficulties, and in need of funds to leave the town. The manager
bethought him of Mary Anderson, and conceived the bold idea of producing
"Romeo and Juliet," with the untried young novice in the _role_ of Juliet
for poor Levick's benefit. It was on a Thursday that the proposition was
made to her by the manager at the theater, and the performance was to take
place on the following Saturday. Mary, almost wild with delight, gave an