for him at the end of the play, it is true; but we would not recommend
the heroine to place too much reliance upon the continuance of this
happy state of affairs. From what we have seen of her husband and his
business capabilities during the five acts preceding, we are inclined
to doubt the possibility of his being anything but unfortunate to the
end of his career.

True, he has at last got his "rights" (which he would never have lost
had he had a head instead of a sentimental bladder on his shoulders),
the Villain is handcuffed, and he and the heroine have settled down
comfortably next door to the comic man.

But this heavenly existence will never last. The stage hero was built
for trouble, and he will be in it again in another month, you bet.
They'll get up another mortgage for him on the "estates;" and he won't
know, bless you, whether he really did sign it or whether he didn't,
and out he will go.

And he'll slop his name about to documents without ever looking to see
what he's doing, and be let in for Lord knows what; and another wife
will turn up for him that he had married when a boy and forgotten all
about.

And the next corpse that comes to the village he'll get mixed up
with--sure to--and have it laid to his door, and there'll be all the
old business over again.

No, our advice to the stage heroine is to get rid of the hero as soon
as possible, marry the villain, and go and live abroad somewhere where
the comic man won't come fooling around.