LITMIR.BIZ

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it eats the baby. Tell her,” continued Kenelm (now at his third chop), “that there is no animal that in digestive organs more resembles man than a swine. Ask her if there is any baby in the house; if so, it would be safe for the baby to send up some more chops.”

      As the acutest observer could rarely be quite sure when Kenelm Chillingly was in jest or in earnest, the parlour-maid paused a moment and attempted a pale smile. Kenelm lifted his dark eyes, unspeakably sad and profound, and said mournfully, “I should be so sorry for the baby. Bring the chops!” The parlour-maid vanished. The boy laid down his knife and fork, and looked fixedly and inquisitively on Kenelm. Kenelm, unheeding the look, placed the last chop on the boy’s plate.

      “No more,” cried the boy, impulsively, and returned the chop to the dish. “I have dined: I have had enough.”

      “Little boy, you lie,” said Kenelm; “you have not had enough to keep body and soul together. Eat that chop or I shall thrash you: whatever I say I do.”

      Somehow or other the boy felt quelled; he ate the chop in silence, again looked at Kenelm’s face, and said to himself, “I am afraid.”

      The parlour-maid here entered with a fresh supply of chops and a dish of bacon and eggs, soon followed by a rice-pudding baked in a tin dish, and of size sufficient to have nourished a charity school. When the repast was finished, Kenelm seemed to forget the dangerous properties of the carnivorous animal; and stretching himself indolently out, appeared to be as innocently ruminative as the most domestic of animals graminivorous.

      Then said the boy, rather timidly, “May I ask you another favour?”

      “Is it to knock down another uncle, or to steal another gig and cob?”

      “No, it is very simple: it is merely to find out the address of a friend here; and when found to give him a note from me.”

      “Does the commission press? ‘After dinner, rest a while,’ saith the proverb; and proverbs are so wise that no one can guess the author of them. They are supposed to be fragments of the philosophy of the antediluvians: came to us packed up in the ark.”

      “Really, indeed,” said the boy, seriously. “How interesting! No, my commission does not press for an hour or so. Do you think, sir, they had any drama before the Deluge?”

      “Drama! not a doubt of it. Men who lived one or two thousand years had time to invent and improve everything; and a play could have had its natural length then. It would not have been necessary to crowd the whole history of Macbeth, from his youth to his old age, into an absurd epitome of three hours. One cannot trace a touch of real human nature in any actor’s delineation of that very interesting Scotchman, because the actor always comes on the stage as if he were the same age when he murdered Duncan, and when, in his sear and yellow leaf, he was lopped off by Macduff.”

      “Do you think Macbeth was young when he murdered Duncan?”

      “Certainly. No man ever commits a first crime of violent nature, such as murder, after thirty; if he begins before, he may go on up to any age. But youth is the season for commencing those wrong calculations which belong to irrational hope and the sense of physical power. You thus read in the newspapers that the persons who murder their sweethearts are generally from two to six and twenty; and persons who murder from other motives than love—that is, from revenge, avarice, or ambition—are generally about twenty-eight,—Iago’s age. Twenty-eight is the usual close of the active season for getting rid of one’s fellow-creatures; a prize-fighter falls off after that age. I take it that Macbeth was about twenty-eight when he murdered Duncan, and from about fifty-four to sixty when he began to whine about missing the comforts of old age. But can any audience understand that difference of years in seeing a three-hours’ play? or does any actor ever pretend to impress it on the audience, and appear as twenty-eight in the first act and a sexagenarian in the fifth?”

      “I never thought of that,” said the boy, evidently interested. “But I never saw ‘Macbeth.’ I have seen ‘Richard III.:’ is not that nice? Don’t you dote on the play? I do. What a glorious life an actor’s must be!”

      Kenelm, who had been hitherto rather talking to himself than to his youthful companion, here roused his attention, looked on the boy intently, and said,—

      “I see you are stage-stricken. You have run away from home in order to turn player, and I should not wonder if this note you want me to give is for the manager of the theatre or one of his company.”

      The young face that encountered Kenelm’s dark eye became very flushed, but set and defiant in its expression.

      “And what if it were? would not you give it?”

      “What! help a child of your age run away from his home, to go upon the stage against the consent of his relations? Certainly not.”

      “I am not a child; but that has nothing to do with it. I don’t want to go on the stage, at all events without the consent of the person who has a right to dictate my actions. My note is not to the manager of the theatre, nor to one of his company; but it is to a gentleman who condescends to act here for a few nights; a thorough gentleman,—a great actor,—my friend, the only friend I have in the world. I say frankly I have run away from home so that he may have that note, and if you will not give it some one else will!”

      The boy had risen while he spoke, and he stood erect beside the recumbent Kenelm, his lips quivering, his eyes suffused with suppressed tears, but his whole aspect resolute and determined. Evidently, if he did not get his own way in this world, it would not be for want of will.

      “I will take your note,” said Kenelm.

      “There it is; give it into the hands of the person it is addressed to,—Mr. Herbert Compton.”

      CHAPTER IV

      KENELM took his way to the theatre, and inquired of the door-keeper for Mr. Herbert Compton. That functionary replied, “Mr. Compton does not act to-night, and is not in the house.”

      “Where does he lodge?”

      The door-keeper pointed to a grocer’s shop on the other side of the way, and said tersely, “There, private door; knock and ring.”

      Kenelm did as he was directed. A slatternly maid-servant opened the door, and, in answer to his interrogatory, said that Mr. Compton was at home, but at supper.

      “I am sorry to disturb him,” said Kenelm, raising his voice, for he heard a clatter of knives and plates within a room hard by at his left, “but my business requires to see him forthwith;” and, pushing the maid aside, he entered at once the adjoining banquet-hall.

      Before a savoury stew smelling strongly of onions sat a man very much at his ease, without coat or neckcloth,—a decidedly handsome man, his hair cut short and his face closely shaven, as befits an actor who has wigs and beards of all hues and forms at his command. The man was not alone; opposite to him sat a lady, who might be a few years younger, of a somewhat faded complexion, but still pretty, with good stage features and a profusion of blond ringlets.

      “Mr. Compton, I presume,” said Kenelm, with a solemn bow.

      “My name is Compton: any message from the theatre? or what do you want with me?”

      “I—nothing!” replied Kenelm; and then deepening his naturally mournful voice into tones ominous and tragic, continued, “By whom you are wanted let this explain;” therewith he placed in Mr. Compton’s hand the letter with which he was charged, and stretching his arms and interlacing his fingers in the pose of Talma as Julius Caesar, added, “‘Qu’en dis-tu, Brute?’”

      Whether it was from the sombre aspect and awe-inspiring delivery of the messenger, or the sight of the handwriting on the address of the missive, Mr. Compton’s countenance suddenly fell, and his hand rested irresolute, as if not daring to open the letter.

      “Never mind

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