by his friends and the public—and everybody has a kindly feeling toward him. With reason. His humour is unctuous, but never coarse; he bubbles over with fun, but never descends to buffoonery; great in old comedies, to the manner born, and, perhaps because of that, a little out of date. But Kiss, although fortune has not been over-lavish toward him, is contented with his lot. And he has, perhaps, a rarer virtue than all—he respects his author, and when he plays a new part and makes a hit in it, does not take all the credit to himself. This is the man who clapped Mr. Lethbridge on the shoulder in the midst of that gentleman's glowing day-dream, and cried: "The very man I was coming to see! How are you, Leth, old man?"
"Very well, I thank you," said Mr. Lethbridge, a little slowly, not immediately recognizing his friend; he was not in the habit of taking a harlequin leap out of his musings; it generally occupied him a few moments to get back to earth. "Very well, very well. Why, it's Kiss! Glad to see you, Kiss, glad to see you!"
"Day-dreaming, Leth?" inquired Kiss, merrily and kindly.
Mr. Lethbridge's flights in this direction were well-known to his friends.
"Yes, Kiss, yes. Amusing myself as usual. Upon my word, I hardly know a better way of passing the time. Almost as good as a theatre."
Kiss and Mr. Lethbridge were related—second or third cousins, or something of that sort; one of those genealogical connections with mixed marriages which make the head ache—and it was from Kiss that Mr. Lethbridge obtained orders for the play. Kiss had other and nearer relations, some of whom were in the habit of visiting Mr. Lethbridge's house, where, it need scarcely be said, they were more than welcome, the younger members of Aunt Leth's family, and all her other young friends, looking up to these luminaries with a kind of awe.
"Better than a theatre, I dare say," said Kiss, heartily; "at all events, a great deal cheaper. So easy to get up your pieces, so easy to write 'em, so easy to get them played. No jealousies and heart-burnings; all plain sailing. And no rehearsals, my boy; no rehearsals"—at which contemplation Kiss joyously rubbed his hands. "Everybody pleased and satisfied with his part. Lessee, stage-manager, every soul in the place, down to the check-taker at the gallery—I should rather say up, shouldn't I?—in a state of calm beatitude. Why? Because success is assured beforehand. No expense for dresses, none for scenery. Such a first-night audience! No blackguards paying their shillings in the hope of a chance of hooting and hissing. There are such now-a-days, I regret to say. Then the critics! Not at all a bad lot, Leth, let me tell you, though they have given many a poor devil the heartache. I often pity them for the sorry stuff they have to listen to and write about. Not a bed of roses, theirs! And I'd sooner be Kiss, first low comedy, than dramatic critic of the best paper going. As you play your pieces, Leth, do you ever think of the fine notices written about 'em in the next morning's papers?"
"I seldom get as far as that," replied Mr. Lethbridge, smiling.
"Ah!" said Kiss, "that's because you have no vanity."
"I have a great deal," said Mr. Lethbridge, shaking his head.
"You're no judge of yourself; none of us are of ourselves. But let your mind run on it a bit; it will make your nerves tingle with delight. Not for yourself, perhaps; for others—for Aunt Leth, now; and pretty Fanny; and Bob, the rascal!"
"Yes, for them, for them!" said Mr. Lethbridge, eagerly. "I will, Kiss; I will!—that is, if it comes to me to do it. For, do you know, what you call 'my pieces' are really very curious things, not only in themselves, but in the way they happen. Quite unexpectedly, Kiss—quite unexpectedly. Now what do the critics say about the piece—just by way of example—I've been playing in my walk home from the bank? But it's rather foolish of me to ask you such a question, as you are in complete ignorance of the kind of piece it is."
"Wrong, Leth, wrong. I know a great deal about it; more than you are aware of."
"Really?"
"Really, and in very truth, my liege lord."
"Now this is interesting. It is quite a pleasure, meeting you in this way. Go on about my piece."
"First and foremost," said Kiss, "to settle the style of it. I pronounce that it is not a tragedy."
"Right; it is not."
"It is not a farce."
"Nothing like it—that is, broadly speaking."
"I am speaking broadly. It is not a blood-thirsty melodrama, with a murder in it, and a wedding; or, if not that, a pair of lovers, just about to be tied together; or, if not that, a husband and wife torn from each other's arms. It amounts to the same thing, because the main point is that the man is falsely accused of the murder."
"Of course he is," said Mr. Lethbridge, "or where should we be?"
"Exactly," said Kiss, with a humorous imitation of Mr. Lethbridge's manner. "If that was not the case, where should we be? Worth considering. Perhaps worse off; perhaps better. I will not take it upon myself to judge. We are talking now of the regulation pattern—good old style, Leth, but old. Would stand a bad chance if it were not for the magnificent scenery and the wonderful dresses, mechanical changes, houses turned inside out, exteriors turned outside in, gas lowered to vanishing point to assist the delusion—splendid opportunity that for the lover and his lass, in the pit! Wish I was young again, and before the foot-lights, instead of behind them, so that I might take my imaginary little girl (whom I adore, from the crown of her pretty head to the tips of her little shoes) to the pit when such a melodrama, with the lights turned down, is being played. When I say 'regulation pattern,' Leth, don't mistake me; I am not speaking against it. As for originality—well, perhaps the least said about it the better. We were rehearsing a new melodrama the other day, and the subject cropped up on the stage. The scene-painter was there, and he took part in the discussion, though he spoke never a word."
"How could he do that without speaking?"
"Well, he winked."
"I don't see much in that," observed Mr. Lethbridge, somewhat mystified.
"Of course you don't, the reason being "—and good humour beamed in every feature of Kiss's merry face—"that you are not, like myself, a cynic."
"Come, that's good," protested Mr. Lethbridge: "you a cynic!"
"I would not have my enemies say so," said Kiss; "and don't you betray me at home. So it is settled that your piece is not a tragedy, nor a broad farce, nor a melodrama with a murder in it. Nor is it a comedy of character, bristling with smart sayings—everybody saying clever, ill-natured things about everybody else. No, Leth; your piece is a simple domestic drama, lighted up by the sweetest stars of life—the stars of pure love and a happy home."
"You have," said Mr. Lethbridge, stirred by the feeling which his friend threw into the words, "a remarkable felicity of expression. You are almost—a poet."
"A bread-and-butter poet, then. Yes; a simple drama of domestic life, upon which the stars of love and home are shining. That's what the critics say the next morning: 'It is refreshing to come across a play so sweet, so natural, so human. Here are no high flights of the imagination; no violent twisting of ordinary events to serve a startling purpose; no dragging in of abnormal, precocious children, to show how clever they are; nothing, in short, out of drawing or out of proportion. The play is an idyl, in which all that is wholesome in every-day life is brought into prominence to gladden the heart and refresh the senses. It leaves a sweet taste in the mouth, and when the curtain fell upon the delightful story, the author was called again and again, and applauded with a heartiness which must
