But I scarcely feel less an outcast when I come out of the Circus, on week days, into my own world of sorrow. Inside the Circus, there have been wonderful Mr. Edward Cooke, and pretty Mademoiselle Aguzzi, and the three brothers Leonard, like the three brothers in a German story, and grave little Sandy, and bright and graceful Miss Hengler, all doing the most splendid feats of strength, and patience, and skill. There have been dear little Cinderella and her Prince, and all the pretty children beautifully dressed, taught thoroughly how to behave, and how to dance, and how to sit still, and giving everybody delight that looks at them; whereas, the instant I come outside the door, I find all the children about the streets ill-dressed, and ill-taught, and ill-behaved, and nobody cares to look at them. And then, at Drury Lane, there’s just everything I want people to have always, got for them, for a little while; and they seem to enjoy them just as I should expect they would. Mushroom Common, with its lovely mushrooms, white and gray, so finely set off by the incognita fairy’s scarlet cloak; the golden land of plenty with furrow and sheath; Buttercup Green, with its flock of mechanical sheep, which the whole audience claps because they are of pasteboard, as they do the sheep in Little Red Riding Hood because they are alive; but in either case, must have them on the stage in order to be pleased with them, and never clap when they see the creatures in a field outside. They can’t have enough, any more than I can, of the loving duet between Tom Tucker and little Bo Peep: they would make the dark fairy dance all night long in her amber light if they could; and yet contentedly return to what they call a necessary state of things outside, where their corn is reaped by machinery, and the only duets are between steam whistles. Why haven’t they a steam whistle to whistle to them on the stage, instead of Miss Violet Cameron? Why haven’t they a steam Jack in the Box to jump for them, instead of Mr. Evans? or a steam doll to dance for them, instead of Miss Kate Vaughan? They still seem to have human ears and eyes, in the Theatre; to know there, for an hour or two, that golden light, and song, and human skill and grace, are better than smoke-blackness, and shrieks of iron and fire, and monstrous powers of constrained elements. And then they return to their underground railroad, and say, ‘This, behold,—this is the right way to move, and live in a real world.’