Dramatists -- Fiction; London (England) -- Social life and customs -- 19th century -- Fiction
she said, could do something.
As everything in her, however, turned to gentleness, she was admirably
hospitable to such people as a class. She believed Allan Wayworth could
do something, and she liked to hear him talk of the ways in which he
meant to show it. He talked of them almost to no one else—she spoiled
him for other listeners. With her fair bloom and her quiet grace she was
indeed an ideal public, and if she had ever confided to him that she
would have liked to scribble (she had in fact not mentioned it to a
creature), he would have been in a perfect position for asking her why a
woman whose face had so much expression should not have felt that she
achieved. How in the world could she express better? There was less
than that in Shakespeare and Beethoven. She had never been more generous
than when, in compliance with her invitation, which I have recorded, he
brought his play to read to her. He had spoken of it to her before, and
one dark November afternoon, when her red fireside was more than ever an
escape from the place and the season, he had broken out as he came
in—“I’ve done it, I’ve done it!” She made him tell her all about it—she
took an interest really minute and asked questions delightfully apt. She
had spoken from the first as if he were on the point of being acted,
making him jump, with her participation, all sorts of dreary intervals.
She liked the theatre as she liked all the arts of expression, and he had
known her to go all the way to Paris for a particular performance. Once
he had gone with her—the time she took that stupid Mrs. Mostyn. She had
been struck, when he sketched it, with the subject of his drama, and had
spoken words that helped him to believe in it. As soon as he had rung
down his curtain on the last act he rushed off to see her, but after that
he kept the thing for repeated last touches. Finally, on Christmas day,
by arrangement, she sat there and listened to it. It was in three acts
and in prose, but rather of the romantic order, though dealing with
contemporary English life, and he fondly believed that it showed the hand
if not of the master, at least of the prize pupil.
Public-domain text, read in full here on John Shaqi.
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