“The tent,” cried Harold. “Achilles sulked in his tent. Of course, that’s the ‘chagrin d’Achille.’”
“Oh, you heard of it too? Then the story has managed to leak out somehow. They always do. There’s nothing in it. Now I’ll tell you all about the show. Try one of these figs.”
Harold helped himself to a green fig, the elderly butler placed a decanter of claret on the table, and disappeared with the noiselessness of a shadow.
CHAPTER XXX.—ON THE LEGITIMATE IN ART.
WHEN the history of the drama in England during the last twenty years of the nineteenth century comes to be written, the episode of the management of the Legitimate Theatre by Mrs. Mowbray will doubtless be amply treated from the standpoint of art, and the historian will, it may be confidently expected, lament the want of appreciation on the part of the public for the Shakespearian drama, to which the closing of the Legitimate Theatre was due.
There were a considerable number of persons, however, who showed a readiness to assert that the management of the Legitimate by Mrs. Mowbray should be looked upon as a purely—only purely was not the word they used—social incident, having no basis whatever in art. It failed, they said, not because the people of England had ceased to love Shakespeare, but because Mr. Archie Brown had ceased to love Mrs. Mowbray.
However this may be, there were also people who said that the Legitimate Theatre under the management of Mrs. Mowbray could not have been so great a financial failure, after all; for Mrs. Mowbray, when her season came to an end, wore as expensive dresses as ever, and drove as expensive horses as ever; and as everyone who had been associated with the enterprise had been paid—some people said overpaid—the natural assumption was that Shakespeare on the stage was not so abhorrent to the people of England as was generally supposed.
The people who took this view of the matter were people who had never heard the name of Mr. Archie Brown—people who regarded Mrs. Mowbray as a self-sacrificing lady who had so enthusiastic a desire to make the public acquainted with the beauties of Shakespeare, that she was quite content to spend her own fortune (wherever that came from) in producing “Cymbeline” and other masterpieces at the Legitimate.