The maid or friend does not waste time in simile or in metaphor. She calls him a black-hearted scoundrel and clumps him over the head.
Of recent years it has been attempted to cheer the stage villain's loveless life by making the village clergyman's daughter gone on him. But it is generally about ten years ago when even she loved him, and her love has turned to hate by the time the play opens; so that on the whole his lot can hardly be said to have been much improved in this direction.
Not but what it must be confessed that her change of feeling is, under the circumstances, only natural. He took her away from her happy, peaceful home when she was very young and brought her up to this wicked overgrown London. He did not marry her. There is no earthly reason why he should not have married her. She must have been a fine girl at that time (and she is a good-looking woman as it is, with dash and go about her), and any other man would have settled down cozily with her and have led a simple, blameless life.
But the stage villain is built cussed.
He ill-uses this female most shockingly—not for any cause or motive whatever; indeed, his own practical interests should prompt him to treat her well and keep friends with her—but from the natural cussedness to which we have just alluded. When he speaks to her he seizes her by the wrist and breathes what he's got to say into her ear, and it tickles and revolts her.
The only thing in which he is good to her is in the matter of dress. He does not stint her in dress.
The stage villain is superior to the villain of real life. The villain of real life is actuated by mere sordid and selfish motives. The stage villain does villainy, not for any personal advantage to himself, but merely from the love of the thing as an art. Villainy is to him its own reward; he revels in it.
"Better far be poor and villainous," he says to himself, "than possess all the wealth of the Indies with a clear conscience. I will be a villain," he cries. "I will, at great expense and inconvenience to myself, murder the good old man, get the hero accused of the crime, and make love to his wife while he is in prison. It will be a risky and laborious business for me from beginning to end, and can bring me no practical advantage whatever. The girl will call me insulting names when I pay her a visit, and will push me violently in the chest when I get near her; her golden-haired infant will say I am a bad man and may even refuse to kiss me. The comic man will cover me with humorous opprobrium, and the villagers will get a day off and hang about the village pub and hoot me. Everybody will see through my villainy, and I shall be nabbed in the end. I always am. But it is no matter, I will be a villain—ha! ha!"
On the whole, the stage villain appears to us to be a rather badly used individual. He never has any "estates" or property himself, and his only chance of getting on in the world is to sneak the hero's. He has an affectionate disposition, and never having any wife of his own he is compelled to love other people's; but his affection is ever unrequited, and everything comes wrong for him in the end.
Our advice to stage villains generally, after careful observation of (stage) life and (stage) human nature, is as follows: