THE CHARACTER OF GALATEA 147
propriate as a subject, always excluding the ' Puritans,'who have been, in a literary sense (&§ you say on the other side of our ocean), 'played out.'"
Not long before his death he was compelled to leave his house in Portman Square, where he had lived for years. On this event he says: " Since I last wrote, my lease at Gloucester Place has expired, and my landlord, the enormously rich Lord •--------, asked me such exorbitant terms for allowing me to continue to be his tenant that I confronted the horror of moving in my old age." A short time after this he died. From our first meeting we were in constant intercourse, and I have nothing but the sweetest memories of his little bent figure with its great kind heart.
"Pygmalion and Galatea" ran for the greater part of the season, preceded by "A Wolf in Sheep's Clothing." During the rehearsals of the former I was frequently told that my reading of the character would not be tolerated by the London public. Galatea, the child of Pygmalion's art, a statue, come to life, could not, it seemed to me, think, look, stand, or speak like an earthly-born maiden; some remnant of the inanimate marble would inevitably linger about her, giving to her movements a plastic grace, and to her thoughts and