in contact. Du
Maurier represented a character in Sibley with the defects of his
qualities, to the greater emphasis of the qualities. To attribute to a
man the genius to be king of Bohemia, and to receive from everyone
forgiveness for everything, _a cause de ses gentillesses_ to make him
witty also, and a most exquisite and original artist--this would have
been enough for most men, though it was not enough for Whistler. Joe
Sibley, not Little Billee, is the real creation of "an artist" that is
in the book.

Section 4

When _Trilby_ was put on the English stage a girl to play the heroine's
part had to be found. That was the first problem. And speaking of the
fact that a _Trilby_ did appear almost immediately, du Maurier said,
"There is a school which believes that wherever Art leads Nature is
bound to follow. I ought to belong to it, if there is." A _Trilby_ was
heard of; more, du Maurier had often commented upon the beauty of the
lady when she was a child living near him at Hampstead Heath. He
inquired her name. She was already on the stage, and showing promise as
an actress. He still felt sceptical, we are told, and so a photograph
was sent. He said, "No acting will be wanted; for here is Trilby." Miss
Baird was interviewed. "In face and manner," said du Maurier, telling
the story of the interview, "she seemed still more Trilby-like than
ever; but Mr. Tree, who was present, was on thoughts of acting-power
intent. And when he gravely announced that to be an actress a woman
should not be well-born and well-bred, and that if possible she should
have had her home in the wings or the gutter, I considered the matter
settled. We drove away in silence, and I, at any rate, in gloom. For
Miss Baird, refined and gentle, and well-born and well-bred, was still
Trilby for me, and I flatly refused to see either of the ladies whom Mr.
Tree had in mind. Finally, he thought he would see Miss Baird again, and
with her read over a scene or two. He got another cab--returned there
and then--in forty-eight hours the engagement was made."

[Illustration: Illustration for "Esmond"]

It may be found interesting if we revive here a criticism which throws
light on the first reception of the adaption of _Trilby_ for the stage.
The play was put on before the _Trilby_ boom had spent itself, but
critics would, from the nature of their species, be rather prejudiced
against, than carried away in favour of, anything which came in with a
"boom" t