e described as "Dramatist, novelist, journalist."

"Dramatist" he put first of all, even after long experience had shown
him that his greatest power lay in writing novels. But in this early
period he still hoped for fame upon the stage.

It was not a fortunate moment for dramatic writers. Plays were bought
outright by the managers, who were afraid to risk any considerable sum,
and were very shy about risking anything at all. The system had not yet
been established according to which an author receives a share of the
money taken at the box-office. Consequently, Reade had little or no
financial success. He adapted several pieces from the French, for which
he was paid a few bank-notes. "Masks and Faces" got a hearing, and drew
large audiences, but Reade had sold it for a paltry sum; and he shared
the honors of its authorship with Tom Taylor, who was then much better
known.

Such was the situation. Reade was personally liked, but his plays were
almost all rejected. He lived somewhat extravagantly and ran into debt,
though not very deeply. He had a play entitled "Christie Johnstone,"
which he believed to be a great one, though no manager would venture to
produce it. Reade, brooding, grew thin and melancholy. Finally, he
decided that he would go to a leading actress at one of the principal
theaters and try to interest her in his rejected play. The actress he
had in mind was Laura Seymour, then appearing at the Haymarket under
the management of Buckstone; and this visit proved to be the
turning-point in Reade's whole life.

Laura Seymour was the daughter of a surgeon at Bath--a man in large
practise and with a good income, every penny of which he spent. His
family lived in lavish style; but one morning, after he had sat up all
night playing cards, his little daughter found him in the dining-room,
stone dead. After his funeral it appeared that he had left no provision
for his family. A friend of his--a Jewish gentleman of Portuguese
extraction--showed much kindness to the children, settling their
affairs and leaving them with some money in the bank; but, of course,
something must be done.

The two daughters removed to London, and at a very early age Laura had
made for herself a place in the dramatic world, taking small parts at
first, but rising so rapidly that in her fifteenth year she was cast
for the part of Juliet. As an actress she led a life of strange
vicissitudes. At one time she would be pinched by poverty, and at