a rogue and a vagabond! Indeed you're not. I--I'm afraid, though,
I'm one. I doubt if her grace would notice me now."

"The devil she wouldn't! What's happened then?"

"Oh, it's a long story. I should tire you if I were to tell you."

"A pretty girl tire me? What do you take me for, Polly? It is Polly,
isn't it?"

"Mr. Gay called me Polly, but it isn't my right name."

"Good enough for me, my dear. But what have you done? A harmless bit of
mischief when all's said, I'll swear."

"I don't know," rejoined Lavinia slowly. "I didn't mean any harm but I
suppose I was very silly."

"Well, let me have the catalogue of your sins and I'll be judge."

CHAPTER XVIII

"SOME DAY YOU'LL BE THE TALK OF THE TOWN"

As the two paced up and down in front of the playhouse Lavinia told the
actor the whole story. Spiller smiled indulgently at the love portion of
the narrative, but was impressed by the test Lavinia had gone through at
Pope's Villa and by Gay's belief in her future.

In Spiller's opinion there was no reason why Lavinia should not succeed
as a comedy actress. Her want of experience was nothing. Her natural
vivacity and intelligence were everything. Experience would soon come.
What actress who in those days became celebrated had had much training
before she went on the boards? Where was the opportunity with but four
theatres in London and one of them devoted to opera?

People were still living who could remember Kynaston the beautiful youth
as the sole representative of women's parts before actresses were known
on the stage. Nell Gwynne came from the gutter, and Nance Oldfield from
a public house in St. James's Market. Mrs. Barry had possibly had some
training under Davenant, who secured her an engagement, and she was at
first a failure. She was destined for tragedy and tragic actresses are
not made in five minutes, but comedy demanded little more than inborn
sprightliness and high spirits. Lavinia had both, and she could sing.

Spiller, comedian as he was, possessed what we now call the artistic
temperament. He was not contented with the mannerisms which provoke a
laugh and because they never vary--the characteristic of many comedians
who like to be recognised and applauded directly they step upon the
stage. Spiller bestowed the greatest pains upon his "make up", and so
identified himself with the part he was playing as completely to lose
his own personality, and bewildered his audience as to whether he w