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An utterly absurd allotment of actors is sufficient to explain the failures of Sadie Love and Our Little Wife and it might be well if some one should attempt a revival of one of his three serious plays, This Woman and This Man, in which Carlotta Nillson appeared for a brief space.
Imagine losing Gounod and Nillson for the sake of struggling through the mob on a stifling staircase, and being elbowed by inane young men, with gardenias in their coats. Lady Lesbia had a pretty little way of always opposing any suggestion of her sweetheart. She was resolved to treat him as badly as a future husband could be treated.
The Norman Fitz meant "son of," and the numerous names beginning with Fitz have this origin. Fitzpatrick originally meant the "son of Patrick," Fitzstephen the "son of Stephen," and so on. The Irish prefix O' has the same meaning. The ancestor of all the O'Neills was himself the son of Neill. The Scandinavian Nillson is really the same name, though it sounds so different.
It was not the same song Bessie was playing, and the discord was shocking that the professor smiled, the senator put his hands to his ears and Mrs. Bostwick cried in a horrified voice: "William!" Her husband continued to sing as if endeavoring to emulate the famous Christine Nillson, and paid no attention whatever to his wife or his guests. Fortunately the dinner gong now sounded, and Mrs.
Sir Philip Roden rose to his feet, and pointed to the door. "The gentleman must wait, Nillson," he answered. "Leave the room now, and see that we are not interrupted until I ring the bell." The servant bowed and withdrew, after a wondering glance at the faces of the little party. Sir Philip Roden left his seat and, crossing the room, locked the door.
Three days after this she was at the opera with her chaperon, her lover in attendance as usual. The opera was "Faust," with Nillson as Marguerite. After the performance they were to drive down to Twickenham on Mr. Smithson's drag, and to dance and sup at the Orleans.
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