Public ledger. [volume] (Memphis, Tenn.) 1865-1893, 1879-04-04

actor IN tue part OF luke AranIa, VINO
had begun the famous sentence: NO,
I'll not beat you the man who lays
his hands upon a woman, ave in the
way Of kindness, is a wretch, whom
'twere gross hattery to call a coward.
The duke had, as a matter of fact,
beaten his wife that afternoon, and be-
ing aware that other members of the
company knew Of the unpleasanness,
he varied the text thus The man
who lays his hands upon a woman,
save when she deserves it, or in the
way of kindness, IS a wretch, and so
forth. A serious work would be
married by such gags as these, but
even the French, so much superior 70
the English in the observance Of ar
tistic proprieties, arc not above them.
AN EXTRAORDINARY STORY.
is told Of Glatigny, an eccentric ac-
tor, who, in passing the door Of a thea
ter, saw the name Of an old-time as
sociate on the play-bill. The friend
was at hat moment on the stage in the
play Of Charlotte Corday, and, despite
tho act, Glatigny made his way through
the stage door, walked before the as
tonished audience and claspod his for
mer comrade warmly by the hand.
The latter was not in the least dis
comitted by the intrusion. "0h you
here!l' he exclaimed, and together the
two walked up and down the stage,
talking Of their private affairs as if
they had been on ono of the boulo-
wards, while the amazed audience saw
that tho play was forgotten. At
length said Glatigny: II intrude,
perhaps" Not at all" politely ms
wcred his friend, But / am sure l
do, and so farewell. When you have
finished you will find me IN the cafe
next door" Glatigny had reached the
wing, when he returned, saying Be
fore we part let us sing a little couplet
de facturelv' with all my heart"
was the reply; and both Of them,
standing before the footlights, sang q
verse from some old vaudeville on the
pleasure Of old friends meeting unex-
pectedly, which evoked loud applause
from the audience, who appreciated
the situation, as G~latigny retired and
the actor resumed the lines of Char
lotte CordRy.
The last time the writer saw Mr..
Blackstone was when that actor played
a canting Roundhead in Robert Buch-
anan's poetical comedy, A Madcap
Prince, Night after night, when he was
called before the curtain, he brought
with him a pretty subordinate ac-
tress, his sweetheart in the play--and
kissed her sometimes, to the amuse-
ment Of the audience. Elliston also
treated his audience with a great de-
gree Of intimacy, and on II occasion
paused in the play to rebuke the gal.
lery thus: ut is Of rare occurrence
that | deem it necessary to place my
selfin juxtapOsition with you. When |
said juxtapoSition, | meant yis-a-vis.
When | uttered the words vis-a-vis. |
meant co%ntactibility. Now, lot me
tell you that yis-a-vis Git is a French
term and contactibility (which is a
truly English term very nearly assim.
ilate to each other. Gentlemen in
the'gallery, | am ashamed of your con
duct. Are you aware that | have
10 this establishment most efficient
peace officers at my immediate dis.
posal? Peace officers, gentlemen.
means persons necessary in time of
war. One word more. If that gentle
man in the carpenters cap will sit
down, the little girl in red ribbons,
I you, my love, | moan will be able TO
see the entertainment. Another
story is told Of Mr.. Macrcady. At a
rehearsal of the banquet scene in
Macbeth, the First Murderer" in
spite of Macready's adjurations, per-
sisted in walking to the center Of the
stage, until the tragedian called for
the carpenter and had a brass. headed
nail hammered upon the spot where
the supernumerary should stand.
Now sir, said Macbeth, to the
Murderer, stand upon that nail until
| come 10 you" The order was obeyed
at the rehearsal, but when the night
performance came the murderer en-
tered, walked down the stage and ap-
parently began to search for something
that he bad dropped. The house
Uttered. "In heavens name, what
are you abOut?' audibly demanded
MIR. Macready. As audibly replied
the super, why, looking for that
conNunded nail OF yours"