heroship of one of her stories, as the kind of man who turns up his trousers at the foot. It would have been just as withering to say that he stuck a penknife through his cigars.
There is another true hero with me, whose creator has unintentionally misrepresented him. It is he of "Comin' thro' the Rye," a gentleman whom the maidens of the nineteenth century will not willingly let die. He is grand, no doubt; and yet, the more one thinks about him, the plainer it becomes that had the heroine married him she would have been bitterly disenchanted. In her company he was magnanimous, god-like, prodigal; but in his smoking-room he showed himself in his true colors. Every lady will remember the scene where he rushes to the heroine's home and implores her to return with him to the bedside of his dying wife. The sudden announcement that his wife—whom he had thought in a good state of health—is dying, is surely enough to startle even a miser out of his niggardliness, much less a hero; and yet what do we find Vasher doing? The heroine, in frantic excitement, has to pass through his smoking room, and on the table she sees—what? "A half-smoked cigar." He was in the middle of it when a servant came to tell him of his wife's dying request; and, before hastening to execute her wishes, he carefully laid what was left of his cigar
