LONDON LETTER
IT requires some effort of analysis to understand why one person, among many who do a thing with accomplished skill, should be greater than the others; nor is it always easy to distinguish superiority from great popularity, when the two go together. I am thinking of Marie Lloyd, who has died only a short time before the writing of this letter. Although I have always admired her genius I do not think that I always appreciated its uniqueness; I certainly did not realize that her death would strike me as the most important event which I have had to chronicle in these pages. Marie Lloyd was the greatest music-hall artist in England: she was also the most popular. And popularity in her case was not merely evidence of her accomplishment; it was something more than success. It is evidence of the extent to which she represented and expressed that part of the English nation which has perhaps the greatest vitality and interest.
Marie Lloyd's funeral became a ceremony which surprised even her warmest admirers:
"The scenes from an early hour yesterday, had been eloquent of the supreme place which Marie Lloyd held in the affection of the people. Wreaths had poured into the house in Woodstock Road from all parts of the country. There were hundreds of them from people whose names are almost household words on the variety stage, and from such people as 'a flower boy' in Piccadilly Circus: the taxi-drivers of Punter's Garage: and the Costermongers' Union of Farringdon Road. . . . Bombardier Wells sent a wreath. It was a white cushion, and across it in violets were the words 'At Rest: With deepest sympathy from Mrs and Billie Wells.' . . . Tributes were also sent by Hetty King, Clarice Mayne, Clara Mayne, Little Tich, Arthur Prince, George Mozart, Harry Weldon, Charles Austin, Gertie Gitana, the Brothers Egbert, Zetta Mare, Julia Neilson, and Fred Terry, Mr and Mrs Frank Curzon, Marie
