book, earnestly striving to memorize the part, or, as he quaintly expressed it, "that there piece they want me to speak." But as the day of our performance drew near it became evident to me, at least, that he was in a desperately black state of mind. As best I could I cheered him with words of praise, but his eye met mine blankly at such times and I could see him shudder poignantly while waiting the moment of his entrance.
And still all might have been well, I fancy, but for the extremely conscientious views of Mr. Jackson in the matter of our costuming and make-up. With his lines fairly learned, Cousin Egbert on the night of our dress rehearsal was called upon first to don the garb of the foreign carpenter he was to enact, the same involving shorts and gray woollen hose to his knees, at which he protested violently. So far as I could gather, his modesty was affronted by this revelation of his lower legs. Being at length persuaded to this sacrifice, he next submitted his face to Mr. Jackson, who adjusted it to a labouring person's beard and eyebrows, crimsoning the cheeks and nose heavily with grease-paint and crowning all with an unkempt wig.
The result, I am bound to say, was artistic in the extreme. No one would have suspected the identity of Cousin Egbert, and I had hopes that he would feel a new courage for his part when he beheld himself. Instead, however, after one quick glance into the glass he emitted a gasp of horror that was most eloquent, and thereafter refused to be comforted, holding himself aloof and glaring hideously at all who approached him. Rather like a mad dog he was.
