altogether "off" on the morrow. So short-sighted was the Egyptian policy that this does not appear to have occurred to anybody. At the last moment an English tourist from Coventry, known as George (and afterwards sainted by an outgoing administration sent to his native borough by the country), resolved to tackle the monster. The chivalrous Englishman came to grief in the encounter, but by rolling under an orange tree he was safe from the Dragon so long as he chose to stay there, and so in the end had no difficulty in despatching the creature; which suggests that the soothsayers and the magicians would have been much better occupied in planting orange trees than in sacrificing virgins. Thus far the story, which is improbable enough to be an allegory.
Now many centuries after these events did not happen, a certain worthy citizen, an illiterate fellow, but none the worse for that, made them into a pantomime—to wit, St. George and the Dragon; or, Harlequin Tom Thumb. And the same was duly played at a provincial theatre, with a lightly clad chorus of Egyptian lasses, in glaring contradiction of the dearth of such in the fable, and a Sabra who sang to them a topical song about the County Council.
Curiously enough, in private life, Sabra, although her name was Miss on the posters, was really a Miss. She was quite as young and pretty as she looked, too, and only rouged herself for the sake of stage perspective. I don't mean to say she was as beautiful as the Egyptian princess, who was as straight as a cedar and wore her auburn hair in wanton ringlets, but she was a sprightly little body with sparkling eyes and a complexion that would have been a good advertisement to any soap on earth. But better than Sabra's skin was Sabra's heart, which though as yet untouched by man was full of love and tenderness, and did not faint under the burden of supporting her mother and
