He was engaged. I admit I was at times haunted by grave doubts as to whether I should not have informed the manager of his physical condition, and the possibility that he might some evening perpetrate a real tragedy on the mimic stage, but on the first performance of "The Destruction of Sennacherib," which I conscientiously attended, I was somewhat relieved. I had often been amused with the placid way in which the chorus in the opera invariably received the most astounding information, and witnessed the most appalling tragedies by poison or the block, without anything more than a vocal protest or command, always delivered to the audience and never to the actors, but I think my poor friend's utter impassiveness to the wild carnage and the terrible exhibitions of incendiari** that were going on around him transcended even that. Dressed in a costume that seemed to be the very soul of anachronism, he stood a little outside the proscenium, holding a spear, the other hand pressed apparently upon the secret within his breast, calmly surveying, with his waxen face, the gay auditorium. I could not help thinking that there was a certain pride visible even in his placid features, as of one who was conscious that at any moment he might change this simulated catastrophe into real terror. I could not help saying this to the Doctor, who was with me. "Yes," he said with professional exactitude; "when it happens he'll throw his arms up above his head, utter an ejaculation, and fall forward on his face,--it's a singular thing, they always fall forward on their face,--and they'll pick up the man as dead as Julius Caesar."
After that, I used to go night after night, with a certain hideous fascination; but, while it will be remembered the "Destruction of Sennacherib" had a tremendous run, it will also be remembered that not a single life was really lost during its representation.
It was only a few weeks after this modest first appearance on the boards of "The Man with an Aneuri**," that, happening to be at dinner party of practical business men, I sought to interest them with the details of the above story, delivered with such skill and pathos as I could command. I regret to say that, as a pathetic story, it for a moment seemed to be a dead failure. At last a prominent banker sitting next to me turned to me with the awful question: "Why don't your friend try to realize on his life insurance?" I begged his pardon, I didn't quite understand. "Oh, discount, sell out. Look here--(after a pause). Let him assign his policy to me, it's not much of a risk, on your statement.
Well--I'll give him his five thousand dollars, clear."
And he did. Under the advice of this cool-headed--I think I may add warm-hearted--banker, "The Man with an Aneuri**" invested his money in the name of and for the benefit of his wife in certain securities that paid him a small but regular stipend. But he still continued upon the boards of the theatre.
By reason of some business engagements that called me away from the city, I did not see my friend the physician for three months afterward. When I did I asked tidings of The Man with the Aneuri**. The Doctor's kind face grew sad. "I'm afraid--that is, I don't exactly know whether I've good news or bad. Did you ever see his wife?"
I never had.
"Well, she was younger than he, and rather attractive. One of those doll-faced women. You remember, he settled that life insurance policy on her and the children: she might have waited; she didn't. The other day she eloped with some fellow, I don't remember his name, with the children and the five thousand dollars."
"And the shock killed him," I said with poetic promptitude.
