The Making of Bobby Burnit

That week's "season of grand opera" was an unqualified success, following closely the lines laid down by the experienced Mr. Spratt. Caravaggio and Ricardo and Philippi and Villenauve became household words, after the Monday night performance of _Carmen_, and for the balance of the week shining carriages rolled up to the entrance of the Orpheum, disgorging load after load of high-hatted gentlemen and long-plumed ladies. Before the end of the engagement it was definitely known that Bobby's investment would yield a profit, even deducting for the days of idleness during which he had been compelled to support the rehearsing company. The powers of darkness thereupon set vigorously to work upon him to carry the company on through the rest of its season.

It was then that the storm broke. Against his going further with the company Agnes Elliston interposed an objection so decided and so unflattering that the _entente cordiale_ at the Elliston home was strained dangerously near to the breaking point, and in this she was aided and abetted by Aunt Constance, who ridiculed him, and by Uncle Dan Elliston, who took him confidentially for a grave and hardheaded remonstrance. Chalmers, Johnson, and even Applerod wrestled with him in spirit; his friends at the Idlers' Club "guyed" him unmercifully, and even Biff Bates, though his support was earnestly sought by the Signorina Caravaggio, also counseled him roughly against it, and through it all Bobby was made to feel that he was a small boy who had proposed to eat a peck of green apples and then go in swimming in dog-days. Another note from his father, handed to him by the faithful and worried Johnson, was the deciding straw: