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160 Needless, therefore, to say it was Sabra who made the Dragon semi-sentimental. Not in the "book," of course, where his desire to eat her remained purely literal. Real Dragons keep themselves aloof from sentiment, but a stage Dragon is only human. Such a one may be entirely the slave of sentiment, and it was perhaps to the credit of our Dragon that only half of him was in the bonds. The other half—and that the better half—was saturnine and teetotal, and answered to the name of Davie Brigg.

Davie was the head man on the Dragon. He played the anterior parts, waggled the head and flapped the wings and sent gruesome grunts and penny squibs through the "fire-breathing" jaws. He was a dour middle-aged, but stage-struck. Scot, very proud of his rapid rise in the profession, for he had begun as a dramatist.

The rear of the Dragon was simply known as Jimmy.

Jimmy was a wreck. His past was a mystery. His face was a brief record of baleful experiences, and he had the aspirates of a gentleman. He had gone on the stage to be out of the snow and the rain. Not knowing this, the actor-manager paid him ninepence a night. His wages just kept him in beer-money. The original Sabra tamed two lions, but perhaps it was a greater feat to tame this half of a Dragon.

Jimmy's tenderness for Sabra began at rehearsal, when he saw a good deal of her, and felicitated himself on the fact that they were on in the same scenes. After a while, however, he perceived this to be a doleful drawback, for whereas at rehearsal he could jump out of his skin and breathe himself and feast his eyes on Sabra when the Dragon was disengaged, on the stage he was forced to remain cramped in darkness while Ptolemy was clowning or St. George executing a step dance. Sabra was invisible, except for an odd