Something of a part seemed promised him when the popular drama of
"Flying Scud" was first represented; at least, he supplied that work
with its title. But it was speedily to be perceived that animal
interests had been subordinated to human. More prominent occupation by
far was assigned to the rider than to the horse. A different plan of
distributing parts prevailed when "The High-mettled Racer" and kindred
works adorned the stage. A horse with histrionic instincts and
acquirements had something like a chance then. But now he can only
lament the decline of the equestrian drama. True, the circus is still
open to him; but in the eyes of a well-educated performing horse a
circus must be much what a music-hall is in the opinion of a tragedian
devoted to five-act plays.
CHAPTER XXX.
THE "SUPER."
The theatrical supernumerary--or the "super," as he is familiarly
called--is a man who in his time certainly plays many parts, and yet
obtains applause in none. His exits and his entrances, his _debut_ and
his disappearance, alike escape criticism and record. His name is not
printed in the playbills, and is for ever unknown to his audience.
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