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46 Pauline Frederick
tion of a woman reconciling a career with marriage is an ageold one. The failure of marriage in Hollywood, except in a few cases, is a subject that is only too familiar. To reconcile the stage with marriage, when a man is not of the profession, is at the start almost impossible. When the work of one is finished, the work of the other is just beginning. A man who marries an actress has left for his office before she is up, and when he returns home wanting the company of his wife and the comforts of his home, she is just starting out for the theatre! He has to be in his office again the next morning at an early hour and so, naturally, cannot stand the late hours after the performance is over. Might as well try to mix fire and water! Yet if both the man and the woman be of the stage profession, that horrible fiend jealousy nearly always rears its head, particularly if one or the other happens to be higher up the ladder. These difficulties are things that the layman does not have to contend with. Pauline, because of her love of domesticity, would have been willing to give up the stage for private life. But here comes another difficulty. In most cases it was the glamor of the name Pauline Frederick that had been one of the attractions. They did not want her to retire — they enjoyed basking in the light of her glory.
When a marriage goes on the rocks, there are usually faults on both sides. Pauline's fault — if such it can be termed — was that she was not the intensely passionate woman depicted in the roles which she played on the stage. Demonstrative and affectionate, yes, but her emotions went very largely into her work. Because of her very strict upbringing, Pauline was a woman with principles that some would class as oldfashioned. She was never a woman of " affairs." Promiscuity she despised, and before she gave herself to a man she married him. It may be a strange thing to say, but this woman with five husbands was far more virtuous than many women