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rather conventional. She told me that she had
caught a violent toothache on the steamer, and
I offered to take her to a dentist—rather an
unpleasant beginning in her new home.
At that time my mind was taken up with the
plan of a play, ‘How we do good,’ but I had
written nothing of it as yet. So great was her
power of drawing others out, that before we
arrived at the dentist’s, I had told her the whole
thing much more completely than I had seen it
myself before. And ever afterwards she continued
to exercise the greatest influence on all I wrote.
She had an extraordinary gift of understanding
and sympathising; her approval was so warm
and enthusiastic, her censure so scorching, that
it became impossible to a receptive nature like
mine to work without her approval. If she
happened to blame anything I had written, I
kept changing it till she was pleased—and this
was the beginning of our collaboration. She
used to say that I should never have written
‘True Women’[1] if I had known her before it
was published, for this play as well as ‘War
against Society,’ were the only works of mine
which she disliked. ‘True Women’ for a
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