It is not usually known in England that a young French naval officer, unaware that Dr. Strauss was composing an opera on the theme of _Salomé_, wrote another music drama to accompany Wilde’s text. The exclusive musical rights having been already secured by Dr. Strauss, Lieutenant Marriotte’s work cannot be performed regularly. One presentation, however, was permitted at Lyons, the composer’s native town, where I am told it made an extraordinary impression. In order to give English readers some faint idea of the world-wide effect of Wilde’s drama, my friend Mr. Walter Ledger has prepared a short bibliography of certain English and Continental translations. * * * * * At the time of Wilde’s trial the nearly completed MS. of _La Sainte Courtisane_ was entrusted to Mrs. Leverson, the well-known novelist, who in 1897 went to Paris on purpose to restore it to the author. Wilde immediately left the only copy in a cab. A few days later he laughingly informed me of the loss, and added that a cab was a very proper place for it. I have explained elsewhere that he looked on his works with disdain in his last years, though he was always full of schemes for writing others. All my attempts to recover the lost work failed. The passages here reprinted are from some odd leaves of a first draft. The play is, of course, not unlike _Salomé_, though it was written in English. It expanded Wilde’s favourite theory that when you convert some one to an idea, you lose your faith in it; the same motive runs through _Mr. W. H._ Honorius the hermit, so far as I recollect the story, falls in love with the courtesan who has come to tempt him, and he reveals to her the secret of the love of God. She immediately becomes a Christian, and is murdered by robbers. Honorius the hermit goes back to Alexandria to pursue a life of pleasure. Two other similar plays Wilde invented in prison, _Ahab and Isabel_ and _Pharaoh_; he would never write them down, though often importuned to do so. _Pharaoh_ was intensely dramatic and perhaps more original than any of the group. None of these works must be confused with the manuscripts stolen from 16 Tite Street in 1895—namely, the enlarged version of _Mr. W. H._, the second draft of _A Florentine Tragedy_, and _The Duchess of Padua_ (which, existing in a prompt copy, was of less importance than the others); nor with _The Cardinal of Arragon_, the manuscript of which I never saw. I scarcely think it ever existed, though Wilde used to recite proposed passages for it. * * * * *