The Idylls ended, Tennyson in 1874 began to contemplate a drama, choosing the topic, perhaps neither popular nor in an Aristotelian sense tragic, of Mary Tudor. This play was published, and put on the stage by Sir Henry Irving in 1875. _Harold_ followed in 1876, _The Cup_ in 1881 (at the Lyceum), _The Promise of May_ (at the Globe) in 1882, _Becket_ in 1884, with _The Foresters_ in 1892. It seems best to consider all the dramatic period of Tennyson’s work, a period reached so strangely late in his career, in the sequence of the Plays. The task is one from which I shrink, as conscious of entire ignorance of the stage and of lack of enthusiasm for the drama. Great dramatic authors have, almost invariably, had long practical knowledge of the scenes and of what is behind them. Shakespeare and his contemporaries, Molière and his contemporaries, had lived their lives on the boards and in the _foyer_, actors themselves, or in daily touch with actors and actresses. In the present day successful playwrights appear to live much in the world of the players. They have practical knowledge of the conventions and conditions which the stage imposes. Neither Browning nor Mr Swinburne (to take great names) has had, it seems, much of this practical and daily experience; their dramas have been acted but rarely, if at all, and many examples prove that neither poetical genius nor the genius for prose fiction can enable men to produce plays which hold their own on the boards. This may be the fault of public taste, or partly of public taste, partly of defect in practical knowledge on the side of the authors. Of the stage, by way of practice, Tennyson had known next to nothing, yet his dramas were written to be acted, and acted some of them were. “For himself, he was aware,” says his biographer, “that he wanted intimate knowledge of the mechanical details necessary for the modern stage, although in early and middle life he had been a constant playgoer, and would keenly follow the action of a play, criticising the characterisation, incidents, scenic effects, situations, language, and dramatic points.” He was quite prepared to be “edited” for acting purposes by the players. Miss Mary Anderson says that “he was ready to sacrifice even his _most_ beautiful lines for the sake of a real dramatic effect.”