When my historical novel failed, as completely as had its predecessors, the two Irish novels, I began to ask myself whether, after all, that was my proper line. I had never thought of questioning the justice of the verdict expressed against me. The idea that I was the unfortunate owner of unappreciated genius never troubled me. I did not look at the books after they were published, feeling sure that they had been, as it were, damned with good reason. But still I was clear in my mind that I would not lay down my pen. Then and therefore I determined to change my hand, and to attempt a play. I did attempt the play, and in 1850 I wrote a comedy, partly in blank verse, and partly in prose, called _The Noble Jilt_. The plot I afterwards used in a novel called _Can You Forgive Her?_ I believe that I did give the best of my intellect to the play, and I must own that when it was completed it pleased me much. I copied it, and re-copied it, touching it here and touching it there, and then sent it to my very old friend, George Bartley the actor, who had when I was in London been stage-manager of one of the great theatres, and who would, I thought, for my own sake and for my mother's, give me the full benefit of his professional experience. I have now before me the letter which he wrote to me,--a letter which I have read a score of times. It was altogether condemnatory. "When I commenced," he said, "I had great hopes of your production. I did not think it opened dramatically, but that might have been remedied." I knew then that it was all over. But, as my old friend warmed to the subject, the criticism became stronger and stronger, till my ears tingled. At last came the fatal blow. "As to the character of your heroine, I felt at a loss how to describe it, but you have done it for me in the last speech of Madame Brudo." Madame Brudo was the heroine's aunt. "'Margaret, my child, never play the jilt again; 'tis a most unbecoming character. Play it with what skill you will, it meets but little sympathy.' And this, be assured, would be its effect upon an audience. So that I must reluctantly add that, had I been still a manager, _The Noble Jilt_ is not a play I could have recommended for production." This was a blow that I did feel. The neglect of a book is a disagreeable fact which grows upon an author by degrees. There is no special moment of agony,--no stunning violence of condemnation. But a piece of criticism such as this, from a friend, and from a man undoubtedly capable of forming an opinion, was a blow in the face! But I accepted the judgment loyally, and said not a word on the subject to any one. I merely showed the letter to my wife, declaring my conviction, that it must be taken as gospel. And as critical gospel it has since been accepted. In later days I have more than once read the play, and I know that he was right. The dialogue, however, I think to be good, and I doubt whether some of the scenes be not the brightest and best work I ever did.