For the wretchedness of its form there is, no doubt, some excuse in the fact that it has been done into English, and doubtless cut, pieced, and altered to suit the Lyceum audiences; but when one compares the conspiracy part of it with a properly conceived drama in which a conspiracy is developed, like Schiller's "Fiesco," the difference is enormously in favor of the latter. As literature the play in its English dress is below contempt. As to its historical contents, Sardou resorts to an expedient which, although quite French in its character, brings the whole thing down to a lower level than anything in which I had ever seen Irving before. The center of interest is a young royalist who, having been present with his mother and sister at the roll-call of the condemned and the harrowing scenes resulting therefrom, rushes forth, determined to assassinate Robespierre, but is discovered by the latter to be his long-lost illegitimate son, and then occur a series of mystifications suited only to the lowest boulevard melodrama. As to the action of the piece, the only thing that showed Irving's great ability was the scene in the forest of Montmorency, where, as Robespierre, he reveals at one moment, in his talk with the English envoy, his ambition, his overestimate of himself, his suspicion of everybody and everything, his willingness to be cruel to any extent in order to baffle possible enemies; and then, next moment, on the arrival of his young friends, boys and girls, the sentimental, Rousseau side of his character. This transition was very striking. The changes in the expression of Irving's face were marvelous--as wonderful as those in his Louis XI; but that was very nearly all. In everything else, Coquelin, as I had seen him in Sardou's "Thermidor," was infinitely better. Besides this, the piece was, in general, grotesquely unhistorical. It exhibits Robespierre's colleagues in the Committee of Public Safety as noisy and dirty street blackguards. Now, bad as they were, they were not at all of that species, nor did their deliberations take place in the manner depicted. Billaud-Varennes is represented as a drunken vagabond sitting on a table at the committee and declaiming. He was not this at all, nor was Tallien, vile as he was, anything like the blackguard shown in this piece.