The play was produced on January 12, 1895, and made a profound impression. The beauty of the scenery designed by Sir Edward Burne-Jones, and the melody of the music that had been composed by Sir Arthur Sullivan, added much to the reality of a presentment which, in its way, was one of the most captivating things ever seen on the stage. No doubt the production surpassed everything that had gone before it in the splendour of its setting, and its effect upon critical audiences. In this connection it was truly pointed out that it said much for the power of the principal performers that their art was not overwhelmed by the magnificence of its surroundings. Their triumph as artists was only the greater because it was won under circumstances that were really adverse to the actor. The tendency of these magnificently staged plays is undoubtedly to make the individual performer wither, as the composition in its entirety of scenery, grouping, and accessories grows more and more. A fault that some playgoers found with "King Arthur" was that it afforded few acting opportunities to Henry Irving. The character of the spotless consort of Guinevere, who stands out so nobly in the legends and idylls, somehow seemed unsympathetic when seen upon the stage. Is it, I wonder, that mixed audiences follow the all-seeing Shakespeare when he said, "They say best men are moulded out of faults, and, for the most, become much more the better for being a little bad?" In one of his clever plays Sydney Grundy goes so far as to suggest that such a very good man as King Arthur might be to an ordinary human being "a little difficult to live with." If such be the case, abundant pardon should be meted out to the erring Guinevere. As for Ellen Terry as Guinevere she not only looked a perfect picture, but made the most of every line allotted to her in one of the most touching and pathetic characters that (outside Shakespeare) she has been called upon to play. Mention of this production would not be complete without record of the splendid acting of Johnston Forbes Robertson as Lancelot--and the striking effect made by Geneviève Ward as Morgan le Fay. [Illustration: _Photograph by_ [_Window & Grove._ ELLEN TERRY AS "QUEEN GUINEVERE." _In Comyns Carr's drama "King Arthur," Lyceum, 1895._ [_To face page 282._ ] I cannot think that "King Arthur" lived as long as it should have done, but I fear it came at a time when frivolous playgoers were so absorbed in the dresses and doings of the Giggling Girl--the Gurgling Girl--the Gargling Girl--or whatever that volatile and versatile young lady was for the moment presenting, that they could not do much homage to Sir Thomas Malory, Lord Tennyson, Sir Edward Burne-Jones, Sir Arthur Sullivan, and Sir Henry Irving--for it was at this period that our great actor-manager was honoured with his well-won knighthood.