Contrary to all expectation, and in spite of excellent acting, "The Double Marriage" did not attract the public. I shall always think that the play deserved a better fate. Years afterwards, on a provincial tour, it was revived by Arthur Dacre and his wife, the well-remembered Amy Roselle. Poor things! They had great faith in their venture, and had expended much money on special scenery and costumes. It was effective enough, and ought to have been attractive, but "bad luck" once more attended it, and I fear it was one of the many disappointments that led to the unfortunate Dacres' tragic end. At the Queen's "The Double Marriage" soon gave way to a revival of Tom Taylor's perennial "Still Waters Run Deep." In this Ellen Terry played to admiration the by no means easy character of Mrs. Mildmay. Alfred Wigan resumed his original character of the self-contained John Mildmay; Mrs. Wigan was the Mrs. Sternhold; and Charles Wyndham (destined to become the best of all John Mildmays) the Captain Hawkesley. On December 26th a very interesting event took place. Garrick's one-act excision from "The Taming of the Shrew," dubbed "Katherine and Petruchio," was revived, and in it Ellen Terry played for the first time with Henry Irving. Critics very much differed as to the merits of the new "shrew" and her "tamer," and, indeed, they had not much chance in this abridged version of the comedy of displaying their ability, but in face of later theatrical history the meeting is noteworthy. It is a matter for regret that these distinguished artists have not included "The Taming of the Shrew" in their noble Shakespearean repertory at the Lyceum. Possibly they have been deterred by the perfect success made in the leading characters by their American contemporaries, Ada Rehan and John Drew. It has remained for them to show Shakespeare's comedy in all its glory. In her "Stray Memories," Ellen Terry has thus recorded the impression made upon her by Henry Irving in those early days:-- "From the first," she says, "I noticed that Mr. Irving worked more concentratedly than all the other actors put together, and the most important lesson of my working life I learnt from him, that to do one's work well one must _work continually_, live a life of constant self-denial for that purpose, and, in short, keep one's nose upon the grindstone. It is a lesson one had better learn early in stage life, I think, for the bright, glorious, healthy career of an actor is but brief at the best."