_Dark Days_ was Joe’s last bit of work with his poor friend but by no means the last of his adaptations for the stage, the chief of which number _Madame Sans Gêne_ for Sir Henry Irving; _My Lady of Rosedale_ for Sir Charles Wyndham; _Nerves_ which ran with success for some time at the Comedy Theatre, and last, but not at all least, his fine play fashioned on Charles Dickens’ _Oliver Twist_ and followed by one on _Edwin Drood_. The former, with Sir Herbert Tree as _Fagin_, Constance Collier as _Nancy_ and Lyn Harding as _Sikes_, held the public for many months both in London and the United States. At the height of its London success, a flaw in the architecture of the central proscenium arch of His Majesty’s Theatre necessitated the temporary transference of the play to another house. Joe was naturally in despair, but the untoward incident in no way interfered with the run of the piece which--in the words of the stage manager--had been kicked up and down the Strand and only gathered force as it rolled. But although I have spoken first of his adaptations, it is of his original plays that I hold the dearest memories; and first and foremost of _King Arthur_ which contains some of the best of the lyrics and blank verse for which Theodore Watts Dunton held him to be a “true poet.” The _May Song_ and _Song of the Grail_ he placed himself among his best verse and they were well appreciated. As the book was published by Messrs. Macmillan, it belongs to the public. The production of _King Arthur_ was one of the most beautiful of Henry Irving’s many Lyceum triumphs. Even in those far-removed days Sir Edward Burne Jones’ exquisite designs for the armour and dresses, as well as for the scenery, will be remembered by some, and I am proud to think that I was allowed the privilege of carrying out some of them in detail. It was a hard six months’ work but it was well rewarded and I think Joe had no happier hours than those he spent in the writing and in the producing of his two finest efforts--_King Arthur_ and _Tristram and Iseult_. I cannot leave this subject without mention of the tender and lovely impersonation of _Guinevere_ by Ellen Terry, and the touching tribute to her which Joe himself gives in the following dedication, written on the fly-leaf of the copy he presented to her. “To Guinevere herself from one who, after years of closest friendship, looks to her now as always, for the vindication of what is highest and gentlest in womanhood; and who would count this not too poor a gift for her to take, could he but hope that some part of the grace and charm of her spirit had found its way into the portrait of Arthur’s Queen.” Following on this it would seem incongruous in connection with anyone else but Joe to quote a funny tale bearing on the above; but Joe loved the tale himself and often told it merrily and so will I.