In 1802, Cadell and Davies, in the Strand, published the first regular history of the rebellion of 1745, and the London critics expressed their surprise that more than half a century had elapsed before a trustworthy account of so serious an outbreak had been given to the public. The key-note of Home’s book is in a paragraph which was very distasteful to the Jacobites. There it was laid down that the Revolution of 1688, which transferred the Crown ‘to the nearest protestant heir, but more remote than several Roman Catholic families, gave such an ascendant to popular principles as puts the nature of the constitution beyond all controversy.’ The critics with Jacobite tendencies were disappointed that Home cast no censure on the Duke of Cumberland. They supposed this was owing to the book being dedicated to the king. Jacobite disappointment found ample compensation in 1805, when romance flung all its splendour round the young Chevalier, in the novel by an anonymous author, ‘Waverley, or ’tis 60 years since.’ [Sidenote: _A JACOBITE DRAMA._] The last male heir of the royal Stuart line was then living. The good Cardinal York died in 1807 at Rome, when he was eighty-two years of age. The announcement of his death in the London journals shows sympathy and respect, without stint. It was well deserved, for he was a blameless prince of a not irreproachable line. After this last male heir of the line of Stuart had died, with a dignity that characterised no other of his race, and with the respectful sympathy of his adversaries, if he had any, it might be supposed that all danger springing from such a line had ceased. The last of the race had abandoned the empty title of king, and had gracefully and without humiliation accepted a pension, gracefully and delicately offered, from George III. The peril, however, was not supposed to be over. While the last of the Stuarts was dying, Mr. Charles Kemble was translating a French drama (originally German, by Kotzebue), entitled ‘Edouard en Ecosse.’ On presenting it in 1808 to the Lord Chamberlain and the Licenser, they did not see treason in it, but much offence. The piece, in fact, represented the chances, mischances, adventures, and escapes of Charles Edward after the battle of Culloden. A licence to play a three-act drama, tending to keep up interest in ‘the Pretender,’ was refused point blank. Ultimately, it was granted under absurd conditions. ◆[Sidenote: _THE DRAMA REVISED._]◆ Charles Kemble removed the scene to Sweden, and called his drama ‘The Wanderer, or the Rights of Hospitality.’ Charles Edward (played by Kemble) became Sigismond, Culloden figured as the battle of Strangebro, and everything suffered silly change, except one character, which was overlooked――Ramsay (Fawcett)――who throughout the play talked in the broadest Scotch. When Sigismond’s perils culminated, he melodramatically escaped them all, and those who had helped him were proud of their aid, and not in much fear for having given it.