birth-gift. As Irving read it that night, and as he acted it afterwards, there was throughout an infinite and touching pathos. But not this character alone, but all the rest were given with great and convincing power. The very excellence of the rendering made each to help the other; variety and juxtaposition brought the full effect. The prophecies, because of their multiplication, became of added import on Edgar’s gloom, and toned the high spirit of Hayston of Bucklaw. Lucy’s sweetness was intensified by the harsh domination of Lady Ashton. The sufferings of the faithful Caleb under the lash of Ailsie’s prophecy only increased its force. We who listened were delighted. For myself I seemed to see the play a great success and one to be accomplished at little cost. We had now, since 1885, produced in succession three great plays, _Faust_, _Macbeth_, and _The Dead Heart_, and had in contemplation another, _Henry VIII._, which would exceed them all in possibilities of expense both of production and of working. These great plays were and always must be hugely expensive. As I was chancellor of the exchequer I was greatly delighted to see a chance of great success combined with a reasonable cost and modest accessories. From the quiet effectiveness of Irving’s reading I was satisfied that the play would hold good under the less grand conditions. This opinion I still hold. I must not, however, be taken as finding fault with Irving’s view, which was quite otherwise. He looked on the play as one needing all the help it could get; and I am bound to say that his views were justified by success, for the play as he did it was an enormous success. The production account was not large in comparison with that of some other great plays, being a little under five thousand pounds. There were no author’s fees, as the play had long ago been bought outright and paid for, so that expense had been incurred and was chargeable against estate whether the play was produced or not. But the running expenses were very heavy, between £180 and £200 a performance. As it was, the play was a heavy one for Ellen Terry; she could only play in it six times a week. To the management there is always an added advantage in a _matinée_ or any extra performance. _Ravenswood_ was presented on September 20, 1890, and altogether was given during the season one hundred and two times. II