This was not Irving’s first experience of the action on a political basis of the Lord Chamberlain. I shall have something to say of it when treating of Frank Marshall’s play, _Robert Emmett_. IV During Caine’s visit to me in Edinburgh in 1891 he and Irving saw much of one another. On the 18th we took supper with Dr. Andrew Wilson, an old friend of us all, at the Northern Club. That night both Irving and Caine were in great form and the conversation was decidedly interesting. It began with a sort of discussion about Shakespeare as a dramatist—on the working side; his practical execution of his own imaginative intention. Hall Caine held that Shakespeare would not have put in his plays certain descriptions if he had had modern stage advantages to explain without his telling. Irving said that it would be good for moderns if they would but take Shakespeare’s lesson in this matter. Later on the conversation tended towards weird subjects. Caine told of seeing in a mirror a reflection not his own. Irving followed by telling us of his noticing an accidental effect in a mirror, which he afterwards used in the _Macbeth_ ghost: that of holding the head up. The evening was altogether a fascinating one; it was four o’clock when we broke up. V On November 19, 1892, Hall Caine supped with Irving in the Beefsteak Room, bringing his young son Ralph with him. The only other guest was Sir (then Mr.) Alexander Mackenzie. It was a delightful evening, a long, pleasant, home-like chat. Irving was very quiet and listened attentively to all Caine said. The latter told us the story of the novel he had just then projected. The scene was to be laid in Cracow to which he was shortly to make his way. Irving was hugely interested. Any form of oppression was noxious to him; and certainly the Jewish “Exodus” that was just then going on came under that heading. I think that he had in his mind the possibilities of a new and powerful play. As I said, he was most anxious to have a play by Hall Caine, and after the abortive attempt at Mahomet, he was more set on it than ever. He had before this suggested to Caine that he should do a play on the subject of the “Flying Dutchman.” The play which he had done in 1878, _Vanderdecken_, was no good as a play, though he played in it admirably. For my own part I believed in the subject and always wanted him to try it again—the play, of course, being tinkered into something like good shape, or a new play altogether written. The character, as Irving created it, was there fit for any setting; and so long as the play should be fairly sufficient the result ought to be good. Irving had a great opinion of Caine’s imagination, and always said that he would write a great work of weirdness some day. He knew already his ability and his fire and his zeal. He believed also in the convincing force of the man. VI