But from all these multitudinous and varied sources we had very few plays indeed which afforded even a hope or promise. Irving was always anxious for good plays, and spared neither trouble nor expense to get them. Every play that was sent was read; very many commissions were given and purchase-money or advance fees paid. In such cases subjects were often suggested, _scenario_ being the basis. In addition to the plays in which he or Ellen Terry took part and which he produced during his own management, he purchased or paid fees and options on twenty-seven plays. Not one of these, from one cause or another, could he produce. One of these made success with another man. Some never got beyond the _scenario_ stage. In one case, though the whole purchase-money was paid in advance, the play was never delivered; it was finished—and then sold under a different title to another manager! One was prohibited—by request—by the Lord Chamberlain’s department. Of this play, _Robert Emmett_, were some interesting memories. II In Ireland or by Irish people it had often been suggested to Irving that he should present Robert Emmett in a play. He bore a striking resemblance to the Irish patriot—a glance at any of the portraits would to any one familiar with Irving’s identity be sufficient; and his story was full of tragic romance. From the first Irving was taken with the idea and had the character in his mind for stage use. In the first year of his management he suggested the theme to Frank A. Marshall, the dramatist; who afterwards co-operated with him in the editorship of the “Irving” Shakespeare. He was delighted with the idea, became full of it, and took the work in hand. In the shape of a _scenario_ it was so far advanced that at the end of the second season Irving was able to announce it as one of the forthcoming plays. As we know, the extraordinary success of _The Merchant of Venice_ postponed the work then projected for more than a year. Marshall, therefore, took his work in a more leisurely fashion, and it was not till the autumn of 1881 that the play appeared in something like its intended shape. But by that time _Romeo and Juliet_ was in hand and a full year elapsed before _Robert Emmett_ could be practically considered. But when that time came the Irish question was acute. Fenianism or certain of its _sequelæ_ became recrudescent. The government of the day considered that so marked and romantic a character as Robert Emmett, and with such political views portrayed so forcibly and so picturesquely as would be the case with Irving, might have a dangerous effect on a people seething in revolt. Accordingly a “request” came through the Lord Chamberlain’s department that Mr. Irving would not proceed with the production which had been announced. Incidentally I may say that nothing was mentioned in the “request” regarding the cost incurred. Irving had already paid to Frank Marshall a sum of £450.