Earliest recollection, Dublin, 1867—Captain Absolute—Impersonation—Distinction—Local criticism—“Two Roses,” Dublin, 1871—The archetype of Digby Grant—Chevalier Wikoff. II. THE OLD SCHOOL AND THE NEW 8 Irving’s early experience in Dublin—A month of hisses—The old school of acting and the new— Historical comparison—From Edmund Kean to Irving— Irving’s work—The thoughtful school. III. FRIENDSHIP 16 Criticism—My meeting with Irving—A blaze of genius— The friendship of a life. IV. HONOURS FROM DUBLIN UNIVERSITY 22 Public Address—University Night—Carriage dragged by students. V. CONVERGING STREAMS 27 A reading in Trinity College—James Knowles—Hamlet the Mystic—Richard III.—The Plantagenet look—“Only a commercial”—True sportsmen—Coming events. VI. JOINING FORCES 35 “Vanderdecken”—Visit to Belfast—An Irish bull—I join Irving—Preparations at the Lyceum—The property master “getting even.” VII. LYCEUM PRODUCTIONS 45 VIII. IRVING BEGINS MANAGEMENT 46 The “Lyceum Audience”—“Hamlet”—A lesson in production—The Chinese Ambassador—Catastrophe averted—The responsibility of a manager—Not ill for seven years. IX. SHAKESPEARE PLAYS—I 53 “The Merchant of Venice”—Preparation—The red handkerchief—Booth and Irving—“Othello”—A dinner at Hampton Court—The hat. X. SHAKESPEARE PLAYS—II 59 “Romeo and Juliet”—Preparation—Music—The way to carry a corpse—Variants of the bridal chamber— “Much Ado About Nothing”—John Penberthy— Hyper-criticism—Respect for feelings. XI. SHAKESPEARE PLAYS—III 68 “Macbeth”—An amateur scene-painter—Sir Arthur Sullivan—A lesson in collaboration—“Henry VIII.”— Lessons in illusion—Stage effects—Reality v. scenery—A real baby and its consequences. XII. SHAKESPEARE PLAYS—IV 76 “King Lear”—Illness of Irving—A performance at sight—“Richard III.”—A splendid first night—A sudden check. XIII. IRVING’S METHOD 82