One night—it was October 18—the Prince of Wales came behind the scenes as he was interested in the working of the play. It was known he was coming, and though the stage hands had been told that they were not supposed to know that he was present they all had their Sunday clothes on. It was the first time his Royal Highness had been “behind” in Irving’s management; and he seemed very interested in all he saw. King Edward VII. has and has always had a wonderful memory. That night he told Irving how Charles Kean had set the scenes, the rights and lefts being different from the present setting; how Kean had rested on a log in a particular place; and so forth. Some of our older stage men who had been at the Princess’s in Kean’s time bore it out afterwards that he was correct in each detail. That night the men worked as never before; they were determined to let the Prince see what could, under the stimulating influence of his presence, be done at the Lyceum, of which they were all very proud. That night the tableau curtains remained down only _thirty seconds_—the record time. _The Corsican Brothers_ was produced on September 18, 1880, and ran for one hundred and ninety performances in that season, _The Cup_ being played along with it ninety-two times. The special reason for _The Corsican Brothers_ being played during that season was that Ellen Terry had long before promised to go on an autumn tour in 1880 with her husband, Charles Kelly. It was, therefore, necessary that a piece should be chosen which did not require her services, and there was no part suitable to her in _The Corsican Brothers_. This was the only time she had a tour except with Irving, until when during his illness in 1899 she went out by herself to play _Madame Sans-Gêne_ and certain other plays. When she returned to the Lyceum at the close of her tour _The Cup_ was added to the bill. IV