This was an attempt to dramatize the novel as a whole, although necessarily Becky Sharp held the center of the stage. There was a revival of Brougham’s adaptation a few years later; there was another attempt by George Fawcett Rowe; and then in 1893 Sir James Barrie made a one-act playlet out of the last glimpse of Becky that Thackeray affords us, when she and Jos. Sedley, Amelia and Dobbin find themselves together in the little German watering-place and when Amelia learns the truth about her dead husband’s advances to Becky. Sir James has kindly informed me that he thinks that every word spoken in his little piece was Thackeray’s, “but some of them were probably taken from different chapters.” A few years later two other Becky Sharp pieces were produced, one on either side of the Atlantic. The American play was adroitly prepared by Langdon Mitchell; it was called ‘Becky Sharp’; it was produced in 1899 and it has been revived at least once since; Mrs. Fiske was the Becky. The British play was by Robert Hichens and Cosmo Gordon Lennox; it was originally performed in London, with Marie Tempest as Becky; and she came over to the United States to present it a few times at the New Theater in New York in 1910. A similar method—the method of focussing the attention of the audience on a single dominating personality and of excluding all the episodes in which this personality was not supreme—was followed in more recent plays cut out of the ‘Newcomes’ and ‘Pendennis.’ No doubt this was the only possible way of dramatizing novels of such complexity of episode. Brownell has declared that the range of the ‘Newcomes’ is extraordinary for the thread of a single story to follow: Yet all its parts are as interdependent as they are numerous and varied. It is Thackeray’s largest canvas, and it is filled with the greatest ease and to the borders.... It illustrates manners with an unexampled crowd of characters, the handling of which, without repetition or confusion, without digression or discord, exhibits the control of the artist equally with the imaginative and creative faculty of the poet. A story as vast as the ‘Newcomes’ simply defies the dramatizer; and all he can do is to build his play about a single group or, better still, around a single character, relentlessly excluding all the other allied groups of personages not less interesting in themselves. This has been the method, it may be recorded, chosen by the several French playwrights who have been moved to make dramas out of one or another of the almost equally complex novels of Balzac.