The principal scene of the play shows the exterior of an ancient, unused tower of Asgarby House, in which Vashti is detained during the fast. The girl is supposed to be starving. Her scampish father will endeavour to relieve her. Miss Jopp is vigilant to prevent fraud. The patient is confident. Judah, wishful to be near to the object of his adoration, has climbed the outer wall and is watching, beneath the window, unseen, in the warder's seat. The time is summer, the hour midnight, and the irrevocable vow of love has been spoken. At that supreme instant, and under conditions so natural that the picture seems one of actual life, the sin of Vashti is revealed and the man who had adored her as an angel knows her for a cheat. With a difference of circumstances that situation--in the fibre of it--is not new. Many a lover, male and female, has learned that every idol has its flaw. But the situation is new in its dramatic structure. For Judah the discovery is a terrible one, and the resultant agony is convulsive and lamentable. He takes, however, the only course he could be expected to take: he must vindicate the integrity of the woman whom he loves, and he commits the crime of perjury in order to shield her reputation from disgrace. What will a man do for the woman whom he loves? The attributes of individual character are always to be considered as forces likely to modify passion and to affect conduct. But in general the answer to that question may be given in three words--anything and everything! The history of nations, as of individuals, is never rightly read until it is read in the light of knowledge of the influence that has been exerted over them by women. Cleopatra, in ancient Egypt, changed the history of Rome by the ruin of Marc Antony. Another heroine recently toppled Ireland down the fire-escape into the back-yard. So goes the world. In Judah, however, the crime that is done for love is pursued to its consequence of ever-accumulative suffering, until at length, when it has been expiated by remorse and repentance, it is rectified by confession and obliterated by pardon. No play ever taught a lesson of truth with more cogent dramatic force. The cynical, humorous scenes are delightful.