conviction of his riper years; and if his life had been prolonged the autumn of his professional career would have been gentle, serene, and full of tranquil loveliness. The achievement of Lawrence Barrett as an actor was great, but his influence upon the stage was greater than his achievement. Among the Shakespearian parts that he played were Hamlet, Macbeth, King Lear, Othello, Iago, Shylock, Leontes, Cassius, Wolsey, Richard III., Romeo, and Benedick. Outside of Shakespeare (to mention only a few of his impersonations) he acted Richelieu, Evelyn, Aranza, Garrick, Claude Melnotte, Rienzi, Dan'l Druce, Lanciotto, Hernani, King Arthur, and Ganelon. The parts in which he was superlatively fine,--and in some respects incomparable,--are Cassius, Harebell, Yorick, Gringoire, King Arthur, Ganelon, and James V., King of the Commons. In his time he had played hundreds of parts, ranging over the whole field of the drama, but as the years passed and the liberty of choice came more and more within his reach, he concentrated his powers upon a few works and upon a specific line of expression. The aspect of human nature and human experience that especially aroused his sympathy was the loneliness of beneficent intellectual grandeur, isolated by its supremacy and pathetic in its isolation. He loved the character of Richelieu, and if he had acted Becket, as he purposed to do, in Tennyson's tragedy, he would have presented another and a different type of that same ideal--lonely, austere, passionate age, defiant of profane authority and protective of innocent weakness against wicked and cruel strength. His embodiment of Cassius, with all its intensity of repressed spleen and caustic malevolence, was softly touched and sweetly ennobled with the majesty of venerable loneliness,--the bleak light of pathetic sequestration from human ties, without the forfeiture of human love,--that is the natural adjunct of intellectual greatness. He loved also the character of Harebell, because in that he could express his devotion to the beautiful, the honest impulses of his affectionate heart, and his ideal of a friendship that is too pure and simple even to dream that such a thing as guile can exist anywhere in the world. Toward the expression, under dramatic conditions, of natures such as those, the development of his acting was steadily directed; and, even if he fell short, in any degree, of accomplishing all that he purposed, it is certain that his spirit and his conduct dignified the theatrical profession, strengthened the stage in the esteem of good men, and cheered the heart and fired the energy of every sincere artist that came within the reach of his example. For his own best personal success he required a part in which, after long repression, the torrent of passion can break loose in a tumult of frenzy and a wild strain of eloquent words. The terrible exultation of Cassius, after the fall of Caesar, the ecstasy of Lanciotto