For twenty years and more this remarkable impersonation has kept its hold upon audiences, and whenever it is revived for an occasional performance or for a longer “run,” it never fails to draw full houses; and so it doubtless will do to the end of the actor’s career. It was his introduction to the American audiences; and it is likely enough that it will be the piece in which he will take his farewell. The new actor was now becoming a “personality.” Everyone of note discovered that he was interesting in many ways, and was eager to know such a man. The accomplished Sir E. Bulwer Lytton wrote that his performance was “too admirable not to be appreciated by every competent judge of art,” and added, “that any author would be fortunate who obtained his assistance in some character that was worthy of his powers.” A little later the actor took this hint, and was glad to do full justice to several pieces of this brilliant and gifted writer. At this time there was a clever young man “on town” who had furnished Mr. Vezin with a fine and effective play, ‘The Man o’ Airlie,’ from a German original. He was a poet of much grace, his lines were musical, and suited for theatrical delivery; he had been successful as a novelist, and was, moreover, a portrait-painter in the elegant art of pastel, then but little practised. In this latter direction it was predicted that he was likely to win a high position, but the attractions of the stage were too strong for him. Becoming acquainted with the popular actor, a subject for a new creation was suggested by his very physique and dreamy style. This was the story of the unhappy Charles I. Both the manager and the player welcomed the suggestion, and the dramatist set to work. Though possessed of true feeling and a certain inspiration, the author was carried away by his ardour into a neglect of the canons of the stage, writing masses of poetry of inordinate length, which he brought to his friends at the theatre, until they at last began to despair. Many changes had to be made before the poem could be brought into satisfactory shape; and, by aid of the tact and experience of the manager and his actor, the final act was at last completed to the satisfaction of all.[9] ‘Charles I.’ was brought out on September 28, 1872. Having been present on this night, I can recall the tranquil pleasure and satisfaction and absorbing interest which this very legitimate and picturesque performance imparted, while the melodious and poetical lines fell acceptably on the ear. This tranquil tone contrasted effectively with the recent tumult and agitation of ‘The Bells.’ It was a perfect success, and the author shared in the glories.