Mr. Herne's next venture was an ambitious one. It was the writing of a play based upon the American Revolution. In the spring of '86 he produced at the Boston Theatre _The Minute Men_, where it was received with immense enthusiasm. It was somewhat conventional in plot, but in all its scenes of home life was true and fine. The central figures were Reuben (a backwoodsman), and Dorothy, his adopted daughter. Whatever concerned these two characters was keyed to the note of life. Like all Mr. Herne's acting, Reuben was utterly unconscious of himself. He went about as a backwoodsman naturally does, without posturing or swagger. With the sweetness and quaintness of Sam Lawson, he had the comfortable aspect of a well-fed Pennsylvania Quaker. Mrs. Herne's Dorothy was a fitting companion piece, faultlessly true, and sweet, and natural. Her spontaneous laugh is as infectiously gleeful as Joe Jefferson's chuckle. Those who have never seen her in this part can hardly realize how fine a comedienne she really is. Mr. Herne's next play was simpler, stronger, and better, though less picturesque. _Drifting Apart_ was based upon the commonest of life's tragedies--the home of a drunkard. It is the most effective of sermons, without one word of preaching. The drifting apart of husband and wife through the husband's "failin'" is set forth with unexampled concreteness, and yet there is no introduction of horror. We understand it all by the sufferings of the wife, with whom we alternately hope and despair. I copy here what I wrote of it at the time when I knew neither Mr. and Mrs. Herne, nor any other of their plays. The second act in this play for tenderness and truth has not been surpassed in any American play. A daring thing exquisitely done was that holiest of confidences between husband and wife. The vast audience sat hushed as death before that touching, almost sacred scene, as they do when sitting before some great tragedy. What does this mean, if not that our dramatists have been too distrustful of the public? They have gone round the earth in search of material for plays, not knowing that the most moving of all life is that which lies closest at hand, after all. Mrs. Herne's acting of Mary Miller was my first realization of the compelling power of truth. It was so utterly opposed to the "tragedy of the legitimate." Here was tragedy that appalled and fascinated like the great fact of living. No noise, no contortions of face or limbs, yet somehow I was made to feel the dumb, inarticulate, interior agony of a mother. Never before had such acting faced me across the footlights. The fourth act was like one of Millet's paintings, with that mysterious quality of reserve--the quality of life again. In this play, as in _Hearts of Oak_, there was no villain and no plot. The scene was laid in a fishing village near Gloucester. I can do no better than to give you a taste of the quaint second act.