Now, as to the classical ground and manners of the Play. I suppose the objection to the Greek dress to be already--as Defoe would write it, "gotten over" by your suggestion. I suppose the dress not to be conventionally associated with stilts and boredom, but to be new to the public eye and very picturesque. Grant all that;--the names remain. Now, not only used such names to be inseparable in the public mind from stately weariness, but of late days they have become inseparable in the same public mind from silly puns upon the names, and from Burlesque. You do not know (I hope, at least, for my friend's sake) what the Strand Theatre is. A Greek name and a break-down nigger dance, have become inseparable there. I do not mean to say that your genius may not be too powerful for such associations; but I do most positively mean to say that you would lose half the play in overcoming them. At the best you would have to contend against them through the first three acts. The old tendency to become frozen on classical ground would be in the best part of the audience; the new tendency to titter on such ground would be in the worst part. And instead of starting fair with the audience, it is my conviction that you would start with them against you and would have to win them over. Furthermore, with reference to your note to me on this head, you take up a position with reference to poor dear Talfourd's "Ion" which I altogether dispute. It never was a popular play, I say. It derived a certain amount of out-of-door's popularity from the circumstances under which, and the man by whom, it was written. But I say that it never was a popular play on the Stage, and never made out a case of attraction there. As to changing the ground to Russia, let me ask you, did you ever see the "Nouvelles Russes" of Nicolas Gogol, translated into French by Louis Viardot? There is a story among them called "Tarass Boulla," in which, as it seems to me, all the conditions you want for such transplantation are to be found. So changed, you would have the popular sympathy with the Slave or Serf, or Prisoner of War, from the first. But I do not think it is to be got, save at great hazard, and with lamentable waste of force on the ground the Play now occupies. I shall keep this note until to-morrow to correct my conviction if I can see the least reason for correcting it; but I feel very confident indeed that I cannot be shaken in it. * * * * * _Saturday._ I have thought it over again, and have gone over the play again with an imaginary stage and actors before me, and I am still of the same mind. Shall I keep the MS. till you come to town? Believe me, ever affectionately yours. [Sidenote: Mr. Fechter.] PARKER HOUSE, BOSTON, _3rd December, 1867._ MY DEAR FECHTER,