gave a creditable performance of a translation of Molière’s “Les Précieuses Ridicules,” March 23, 1887, at the Lyceum), was at work on the revision of a play by John Maddison Morton (1811-1891) and Robert Reece, called “Trade,” which was written for Edward A. Sothern and had been inherited by his son, Edward Hugh Sothern, whose contract with Miss Dauvray had been assumed by Daniel Frohman, and who was soon to figure at the Lyceum as leading man and, practically, as star. The play of “Trade,” in its original form, was defective. The elder Sothern, an intimate friend of mine, consulted me about it, I remember, and at his request, and as a friendly act, I suggested some changes and wrote into it one scene. My work, however, was not important. Belasco practically rewrote the play, and, under the name of “The Highest Bidder,” his version of it was produced at the Lyceum, May 3, 1887, with E. H. Sothern as _Jack Hammerton_, the leading part. “THE HIGHEST BIDDER.” “The Highest Bidder” is one of the many plays which are correctly designated as “tailor-made.” Such things do not spring from an original dramatic impulse. Morton and Reece aimed to fit the elder Sothern with a part that would suit him, and they did not accomplish the purpose, nor did that accomplished comedian, who did much work on their play. Belasco, revising it for the younger Sothern, considerably improved it, telling the story more fluently and making the central character more piquant and flexible. _Jack Hammerton_ is an amiable young man, of abundant wealth, by profession an auctioneer, by nature diffident in general [Illustration: Photograph by Sarony. Belasco’s Collection. EDWARD H. SOTHERN About 1888] society, impulsive in temperament and prone to entangle himself in foolish embarrassments, but capable of calm, decisive action in situations of danger. An old friend of his, resident in the country, has become involved in financial difficulties and a valuable estate is to be sold to relieve him. The young auctioneer is employed to conduct the sale, and he finds that his old friend has a charming young daughter, supposed to be an heiress, who is being courted by a specious baronet who is a dishonest gambler and a forger. In trying to unmask this rascal the amiable auctioneer involves himself in a distressing tangle of misapprehension, but eventually he discomfits the wily schemer (who incidentally makes an abortive attempt to murder him), frees himself from suspicion, and proves at once the rectitude of his intentions and the ardor of his devotion to the lady whom he loves and whom he wishes to rescue from the toils of a villain. At the climax of the auction scene he “knocks down” his friend’s estate to himself, in the capacity of “the highest bidder,” and then lays it, with his heart, at the feet of the object of his adoration,--who, after an excess of hesitancy, accepts him and his property.