THE PARTING OF BLANCHE BATES AND BELASCO.--“THE FIGHTING HOPE” AND “NOBODY’S WIDOW” 206 A GREAT NIGHT.--BELASCO AT THE METROPOLITAN.--A GENEROUS ACKNOWLEDGMENT 211 BELASCO AND THE MESSRS. SHUBERT 216 THE ADVENT OF FRANCES STARR.--BELASCO’S “THE ROSE OF THE RANCHO” 219 A NEW PROJECT:--THE SECOND BELASCO THEATRE 232 IN THE MATTER OF STAGE LIGHTING 242 OPENING OF BELASCO’S STUYVESANT THEATRE:--“A GRAND ARMY MAN” 247 A DEFEATED PLAN: “THE PASSING OF THE THIRD FLOOR BACK” 255 “THE WARRENS OF VIRGINIA” 258 “THE EASIEST WAY” 265 “WESTWARD, HO!”--THE SYNDICATE SURRENDERS.--INCIDENTS OF 1909 269 THE SEASON OF 1909-’10: “IS MATRIMONY A FAILURE?”--“THE LILY”--AND “JUST A WIFE” 279 A CHANGE OF NAMES.--THE FARCE OF “THE CONCERT” 287 LOSS AND GRIEF.--“NO MAN BEARS SORROW BETTER” 293 A DRAMA OF SPIRITUALISM 298 BELASCO’S “THE RETURN OF PETER GRIMM” 299 CONCERNING THE EUNUCHS OF CRITICASTERISM 304 “THE WOMAN”--AND MR. ABRAHAM GOLDKNOPF 306 BELASCO AND PLAGIARISM “FOLLY LOVES THE MARTYRDOM OF FAME” 310 “THE TRICK APPLIED” 312 AN ANCIENT USAGE 313 CHARLES READE ON PLAGIARISM 315 “FOR THE DEFENDANT” 318 CONCERNING BENEFITS--REMEMBERED AND FORGOT 324 THE DRAMATIC WORKS OF DAVID BELASCO JUVENILE EFFORTS 327 WRITTEN BEFORE 1882-’83 (BELASCO’S NEW YORK CAREER BEGAN IN SEPTEMBER, 1882) 328 WRITTEN SUBSEQUENT TO 1882-’83 329 PLAYS AS YET UNACTED 332 BELASCO AS A DRAMATIST:--A FRAGMENT 332 THE GOLDKNOPF TRIAL--A UNIQUE DEMONSTRATION 336 A DRAMA OF PSYCHOLOGY:--“THE CASE OF BECKY” 343 “A GOOD LITTLE DEVIL” 348 “THE SECRET” 350 “MARIE-ODILE” 356