What curiously composite creatures we are! Zachariah for a moment was half pleased, for she had now clearly wronged him. The next moment, however, he was wretched. He took up the teapot; it was empty; the tea-caddy was locked up. It was a mere trifle, but, as he said to himself, the merest trifles are important if they are significant. He brooded, therefore, over the empty teapot and locked tea-caddy for fully five minutes. She had not only gone without him, but had forgotten him. At the end of the five minutes teapot and tea-caddy had swollen to enormous dimensions and had become the basis of large generalisations. “I would rather,” he exclaimed, “be condemned to be led out and hung if I knew one human soul would love me for a week beforehand and honour me afterwards, than live half a century and be nothing to any living creature.” Presently, however, it occurred to him that, although in the abstract this might be true yet at that particular moment he was a fool; and he made the best of his way to Drury Lane. He managed to find his way into the gallery just as Kean came on the stage in the second scene of the first act. Far down below him, through the misty air, he thought he could see his wife and the Major; but he was in an instant arrested by the play. It was all new to him; the huge building, the thousands of excited, eager faces, the lights, and the scenery. He had not listened, moreover, to a dozen sentences from the great actor before he had forgotten himself and was in Venice, absorbed in the fortunes of the Moor. What a blessing is this for which we have to thank the playwright and his interpreters, to be able to step out of the dingy, dreary London streets, with all their wretched corrosive cares, and at least for three hours to be swayed by nobler passions. For three hours the little petty self, with all its mean surroundings, withdraws: we breathe a different atmosphere, we are jealous, glad, weep, laugh with Shakespeare’s jealousy, gladness, tears, and laughter! What priggishness, too, is that which objects to Shakespeare on a stage because no acting can realise the ideal formed by solitary reading! Are we really sure of it? Are we really sure that Garrick or Kean or Siddons, with all their genius and study, fall short of a lazy dream in an arm-chair! Kean had not only a thousand things to tell Zachariah—meanings in innumerable passages which had before been overlooked—but he gave the character of Othello such vivid distinctness that it might almost be called a creation. He was exactly the kind of actor, moreover, to impress him. He was great, grand, passionate, overwhelming with a like emotion the apprentice and the critic. Everybody after listening to a play or reading a book uses it when he comes to himself again to fill his own pitcher, and the Cyprus tragedy lent itself to Zachariah as an illustration of his own Clerkenwell sorrows and as a gospel for them, although his were so