The men of this epoch grew up half-way between the second harvest of great nineteenth-century literature and the first crop of the twentieth. In their early boyhood, Tennyson was still Poet Laureate, Browning was still prolific and Swinburne's last song was not yet sung; George Meredith and Thomas Hardy were still in practise as novelists, and Robert Louis Stevenson was approaching the climax of his powers; John Ruskin, though silent, was still alive; the influence of Walter Pater was at its zenith; the reputation of Herbert Spencer stood higher than at any time before or since; and John Morley was in his prime. Among the younger men who were winning fame--with the surge and thunder that heralded the youth of the nineties--was Rudyard Kipling; the seething brain of H. G. Wells was boiling over into scientific romance; and old romance was brought to life by the charm of Anthony Hope. Among those who were doing the work for which a belated fame was reserved were Samuel Butler and Joseph Conrad. For experimenting, adventurous youth the pages of _The Yellow Book_ lay open; "the men of the nineties" flashed meteorically across the deafened heavens, and, when they had passed with their falsity and clamour, there was discovered in their train the more abiding genius of Whistler and Beardsley, the precocious, detached perfection of Beerbohm, the occasional beauty of Gray and Dowson, the alternate paste and diamond of Oscar Wilde. These were the last working years of Leighton and Watts, of Holman Hunt and Morris, of Tenniel and Crane; the heyday of Ricketts and Shannon; the morning of Phil May. They were the years, too, of the first illustrated magazines and of those _Strands_, ever memorable to the boys of that generation, in which _Sherlock Holmes_ appeared month after month. A new chapter in dramatic history was opened by Pinero with _The Second Mrs. Tanqueray_; and, though Shaw and Barrie were not yet come into their own, though Galsworthy and Barker were not yet articulate, the last decade of the nineteenth century was the summer time of the British stage for a hundred years. Irving ruled still imperially, with Terriss, Forbes Robertson and Wyndham among his marshals; Boucicault, Toole and Bancroft were still alive; it was not yet impossible to find a theatre for serious drama, and the seductions of burlesque and of musical comedy were confined to Daly's and the old Gaiety. The music-halls of that period did not come within the purview of a boy: the humour was too broad, the air too much tainted, the associations too squalid; but in those days the true "variety entertainment"--exhibiting hardly less continuity than the modern _revue_--was still to be seen, the old-fashioned chairman still sat at his table surrounded by privileged friends, the prices were half those of the theatre, it was exceptional for a man to appear in evening dress and inconceivable for a woman of repute to appear at all.