lustrious services to the stage as well as because, in private life, he was possessed of the knightly virtues. His ashes appropriately rest near those of Garrick, in the Poets' Corner of Westminster Abbey. For, like Garrick, he was a great theatrical manager; like Garrick, too, he was a man of brilliant mind and tremendous energy, and if his achievements as an actor are not to be classed with Garrick's, this was not for any lack of idealism in him or because he did not work hard at his chosen calling.

Critics generally are agreed that, for a man who could "neither walk nor talk," Irving made a simply amazing success as an actor. This was very largely due to his tall, impressive figure and to his face — far and away the most fascinating face which has ever been seen on our stage. The high forehead, set off by strongly marked and exceedingly flexible eyebrows, the large, positive nose, the narrow, sensitive lips, the strong, thin jaw, the glowing and cavernous eyes—and, to crown all, the long and somewhat wavy, iron grey hair combined to make a head which, even if empty, would have meant a fortune for an actor. Irving's head was by no means empty. The man was a most devout student of stage history, with a deep and highly intellectual interest in everything that bore even remotely upon his work. Hence his success, in spite of obvious disadvantages. Henry Irving was a man of one passion and that for his calling. No task was too arduous, no drill too exhausting, no expenditure, either of money or energy, too great, if so there might be attained better results for

the piece in hand. Such absolute sincerity and singlemindedness must spell success in any career.

If you would understand and appreciate Henry Irving, read Ellen Terry.' I know of no other instance in literature where a woman, who has set out to write her own life, gives us instead a supremely illuminating picture of the work and aims of a professional partner, and that partner a man. Miss Terry frankly concedes that Irving was an egotist and that all his faults sprang from this fact. But, she insists, he was an egotist of a great type, never a mean egotist. "So much absorbed was he in his own achievements that he was unable or unwilling to appreciate the achievements of others. It would be easy to attribute this to jealousy but the easy explanation is not the true one. He simply would not give himself up to appreciation. . . . Perhaps it is not true, but, as I believe it to be true, I may as well state it: It was never any pleasure to him to see the acting of other actors and actresses. All the same, Salvini's Othello I know he thought magnificent, but he would not speak of it."

Their first American tour came in 1883, after the co-stars had achieved marked success in the Lyceum productions of Shakespeare." The Star Theatre, New

1 "The Story of My Life; " Ellen Terry. S. S. McClure Co.

2 Charles Reade, who was early one of Ellen Terry's warm admirers and devoted friends, has left us in his " Journal "a very striking description of her personal appearance at this stage of her career: "Her eyes are pale, her nose rather long, her mouth nothing particular. Complexion a delicate brick-dust, hair rather like tow. Yet somehow she is beautiful. Her expression kills any pretty face you see beside her. Her figure is lean and bony, her hand masculine in size and form. Yet she is a pattern of fawnlike grace. Whether in movement or repose, grace pervades the hussy."

York, was the place, and " The Bells " the play in which the company opened.1 Miss Terry was in the audience this first night, there being no good part for her in " The Bells." From her box she observed that the Americans wanted to like them" - and studied with great interest the men and women who crowded the theatre to its doors. The way the women dressed did not commend itself to her, the combination of Indian shawls and diamond earrings not being at all to her taste. On her own first night she played Henrietta Maria to Irving's Charles I. "Twelfth Night" was, however, the great success of this first American tour, Irving's Malvolio offering the most adequate presentation of the character that America had ever seen.

Miss Terry had made her first great success as Olivia in a play fashioned by W. G. Wills from Goldsmith's "Vicar of Wakefield." An opportunity to play a similarly congenial part now came to her when Irving put on "Faust" and cast her for Margaret. Preparations for this production included a delightful tour of Germany, Irving, in his prodigal fashion, acting as host to a considerable number of people connected with the theatre, including Miss Terry and her daughter, “ Edy" Craig. At Nuremberg he bought nearly all the properties used later in the play and stored his mind full of valuable impressions. "Faust" proved the greatest financial success of any of the Lyceum productions, for Mephistopheles provided Irving with a part exactly suited to his peculiar abilities, and Miss Terry as Mar1 October 29, 1883.