had the sympathy of that public, but he was happily enabled to establish a more substantial favorable sentiment by the early production of Talfourd's play. It was seen June 4th, and created a great impression; he enjoyed in consequence, to some extent, a social distinction that should have driven from his mind all morbidness. After the first performance he and his wife and Letitia were the special guests at a dinner party given by Talfourd, at which were present many very distinguished people. He sat between Wordsworth and Browning; Talfourd toasted him, and the occasion being moreover the birthday celebration of Talfourd, the animation of the festival night was shared in by a most brilliant concourse of friends. Macready, with wife and sister, went home in their carriage in the morning, the songs of the birds in their ears, every incident of a reassuring nature.

His position had even been strengthened by the outburst of resentment at a series of outrages that he had suffered under for six years." It even led to a reconciliation with Charles Kemble, who assured him that "if Bunn should call him out he should go, that every gentleman did so!" Talfourd's speech at the trial— at which no evidence was given for the defend

ant-was a laudation that in some respects was ridiculous.

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The impression created by "Ion" came at the right time. It occasioned festivities. There was an 'Ion" supper at the Garrick Club. Talfourd talked of acting the part himself at some amateur performance. It is the best thing that the barrister ever accomplished, and he was infatuated with it. It is not clear how it was that the part so soon fell to Ellen Tree. She was the Clemanthe of the original performance, but she soon assumed the principal role, and Macready, under the date of August 8, 1836, records a visit to the Haymarket to see Ellen Tree in the part; he thought her performance very pretty and creditable for a woman, "but no more like a young man than a coat and waistcoat are," and that the play was very drowsy, very unreal.

Macready renewed his engagement with Osbaldiston, and produced, without success, Browning's "Strafford." Webster then se

cured him for some months in his usual characters.

In the succeeding engagement at the Haymarket Macready again acted "Ion,” and produced Bulwer's "The Duchess of La Vallière."

He also brought out the " Bridal," which he had been acting in the provinces, and upon which he drew a royalty, the adaptation, with the assistance of Sheridan Knowles, being his own. It was during the summer of 1836 that Forrest made a visit to England. Macready entertained him at his house at Elstree, and met him at a dinner at the Garrick Club, incidents that will be considered in the chapter bearing specially on the relations of the two men.

Among the pieces he examined at this time for the possibilities of their use, were “Nina Sforza," by Troughton, and "Comus." Dickens, introduced by Forster, now entered into his circle of friends.

CHAPTER IV.

MANAGEMENT.

MACREADY was not a speculative man,

and was averse to management-for which, from time to time offers were made to him on the ground that it would disqualify him from the proper pursuit of his art. His arrangement for the control of Covent Garden was tentative, was for one year only, and he could have withdrawn from it, but he continued to meet his share of the losses with manliness and fortitude until the close of the season, and renewed his lease on somewhat better terms for a succeeding season.

It is not entirely clear what the contract was, but the aim was to secure from the receipts a rental for the proprietors of £7,000, and a fair payment for his own services; "out of a surplus of £1,800 to take £300, and any surplus that might be over that sum." He gathered about him a most efficient company, paying good salaries (Vandenhoff £21 a week), sought

to withdraw Liston from his retirement, and offered Dowton £10 a night. He continued his acting at the Haymarket and in the provinces until late in August, and opened Covent Garden on September 30 with "Winter's Tale."

Apart from the customary afterpieces, and some minor original productions, the season ran along for some months, marked by the revival of Shaksperian plays, with the original text largely restored, acted by superb casts, arranged, mounted and illustrated with an artistic discretion and taste that got him full recognition as an actor and manager, but to receipts that threatened disaster. Thus, were produced "Hamlet," "Othello," Macready Iago—the council scene of the forty being accurate in historic detail, and very beautiful and realistic in effect"Macbeth" and "Lear." Among his other characters were Lord Townly, in "The Provoked Husband," Werner, Melantius in "The Bridal," Luke, in "Riches,” Lord Hastings, in "Jane Shore," etc. The occasional production of opera added largely to the great expense. "Amilie, or The Love Test," was one of the original productions in this line. The customary pantomime was costly, " Harlequin, or