them--and insist on giving Adam an eye-glass and a title."

Howard was above all an American; he was always emphasizing his
nationality; and this largely because the English managers changed
"Saratoga" to "Brighton," and "The Banker's Daughter" to "The Old Love
and the New." I doubt whether he relished William Archer's inclusion
of him in a volume of "English Dramatists of To-day," even though
that critic's excuse was that he "may be said to occupy a place among
English dramatists somewhat similar to that occupied by Mr. Henry
James among English novelists." Howard was quick to assert his
Americanism, and to his home town he wrote a letter from London,
in 1884, disclaiming the accusation that he was hiding his local
inheritance behind a French technique and a protracted stay abroad
on business. He married an English woman--the sister of the late Sir
Charles Wyndham--and it was due to the latter that several of his
plays were transplanted and that Howard planned collaboration with
Sir Charles Young. But Howard was part of American life--born of the
middle West, and shouldering a gun during the Civil War to guard the
Canadian border near Detroit against a possible sympathetic uprising
for the Confederacy. Besides which--a fact which makes the title of
"Dean of the American Drama" a legitimate insignia,--when, in 1870, he
stood firm against the prejudices of A.M. Palmer and Lester Wallack,
shown toward "home industry," he was maintaining the right of the
American dramatist. He was always preaching the American spirit,
always analyzing American character, always watching and encouraging
American thought.

Howard was a scholar, with a sense of the fitness of things, as
a dramatist should have. Evidently, during the collaboration with
Professor Matthews on "Stuyvesant," discussion must have arisen as