the hero; the spiritual quality was there, but the human interest was
wanting. The final alterations and additions were made five years
later by Dion Boucicault.

"Rip Van Winkle" was not a sudden success. It did not burst upon the
public like a torrent. Its flow was gradual, and its source sprang
from the Hartz Mountains, an old German legend, called "Carl the
Shepherd," being the name of the original story. The genius of
Washington Irving transplanted the tale to our own Catskills. The
grace with which he paints the scene, and, still more, the quaintness
of the story, placed it far above the original. Yates, Hackett, and
Burke had separate dramas written upon this scene and acted the hero,
leaving their traditions one to the other. I now came forth, and
saying, "Give me leave," set to work, using some of the
before-mentioned tradition, mark you. Added to this, Dion Boucicault
brought his dramatic skill to bear, and by important additions made a
better play and a more interesting character of the hero than had as
yet been reached. This adaptation, in my turn, I interpreted and
enlarged upon. It is thus evident that while I may have done much to
render the character and the play popular, it has not been the work of
one mind, but both as its to narrative and its dramatic form has been
often moulded, and by many skilful hands. So it would seem that those
dramatic successes that "come like shadows, so depart," and those that
are lasting, have ability for their foundation and industry for their
superstructure. I speak now of the former and the present condition
of the drama. What the future may bring forth it is difficult to
determine. The histrionic kaleidoscope revolves more rapidly than of
yore and the fantastic shapes that it exhibits are brilliant and
confusing; but under all circumstances I should be loath to believe
that any conditions will render the appearance of frivolous novices