"When I commenced," he said, "I had great hopes of your production.
I did not think it opened dramatically, but that might have been
remedied." I knew then that it was all over. But, as my old friend
warmed to the subject, the criticism became stronger and stronger,
till my ears tingled. At last came the fatal blow. "As to the
character of your heroine, I felt at a loss how to describe it,
but you have done it for me in the last speech of Madame Brudo."
Madame Brudo was the heroine's aunt. "'Margaret, my child, never
play the jilt again; 'tis a most unbecoming character. Play it
with what skill you will, it meets but little sympathy.' And this,
be assured, would be its effect upon an audience. So that I must
reluctantly add that, had I been still a manager, The Noble Jilt
is not a play I could have recommended for production." This was a
blow that I did feel. The neglect of a book is a disagreeable fact
which grows upon an author by degrees. There is no special moment
of agony,--no stunning violence of condemnation. But a piece of
criticism such as this, from a friend, and from a man undoubtedly
capable of forming an opinion, was a blow in the face! But I
accepted the judgment loyally, and said not a word on the subject
to any one. I merely showed the letter to my wife, declaring my
conviction, that it must be taken as gospel. And as critical gospel
it has since been accepted. In later days I have more than once
read the play, and I know that he was right. The dialogue, however,
I think to be good, and I doubt whether some of the scenes be not
the brightest and best work I ever did.

Just at this time another literary project loomed before my eyes,
and for six or eight months had considerable size. I was introduced
to Mr. John Murray, and proposed to him to write a handbook for
Ireland. I explained to him that I knew the country better than