R,CHARD MONCKTON MILNES was born in the year - OUDL Home

The Theatre in the 'Seventies 159coats—Mrs John Wood—also came to the front in the'seventies; and marching slowly forward was anotheryoung man who was to stamp his name indelibly on stagehistory—Charles Wyndham. I could give a score of othernames pertaining to the 'seventies, but I forbear. Imust, however, again speak of Henry Irving who, afterelectrifying audiences in 1871 as Mathias in The Bells,rose higher and higher in public esteem—an esteem whichculminated in a wide expression of sorrow when he fell,exhausted, at Bradford in 1905. It has been urgedagainst this extraordinary man that he did nothing forthe modern drama; and it must be confessed that hisambition was centred in himself. He aimed at beingacknowledged as the greatest actor of the age, and to behailed as the legitimate successor of Garrick and of Kean;and he was content to achieve that aim, adding lustre tohis calling in the process. But it was said of him, I thinkwith truth, that, such were his inherent gifts, his determination,and his infinite patience, there was no walk inlife in which he could not have succeeded. He was themost dignified figure in any assembly, no matter howeminent; and, breaking through a personality that wassomewhat awe-inspiring, he had a smile that almostbrings tears to one's eyes in the recollection. Finally, in1875, after an apprenticeship in the provinces and a fewfugitive and inconspicuous appearances in London, therecame definitely upon the scene that lovely lady, EllenTerry, later to be Irving's associate at the Lyceum. InApril of that year she acted Portia in a revival at thePrince of Wales's of The Merchant of Venice, under thecelebrated Bancroft management; and in the familiarwords of Burke, spoken of a less fortunate woman,'surely never lighted on this orb, which she hardlyseemed to touch, a more delightful vision'. Continuingthe quotation, I can say, 'I saw her just above the