the Fancy's silken leash;

But it must be recorded that Fancy, as let loose and impersonated by Ellen Terry, is taken from the theatre in thousands of hearts, and that it enters into many a home circle where the memory of it gives unbounded and enduring pleasure. Into the simple homes of those who elbow each other in the gallery, as well as into the luxurious mansions of the wealthy folk who sit at their ease in the stalls. In many a workman's dwelling I have come across a carefully framed photograph of Ellen Terry, and a treasured play-bill kept in commemoration of a never-to-be-forgotten evening enjoyed in her realms of Fancy.

But she did not drop from cloudland to delight us. Her great achievements have been won—as all great achievements are won—by early training, deep and constant study, hard work, and possibly, above all, by family tradition.

In theatrical lore the name of Terry is, indeed, an old and honoured one. In Lockhart's beautiful biography of Sir Walter Scott, and again in the happily published Diary of the Magician of the North, we read much of the energetic Daniel Terry who was for many years connected with the Edinburgh stage, and who subsequently joined Yates in a memorable management of the Adelphi Theatre. Daniel Terry, with the appreciative eye of the true actor, set his heart upon making stage versions of the Waverley Novels, and though at first Scott (in common with all great novelists) objected to this process, it was subsequently allowed, and adapter and author became friends. It was in the spring of 1816 that Terry produced a dramatic piece entitled "Guy Mannering," which met with great success, and is still from time to time seen. "What share," says Lockhart, "the novelist had in this first specimen of what he used to call the art of 'Terryfying,' I cannot exactly say; but his correspondence shows that the pretty song of the Lullaby was not his only contribution to it; and I infer that he had taken the trouble to modify the plot, and rearrange, for stage purposes, a considerable part of the original dialogue."

Of the intimacy that commenced and grew between the poet and the playwright, Lockhart records:—

"It was at a rehearsal of 'The Family Legend of Joanna Baillie' that Scott was first introduced to another theatrical performer, who ere long acquired a large share of his regard and confidence—Mr. Daniel Terry. He had received a good education, and been regularly trained as an architect; but abandoned that profession at an early period of life, and was now beginning to attract attention as a valuable actor in Henry Siddons's company. Already he and the Ballantynes were constant companions, and through his familiarity with them Scott had abundant opportunities of appreciating his many excellent and agreeable qualities. He had the manners and feelings of a gentleman. Like John Kemble, he was deeply skilled in the old literature of the drama, and he rivalled Scott's own enthusiasm for the antiquities of vertu. Their epistolary correspondence in after days was frequent, and none so well illustrates many of the poet's minor tastes and habits. As their letters lie before me they appear as if they had all been penned by the same hand. Terry's idolatry of his new friend induced him to imitate his writing so zealously that Scott used to say, if he were called upon to swear to any document, the utmost he could venture to attest would be, that it was either in his own hand or Terry's. The actor, perhaps unconsciously, mimicked him in other matters with hardly inferior pertinacity. His small lively features had acquired, before I knew him, a truly ludicrous cast of Scott's graver expression; he had taught his tiny eyebrow the very trick of the poet's meditative frown; and, to crown all, he so habitually affected his tone and accent that, though a native of Bath, a stranger could hardly have doubted he must be a Scotchman. These things afforded all their acquaintance much diversion; but perhaps no Stoic could have helped being secretly gratified by seeing a clever and sensible man convert himself into a living type and symbol of admiration."

In the pages of his fascinating Diary (or "Journal") Scott records—

"October 20, 1826 (London).—At breakfast, Crofton Croker, author of the 'Irish Fairy Tales.' Something like Tom Moore. There were also Terry, Allan Cunningham, Newton, and others."

"October 21, 1826.—We returned to a hasty dinner in Pall Mall, and then hurried away to see honest Dan Terry's house, called the Adelphi Theatre, where we saw 'The Pilot,' from the American novel of that name. It is extremely popular, the dramatist having seized on the whole story, and turned the odious and ridiculous parts, assigned by the original author to the British, against the Yankees themselves. There is a quiet effrontery in this that is of a rare and peculiar character. The Americans were so much displeased, that they attempted a row—which rendered the piece doubly attractive to the seamen at Wapping, who came up and crowded the house night after night to support the honour of the British flag.... I was, however, glad to see honest Dan's theatre as full seemingly as it could hold. The heat was dreadful, and Anne was so very unwell that she was obliged to be carried into Terry's house—a curious dwelling, no larger than a squirrel's cage, which he has contrived to squeeze out of the vacant spaces of the theatre, and which is accessible by a most complicated combination of staircases and small passages. Here we had rare good porter and oysters after the play, and found Anne much better. She had attempted too much; indeed, I myself was much fatigued."

Later comes a sadder note:—

"February 3, 1827.—Terry has been pressed by Gibson for my debt to him. That I may get managed."

And again—

"April 15, 1828.—Got the lamentable news that Terry is totally bankrupt. This is a most unexpected blow, though his carelessness about money matters was very great. God help the poor fellow! He has been ill-advised to go abroad, but now returns to stand the storm—old debts, it seems, with principal and interest accumulated, and all the items which load a falling man. And wife, such a good and kind creature, and children. Alack! alack! I sought out his solicitor. There are £7000 or more to pay, and the only fund his share in the Adelphi Theatre, worth £5000 and upwards, and then so fine a chance of independence lost. That comes of not being explicit with his affairs. The theatre was a most flourishing concern. I looked at the books, and since have seen Yates. The ruin is inevitable, but I think they will not keep him in prison, but let him earn his bread by his very considerable talents. I shall lose the whole or part of £5000, which I lent him, but that is the last of my concern."

And then follow these interesting and touching entries:—

"May 8, 1828.—I have been of material assistance to poor Terry in his affairs."

"June 18, 1829.—Poor Terry is totally prostrated by a paralytic affection. Continuance of existence not to be wished for."

"July 9, 1829.—Many recollections die with poor Terry."

Of his semi-partnership with his actor-friend, Sir Walter Scott, in a humorous mood, wrote:—"I have been made a dramatist whether I would or no. I believe my muse would be