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it for the purpose of acting its merely comic portion, in association with some of the most brilliant amateur artists I have ever known, who thought me qualified to assist them in a performance of the Merry Wives of Windsor. Imperfect as may have been my conception of the part, the labour which I gave to it gradually opened to me some views of the entire purpose and meaning of the character, and these have at no time since failed to occupy my leisure. Upon them I have had the great pleasure and advantage of taking the judgment of many whose names are household words with the nation. But that my ideas have found in the circle I speak of (to whose cordial support and co-operation in my literary career I am proud to avow that I owe a far greater success than I could have attained unaided) a thoughtful recognition and an earnest approval, I should have resisted even longer than I have done, the invitations which have been made to

me to present my conception of Falstaff to a larger audience. I have now assented to the tempting propositions that have been made to me, and I have authorised the announcement of the appearances, the details of which are appended.

"It is due to the public to say that I am fully aware of the nature of the arduous task I am undertaking: it is no less due to myself to say that were I not justified by the encouragement and counsels of many whose opinions are entitled to public deference, I should not have presented myself before an audience. But I am not without confidence in the earnestness with which I have addressed myself to my work, and that confidence justifies my adding that, in any circumstances, health and strength permitting, I shall complete the entire series of performances announced by those who have charge of its business arrangements."

The costume in which the editor of Punch

dressed the part of Falstaff was specially designed for him by his dear friend and fellowlabourer, John Tenniel, who drew that excellent portrait of "Mark Lemon as Falstaff," which appeared in the Illustrated London News shortly after the first representation at the Gallery of Illustration.

CHAPTER III.

GLASGOW AND GREENOCK.

HE public has been so long accustomed to

Thear of literary men dying without

making provision for their families, that an exception to the rule is quoted with congratulatory emphasis. The leading papers have in this spirit recorded the fact that Mark Lemon had insured his life for six thousand pounds. This is true but it is questionable whether his family will reap any benefit from this thoughtful provision. While Dickens's will deals with eighty thousand pounds, and serves as the text of a sermon at Westminster Abbey, Mark Lemon's will is not to be proven. The

truth is, that somehow or another the policies of insurance are claimed by persons outside the family circle. Mark Lemon died a poor man, and it would be false delicacy to disguise this very painful faet. No man worked harder to leave his family "well provided for." Perhaps no man was more unfortunate. He invested moneys in useful and important schemes, which were unsuccessful. His losses were very great in various ways. When the story of his life comes to be told, we shall know how thoroughly, by pen and purse, Mark Lemon tried, while increasing his income, to serve his country. He never touched anything in a selfish spirit. The schemes by which he lost money were in the interest of art and humanity. His endeavours to recoup himself on account of these losses were incessant, though he might have succeeded by one single engagement, had he chosen to leave Punch and taken his Falstaff entertainment to America. I trust

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