fact it was the suggestion of our uncle, Edward Emerson, to try the dungeon scene from the Legend of Montrose, with the pursuit on the mountain-side, and perhaps Ranald's dying charge to his grandson, that gave us the idea for the whole play.

With our best talent unavailable, we were very dubious about undertaking to meddle with one of Scott's stories, as we knew not what might come from our bungling pens and eraser. The rapid approach of the wedding-day, with nothing better offering, settled the question, and with many misgivings we started to develop a plot, and keep as much of the book as we could conveniently use.

The story abounds in dramatic incidents and situations, but so scattered that it was difficult to see how to work them into a consecutive play. To do this we were obliged to lay violent hands upon the story, and change it in many respects. Our only excuse in this vandalism is that it was necessary; and we have Sir Walter's own testimony to prove it, as he says in one of his letters that the "Tales of My Landlord" will not dramatize.

The scenes were especially appropriate, as they afforded excellent opportunities to bring in our grandfather's especial favorites among the Scotch songs. In one case it was even more fortunate than we had thought, as we found, after arranging the "MacGregors' Gathering" for the "Children of the Mist," that they were in reality a branch of the MacGregors.

We decided on the omission of Allan, as his gloomy character, besides being unpleasant to portray, was illsuited to the occasion. The transfer of Sir Duncan Campbell to the king's side, for dramatic convenience.

should perhaps have been accompanied by a change of his name; but this would have confused those who know the story, besides being of great inconvenience to ourselves.

The introduction of a new character-Jean Campbell - is also for dramatic symmetry.

The dungeon scene, somewhat abbreviated, is copied almost exactly from the original, as is also the mountain scene, though for the sake of simplicity we included in this scene Ranald's death. Mortally wounded by his pursuers, before giving his dying charge to his grandson, he delivers to Dalgetty a package to prove Annot Lyle's identity to Sir Duncan Campbell, her father. This defines Dalgetty's connection with the plot, and greatly simplifies the fourth act, which will be found to be almost entirely new.

Throughout the play we have kept as closely as possible to the original; and where writing has had to be done, it has been, as nearly as we could make it, in Scott's own words and style.

In one case we have taken the liberty of substituting the name of Forbes for that of some other chieftains who

displayed cantankerous propensities, -a libel, suggested by some person doubtless jealous of the well-known amiability and meekness of the Forbes race. However, as libels, even of the most malicious kind, are likely to have some foundation in fact, a careful investigation has been made of the annals of the race, and we have come to the conclusion that the following story is the only thing upon which the above-mentioned libel could have been based.

Among the ancestors of the first Forbes who came to

America, was one John Forbes, a protestant minister, who gave satisfaction to his flock in all respects but one, namely, that he always appeared in church with his sword at his side. Finally a complaint from his parishioners was presented to him, and on the following Sunday, appearing as usual with his sword, after his discourse, he vindicated himself by giving three reasons for his conduct: first, that he was a gentleman, and therefore entitled by custom to wear a sword; second, that he knew how to use it; and third, that if any person doubted either of his premises, he held himself ready to step out behind the church with such person, and prove them upon his body. He continued to wear a sword.

On the 8th of February, 1894, we gave our play. Fortunately both our grandparents were well, and almost all our relatives were able to come. The audience was so enthusiastic about the occasion that they kindly glossed over our imperfections, and applauded so liberally that we all felt our celebration had been a

success.

Everything passed off smoothly, owing to the very good management of Edith and her efficient corps of assistants. Our mother and Adelaide Ladd undertook and accomplished the task of costuming our twenty characters. Miss Emma Ware played the accompaniments and interludes. Hester and Edward Cunningham and George Ingraham also helped behind the scenes.

The scenery for the dungeon was home-made, and was most effective, and Annot Lyle's harp was also one of our manager's accomplishments. It was so perfect that few of the audience found out that the music came

from a guitar behind the wings, played by "Ranald MacEagh."

For the approaching hound we had Theodore Watson and Alexander train their voices till they gave an effective, if not deceptive representation.

Our piper was the only "real" thing in the whole play, an ex-soldier of one of the Highland regiments in the British army; and truly, his costume and his carriage put the finest of our lords in the shade.

Almost the pleasantest part of the whole affair was the way that every one took a deep interest, and offered to do everything in their power, thus enabling us to accomplish so much more than our unaided efforts could have brought to pass.

Mrs. Cunningham very kindly designed our programme, which we have here used as a frontispiece. It is a view of Urquhart Castle, a stronghold from which the Forbeses were driven by Edward I. of England, after a gallant defence, in which the family was nearly exterminated.

To commemorate the occasion grandfather asked the managers of the play to print this book, to be given to a few friends.

The pictures of grandfather were taken, one in China, at the age of twenty-one, and the other some years since.

Of those of grandmother, the first was taken in the neighborhood of , and the other was taken this

year.

We were fortunate enough to get all the nineteen actors and their costumes together for the photographs

from which our illustrations are taken, so they represent the scenes exactly as they were on the night of the play.

Dr. Holmes has very kindly given us permission to use his poem to grandfather on his eightieth birthday; and we have added also a few songs, either favorites of grandfather's, or correct versions of songs already in the play.

We make no pretence of literary or artistic excellence in our book, but hope our friends will consider it simply as a memorial of a sixtieth wedding-day.

W. C. F.