I CANNOT quite understand why the theatre, which my boy was so full of, and so fond of, did not inspire him to write plays, to pour them out, tragedy upon tragedy, till the world was filled with tears and blood. Perhaps it was because his soul was so soaked, and, as it were, water-logged with the drama, that it could only drift sluggishly in that welter of emotions, and make for no point, no port, where it could recover itself and direct its powers again. The historical romance which he had begun to write before the impassioned days of the theatre seems to have been lost sight of at this time, though it was an enterprise that he was so confident of carrying forward that he told all his family and friends about it, and even put down the opening passages of it on paper which he cut in large quantity, and ruled himself, so as to have it exactly suitable. The story, as I have said, was imagined from events in Irving's history of the "Conquest of Granada," a book which the boy loved hardly less than the monkish legends of "Gesta Romanorum," and it concerned the rival fortunes of Hamet el Zegri and Boabdil el Chico, the uncle and nephew who vied with each other for the crumbling throne of the Moorish kingdom; but I have not the least notion how it all ended. Perhaps the boy himself had none.