of his movements, the charm of his manner. He fascinated everybody who was worth fascinating, and a great many people who were not. He was often wilful and petulant, and I used to think him dreadfully insincere. It was due, I think, chiefly to his inordinate desire to please. Poor Cyril! I told him once that he was contented with very cheap triumphs, but he only laughed. He was horribly spoiled. All charming people, I fancy, are spoiled. It is the secret of their attraction.
"However, I must tell you about Cyril's acting. You know that no actresses are allowed to play at the A.D.C. At least they were not in my time. I don't know how it is now. Well, of course Cyril was always cast for the girls' parts, and when 'As You Like It' was produced he played Rosalind. It was a marvellous performance. In fact, Cyril Graham was the only perfect Rosalind I have ever seen. It would be impossible to describe to you the beauty, the delicacy, the refinement of the whole thing. It made an immense sensation, and the horrid little theatre, as it was then, was crowded every night. Even when I read the play now I can't help thinking of Cyril. It might have been written for him. The next term he took his degree, and came to London to read for the diplomatic. But he never did any work. He spent his days in reading Shakespeare's Sonnets, and his evenings at the theatre. He was, of course, wild to go on the stage. It was all that I and Lord Crediton could do to prevent him. Perhaps if he had gone on the stage he would be alive now. It is always a silly thing to give advice, but to give good advice is absolutely fatal. I hope you will never fall into that error. If you do, you will be sorry for it.
"Well, to come to the real point of the story, one day I got a letter from Cyril asking me to come round to his rooms that evening. He had charming chambers in Piccadilly overlooking the Green Park, and as I used to go to see him every day, I was rather surprised at his taking the trouble to write. Of course I went, and when I arrived I found him in a state of great excitement. He told me that he had at last discovered the true secret of Shakespeare's Sonnets; that all the scholars and critics had been entirely on the wrong tack; and that he was the first who, working purely by internal evidence, had found out who Mr W. H. really was. He was perfectly wild with delight, and for a long time would not tell me his theory. Finally, he produced a bundle of notes, took his copy of the Sonnets off the mantelpiece, and sat down and gave me a long lecture on the whole subject.
"He began by pointing out that the young man to whom Shakespeare addressed these strangely passionate poems must have been somebody who was a really vital factor in the development of his dramatic art, and that this could not be said either of Lord Pembroke or Lord Southampton. Indeed, whoever he was, he could not have been anybody of high birth, es was shown very clearly by the 25th Sonnet, in which Shakespeare contrasts himself with those who are 'great princes' favourites;' says quite frankly—
"'Let those who. are in favour with their stars
Of public honour and proud titles boast,
Whilst I, whom fortune of such triumph bars,
Unlooked for joy in that I honour most;'
and ends the sonnet by congratu-
