I

When Irving was having the enforced rest consequent to the accident to his knee in December 1896, he made up his mind that his next Shakespearean production should be Richard II. For a long time he had had it in view and already formed his opinion as to what the leading features of such a production as was necessary should be. He knew that it could not in any case be made into a strong play, for the indeterminate character of Richard would not allow of such. The strong thing that is in the play is, of course, his suffering; but such, when the outcome of one’s own nature, is not the same as when it is effected by Fate, or external oppression. He knew therefore that the play would want all the help he could give it. Now he set himself to work out the text to acting shape, as he considered it would be best. Despite what any one may say to the contrary—and it is only faddists that say it—there is not a play of Shakespeare’s which does not need arranging or cutting for the stage. So much can now be expressed by pictorial effect—by costume, by lighting and properties and music—which in Shakespeare’s time had to be expressed in words, that compression is at least advisable. Then again, the existence of varied scenery and dresses requires time for changes, which can sometimes be effected only by the transposition of parts of the play. In his spare time, therefore, of 1897 he began the arrangement with a definite idea of production in 1899. When he had the general scheme prepared—for later on there are always changes in readings and minor details—he approached the man who in his mind would be the best to design and advise concerning the artistic side: Edwin A. Abbey, R.A.