any of the wide-awake Knights and Ladies of the Round Table read the daily newspapers, and by this time know that Sir Henry Irving, the great English actor, has been treating the people of New York to a magnificent production of a play that deals directly with the ancient founder of the Order of the Round Table.
THE MAGIC MERE.
Mr. J. Comyns Carr, the writer of this beautiful and sadly picturesque drama, does not give us many glimpses into the lives of the great company of valiant knights that bound Merlin's table with a hand of steel, but there is much in the stage pictures to interest and instruct those who have fed upon the legends of Tennyson. In the prologue we find the young King Arthur by the Magic Mere or Magic Lake, receiving from the spirit of the lake the mighty sword Excalibur, and with it predictions of great power for the future of this warrior knight who was to rule over a kingdom that should rule the sea. The old sage Merlin is standing by, telling Arthur that the blade is of such a temper that no man can withstand its stroke, and that the scabbard is worthier than the sword.
As the play progresses a band of one hundred knights of the Round Table are seen gathered together in the great Hall of Camelot, kneeling before the King, and begging his permission to leave the court to search for the sacred cup of Christ's, known throughout the world as the Holy Grail. This Holy Grail, the legend tells us, was a cup filled at the cross with the Saviour's blood and brought to the British Isle by Joseph. Some unknown hand had stolen it away, and the burning desire of many a brave knight in those days was to seek, and, happily finding the holy treasure, to restore it to its proper place.
"WE WHO GO FORTH TO SEEK THE HOLY GRAIL."
Our illustration of this scene pictures the spokesmen for the departing company of knights craving the King's blessing on their quest. As they rise to go, Sir Lancelot enters and kneels before the throne; he is encased in full armor, and carries a great sword on his left arm. This youth, possessing so many of the graces and traits that were necessary to add lustre to the fame of an English knight in the olden time, had endeared himself to the good Arthur and all his court, and so great was the King's love for Lancelot that he refused to grant the earnest prayer of the gallant knight that he might be permitted to take his departure from his sovereign's side, and join his companions in their wellnigh hopeless search for the Holy Grail.
The next act brings us to a beautiful nook in a vast forest. It is the Queen's Maying, and the great old trees and the blooming flowers tremble with the glad music of Guinevere's laugh and the joyful songs of her ladies-in-waiting.
Sir Lancelot remains at Arthur's court, and being ever near the gracious Queen, his love for her grows deeper and dangerous, until at last it becomes known to the King, who banishes the unhappy young knight and condemns the Queen to imprisonment. From the moment when Sir Lancelot enters Camelot the play deals with that which is sad and fateful—the love of Arthur for Guinevere, the mutual love of this lovely Queen and Sir Lancelot, and the traitorous acts of Arthur's trusted Sir Mordred that finally end in the King's death by Sir Mordred's hand.