In the lone tent, waiting for victory,
    She stands with eyes marred by the mists of pain,
    Like some wan lily overdrenched with rain;
    The clamorous clang of arms, the ensanguined sky,
    War’s ruin, and the wreck of chivalry
    To her proud soul no common fear can bring;
    Bravely she tarrieth for her Lord, the King,
    Her soul aflame with passionate ecstasy. 
    O, hair of gold!  O, crimson lips!  O, face
    Made for the luring and the love of man! 
    With thee I do forget the toil and stress,
    The loveless road that knows no resting place,
    Time’s straitened pulse, the soul’s dread weariness,
    My freedom, and my life republican!

That phrase “wan lily” represented perfectly what I had tried to convey, not only in this part but in Ophelia.  I hope I thanked Oscar enough at the time.  Now he is dead, and I cannot thank him any more....  I had so much bad poetry written to me that these lovely sonnets from a real poet should have given me the greater pleasure.  “He often has the poet’s heart, who never felt the poet’s fire.”  There is more good heart and kind feeling in most of the verses written to me than real poetry.

“One must discriminate,” even if it sounds unkind.  At the time that Whistler was having one of his most undignified “rows” with a sitter over a portrait and wrangling over the price, another artist was painting frescoes in a cathedral for nothing.  “It is sad that it should be so,” a friend said to me, “but one must discriminate.  The man haggling over the sixpence is the great artist!”

How splendid it is that in time this is recognized.  The immortal soul of the artist is in his work, the transient and mortal one is in his conduct.

Another sonnet from Oscar Wilde—­to Portia this time—­is the first document that I find in connection with “The Merchant,” as the play was always called by the theater staff.

    “I marvel not Bassanio was so bold
    To peril all he had upon the lead,
    Or that proud Aragon bent low his head,
    Or that Morocco’s fiery heart grew cold;
    For in that gorgeous dress of beaten gold,
    Which is more golden than the golden sun,
    No woman Veronese looked upon
    Was half so fair as thou whom I behold. 
    Yet fairer when with wisdom as your shield
    The sober-suited lawyer’s gown you donned,
    And would not let the laws of Venice yield
    Antonio’s heart to that accursed Jew—­
    O, Portia! take my heart; it is thy due: 
    I think I will not quarrel with the Bond.”

Henry Irving’s Shylock dress was designed by Sir John Gilbert.  It was never replaced, and only once cleaned by Henry’s dresser and valet, Walter Collinson.  Walter, I think, replaced “Doody,” Henry’s first dresser at the Lyceum, during the run of “The Merchant of Venice.”  Walter was a wig-maker by trade—­assistant to Clarkson the elder.  It was Doody who, on being asked his opinion of a production, said that it was fine—­“not a join[1] to be seen anywhere!” It was Walter who was asked by Henry to say which he thought his master’s best part.  Walter could not be “drawn” for a long time.  At last he said Macbeth.