high affairs; his fate was mingled with the frenzies of Empire and the doom of peoples. And it was not in peace and rest, but in ruin and horror, that he reached his end.
The circumstances of that tragic history, so famous, so bitterly debated, so often and so controversially described, remain full of suggestion for the curious examiner of the past. There emerges from those obscure, unhappy records an interest, not merely political and historical, but human and dramatic. One catches a vision of strange characters, moved by mysterious impulses, interacting in queer complication, and hurrying at last—so it almost seems—like creatures in a puppet show to a predestined catastrophe. The characters, too, have a charm of their own: they are curiously English. What other nation on the face of the earth could have produced Mr. Gladstone and Sir Evelyn Baring and Lord Hartington and General Gordon? Alike in their emphasis and their lack of emphasis, in their eccentricity and their conventionality, in their matter-of-factness and their romance, these four figures seem to embody the mingling contradictions of the English spirit. As for the mise-en-scène, it is perfectly appropriate. But first let us glance at the earlier adventures of the hero of the piece.
Charles George Gordon was born in 1833. His father, of Highland and military descent, was himself a Lieutenant-General; his mother came of a family of merchants, distinguished for their sea-voyages into remote regions of the Globe. As a boy, Charlie was remarkable for his high spirits, pluck, and love of mischief. Destined for the Artillery, he was sent to the Academy at Woolwich, where some other characteristics made their appearance. On one occasion, when the cadets had been forbidden to leave the dining-room and the senior corporal stood with outstretched arms in the doorway to prevent their exit, Charlie Gordon put his head down, and, butting the
