In short, if Byron leaves you with an impression that he said very little about Catherine, and that little not what was best worth saying, I beg to correct your impression by assuring you that what Byron said was all there really is to say that is worth saying. His Catherine is my Catherine and everybody's Catherine. The young man who gains her favor is a Spanish nobleman in his version. I have made him an English country gentleman, who gets out of his rather dangerous scrape, by simplicity, sincerity, and the courage of these qualities. By this I have given some offence to the many Britons who see themselves as heroes: what they mean by heroes being theatrical snobs of superhuman pretensions which, though quite groundless, are admitted with awe by the rest of the human race. They say I think an Englishman a fool. When I do, they have themselves to thank.

I must not, however, pretend that historical portraiture was the motive of a play that will leave the reader as ignorant of Russian history as he may be now before he has turned the page. Nor is the sketch of Catherine complete even idiosyncratically, leaving her politics out of the question. For example, she wrote bushels of plays. I confess I have not yet read any of them. The truth is, this play grew out of the relations which inevitably exist in the theatre between authors and actors. If the actors have sometimes to use their skill as the author's puppets rather than in full self-expression, the author has sometimes to use his skill as the actors' tailor, fitting them with parts written to display the virtuosity of the performer rather than to solve problems of life, character, or history. Feats of this kind may tickle an author's technical vanity; but he is bound on such occasions to admit that the performer for whom he writes is "the onlie begetter" of his work, which must be regarded critically as an addition to the debt dramatic literature owes to the art of acting and its exponents. Those who have seen Miss Gertrude Kingston play the part of Catherine will have no difficulty in believing that it was her talent rather than mine that brought the play into existence. I once recommended Miss Kingston professionally to play queens. Now in the modern drama there were no queens for her to play; and as to the older literature of our stage: did it not provoke the veteran actress in Sir Arthur Pinero's Trelawny of the Wells to declare that, as parts, queens are not worth a tinker's oath? Miss Kingston's comment on my suggestion, though more elegantly worded, was to the same effect; and it ended in my having to make good my advice by writing Great Catherine. History provided no other queen capable of standing up to our joint talents.

In composing such bravura pieces, the author limits himself only by the range of the virtuoso, which by definition far transcends the modesty of nature. If my Russians seem more Muscovite than any Russian, and my English people more insular than any Briton, I will not plead, as I honestly might, that the fiction has yet to be written that can exaggerate the reality of such subjects; that the apparently outrageous Patiomkin is but a timidly bowdlerized ghost of the original; and that Captain Edstaston is no more than a miniature that might hang appropriately on the walls of nineteen out of twenty English country houses to this day.