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FAMOUS SONGS
and, according to all accounts, he greatly pleased the critics as well as the playgoers. But it was very difiEicult i n those days to continue a favourite with the fickle public, nothing short of a genius—which Payne was not—being re-quired to satisfy their desires. So after a while Payne exchanged acting for writing, and took to translating French melodramas and operettas. The " Maid and the Magpie " was his first offer- ' ing, and it enjoyed a fair meed of favour at Covent Garden Theatre. Edmund Kean made "Brutus," a tragedy by Payne, a success by the force of his subtle and powerful acting. Charles Kemble also acted in Payne's " Charles II.," a whimsical comedy revived as a first piece some years ago at the Lyceum. "Love in Humble Life" from the French by Payne is occasionally played in the provinces, but very few of his pieces exhibited any great literary skill or power.
As to " Home, Sweet Home," only two verses of the song were sung originally. These were slightly altered and sung by Miss Maria Tree in " Clari, the Maid of Milan," also an adapta-tion, of the virtuous peasant and villainous lord order. For this, however, Payne received from Charles Kemble ^250, no mean sum in those days of short runs. The piece was produced at
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