The Truth About Blayds

The poet's grandchildren are cheerfully indifferent to his literary reputation, and treat him with affectionate irreverence, to Royce's disapproval.

It was so well received that he continued the deception and published further batches over the years, gaining a tremendous literary reputation and making a large fortune.

The one volume he published of his own verse had been badly reviewed and otherwise his entire poetic oeuvre was the work of his dead friend.

The family agonise about whether the confession is true, and if so whether to reveal the truth publicly, and whether the old man's fortune properly belongs to Jenkins's heirs.

William continues to maintain Blayds's innocence, and Isobel eventually gives way and agrees to say nothing publicly about her father's confession.

[9] The Illustrated London News said, "The play makes admirable comedy, and with the wit and literary finish of its dialogue, its note of sustained irony, its success in raising expectancy in the first act, and developing an interesting idea emotionally in the sequel, stands as quite the best thing Mr Milne has given the stage".

Reviewing a provincial production in 1926, The Times commented, "The Truth About Blayds is not Mr Milne's best play, but it does contain the best act that he has ever written.

[14] The play was revived on Broadway in 1934, with Heggie again in the title role, Pauline Lord as Isobel and Frederick Worlock as Royce.

The following year, BBC radio broadcast an adaptation with John Turnbull as Blayds, Marda Vanne as Isobel and Andrew Cruickshank as Royce.