April 1847 with marked applause. A lighter piece, entitled Anything for a Change, was brought out at the same house 7 June 1848. Two years afterwards, 5 Aug. 1850, his two-act drama, the Daughter of the Stars, was acted at the New Strand Theatre. The exhibition of 1851 gave occasion for his writing The Exposition: a Scandinavian Sketch, containing as much irrelevant matter as possible in one act, which was produced at the Strand on 28 April in that year. In association with John Oxenford, he supplied to the Olympic, 26 Dec. 1861, an extravaganza entitled Timour the Tartar, or the Iron Master of Samarkand, the explanatory letterpress stating that a trifling lapse between the year 1361 and the year 1861 occasionally occurs. Amongst his other dramatic pieces are Guardian Angel, a farce, Lowther Arcade, Honours and Tricks, and Our New Governess. Brooks was in his earlier days a contributor to many of the best periodicals. He was a leader writer on the Illustrated London News, to which journal at a later period he furnished a weekly article under the name of Nothing in the Papers. He conducted the Literary Gazette 1858–9, and edited Home News after the death of Robert Bell in 1867. To a volume edited by Albert Smith in 1849, called Gavarni in London, he furnished three sketches — The Opera, The Coulisse, and The Foreign Gentleman; and in companionship with Angus B. Reach he published A Story with a Vengeance in 1852. At thirty-eight years of age he began to assert his claim to consideration as a popular novelist by writing Aspen Court: a Story of our own Time. He then allowed five years to elapse before he made his second venture as a novelist. He did so as the author of a twelve-installment serial fiction, the Gordian Knot, from January 1858; but this work, illustrated by John Tenniel, remained unfinished for upwards of two years. Brooks's important connection with Punch began in 1851. He made use of the name Epicurus Rotundus as the signature to his articles. For the rest of his life he was a contributor to the columns of the periodical, and in 1870 he succeeded Mark Lemon as editor. One of his best known series of articles was The Essence of Parliament, a style of writing for which he was peculiarly fitted by his previous training in connection with the Morning Chronicle.