Letter 130 to Robert Jephson, Esq.(287)

Strawberry Hill, Oct. 17, 1777. (page 177)

Mr. Garrick returned but two days ago, Sir, and I did not receive your tragedy(288) till this morning; so I could only read it once very rapidly and without any proper attention to particular passages though, even so, some struck me as very fine. You have encouraged me rather to criticise than flatter you; and you are in the right, for you have even profited of so weak a judgment as mine, and always improved the passages I objected to. Indeed, this is not quite a fair return, as it was inverting my method, by flattering instead of finding fault with me; and a critic that meets with submission, is apt to grow vain, and insolent, and capricious. Still as I am persuaded that all criticisms, though erroneous, before an author appeals to the public, are friendly, I will fairly tell you what parts of your tragedy have struck me as objectionable on so superficial a perusal.

In general, the language appears to me too metaphoric; especially as used by all the characters. You seem to me to have imitated Beaumont and Fletcher, though your play is superior to all theirs. In truth, I think the diction is sometimes obscure from being so figurative, especially in the first act. Will you allow me to mention two instances?

"And craven Sloth, moulting his sleepless plumes, Nods drowsy wonder at th' adventurous wing That soars the shining azure o'er his head."

I own I do not understand why Sloth's plumes are sleepless; and I think that nodding wonder, and soaring azure, are expressions too Greek to be so close together, and too poetic for dialogue. The other passage is--

"The wise should watch th' event on Fortune's wheel,"

and the seven following lines. The images are very fine, but demand more attention than common audiences are capable of. In Braganza every image is strikingly clear.

I am afraid I am not quite satisfied with the conduct of your piece. Bireno's conduct on the attack on the princess seems too precipitate, and not managed. It is still more incredible, that Paladore should confess his passion to his rival; and not less so, that a private man and a stranger should doubt the princess's faith, when she had preferred him to his rival, a prince of the blood and her destined husband; and that without the smallest inquiry he should believe Bireno was admitted privately to her apartment, when on her not rejecting him, he might have access to her openly. One cannot conceive her meaning in offending her father by refusing so proper a match, `and intriguing with the very man she was to marry, and whom she had refused. Paladore's credulity is not of a piece with the account given of his wisdom, which had made him admitted to the king'S Counsels.

I think, when you bestow Sophia on Paladore, you forget that the king had declared he was obliged to give his daughter to a prince of his own blood; nor do I see any reason for Bireno's stabbing Ascanio, who was sure of being put to death when their treachery was discovered.

The character of the princess is very noble and well sustained. When I said I did not conceive her meaning, I expressed myself ill. I did not suppose she, did intrigue with Bireno; but I meant that it was not natural Paladore should suspect she did, since it is inconceivable that a princess should refuse her cousin in marriage for the mere caprice of intriguing with him. Had she managed her father, and, from the dread of his anger, temporized about Bireno, Paladore would have had more reason to doubt her. Would it not too be more natural for Bireno to incense the king against Paladore than to endeavour to make the latter jealous of Sophia? At least I think Bireno would have more chance of Poisoning Paladore's mind, if he did not discover to him that he knew of his passion. Forgive me, Sir but I cannot reconcile to probability Paladore's believing that Sophia had rejected Bireno for a husband, though it would please her father, and yet chose to intrigue with him in defiance of so serious and extraordinary a law. Either his credulity or his jealousy reduce Paladore to a lover very unworthy of such a woman as Sophia. For her sake I wish to see him more deserving of her.

You are so great a poet, Sir, that you have no occasion to labour any thing but your plots. You can express any thing you please. If the conduct is natural, you will not want words. Nay, I rather fear your indulging your poetic vein too far, for your language is sometimes sublime enough for odes, which admit the height of enthusiasm, which Horace will not allow to tragic writers. You could set up twenty of our tragic authors with lines that you could afford to reject, though for no reason but their being too fine, as in landscape-painting some parts must be under-coloured to give the higher relief to the rest. Will you not think me too difficult and squeamish, when I find the language of "The Law of Lombardy" too rich?

I beg your pardon, but it is more difficult for you to please me, than any body. I interest myself in your success and your glory. You must be perfect in all parts, in nature, simplicity, and character, as well as in the most charming poetry, or I shall not be content. If I dared, I would beg you to trust me with your plots, before you write a line. When a subject seizes you, your impetuosity cannot breathe till you have executed your plan. You must be curbed, as other poets want to be spurred. When your sketch is made, you must study the characters and the audience. It is not flattering you to say, that the least you have to do is to write your play.

(287) Now first printed.

(288) "The Law of Lombardy;" see ant`e, p. 170, letter 123.-E.