I will not let myself be diverted by your allusions to She Stoops to Conquer. The suggested resemblance had not, I confess, occurred to me; there seem to me many differences between the two works but this is rather a question for posterity.
If, however, you insist on taking Goldsmith into your skiff it will not be thought presumption on my part if I choose my place in Dr. Johnson’s heavier craft. I would prefer, however, to take your own account of your work. Not farcical in plot or character! Surely your career as a humourist has been fed by the rarest and most delightful experience, if it has brought you into contact with the kind of man who would be driven to the verge of immorality by a dado! No, I can’t think you serious!”
Here my copy—the rough one of the letter sent—comes to an end; and I have not F. C. Burnand’s further reply.
But it is good to remember that there was never any breach between the friends; I find a scenario by Burnand for a children’s Christmas play—evidently sent to Joe about the time when he produced Buchanan’s version of the Pied Piper of Hamlin at the Comedy Theatre with Lena Ashwell—still a student at the Royal Academy of Music—acting and singing the girl’s part.
And from a much later period I can quote the following further proof of unimpaired friendship in a letter written to thank Joe for having been largely instrumental in getting up the dinner given to Burnand on his withdrawal from the editorship of Punch.
Grosvenor Hotel,
London, S.W.,
June 11th, 1911.
“My Dear Carr,