P. S. The Houghton pictures are not lost-but to Houghton and
England!(371)
(371) They had been sold to the Empress of Russia in the preceding September, and immediately transferred to that country.-E.
Letter 184 To Robert Jephson, Esq.(372)
Berkeley Square, January 25, 1780. (page 238)
It was but yesterday, Sir, that I received the favour of your letter, and this morning I sent, according to your permission, to Mr. Sheridan the elder, to desire the manuscript of your tragedy;(373) for as I am but just recovering of a fit of the gout, which I had severely for above two months, I was not able to bear the fatigue of company at home; nor could I have had the pleasure of attending to the piece so much as I wished to do, if I had invited ladies to hear it, to whom I must have been doing the honours.
I have read your play once, Sir, rapidly, though alone, and therefore cannot be very particular on the details; but I can say already, with great truth, that you have made a great deal more than I thought possible out of the skeleton of a story.; and have arranged it so artfully, that unless I am deceived by being too familiar with it, it will be -very intelligible to the audience, even if they have not read the original fable; and you have had the address to make it coherent, without the marvellous, though so much depended on that part. In short, you have put my extravagant materials in an alembic, and drawn off only what was rational.
Your diction is very beautiful, often poetic, and yet what I admire, very simple and natural; and when necessary, rapid, concise, and sublime.
If I did not distrust my own self-love, I should say that I think it must be a very interesting piece: and yet I might say so without vanity, so much of the disposition of the scenes is your own. I do not yet know, Sir, what alterations you propose to make; nor do I perceive where the second and fourth acts want amendment. The first in your manuscript is imperfect. If I wished for any correction, it would be to shorten the scene in the fourth act between the Countess, Adelaide, and Austin, which rather delays the impatience of the audience for the catastrophe, and does not contribute to it, but by the mother's orders to the daughter at the end of the scene to repair to the great church. In the last scene I should wish to have Theordore fall into a transport of rage and despair immediately on the death of Adelaide, and be carried off by Austin's orders; for I doubt the interval is too long for him to faint after Narbonne's speech. The fainting, fit, I think, might be better applied to the Countess; it does not seem requisite that she should die, but the audience might be left in suspense about her.
My last observations will be very trifling indeed, Sir; but I think you use nobleness, niceness, etc. too often, which I doubt are not classic terminations for nobility, nicety, etc. though I allow that nobility will not always express nobleness. My children's timeless deaths can scarce be said for untimely; nor should I choose to employ children's as a plural genitive case, which I think the s at the end cannot imply. "Hearted preference" is very bold for preference taken to heart. Raymond, in the last scene says—
"Show me thy wound—oh, hell! 'tis through her heart!"
This line is quite unnecessary, and infers an obedience in displaying her wound which would be shocking; besides, as there is often a buffoon in an audience at a new tragedy, it might be received dangerously. The word "Jehovah" will certainly not be suffered on the stage.