In casting the parts I conclude Mrs. Yates, as women never cease to like acting young parts, would prefer that of Adelaide, though the Countess is more suitable to her age; and it is foolish to see her representing the daughter of women fifteen or twenty years younger. As my bad health seldom allows of my going to the theatre, I never saw Mr. Henderson but once. His person and style should recommend him to the parts of Raymond or Austin. Smith, I suppose, would expect to be Theodore; but Lewis is younger, handsomer, and, I think, a better actor; but you are in the right, Sir, in having no favourable idea of our stage at present.
I am sorry, Sir, that neither my talents nor health allow me to offer to supply you with Prologue and Epilogue. Poetry never was my natural turn; and what little propensity I had to it, is totally extinguished by age and pain. It is honour enough to me to have furnished the canons of your tragedy; I should disgrace it by attempting to supply adventitious ornaments. The clumsiness of the seams would betray my gouty fingers. I shall take the liberty of reading your play once more before I return it. It will be extraordinary indeed if it is not accepted, but I cannot doubt but it will be, and very successful; though it will be great pity but you should have some zealous friend to attend to it, and who is able to bustle, and see justice done to it by the managers. I lament that such a superannuated being as myself is not only totally incapable Of that office, but that I am utterly' unacquainted -with the managers, and now too retired to form new Connexions. I was still more concerned, Sir, to hear of your unhappy accident, though the bad consequences are past.
(372) now first published.
(373) Mr. Jephson's tragedy of The Count of Narbonne, founded on Walpole's Gothic story of the Castle of Otranto. It will be seen, that it was brought out, in the following year, With considerable success, at Covent Garden theatre. "On Friday evening" says Hannah More, in a letter to one of her sisters, "I went to Mr. Tighe's to hear him read Jephson's tragedy. 'Praise,' says Dr. Johnson, 'is a tribute which every man is expected to pay for the grant of perusing a manuscript;' and indeed I could praise without hurting my Conscience, for The Count of Narbonne has considerable merit; the language is very Poetical, and parts of the fable very interesting; the plot managed with art, and the characters well drawn. The love scenes I think are the worst: they are prettily written, and full of flowers, but are rather cold; they have more poetry than passion. I do not mean to detract from Mr. Jephson's merit by this remark; for it does not lessen a poet's fame to say he excels more in Painting the terrible, than the tender passions."-Memoirs, vol. i, P, 206.-E.
Letter 185 To Robert Jephson, Esq.(374)
Berkeley Square, Jan. 27, 1780. (page 240)
I have returned Your tragedy, Sir, to Mr. Sheridan, after having read it again, and without wishing any more alterations than the few I hinted before. There may be some few incorrectnesses, but none of much consequence. I must -again applaud your art and judgment, Sir, in having made so rational a play out of my wild tale - and where you have changed the arrangement of the incidents, you have applied them to great advantage The Characters of the mother and daughter you have rendered more natural by giving jealousy to the mother, and more passion to the daughter. In short, you have both honoured and improved my outlines: my vanity is content, and truth enjoins me to do justice. Bishop Warburton, in his additional notes to Pope's works, which I saw in print in his bookseller's hands, though they have not yet been published, observed that the plan of The Castle of Otranto was regularly a drama(375) (an intention I am sure I do not pretend to have conceived; nor, indeed, can I venture to affirm that I had any intention at all but to amuse myself—no, not even a plan, till some pages were written). You, Sir, have realized his idea, and yet I believe the Bishop would be surprised to see how well you have succeeded. One cannot be quite ashamed of one's follies, if genius condescends to adopt, and put them to a sensible use. Miss Aikin flattered me even by stooping to tread in my eccentric steps. Her " Fragment," though but a specimen, showed her talent for imprinting terror. I cannot compliment the author of the " Old English Baron," professedly written in imitation, but as a corrective of The Castle of Otranto. It was totally void of imagination and interest, had scarce 'any incidents, and, though it condemned the marvellous, admitted a ghost. I suppose the author thought a tame ghost might come within the laws of probability. You alone, Sir, have kept within nature, and made superstition supply the place of phenomenon, yet acting as the agent of divine justice—a beautiful use of bigotry.
I was mistaken in thinking the end of the first act deficient. The leaves stuck together, and, there intervening two or three blank pages between the first and second acts, I examined no farther, but concluded the former imperfect, which on the second reading I found it was not.
I imagine, Sir, that the theatres of Dublin cannot have fewer good Performers than those of London; may I ask why you prefer ours? Your own directions and instructions would be of great advantage to your play; especially if you suspect antitragic prejudices in the managers. You, too, would be the best judge of the rehearsal of what might be improvements. Managers will take liberties, and often curtail necessary speeches, so as to produce nonsense. Methinks it is unkind to send a child, of which you have so much reason to be proud, to a Foundling Hospital.
(374) NOW first printed.
(375) Bishop Warburton's panegyric on the Castle of Otranto appears in a note to the following lines in Pope's imitation of one of Horace's epistles:—