me have a copy. If Beggars might be chusers, I should ask to have it transcribed partly by you and partly by your sister. I have a desire to possess some of Mary's handwriting" (see Letter 79).

"Beautiful Quakers of Pentonville." This is almost certainly a reference to Hester Savory, the original of Lamb's poem "Hester." The whole passage is the first of three eulogies of London in the letters, all very similar. To "The Londoner " we come later.]

DE

LETTER 72

CHARLES LAMB TO WILLIAM GODWIN

[Dec. 4, 1800.]

EAR Sir, I send this speedily after the heels of Cooper (O! the dainty expression) to say that Mary is obliged to stay at home on Sunday to receive a female friend, from whom I am equally glad to escape. So that we shall be by ourselves. I write, because it may make some difference in your marketting, &c.

C. L.

Thursday Morning.

I am sorry to put you to the expense of twopence postage. But I calculate thus: if Mary comes she will

You are a clear gainer by her not coming.

[If the date be correct this becomes the first extant letter proper which Lamb sent to the author of Political Justice. Godwin was then forty-four years old, and had long been busy upon his tragedy "Antonio," in which Lamb had been assisting with suggestions. In this connection I place here the following document, which belongs, however, naturally to an earlier date, but is not harmed by its present position: -]

1800

QUERI

Godwin's Antonio

LETTER 73

CHARLES LAMB TO WILLIAM GODWIN

199

[No date. Autumn, 1800.]

UERIES. Whether the best conclusion would not be a solemn judicial pleading, appointed by the king, before himself in person of Antonio as proxy for Roderigo, and Guzman for himself the forms and ordering of it to be highly solemn and grand. For this purpose, (allowing it,) the king must be reserved, and not have committed his royal dignity by descending to previous conference with Antonio, but must refer from the beginning to this settlement. He must sit in dignity as a high royal arbiter. Whether this would admit of spiritual interpositions, cardinals, &c.-appeals to the Pope, and haughty rejection of his interposition by Antonio-(this merely by the way).

The pleadings must be conducted by short speeches-replies, taunts, and bitter recriminations by Antonio, in his rough style. In the midst of the undecided cause, may not a messenger break up the proceedings by an account of Roderigo's death (no improbable or far-fetch'd event), and the whole conclude with an affecting and awful invocation of Antonio upon Roderigo's spirit, now no longer dependent upon earthly tribunals or a froward woman's will, &c., &c. Almanza's daughter is now free, &c.

This might be made very affecting. Better nothing follow after; if anything, she must step forward and resolve to take the veil. In this case, the whole story of the former nunnery must be omitted. But, I think, better leave the final conclusion to the imagination of the spectator. Probably the violence of confining her in a convent is not necessary; Antonio's own castle would be sufficient.

To relieve the former part of the Play, could not some sensible images, some work for the Eye, be introduced? A gallery of Pictures, Almanza's ancestors, to which Antonio might affectingly point his sister, one by one, with anecdote, &c.

At all events, with the present want of action, the Play must not extend above four Acts, unless it is quite new modell'd. The proposed alterations might all be effected in a few weeks. Solemn judicial pleadings always go off well, as in Henry the 8th, Merchant of Venice, and perhaps Othello.

[Lamb, said Mr. Paul, writing of this critical Minute, was so genuinely kind and even affectionate in his criticism that Godwin did not perceive his real disapproval.

Mr. Swinburne, writing in The Athenæum for May 13, 1876, made an interesting comment upon one of Lamb's suggestions in the foregoing document. It contains, he remarks, “a singular anticipation of one of the most famous passages in the work of the greatest master of our own age, the scene of the portraits in 'Hernani: To relieve the former part of the play, could not some sensible images, some work for the eye, be introduced? A gallery of pictures, Alexander's ancestors, to which Antonio might affectingly point his sister, one by one, with ancedote, &c.' I know of no coincidence more pleasantly and strangely notable than this between the gentle genius of the loveliest among English essayists and the tragic invention of the loftiest among French poets."

After long negotiation "Antonio " was now actually in rehearsal at Drury Lane, to be produced on December 13. Lamb supplied the epilogue.

Cooper was Godwin's servant.]

DEAR

LETTER 74

CHARLES LAMB TO WILLIAM GODWIN

Dec. 10th, 1800. Wednesday Morning.

EAR Sir, I expected a good deal of pleasure from your company to-morrow, but I am sorry I must beg of you to excuse me. I have been confined ever since I saw you with one of the severest colds I ever experienced, occasioned by being in the night air on Sunday, and on the following day, very foolishly. I am neither in health nor spirits to meet company. I hope and trust I shall get out on Saturday night. You will add to your many favours, by transmitting to me as early as possible as many tickets as conveniently you can spare, Yours truly,

C. L.

But I

I have been plotting how to abridge the Epilogue. cannot see that any lines can be spared, retaining the connection, except these two, which are better out.

"Why should I instance, &c.,
The sick man's purpose, &c.,"

and then the following line must run thus,

"The truth by an example best is shown."

Excuse this important postscript.

1800

A Prologue

LETTER 75

CHARLES LAMB TO THOMAS MANNING

201

[P.M. Dec. 13, 1800.]

ON'T spill the cream upon this letter.

DON'T

I have received your letter this moment, not having been at the office. I have just time to scribble down the epilogue. To your epistle I will just reply, that I will certainly come to Cambridge before January is out I'll come when I can. You shall have an amended copy of my play early next week. Mary thanks you; but her handwriting is too feminine to be exposed to a Cambridge gentleman, though I endeavour to persuade her that you understand algebra, and must understand her hand. The play is the man's you wot of; but for God's sake (who would not like to have so pious a professor's work damn'd) do not mention it -it is to come out in a feigned name, as one Tobin's. I will omit the introductory lines which connect it with the play, and give you the concluding tale, which is the mass and bulk of the epilogue. The name is Jack INCIDENT. It is about promise-breaking-you will see it all, if you read the papers.

"Jack, of dramatic genius justly vain,
Purchased a renter's share at Drury-lane;
A prudent man in every other matter,
Known at his club-room for an honest hatter;
Humane and courteous, led a civil life,

And has been seldom known to beat his wife;
But Jack is now grown quite another man,

Frequents the green-room, knows the plot and plan
Of each new piece,

And has been seen to talk with Sheridan !
In at the play-house just at six he pops,
And never quits it till the curtain drops,
Is never absent on the author's night,
Knows actresses and actors too-

-by sight;

So humble, that with Suett he'll confer,
Or take a pipe with plain Jack Bannister;
Nay, with an author has been known so free,
He once suggested a catastrophe-

In short, John dabbled till his head was turn'd;
His wife remonstrated, his neighbours mourn'd,
His customers were dropping off apace,

And Jack's affairs began to wear a piteous face.
One night his wife began a curtain lecture;

My dearest Johnny, husband, spouse, protector,

Take pity on your helpless babes and me,
Save us from ruin, you from bankruptcy-
Look to your business, leave these cursed plays,
And try again your old industrious ways.

Jack who was always scared at the Gazette,
And had some bits of skull uninjured yet,
Promised amendment, vow'd his wife spake reason,
"He would not see another play that season-'

""

Three stubborn fortnights Jack his promise kept,
Was late and early in his shop, eat, slept,
And walk'd and talk'd, like ordinary men;
No wit, but John the hatter once again-

Visits his club: when lo! one fatal night

His wife with horror view'd the well-known sight-
John's hat, wig, snuff-box-well she knew his tricks-
And Jack decamping at the hour of six,

Just at the counter's edge a playbill lay,

Announcing that "Pizarro

was the play

O Johnny, Johnny, this is your old doing."

Quoth Jack, "Why what the devil storm's a-brewing?
About a harmless play why all this fright?

I'll go and see it if it's but for spite

Zounds, woman! Nelson's1 to be there to-night."

N.B.-This was intended for Jack Bannister to speak; but the sage managers have chosen Miss Heard,-except Miss Tidswell, the worst actress ever seen or heard. Now, I remember I have promised the loan of my play. I will lend it instantly, and you shall get it ('pon honour!) by this day week.

I must go and dress for the boxes! First night! Finding I have time, I transcribe the rest. Observe, you have read the last first; it begins thus:—the names I took from a little outline G. gave me. I have not read the play.

Ladies, ye've seen how Guzman's consort died,
Poor victim of a Spaniard brother's pride,

When Spanish honour through the world was blown,
And Spanish beauty for the best was known.2

In that romantic, unenlighten'd time,

A breach of promise was a sort of crime-
Which of you handsome English ladies here,
But deems the penance bloody and severe ?

A whimsical old Saragossa 4 fashion,

That a dead father's dying inclination,

Should live to thwart a living daughter's passion,5

1 A good clap-trap. Nelson has exhibited two or three times at both theatres-and advertised himself.

2 Four easy lines. 3 For which the heroine died.

4 In Spain !!

5 Two neat lines.