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　　LETTER 73

　　CHARLES LAMB TO WILLIAM GODWIN

　　[No date. Autumn, 1800.]

　　Queries. 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 form 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 anecdote, &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.] The Works of Charles and Mary Lamb — Volume 5