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　　LETTER 299

　　CHARLES LAMB TO JOHN HOWARD PAYNE

　　Wednesday, 13 November, '22.

　　Dear P.—Owing to the inconvenience of having two lodgings, I did not get your letter quite so soon as I should. The India House is my proper address, where I am sure for the fore part of every day. The instant I got it, I addressed a letter, for Kemble to see, to my friend Henry Robertson, the Treasurer of Covent Garden Theatre. He had a conference with Kemble, and the result is, that Robertson, in the name of the management, recognized to me the full ratifying of your bargain: £250 for Ali, the Slaves, and another piece which they had not received. He assures me the whole will be paid you, or the proportion for the two former, as soon as ever the Treasury will permit it. He offered to write the same to you, if I pleased. He thinks in a month or so they will be able to liquidate it. He is positive no trick could be meant you, as Mr. Planche's alterations, which were trifling, were not at all considered as affecting your bargain. With respect to the copyright of Ali, he was of opinion no money would be given for it, as Ali is quite laid aside. This explanation being given, you would not think of printing the two copies together by way of recrimination. He told me the secret of the two Galley Slaves at Drury Lane. Elliston, if he is informed right, engaged Poole to translate it, but before Poole's translation arrived, finding it coming out at Cov. Gar., he procured copies of two several translations of it in London. So you see here are four translations, reckoning yours. I fear no copyright would be got for it, for anybody may print it and anybody has. Your's has run seven nights, and R. is of opinion it will not exceed in number of nights the nights of Ali,—about thirteen. But your full right to your bargain with the management is in the fullest manner recognized by him officially. He gave me every hope the money will be spared as soon as they can spare it. He said a month or two, but seemed to me to mean about a month. A new lady is coming out in Juliet, to whom they look very confidently for replenishing their treasury. Robertson is a very good fellow and I can rely upon his statement. Should you have any more pieces, and want to get a copyright for them, I am the worst person to negotiate with any bookseller, having been cheated by all I have had to do with (except Taylor and Hessey,—but they do not publish theatrical pieces), and I know not how to go about it, or who to apply to. But if you had no better negotiator, I should know the minimum you expect, for I should not like to make a bargain out of my own head, being (after the Duke of Wellington) the worst of all negotiators. I find from Robertson you have written to Bishop on the subject. Have you named anything of the copyright of the Slaves. R. thinks no publisher would pay for it, and you would not risque it on your own account. This is a mere business letter, so I will just send my love to my little wife at Versailles, to her dear mother, etc.

　　Believe me, yours truly, C.L.

　　[Payne's translation of the French play was produced at Covent Garden on November 6, 1822, under the title "The Soldier's Daughter." On the same night appeared a rival version at Drury Lane entitled "Two Galley Slaves." Payne's was played eleven times. The new lady as Juliet was the other Fanny Kelly not Lamb's: Fanny H. Kelly, from Dublin. The revival began on November 14. Planché was James Robinson Planché (1796-1880), the most prolific of librettists. Robert William Elliston, of whom Lamb later wrote so finely, was then managing Drury Lane.

　　"Having been cheated." Lamb's particular reference was to Baldwin (see the letter to Barton, Jan. 9, 1823).

　　"The Duke of Wellington." A reference to the Duke's failure in representing England at the Congress of Powers in Vienna and Verona.

　　Lamb's "dear little wife" was Sophy Kenney.] The Works of Charles and Mary Lamb — Volume 6