it judge favourably. It is written without any of the peculiar feelings and opinions which characterise my other compositions; I having attended simply to the impartial development of such characters, as it is probable the persons represented really were, together with the greatest degree of popular effect to be produced by such a development. I send you a translation of the Italian manuscript on which my play is founded, the chief subject of which I have touched very delicately; for my principal doubt, as to whether it would succeed as an acting play, hangs entirely on the question, as to whether such a thing as incest in this shape, however treated, would be admitted on the stage. I think, however, it will form no objection; considering, first, that the facts are matter of history; and, secondly, the peculiar delicacy with which I have treated it.
I am exceedingly interested in the question of whether this attempt of mine will succeed or no. I am strongly inclined to the affirmative at present, founding my hopes on this, that, as a composition, it is certainly not inferior to any of the modern plays that have been acted, with the exception of "Remorse;"[1] that the interest of its plot is incredibly greater and more real; and that there is nothing beyond what the multitude are contented to believe that they can understand, either in imagery, opinion, or sentiment. I wish to preserve a complete incognito, and can trust to you, that whatever else you do, you will, at least, favour me on this point. Indeed, this is essential, deeply essential, to its success. After it had been acted, and successfully, (could I hope such a thing,) I would own it if I pleased, and use the celebrity it might acquire to my own purposes.
What I want you to do is, to procure for me its presentation at Covent Garden. The principal char-*
- ↑ Coleridge's tragedy of Remorse, performed at Drury Lane in 1813.—Ed.
