Chapter 134

instead of 'most secret'.

REMORSE[812:1]

PREFACE

This Tragedy was written in the summer and autumn of the year 1797; at Nether Stowey, in the county of Somerset. By whose recommendation, and of the manner in which both the Play and the Author were treated by the Recommender, let me be permitted to relate: that I knew of its having been received only by a third person; that I could procure neither answer nor the manuscript; and that but for an accident I should have had no copy of the Work itself. That such treatment would damp a young man's exertions may be easily conceived: there was no need of after-misrepresentation and calumny, as an additional sedative.

[812:2][As an amusing anecdote, and in the wish to prepare future Authors, as young as I then was and as ignorant of the world, of[812:3] the treatment they may meet with, I will add, that the Person[812:4] who by a twice conveyed recommendation (in the year 1797) had urged me to write a Tragedy[812:5]: who on my own objection that I was utterly ignorant of all Stage-tactics had promised that _he_ would himself make the necessary alterations, if the Piece should be at all representable; who together with the copy of the Play (hastened by his means so as to prevent the full developement[812:6] of the characters) received a letter from the Author to this purport, '_that conscious of his inexperience, he had cherished no expectations, and should therefore feel no disappointment from the rejection of the Play; but that if beyond his hopes Mr. ---- found in it any capability of being adapted to the Stage, it was delivered to him as if it had been his own Manuscript, to add, omit, or alter, as he saw occasion; and that (if it were rejected) the Author would deem himself amply remunerated by the addition to his Experience, which he should receive, if Mr. ----would point out[812:7] to him the nature of its unfitness for public Representation_';--that this very Person returned[813:1] me no answer, and[813:2], spite of repeated applications, retained my Manuscript when I was not conscious of any other Copy being in existence (my duplicate having been destroyed by an accident); that he[813:3] suffered this Manuscript to wander about the Town from his house, so that but ten days ago I saw[813:4] the song in the third Act _printed_ and set to music, without my name, by Mr. Carnaby, in the year 1802; likewise that the same person asserted[813:5] (as I have been assured) that the Play was rejected, because I would not submit to the alteration of one ludicrous line; and finally[813:6] in the year 1806 amused and delighted (as who was ever in his company, if I may trust the universal report, without being amused and delighted?) a large company at the house of a highly respectable Member of Parliament, with the ridicule of the[813:7] Tragedy, as 'a _fair specimen_', of the _whole_ of which he adduced a line:

'_Drip! drip! drip! there's nothing here but dripping._'

In the original copy of the Play, in the first Scene of the fourth Act, Isidore _had_ commenced his Soliloquy in the Cavern with the words:

'Drip! drip! a ceaseless sound of water-drops,'[813:8],[813:9]

as far as I can at present recollect: for on the possible ludicrous association being pointed out to me, I instantly and thankfully struck out the line. And as to my obstinate _tenacity_, not only my old acquaintance, but (I dare boldly aver) both the Managers of Drury Lane Theatre, and every Actor and Actress, whom I have recently met in the Green Room, will repel the accusation: perhaps not without surprise.]

I thought it right to record these circumstances;[814:1] but I turn gladly and with sincere gratitude to the converse. In the close of last year I was advised to present the Tragedy once more to the Theatre. Accordingly having altered the names, I ventured to address a letter to Mr. Whitbread, requesting information as to whom I was to present my Tragedy. My Letter was instantly and most kindly answered, and I have now nothing to tell but a Tale of Thanks. I should scarce know where to begin, if the goodness of the Manager, Mr. ARNOLD, had not called for my first acknowledgements. Not merely as an _acting Play_, but as a dramatic _Poem_, the 'REMORSE' has been importantly and manifoldly benefited by his suggestions. I can with severest truth say, that every hint he gave me was the ground of some improvement. In the next place it is my duty to mention Mr. RAYMOND, the Stage Manager. Had the 'REMORSE' been his own Play--nay, that is saying too little--had I been his brother, or his dearest friend, he could not have felt or exerted himself more zealously.

As the Piece is now acting, it may be thought presumptuous in me to speak of the Actors; yet how can I abstain, feeling, as I do, Mrs. GLOVER'S[814:2] powerful assistance, and knowing the circumstances[814:3] under which she consented to act Alhadra? A time will come, when without painfully oppressing her feelings, I may speak of this more fully. To Miss SMITH I have an equal, though different acknowledgement to make, namely, for her acceptance of a character not fully developed, and quite inadequate to her extraordinary powers. She enlivened and supported many passages, which (though not perhaps wholly uninteresting in the closet) would but for her have hung heavy on the ears of a Theatrical Audience. And in speaking the Epilogue, a composition which (I fear) my hurry will hardly excuse, and which, as unworthy of her name, is here [1828, 1829, 1834] omitted, she made a sacrifice, which only her established character with all judges of Tragic action, could have rendered compatible with her duty to herself. To Mr. DE CAMP'S judgement and full conception of Isidore; to Mr. POPE'S accurate representation of the partial, yet honourable Father; to Mr. ELLISTON'S energy in the character of ALVAR, and who in more than one instance _gave_ it beauties and striking points, which not only delighted but surprised me; and to Mr. RAE[815:1], to whose zeal, and unwearied study of his part, I am not less indebted as a _Man_, than to his impassioned realization of ORDONIO, as an _Author_;----to these, and to all concerned with the bringing out of the Play, I can address but one word--THANKS!--but that word is uttered sincerely! and to persons constantly before the eye of the Public, a public acknowledgement becomes appropriate, and a duty.

I defer all answers to the different criticisms on the Piece to an Essay, which I am about to publish immediately, on Dramatic Poetry, relatively to the present State of the Metropolitan Theatres.

From the necessity of hastening the Publication I was obliged to send the Manuscript intended for the Stage: which is the sole cause of the number of directions printed in italics.

S. T. COLERIDGE.

FOOTNOTES:

[812:1] Preface, Prologue, and Epilogue do not appear in the 1834 edition.

[812:2] The long passage here placed within square brackets [] appeared in the first edition only.

[812:3] of for _MS. R_. (For _MS. R_ see p. 819.)]

[812:4] Richard Brinsley Sheridan.

[812:5] Tragedy for his theatre _MS. R_.

[812:6] I need not say to Authors, that as to the _essentials_ of a Poem, little can be superinduced without dissonance, after the first warmth of conception and composition. [Note by _S. T. C._, first edition.]

[812:7] would condescend to point out _MS. R_.

[813:1] not only returned _MS. R_.

[813:2] and not only _MS. R_.

[813:3] that he not only _MS. R_.

[813:4] I for the first time saw _MS. R_.

[813:5] likewise . . . assured not only asserted _MS. R_.

[813:6] but finally (and it is this last fact alone, which was malice for which no excuse of indolence self-made is adduced which determined me to refer to what I had already forgiven and almost forgotten) in the year 1806 _MS. R_.

[813:7] the this _MS. R_.

[813:8] (Private.) Had the Piece been really silly (and I have proof positive that Sheridan did not think it so) yet 10 years afterwards to have committed a breach of confidence in order to injure the otherwise . . . that on the ground of an indiscretion into which he had himself seduced the writer, and the writer, too, a man whose reputation was his Bread--a man who had devoted the firstlings of his talents to the celebration of Sheridan's genius--and who after he met treatment not only never spoke unkindly or resentfully of it, but actually was zealous and frequent in defending and praising his public principles of conduct in the _Morning Post_--and all this in the presence of men of Rank previously disposed to think highly . . . I am sure you will not be surprised that _this_ did provoke me, and that it justifies to my heart the detail here printed.

S. T. COLERIDGE.

P.S.--I never spoke severely of R. B. S. but once and then I confess, I _did_ say that Sheridan was Sheridan. _MS. R_.

[813:9] The fourth act of the play in its original shape, and, presumably, as sent to Sheridan, opened with the following lines:--

'Drip! drip! drip! drip!--in such a place as this It has nothing else to do but drip! drip! drip! I wish it had not dripp'd upon my torch.'

In _MS. III_ the opening lines are erased and the fourth Act opens thus:--

This ceaseless dreary sound of { [*water-drops*] { dropping water I would they had not fallen upon my Torch!

After the lapse of sixteen years Coleridge may have confused the corrected version with the original. There is no MS. authority for the line as quoted in the Preface.

[814:1] 'This circumstance.' Second edition.

[814:2] The caste was as follows:--_Marquis Valdez_, Mr. Pope; _Don Alvar_, Mr. Elliston; _Don Ordonio_, Mr. Rae; _Monviedro_, Mr. Powell; _Zulimez_, Mr. Crooke; _Isidore_, Mr. De Camp; _Naomi_, Mr. Wallack; _Donna Teresa_, Miss Smith; _Alhadra_, Mrs. Glover.

[814:3] Mrs. G.'s eldest child was buried on the Thursday--two others were ill, and one, with croup given over (tho' it has since recovered) and spite of her's, the physician's and my most passionate remonstrances, she was forced to act Alhadra on the Saturday!!!

Mrs. Glover (I do not much like her, in some respects) was duped into a marriage with a worthless Sharper, who passed himself off on her as a man of rank and fortune and who now lives and feeds himself and his vices on her salary--and hence all her affections flow in the channel of her maternal feelings. She is a passionately fond mother, and to act Alhadra on the Saturday after the Thursday's Burial! _MS. H_. (For _MS. H_ _see_ p. 819.)

[815:1] Poor Rae! a good man as Friend, Husband, Father. He did his best! but his person is so insignificant, tho' a handsome man off the stage--and, worse than that, the thinness and an insufficiency of his voice--yet Ordonio has done him service. _MS. H_.

PROLOGUE

BY C. LAMB[816:1]

_Spoken by_ Mr. _CARR_

There are, I am told, who sharply criticise Our modern theatres' unwieldy size. We players shall scarce plead guilty to that charge, Who think a house can never be too large: Griev'd when a rant, that's worth a nation's ear, 5 Shakes some prescrib'd Lyceum's petty sphere; And pleased to mark the grin from space to space Spread epidemic o'er a town's broad face.-- O might old Betterton or Booth return To view our structures from their silent urn, 10 Could Quin come stalking from Elysian glades, Or Garrick get a day-rule from the shades-- Where now, perhaps, in mirth which Spirits approve, He imitates the ways of men above, And apes the actions of our upper coast, 15 As in his days of flesh he play'd the ghost:-- How might they bless our ampler scope to please, And hate their own old shrunk up audiences.-- Their houses yet were palaces to those, Which Ben and Fletcher for their triumphs chose, 20 Shakspeare, who wish'd a kingdom for a stage, Like giant pent in disproportion'd cage, Mourn'd his contracted strengths and crippled rage. He who could tame his vast ambition down To please some scatter'd gleanings of a town, 25 And, if some hundred auditors supplied Their meagre meed of claps, was satisfied, How had he felt, when that dread curse of Lear's Had burst tremendous on a thousand ears, While deep-struck wonder from applauding bands 30 Return'd the tribute of as many hands! Rude were his guests; he never made his bow To such an audience as salutes us now. He lack'd the balm of labour, female praise. Few Ladies in his time frequented plays, 35 Or came to see a youth with awkward art And shrill sharp pipe burlesque the woman's part. The very use, since so essential grown, Of painted scenes, was to his stage unknown. The air-blest castle, round whose wholesome crest, 40 The martlet, guest of summer, chose her nest-- The forest walks of Arden's fair domain, Where Jaques fed his solitary vein-- No pencil's aid as yet had dared supply, Seen only by the intellectual eye. 45 Those scenic helps, denied to Shakspeare's page, Our Author owes to a more liberal age. Nor pomp nor circumstance are wanting here; 'Tis for himself alone that he must fear. Yet shall remembrance cherish the just pride, 50 That (be the laurel granted or denied) He first essay'd in this distinguished fane, Severer muses and a tragic strain.

FOOTNOTES:

[816:1] A rejected address--which poor Charles was restless to have used. I fitted him with an Epilogue of the same calibre with his Prologue, but I thought it would be going a little too far to publish mine. _MS. H_.

EPILOGUE

_Written by the Author, and spoken by_ Miss _SMITH in the character of TERESA._

[As printed in _The Morning Chronicle_, Jan. 28, 1813.]

Oh! the procrastinating idle rogue, The Poet has just sent his Epilogue; Ay, 'tis just like him!--and the _hand_!

[_Poring over the manuscript._

The stick! I could as soon decipher Arabic! But, hark! my wizard's own poetic elf 5 Bids me take courage, and make one myself! An heiress, and with sighing swains in plenty From blooming nineteen to full-blown five-and-twenty, Life beating high, and youth upon the wing, 'A six years' absence was a heavy thing!' 10 Heavy!--nay, let's describe things as they are, With sense and nature 'twas at open war-- Mere affectation to be singular. Yet ere you overflow in condemnation, Think first of poor Teresa's education; 15 'Mid mountains wild, near billow-beaten rocks, Where sea-gales play'd with her dishevel'd locks, Bred in the spot where first to light she sprung, With no Academies for ladies young-- Academies--(sweet phrase!) that well may claim 20 From Plato's sacred grove th' appropriate name! No morning visits, no sweet waltzing dances-- And then for reading--what but huge romances, With as stiff morals, leaving earth behind 'em, As the brass-clasp'd, brass-corner'd boards that bind 'em. 25 Knights, chaste as brave, who strange adventures seek, And faithful loves of ladies, fair as meek; Or saintly hermits' wonder-raising acts, Instead of--novels founded upon facts! Which, decently immoral, have the art 30 To spare the blush, and undersap the heart! Oh, think of these, and hundreds worse than these, Dire disimproving disadvantages, And grounds for pity, not for blame, you'll see, E'en in Teresa's six years' constancy. 35

[_Looking at the manuscript._

But stop! what's this?--Our Poet bids me say, That he has woo'd your feelings in this Play By no too real woes, that make you groan, Recalling kindred griefs, perhaps your own, Yet with no image compensate the mind, 40 Nor leave one joy for memory behind. He'd wish no loud laugh, from the sly, shrewd sneer, To unsettle from your eyes the quiet tear That Pity had brought, and Wisdom would leave there. Now calm he waits your judgment! (win or miss), 45 By no loud plaudits saved, damn'd by no factious hiss.

[S. T. C.]

REMORSE[819:1]

A TRAGEDY IN FIVE ACTS[819:2]

DRAMATIS PERSONAE

1797. 1813-1834.

_VELEZ = MARQUIS VALDEZ, Father to the two brothers, and Doña Teresa's Guardian._ _ALBERT = DON ALVAR, the eldest son._ _OSORIO = DON ORDONIO, the youngest son._ _FRANCESCO = MONVIEDRO, a Dominican and Inquisitor._ _MAURICE = ZULIMEZ, the faithful attendant on Alvar._ _FERDINAND = ISIDORE, a Moresco Chieftain, ostensibly a Christian._ _Familiars of the Inquisition._ _NAOMI = NAOMI._ _Moors, Servants, &c._ _MARIA = DOÑA TERESA, an Orphan Heiress._ _ALHADRA, wife } = _ALHADRA, Wife of Isidore._ of FERDINAND_, } _FAMILIARS OF THE INQUISITION._ _MOORS, SERVANTS_, &c.

_Time. The reign of Philip II., just at the close of the civil wars against the Moors, and during the heat of the persecution which raged against them, shortly after the edict which forbade the wearing of Moresco apparel under pain of death._

FOOTNOTES:

[819:1] _Remorse_, a recast of _Osorio_, was first played at Drury Lane Theatre, January 23, 1813, and had a run of twenty nights. It was first published as a pamphlet of seventy-two pages in 1813, and ran through three editions. The Second Edition, which numbered seventy-eight pages, was enlarged by an Appendix consisting of a passage which formed part of