the beneficial effect of too much delay, both on account of the author and the public. A man should strike while the iron is hot, and hoist sail while the wind is fair. If a successful author keep not the stage, another instantly takes his ground. If a writer lie by for ten years ere he produces a second work, he is superseded by others; or, if the age is so poor of genius that this does not happen, his own reputation becomes his greatest obstacle. The public will expect the new work to be ten times better than its predecessor; the author will expect it should be ten times more popular, and ‘tis a hundred to ten that both are disappointed.
Captain. This may justify a certain degree of rapidity in publication, but not that which is proverbially said to be no speed. You should take time at least to arrange your story.
Author. That is a sore point with me, my son. Believe me, I have not been fool enough to neglect ordinary precautions. I have repeatedly laid down my future work to scale, divided it into volumes and chapters, and endeavoured to construct a story which I meant should evolve itself gradually and strikingly, maintain suspense, and stimulate curiosity; and which, finally, should terminate in a striking catastrophe. But I think there is a demon who seats himself on the feather of my pen when I begin to write, and leads it astray from the purpose. Characters expand under my hand; incidents are multiplied; the story lingers, while the materials increase; my regular mansion turns out a Gothic anomaly, and the work is closed long before I have attained the point I proposed.
Captain. Resolution and determined forbearance might remedy that evil.
Author. Alas! my dear sir, you do not know the force of paternal affection. When I light on such a character as Bailie Jarvie, or Dalgetty, my imagination brightens, and my conception becomes clearer at every step which I take in his company, although it leads me many a weary mile away from the regular road, and forces me leap hedge and ditch to get back into the route again. If I resist the temptation, as you advise me, my thoughts become prosy, flat, and dull; I write painfully to myself, and under a consciousness of flagging which makes me flag still more; the sunshine with which fancy had invested the incidents, departs from them, and leaves every thing dull and gloomy. I am no more the same author I was in my better mood, than the dog in a wheel, condemned to go round and round for hours, is like the same dog merrily chasing his own tail, and gambolling in all the frolic of unrestrained freedom. In short, sir, on such occasions, I think I am bewitched.
Captain. Nay, sir, if you plead sorcery, there is no more to be said – he must needs go whom the devil drives. And this, I suppose, sir, is the reason why you do not make the theatrical attempt to which you have been so often urged?
Author. It may pass for one good reason for not writing a play, that I cannot form a plot. But the truth is, that the idea adopted by too favourable judges, of my having some aptitude for that department of poetry, has been much founded on those scraps of old plays, which, being taken from a source inaccessible to collectors, they have hastily considered the offspring of my mother-wit. Now, the manner in which I became possessed of these fragments is so extraordinary, that I cannot help telling it to you.
You must know, that, some twenty years since, I went down to visit an old friend in Worcestershire, who had served with me in the – Dragoons.
Captain. Then you have served, sir?
Author. I have – or I have not, which signifies the same thing – Captain is a good travelling name. – I found my friend’s house unexpectedly crowded with guests, and, as usual, was condemned – the mansion being an old one – to the haunted apartment. I have, as a great modern said, seen too many ghosts to believe in them, so betook myself seriously to my repose, lulled by the wind rustling among the lime-trees, the branches of which chequered the moonlight which fell on the floor through the diamonded casement, when, behold, a darker shadow interposed itself, and I beheld visibly on the floor of the apartment —
Captain. The White Lady of Avenel, I suppose? – You have told the very story before.
Author. No – I beheld a female form, with mob-cap, bib, and apron, sleeves tucked up to the elbow, a dredging-box in the one hand, and in the other a sauce-ladle. I concluded, of course, that it was my friend’s cook-maid walking in her sleep; and as I knew he had a value for Sally, who could toss a pancake with any girl in the country, I got up to conduct her safely to the door. But as I approached her, she said, – “Hold, sir! I am not what you take me for;” – words which seemed so opposite to the circumstances, that I should not have much minded them, had it not been for the peculiarly hollow sound in which they were uttered. – “Know, then,” she said, in the same unearthly accents, “that I am the spirit of Betty Barnes.” – “Who hanged herself for love of the stage-coachman,” thought I; “this is a proper spot of work!” – “Of that unhappy Elizabeth or Betty Barnes, long cook-maid to Mr. Warburton, the painful collector, but ah! the too careless custodier, of the largest collection of ancient plays ever known – of most of which the titles only are left to gladden the Prolegomena of the Variorum Shakspeare. Yes, stranger, it was these ill-fated hands That consigned to grease and conflagration the scores of small quartos, which, did they now exist, would drive the whole Roxburghe Club out of their senses – it was these unhappy pickers and stealers that singed fat fowls and wiped dirty trenchers with the lost works of Beaumont and Fletcher, Massinger, Jonson, Webster – what shall I say? – even of Shakspeare himself!”
Like every dramatic antiquary, my ardent curiosity after some play named in the Book of the Master of Revels, had often been checked by finding the object of my research numbered amongst the holocaust of victims which this unhappy woman had sacrificed to the God of Good Cheer. It is no wonder then, that, like the Hermit of Parnell,
“I broke the bands of fear, and madly cried,
‘You careless jade!’ – But scarce the words began,
When Betty brandish’d high her saucing-pan.”
“Beware,” she said, “you do not, by your ill-timed anger, cut off the opportunity I yet have to indemnify the world for the errors of my ignorance. In yonder coal-hole, not used for many a year, repose the few greasy and blackened fragments of the elder Drama which were not totally destroyed. Do thou then” – Why, what do you stare at, Captain? By my soul, it is true; as my friend Major Longbow says, “What should I tell you a lie for?”
Captain. Lie, sir! Nay, Heaven forbid I should apply the word to a person so veracious. You are only inclined to chase your tail a little this morning, that’s all. Had you not better reserve this legend to form an introduction to “Three Recovered Dramas,” or so?
Author. You are quite right – habit’s a strange thing, my son. I had forgot whom I was speaking to. Yes, Plays for the closet, not for the stage —
Captain. Right, and so you are sure to be acted; for the managers, while thousands of volunteers are desirous of serving them, are wonderfully partial to pressed men.
Author. I am a living witness, having been, like a second Laberius, made a dramatist whether I would or not. I believe my muse would be Terry-fied into treading the stage, even if I should write a sermon.
Captain. Truly, if you did, I am afraid folks might make a farce of it; and, therefore, should you change your style, I still advise a volume of dramas like Lord Byron’s.
Author. No, his lordship is a cut above me – I won’t run my horse against his, if I can help myself. But there is my friend Allan has written just such a play as I might write myself, in a very sunny day, and with one of Bramah’s extra-patent pens. I cannot make neat work without such appurtenances.
Captain. Do you mean Allan Ramsay?
Author. No, nor Barbara Allan either. I mean Allan Cunningham, who has just published his tragedy of Sir Marmaduke Maxwell, full of merry-making and murdering, kissing and cutting of throats, and passages which lead to nothing, and which are very pretty passages for all that. Not a glimpse of probability is there about the plot, but so much animation in particular passages, and such a vein of poetry through the whole, as I dearly wish I could infuse into my Culinary Remains, should