As this was my first essay, so it met with the fortune of an
unfinished piece; that is to say, it was damned in private, by the
advice of some friends to whom I shewed it; who freely told me, that
it was an excellent subject; but not so artificially wrought, as they
could have wished; and now let my enemies make their best of this
confession.
The scene of the Duke of Guise's return to Paris, against the king's
positive command, was then written. I have the copy of it still by me,
almost the same which it now remains, being taken verbatim out of
Davila; for where the action is remarkable, and the very words
related, the poet is not at liberty to change them much; and if he
will be adding any thing for ornament, it ought to be wholly of a
piece. This do I take for a sufficient justification of that scene,
unless they will make the pretended parallel to be a prophecy, as well
as a parallel of accidents, that were twenty years after to come.[1]
Neither do I find, that they can suggest the least colour for it in
any other part of the tragedy.
But now comes the main objection,--why was it stopt then? To which I
shall render this just account, with all due respects to those who
were the occasion of it.
Upon a wandering rumour (which I will divide betwixt malice and
mistake) that some great persons were represented, or personated in
it, the matter was complained of to my Lord Chamberlain; who,
thereupon, appointed the play to be brought to him, and prohibited the
acting of it until further order; commanding me, after this, to wait
upon his lordship; which I did, and humbly desired him to compare the
play with the history, from whence the subject was taken, referring to
the first scene of the fourth act, whereupon the exception was
grounded, and leaving Davila (the original) with his lordship.
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