GAD'S HILL PLACE, HIGHAM BY ROCHESTER, KENT, _Monday, 14th October, 1867._
I am truly delighted to find that you are so well pleased with Fechter in "The Lady of Lyons." It was a labour of love with him, and I hold him in very high regard.
_Don't_ give way to laziness, and _do_ proceed with that play. There never was a time when a good new play was more wanted, or had a better opening for itself. Fechter is a thorough artist, and what he may sometimes want in personal force is compensated by the admirable whole he can make of a play, and his perfect understanding of its presentation as a picture to the eye and mind.
I leave London on the 8th of November early, and sail from Liverpool on the 9th.
"ALL THE YEAR ROUND" OFFICE, _Friday, 25th October, 1867._
I have read the Play[88] with great attention, interest, and admiration; and I need not say to _you_ that the art of it--the fine construction--the exquisite nicety of the touches--with which it is wrought out--have been a study to me in the pursuit of which I have had extraordinary relish.
Taking the Play as it stands, I have nothing whatever to add to your notes and memoranda of the points to be touched again, except that I have a little uneasiness in that burst of anger and inflexibility consequent on having been deceived, coming out of Hegio. I see the kind of actor who _must_ play Hegio, and I see that the audience will not believe in his doing anything so serious. (I suppose it would be impossible to get this effect out of the mother--or through the mother's influence, instead of out of the godfather of Hegiopolis?)
Now, as to the classical ground and manners of the Play. I suppose the objection to the Greek dress to be already--as Defoe would write it, "gotten over" by your suggestion. I suppose the dress not to be conventionally associated with stilts and boredom, but to be new to the public eye and very picturesque. Grant all that;--the names remain. Now, not only used such names to be inseparable in the public mind from stately weariness, but of late days they have become inseparable in the same public mind from silly puns upon the names, and from Burlesque. You do not know (I hope, at least, for my friend's sake) what the Strand Theatre is. A Greek name and a break-down nigger dance, have become inseparable there. I do not mean to say that your genius may not be too powerful for such associations; but I do most positively mean to say that you would lose half the play in overcoming them. At the best you would have to contend against them through the first three acts. The old tendency to become frozen on classical ground would be in the best part of the audience; the new tendency to titter on such ground would be in the worst part. And instead of starting fair with the audience, it is my conviction that you would start with them against you and would have to win them over.