The author "wanders
forth to note the _memorabilia_ of Dover," is informed that "the
greatest curiosity in the place is the tomb of a poet," and hastens "to
a spot surrounded by ruined walls, in the midst of which stood the white
marble tablet marked with Churchill's name," etc.
forth to note the _memorabilia_ of Dover," is informed that "the
greatest curiosity in the place is the tomb of a poet," and hastens "to
a spot surrounded by ruined walls, in the midst of which stood the white
marble tablet marked with Churchill's name," etc.
Byron
FOOTNOTES:
[159] {337}[This is not correct. _The Young Lady's Tale, or the Two
Emilys_ and _The Clergyman's Tale, or Pembroke_, were contributed by
Sophia Lee. _Kruitzner, or The Germans Tale_, was written by Harriet Lee
(1757-1851), the younger of the sisters. Miss Lee began her literary
career as a dramatist. A comedy, _The New Peerage; or, Our Eyes may
deceive us_, was played at Drury Lane, November 10, 1787. In 1798 she
published _The Mysterious Marriage; or, The Heirship of Rosalva_. After
the publication of Byron's _Werner_, she wrote a dramatic version of
_The German's Tale_, under the title of _The Three Strangers_. It was
brought out at Covent Garden, December 10, 1825, and acted four times.
The first volume of the _Canterbury Tales_, by Harriet Lee, was
published in 1797; the second volume, by Sophia Lee, in 1798 (a second
edition of these volumes was published in 1799); a third volume (second
edition), by Sophia and Harriet Lee, appeared in 1800; the fourth
volume, by Harriet Lee (which contains _The German's Tale_, pp. 3-368)
was published in 1801; and the fifth volume, by Harriet Lee, in 1805.
There can be little doubt that Byron's visit to Churchill's grave at
Dover, which took place April 25, 1816 (see _Poetical Works_, 1901, iv.
45), was suggested by a passage in the _Introduction_, pp. vii. -ix. , to
the first volume (1797) of the _Canterbury Tales_.
The author "wanders
forth to note the _memorabilia_ of Dover," is informed that "the
greatest curiosity in the place is the tomb of a poet," and hastens "to
a spot surrounded by ruined walls, in the midst of which stood the white
marble tablet marked with Churchill's name," etc. ]
[cm] {338} [_Of England or any other country. It may seem unnecessary to
add this, but having seen a poem of mine never intended for
representation, dragged in spite of my remonstrance upon the theatres of
more than one nation, I trust it will not be deemed impertinent if I
once more repeat my protest against_ [_a gross_] _folly which may injure
me--and_ [_benefit_] _no one. If it be understood that_ all dramatic
_writing is generically intended for the stage, I deny it_[*]. _With the
exception of Shakespeare_ (_or Tate, Cibber, and Thompson under his
name_), _not one in fifty plays of our dramatists is ever acted, however
much they may be read. Only_ one _of Massinger--none of Ford--none of
Marlowe_, one _of Ben Jonson--none of Webster, none of Heywood: and,
even in Comedy, Congreve is rarely acted, and that in only one of his
plays. Neither is Joanna Baillie. I am far from attempting to raise
myself to a level with the least of these names--I only wish to be_
[_exempted_] _from a stage which is not theirs. Perhaps Mr. Lamb's essay
upon the effects of dramatic representation on the intelligent
auditor_[**]----_marks are just with regard to this--plays of Shakespeare
himself--the hundredfold to those of others_. --From a mutilated page of
MS. M. ]
[*] [Byron is replying to Jeffrey (_Edinburgh Review_, February, 1822,
vol. 36, p. 422). "A drama is not merely a dialogue, but _an action_:
and necessarily supposes that something is to pass before the eyes of
assembled spectators.
