PREFACE. THE following drama is taken entirely from the German's Tale, Kruitzner, published many years ago in "Lee's Canterbury Tales," written (I believe) by two sisters, of whom one furnished only this story and another, both of which are considered superior to the remainder of the collection. I have adopted the characters, plan, and even the language of many parts of this story. Some of the characters are modified or altered, a few of the names changed, and one character (Ida of Stralenheim) added by myself: but in the rest 1. [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 German's 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.] VOL. V. Ꮓ 1 the original is chiefly followed. When I was young (about fourteen, I think,) I first read this tale, which made a deep impression upon me; and may, indeed, be said to contain the germ of much that I have since written. I am not sure that it ever was very popular; or, at any rate, its popularity has since been eclipsed by that of other great writers in the same department. But I have generally found that those who had read it, agreed with me in their estimate of the singular power of mind and conception which it developes. I should also add conception, rather than execution; for the story might, perhaps, have been developed with greater advantage. Amongst those whose opinions agreed with mine upon this story, I could mention some very high names: but it is not necessary, nor indeed of any use; for every one must judge according to his own feelings. I merely refer the reader to the original story, that he may see to what extent I have borrowed from it; and am not unwilling that he should find much greater pleasure in perusing it than the drama which is founded upon its contents. I had begun a drama upon this tale so far back as 1815, (the first I ever attempted, except one at thirteen years old, called "Ulric and Ilvina," which I had sense enough to burn,) and had nearly completed an act, when I was interrupted by circumstances. This is somewhere amongst my papers in England; but as it has not been found, I have re-written the first, and added the subsequent acts. The whole is neither intended, nor in any shape adapted, for the stage." i. [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 [beneft no one. If it be understood that all dramatic writing is generically intended for the stage, I deny it.1 With the exception of Shakespeare 1. [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. If an author does not bear this continually . (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 1. marks are just with regard to this-plays of Shakespeare himself—the hundredfold to those of others. -From a mutilated page of MS. M.] in his mind, and does not write in the ideal presence of an eager and diversified assemblage, he may be a poet, perhaps, but assuredly he will never be a dramatist."] 1. ["It may seem a paradox, but I cannot help being of opinion that the plays of Shakespeare are less calculated for performance on a stage than those of almost any other dramatist whatever." -"On the Tragedies of Shakespeare," Complete Works of Charles Lamb, 1875, p. 255. It was, too, something of a paradox that Byron should be eager to shelter himself under the ægis of Charles Lamb. But unpopularity, like poverty, brings together strange bedfellows.] |