The Heiress (Burgoyne, 1786)/Preface

The approbation the following Comedy has received upon the Stage, and the candour with which every criticism, that has come to the Author's knowledge, has been accompanied, might encourage him to trust it to the closet without any other preface, than an acknowledgement of his gratitude to the Public, for the honours done to him. And if he detains the reader a few moments more, it is not to disavow what has been hinted at in some of the daily prints, as a species of plagiarism, but to plead it in behalf of dramatic writing in general▪ against rules, that if carried to the extent they lead to, would fix shackles upon genius, and give a very undue limitation to variety.

In point of fable for instance—Is it a reproach to borrow?

Surely the dramatist, like the architect, brings his talents equally to the test, whether he builds upon another man's ground or his own. And if instead of small and detached parts, the writer of the Heiress had taken the compleat plot of his play from a novel; he would have imitated the examples (the only imitation to which he has any pretence) of the best dramatic Poets of every age.

In point of originality of characters—It is humbly hoped this Comedy is not without it. But present instances apart, it is submitted to the judicious, whether such an exaction of novelty as would make a resemblance to any thing ever seen upon the stage before unacceptable, might not materially vitiate the public taste, carry the major part of writers beyond the scope of nature ​and probability, and deprive the spectator of that pleasing and infinite diversity of shape and colouring that the leading passions, vices, and follies of civilised life, admit. Love, avarice, misanthropy, &c. &c. if drawn a thousand and a thousand times with new shades, and in different points of view, will do as much credit to invention, and have as just an effect in exhibition, as if Moliere or Congrave had never touched the subjects. It is not whether there may not be personages in the Heiress, in whom we may discover family features, that is asked, but whether they are not still individuals, with whom we have been hitherto unacquainted—⟨is⟩ a question, not for the Author to determine.

Original thought—It has been observed that there is an image in a speech of Lord Gayville, copied closely from Rousseau. Very possibly it may be so. The Author of the Heiress certainly has read that elegant writer; and to shew how easily invention may be deceived, he will quote another writer (in his estimation still more elegant) who thus accounts, and apologizes for, unconscious plagiarism—"Faded ideas," says Mr. Sheridan, "Float in the fancy like half forgotten dreams; and imagination, in its fullest enjoyments, becomes suspicious of its offspring, and doubts whether it has created or adopted."

More sentiments and expression due to the imagination of others, may possibly be challenged, though they are equally out of the recollection of the Author.—He would only wish the candid to admit the probability, that while he believed them his own, he thought them his best.

Many of the scenes now submitted to perusal, have been shortened in representation, and a few ​words have been altered occasionally to preserve connection—a circumstance necessary to be known lest the performers should be suspected of negligence, when, on the contrary, too much cannot be said of their attention and zeal. When all have been eminent, it would be unnecessary, if not invidious, to particularize any: There is nevertheless a Lady, to whom, by her standing separately and individually in one part of the performance, the Author, without departing from his maxim, may express his more than ordinary obligation. Miss Farren, by her inimitable manner of delivering the Epilogue, has made a better apology to the public than any his pen could have produced, for a composition which, from an accident, was much too hastily written in some parts, and in others pieced together with a like insufficiency of time.

The Epilogue excepted, no defects in the following sheets can be covered by the excuse of hurry: They cannot be so, consistently with truth, nor indeed, with inclination: For the Author had rather be thought incapable of pleasing, after his greatest cares, than wanting in the attention and respect which every man who ventures to publish a production of this nature owes to the world and to himself—Not to let it pass from his hands without frequent revisal, and the best considered finish his abilities can give.