University of Virginia Library

ADVERTISEMENT.

When I first turned my attention to the subject of Rizzio's death, as the ground work of a Tragedy, I was chiefly attracted by the fierce grandeur of Ruthven's character. It appeared to me, that the picture, which historians had drawn of that remarkable personage, was well calculated for poetical, and even for dramatic effect. Accordingly, I embarked my humble powers, with more ardour than consideration, in the attempt to construct a Play out of the existing materials, little thinking, at the time, what difficulties my imagination had concealed from my judgment. It was not, until I had proceeded too far to retract, (for no man likes to throw away his labour,) that I discovered how much the scantiness of the materials, the nature of the subject, and even the tone of the characters, were calculated to obstruct my design. Ruthven was too savage, and Rizzio too despicable, to be faithfully represented on the stage; and

Mary's attachment to her favourite could not be rendered prominent, without the greatest danger, nor evaded, without suppressing the only circumstance, that could palliate, or indeed account for the sanguinary act. I do not presume to say, that I have surmounted these difficulties,—that I have produced scenes which, without countenancing the imputation of actual guilt, are still sufficiently marked by indiscretion, to soften the otherwise unmitigated horror of the catastrophe: but it was my intention to have done so; and I have stated the disadvantages peculiar to the subject itself, as an apology for those defects with which the Drama may be otherwise fairly chargeable.

To the Ladies and Gentlemen, whose talents in the performance of the different characters have contributed so much to the success of “Mary Stuart” on the stage, and to every one concerned in its preparation, I beg to offer my most cordial thanks for their zealous and able assistance.