the Italian manuscript on which my play is founded; the chief
circumstance of which I have touched very delicately; for my principal
doubt as to whether it would succeed as an acting play hangs entirely on
the question as to whether any such a thing as incest in this shape,
however treated, would be admitted on the stage. I think, however, it
will form no objection; considering, first, that the facts are matter of
history, and, secondly, the peculiar delicacy with which I have treated
it. (In speaking of his mode of treating this main incident, Shelley
said that it might be remarked that, in the course of the play, he had
never mentioned expressly Cenci's worst crime. Every one knew what it
must be, but it was never imaged in words--the nearest allusion to it
being that portion of Cenci's curse beginning--"That, if she have a
child," etc.)

'I am exceedingly interested in the question of whether this attempt of
mine will succeed or not. I am strongly inclined to the affirmative at
present; founding my hopes on this--that, as a composition, it is
certainly not inferior to any of the modern plays that have been acted,
with the exception of "Remorse"; that the interest of the plot is
incredibly greater and more real; and that there is nothing beyond what
the multitude are contented to believe that they can understand, either
in imagery, opinion, or sentiment. I wish to preserve a complete
incognito, and can trust to you that, whatever else you do, you will at
least favour me on this point. Indeed, this is essential, deeply
essential, to its success. After it had been acted, and successfully
(could I hope for such a thing), I would own it if I pleased, and use
the celebrity it might acquire to my own purposes.

'What I want you to do is to procure for me its presentation at Covent
Garden. The principal character, Beatrice, is precisely fitted for Miss