O'Neil, and it might even seem to have been written for her (God forbid
that I should see her play it--it would tear my nerves to pieces); and
in all respects it is fitted only for Covent Garden. The chief male
character I confess I should be very unwilling that any one but Kean
should play. That is impossible, and I must be contented with an
inferior actor.'

The play was accordingly sent to Mr. Harris. He pronounced the subject
to be so objectionable that he could not even submit the part to Miss
O'Neil for perusal, but expressed his desire that the author would write
a tragedy on some other subject, which he would gladly accept. Shelley
printed a small edition at Leghorn, to ensure its correctness; as he was
much annoyed by the many mistakes that crept into his text when distance
prevented him from correcting the press.

Universal approbation soon stamped "The Cenci" as the best tragedy of
modern times. Writing concerning it, Shelley said: 'I have been cautious
to avoid the introducing faults of youthful composition; diffuseness, a
profusion of inapplicable imagery, vagueness, generality, and, as Hamlet
says, "words, words".' There is nothing that is not purely dramatic
throughout; and the character of Beatrice, proceeding, from vehement
struggle, to horror, to deadly resolution, and lastly to the elevated
dignity of calm suffering, joined to passionate tenderness and pathos,
is touched with hues so vivid and so beautiful that the poet seems to
have read intimately the secrets of the noble heart imaged in the lovely
countenance of the unfortunate girl. The Fifth Act is a masterpiece. It
is the finest thing he ever wrote, and may claim proud comparison not
only with any contemporary, but preceding, poet. The varying feelings of
Beatrice are expressed with passionate, heart-reaching eloquence. Every
character has a voice that echoes truth in its tones. It is curious, to