I now, sir, return the Parliament of Love. It has never been out of my hands, and I have copied it all myself. You will be pleased to know that less of it is lost than you imagine, as there are still four pages of the first act remaining. I hope I have made it out pretty well. Indeed, with the exception of the six last broken lines of the first page—which better eyes than mine may still read perhaps—and a contraction in the twenty-fourth line of the last page but one, which my little acquaintance with old MSS. disable me from reading, I flatter myself that all has been copied. I was desirous of sending you a fair copy, but I have been disappointed by the person to whom I intrusted my manuscript. The instant it is brought me, I will take the liberty of enclosing it to Queen Ann Street.
I am infinitely obliged to you, sir, for the two volumes which accompanied your letter. The notices they contain are very precious to me, as well as those you have kindly set down in your last favour. The two volumes, with your permission, I will yet withhold, as they contain three plays of the first editions which I was not before possessed of. I will take all imaginable care of them.
Many years ago, when I first read your History of the English Stage, I was so convinced of the truth of what you urged respecting what we now call scenery, that I wondered how Mr. Steevens, a man of infinite sagacity, could attempt to controvert it. Since I have looked into the early editions of Massinger I have been frequently reminded of it. The marginal hints, scattered up and down for the use of the property man, furnish the most ridiculous proofs of the poverty of the ancient stage.
With every good wish, and every feeling of respect, I remain, sir, your truly obliged and obedient servant,
Wm. Gifford.
The English critic has recorded some further acknowledgments to his industrious brother of Ireland. “And Mr. Malone, with a liberality that I shall ever remember with gratitude and delight, fur-
