Queries. Whether the best conclusion would not be a solemn judicial
pleading, appointed by the king, before himself in person of Antonio as
proxy for Roderigo, and Guzman for himself--the form and ordering of it
to be highly solemn and grand. For this purpose, (allowing it,) the king
must be reserved, and not have committed his royal dignity by descending
to previous conference with Antonio, but must refer from the beginning
to this settlement. He must sit in dignity as a high royal arbiter.
Whether this would admit of spiritual interpositions, cardinals
&c.--appeals to the Pope, and haughty rejection of his interposition by
Antonio--(this merely by the way).

The pleadings must be conducted by short speeches--replies, taunts, and
bitter recriminations by Antonio, in his rough style. In the midst of
the undecided cause, may not a messenger break up the proceedings by an
account of Roderigo's death (no improbable or far-fetch'd event), and
the whole conclude with an affecting and awful invocation of Antonio
upon Roderigo's spirit, now no longer dependent upon earthly tribunals
or a froward woman's will, &c., &c.

Almanza's daughter is now free, &c.

This might be made _very affecting_. Better nothing follow after; if
anything, she must step forward and resolve to take the veil. In this
case, the whole story of the former nunnery _must_ be omitted. But, I
think, better leave the final conclusion to the imagination of the
spectator. Probably the violence of confining her in a convent is not
necessary; Antonio's own castle would be sufficient.

To relieve the former part of the Play, could not some sensible images,
some work for the Eye, be introduced? A gallery of Pictures, Almanza's