In publishing the following Tragedies1 I have only to repeat, that they were not composed with the most remote view to the stage. On the attempt made by the Managers in a former instance, the public opinion has been already expressed. With regard to my own private feelings, as it seems that they are to stand for nothing, I shall say nothing.

For the historical foundation of the following compositions the reader is referred to the Notes. The Author has in one instance attempted to preserve, and in the other to approach, the 'unities;' conceiving that with any very distant departure from them, there may be poetry, but can be no drama. He is aware of the unpopularity of this notion in present English literature; but it is not a system of his own, being merely an opinion, which, not very long ago, was the law of literature throughout the world, and is still so in the more civilised part of it. But nous avons changé tout cela,' and are reaping the advantages of the change. The writer is far from conceiving that any thing he can adduce by personal precept or example can at all approach his regular, or even irregular predecessors; he is merely giving a reason why he preferred the more regular formation of a structure, however feeble, to an entire abandonment of all rules whatsoever. Where he has failed, the failure is in the architect, - and not in the art.

1 [Sardanapalus originally appeared in the same volime with The Two Foscari and Cain.]

PANIA.

ZAMES.

SFERO.

BALEA.

ZARINA, the Queen.

WOMEN

MYRRHA, an Ionian female Slave, and the Favourite of SARDANAPALUS.

Women composing the Harem of SARDANAPALUS, Guards, Attendants, Chaldean Priests, Medes, etc., etc.

Scene- -a Hall in the Royal Palace of Nineveh.

In this tragedy it has been my intention to follow the account of Diodorus Siculus; reducing it, however, to such dramatic regularity as I best could, and trying to approach the unities. I therefore suppose the rebellion to explode and succeed in one day by a sudden conspiracy, instead of the long war of the history.

ACT I

SCENE I

A Hall in the Palace.

Salemenes (solus). He hath wrong'd his queen, but still he is her lord; He hath wrong'd my sister, still he is my brother;

He hath wrong'd his people, still he is their sovereign,

And I must be his friend as well as subject:
He must not perish thus. I will not see
The blood of Nimrod and Semiramis
Sink in the earth, and thirteen hundred years
Of empire ending like a shepherd's tale;
He must be roused. In his effeminate heart
There is a careless courage which corrup-

A fitting one for the resumption of

Thy yet unslept-off revels?

Re-enter Cupbearer, with wine.

Sar. And if I did, 't were better than a trophy,

Being bought without a tear. But that is

not

210

pledge me,

Continue what thou pleasest. (To the Cupbearer.)

Boy, retire. [Exit Cupbearer.

Sal. I would but have recall'd thee from thy dream;

Better by me awaken'd than rebellion. Sar. Who should rebel? or why? what cause? pretext?

I am the lawful king, descended from 250 A race of kings who knew no predecessors. What have I done to thee, or to the people, That thou shouldst rail, or they rise up against me?

Sal. Of what thou hast done to me, I speak not.

Sar. But Thou think'st that I have wrong'd the queen: is 't not so?

Sal. Think! Thou hast wrong'd her! Sar. Patience, prince, and hear me. She has all power and splendour of her