PREFACE.

IN publishing the following tragedies,' 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

a

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 civilized parts 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 struc ture, 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.

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.

DRAMATIS PERSONE.

MEN.

SARDANAPALUS, King of Nineveh and Assyria, etc.

ARBACES, the Mede who aspired to the Throne.

BELESES, a Chaldean and Soothsayer.

SALEMENES, the King's Brother-in-law.

ALTADA, an Assyrian Officer of the Palace.

PANIA.

ZAMES.

SFERO.

BALEA.

WOMEN.

ZARINA, the Queen

MYRRHA, an Ionian female Slave, and the Favourite of SARDANAPALUS. Women composing the Haram of SARDANAPALUS, Guards, Attendants, Chaldean Priests, Medes, etc. etc.

Scene-a Hall in the Royal Palace of Nineveh.