Chapter III: Preface

In publishing the following Tragedies[3] 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 parts of it. But "nous avons change 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.

In this tragedy it has been my intention to follow the account of Diodorus Siculus;[4] 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 PERSONAE

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 Mistress
of_ SARDANAPALUS.

_Women composing the Harem of_ SARDANAPALUS, _Guards,
Attendants, Chaldean Priests, Medes, etc., etc._

SCENE.--A Hall in the Royal Palace of Nineveh.

SARDANAPALUS.[5]