The Works of John Dryden, Volume 4 | Page 6

the bounds of moral virtue,
would shine but dimly in an epic poem; the strictness of those rules
might well give precepts to the reader, but would administer little of
occasion to the writer. But a character of an eccentrick virtue is the
more exact image of human life, because he is not wholly exempted
from its frailties; such a person is Almanzor, whom I present, with all
humility, to the patronage of your royal highness. I designed in him a
roughness of character, impatient of injuries, and a confidence of
himself, almost approaching to an arrogance. But these errors are

incident only to great spirits; they are moles and dimples, which hinder
not a face from being beautiful, though that beauty be not regular; they
are of the number of those amiable imperfections which we see in
mistresses, and which we pass over without a strict examination, when
they are accompanied with greater graces. And such in Almanzor are a
frank and noble openness of nature, an easiness to forgive his
conquered enemies, and to protect them in distress; and, above all, an
inviolable faith in his affection.
This, sir, I have briefly shadowed to your royal highness, that you may
not be ashamed of that hero, whose protection you undertake. Neither
would I dedicate him to so illustrious a name, if I were conscious to
myself that he did or said any thing which was wholly unworthy of it.
However, since it is not just that your royal highness should defend or
own what possibly may be my error, I bring before you this accused
Almanzor in the nature of a suspected criminal. By the suffrage of the
most and best he already is acquitted; and by the sentence of some,
condemned. But as I have no reason to stand to the award of my
enemies, so neither dare I trust the partiality of my friends: I make my
last appeal to your royal highness, as to a sovereign tribunal. Heroes
should only be judged by heroes; because they only are capable of
measuring great and heroick actions by the rule and standard of their
own. If Almanzor has failed in any point of honour, I must therein
acknowledge that he deviates from your royal highness, who are the
pattern of it. But if at any time he fulfils the parts of personal valour,
and of conduct, of a soldier, and of a general; or, if I could yet give him
a character more advantageous than what he has, of the most unshaken
friend, the greatest of subjects, and the best of masters, I should then
draw to all the world a true resemblance of your worth and virtues; at
least, as far as they are capable of being copied by the mean abilities of,
SIR,
Your royal highness's Most humble, and Most obedient servant, JOHN
DRYDEN.
Footnotes: 1. James Duke of York, afterwards James II.

2. Although the valour of the unfortunate James II. seems to have sunk
with his good fortune, there is no reason to question his having merited
the compliment in the text. The Duke of Buckingham, in his memoirs,
has borne witness to the intrepidity with which he encountered the
dangers of his desperate naval actions with the Dutch. Captain Carlton,
who was also an eye-witness of his deportment on that occasion, says,
that while the balls were flying thickly around, the Duke of York was
wont to rub his hands, and exclaim chearfully to his captain, "Spragge,
Spragge, they follow us fast."
3. When General Lockhart commanded the troops of the Protector in
Flanders, the Duke of York was a volunteer in the Spanish army, and
was present at the defeat, which the latter received before Dunkirk,
17th of June, 1658.
4. The defeat of the Dutch off Harwich, 3d June, 1665, in which their
Admiral, Obdam, was blown up, eighteen of their ships taken, and
fourteen destroyed.
5. The author seems to refer to the burning of the English ships at
Chatham, by the Dutch Admiral De Ruyter.

OF
HEROIC PLAYS.
AN ESSAY.
Whether heroic verse ought to be admitted into serious plays, is not
now to be disputed: it is already in possession of the stage, and I dare
confidently affirm, that very few tragedies, in this age, shall be received
without it. All the arguments which are formed against it, can amount
to no more than this, that it is not so near conversation as prose, and
therefore not so natural. But it is very clear to all who understand
poetry, that serious plays ought not to imitate conversation too nearly.
If nothing were to be raised above that level, the foundation of poetry
would be destroyed. And if you once admit of a latitude, that thoughts

may be exalted, and