presentations of fighting on the stage, are no more than necessary to
produce the effects of an heroic play; that is, to raise the
imagination of the audience and to persuade them, for the time, that
what they behold on the theatre is really performed. The poet is then
to endeavour an absolute dominion over the minds of the spectators;
for, though our fancy will contribute to its own deceit, yet a writer
ought to help its operation: And that the Red Bull has formerly done
the same, is no more an argument against our practice, than it would
be for a physician to forbear an approved medicine, because a
mountebank has used it with success.

Thus I have given a short account of heroic plays. I might now, with
the usual eagerness of an author, make a particular defence of this.
But the common opinion (how unjust soever) has been so much to my
advantage, that I have reason to be satisfied, and to suffer with
patience all that can be urged against it.

For, otherwise, what can be more easy for me, than to defend the
character of Almanzor, which is one great exception that is made
against the play? 'Tis said, that Almanzor is no perfect pattern of
heroic virtue, that he is a contemner of kings, and that he is made to
perform impossibilities.

I must therefore avow, in the first place, from whence I took the
character. The first image I had of him, was from the Achilles of
Homer; the next from Tasso's Rinaldo, (who was a copy of the former)
and the third from the Artaban of Monsieur Calpranede, who has
imitated both. The original of these, Achilles, is taken by Homer for
his hero; and is described by him as one, who in strength and courage
surpassed the rest of the Grecian army; but, withal, of so fiery a