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this impression of the mind to be so universal, I shall not be afraid of having so far infringed on the dignity of my heroine, as to make her an improper object to excite dramatic interest. Those, I believe, who possess strong imagination, quick fancy, and keen feeling, are most easily affected by this species of Fear: I have, therefore, made Orra a lively, cheerful, buoyant character, when not immediately under its influence; and even extracting from her superstitious propensity a kind of wild enjoyment, which tempts her to nourish and cultivate the enemy that destroys her. The catastrophe is such as Fear, I understand, does more commonly produce than any other passion. I have endeavoured to trace the inferior characters of the piece with some degree of variety, so as to stand relieved from the principal figure; but as I am not aware that any particular objection is likely to be made to any of them, they shall be left entirely to the mercy of my Reader.

But if it has been at all necessary to offer any apology for exhibiting Fear as the actuating principle of the heroine of the first play, what must I say in defence of a much bolder step in the one that follows it, in which I have made Fear, and the fear of Death too, the actuating principle of a hero of Tragedy. I can only say, that I believed it might be done without submitting him to any degradation that would affect the sympathy and interest I intended to excite. I must confess, however, that, being unwilling