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 aware that no play I am capable of writing can ever be equal to what such a subject deserves. So much was I pleased with those generous ties—may I be permitted to make use of a scripture phrase, and say, those "cords of a man?" binding together the noble Paleologus and his brave imperial band, that, had I followed my own inclination, delineating those would have been the principal object of the piece. But convinced that something more was requisite to interest a common audience, and give sufficient variety to the scenes, I introduced the character of Valeria, and brought forward the domestic qualities of Constantine as well as those of the unfortunate prince and beloved leader.

Mahomet and Justiniani are the only characters in the piece, Constantine excepted, that are not imaginary. The first will be found, I hope, to correspond with the character given of him by the historian. To alter, for the idle convenience of poetry, conspicuous, or indeed any characters that have been known in the world, appears to me highly blameable, though in filling up an outline given us by history we cannot well avoid heightening or diminishing the general effect. Justiniani, if I well remember (for I have not the history by me at present to refer to), was a noble Genoese, who, after a life distinguished for military honour, disgraced himself by being the first to turn his back when the Turks attacked the breach on the day of the last general assault, and was the immediate cause of the city being taken. He is said