Advertiſement.

THE precept, which directs a poet to keep his piece nine years, has been fully obſerved in regard to the following Tragedy; but the Author will not claim the merit of voluntary ſubmiſſion to critical authority. The delay, he acknowledges, did not ariſe from choice, but was rather the conſequence of difficulties that ſtood in his way, and prevented an earlier acceſs to the public.

The Play was written in the year 1762, and the Britiſh forces were then actually doing at the HAVAN NAH, what ALZUMA prays for in the third act. The ſubject appeared of the firſt importance to the intereſts of humanity. In peruſing the hiſtory of the Spaniſh conqueſts in AMBRICA, the AUTHOR found among un⯑enlightened ſavages ſuch inſtances of generoſity, truth, juſtice, courage, and even clemency, as would have done honour to thoſe, who profeſs'd in that part of the world to ſpread the light of truth and civilization. The behaviour of ATA-HUALPA (called by Engliſh writers ATABALIPA) the laſt INCA of PERU, in his intercourſe with FRYAR VINCENTI, appeared particular⯑ly ſtriking. He heard the SPANISH MISSIONER with calm attention, and replied, that it was abſurd on the part of the POPE to grant away a territory which did not belong to him; he would ſtill continue to venerate the gods of his anceſtors; and if the chriſtians worſhipped a god that died, he adored the ſun that never died. He viewed the the prayer-book, which the fryar put into his hands, and after ſaying that it conveyed to him no information, threw it down with a ſmile. By this honeſt ſimplicity, which would have gained the affections of a generous mind, FATHER VINCENTI was ſo enraged, that he gave the word of command, crying out, "Kill the dogs, who trample under foot the word of God." An incident like this could not fail to excite indignation; and that in⯑dignation roſe ſtill higher, when it appeared that arti⯑cles []of high treaſon were in form exhibited againſt ATA⯑HUALPA, and, after that execrable farce of ſtate, the prince of a world juſt diſcovered ſuffered as a rebel to the Emperor Charles V.—When GUATIMOZIN, one of the leading chiefs, lies ſtretched upon the rack, and, hearing the groans of his fellow ſufferer, aſks him, in perfect tranquillity, Am I upon a bed of roſes? the heart, that does not melt with tenderneſs for the Ame⯑rican, muſt be as hard as FRYAR VINCENTI'S. Not to multiply inſtances, the ſtory of a people maſſacred becauſe they abounded in gold-mines, and had not heard the important truths of the chriſtian religion, ſeemed of all others the fitteſt for the Engliſh ſtage, as it tended in a ſtrong degree to that pathetic diſtreſs, and that vigour of ſentiment, which conſtitute the eſſential beauty of tragedy.

The author regretted that ſuch a genius as DRYDEN had not left a play, free from the jingle of rhyme, and of a more legitimate kind, that the preſent attempt might have been excluded. He regretted alſo, that, from DRYDEN's time, the poets of this nation ſeem to have abandoned the poor Americans to their fate. He knew that FRANCE was in poſſeſſion of a beautiful play upon the ſubject: but the taſte of LONDON and PARIS being very different, the late Mr. AARON HILL's tranſlation of that piece, appeared upon the Engliſh ſtage and va⯑niſhed.

The preſent writer was of opinion that ſo intereſting a ſubject ought not to be neglected. His firſt deſign was to new mould the ALZIRE of VOLTAIRE, not in a vain preſumption that he could excel a writer ſo juſtly famous throughout Europe, but with an idea that he could in ſome inſtances adapt the ſcenes to the reliſh of an Engliſh audience. That plan, however, was ſoon deſert⯑ed: it occurred, that if this author followed the ſteps of MONSIEUR DE VOLTAIRE, the words, FRENCH TRANSLATOR, UNBLUSHING PLAGIARY, would fill the columns of every news-paper. To civilities of this []kind the author has been uſed. If the perſons who have been ſo liberal feel themſelves diſpoſed to laviſh their favours on the preſent occaſion, they will perhaps be glad of a hint, that may ſupply ample materials. If they will look into the plays of SOPHOCLES and EURIPIDES, they will perceive in what ſchool the writer of ALZUMA has ſtudied the art of conſtructing a fable.

There was another reaſon for not adhering to the plan of VOLTAIRE: In a country like this, it was thought that our ſcene ought not to be indebted to a foreign writer for a play, which involves the firſt great point of human liberty, namely, the right of man to think for himſelf. In this opinion ALZUMA was writ⯑ten, and (except a few minute corrections in the courſe of the rehearſals) was, in its preſent form, ready for the ſtage above ten years ago.

There were, indeed, at that time certain reaſons, which made the author unwilling to precipitate him⯑ſelf into a dealing with managers. Thoſe reaſons ſub⯑ſiſted till Nov. 1767, when this tragedy was put into the hands of Mr. GARRICK. It was copied out by the prompter of Drury-Lane theatre, but remained in ſuſpence till Sept. 1770, when the Author found it upon his table, without a letter, or even a card. The play, it is true, was not pronounced unworthy of repreſentation, but certainly was treated as a piece that did not deſerve the leaſt diſpatch. Delay was ſtudied, and the reaſons for that delay exiſted no where but in Mr. GARRICK's imagination. A certain political ſociety, he was ſure, would damn any production known to come from the pen of the preſent writer. Time, however, has ſhewn that he had not given umbrage to any ſet of men whatever. In political controverſy he had not meddled for a number of years, and he takes this opportunity to declare, that in his []whole life he never was the author of one clandeſtine line. Whatever he writ, he had the ſpirit and honour to avow it. Mr. GARRICK was told this, but without effect: the play was thrown back upon the author's hands, he ſubmitted to it, and would have con⯑ſigned all the circumſtances of that tranſaction to oblivion, if the ſame policy had not been practiſed upon him, in another inftance, this very winter.

That ALZUMA has at length appeared, is owing to the friendſhip of Mr. HARRIS. He deſired to draw forth the piece from the author's cloſet: Mr. COLMAN accepted it with great frankneſs; and from that inſtant went right forward without delay, without duplicity, without equivocation. The author takes this oppor⯑tunity to thank all the proprietors of Covent Garden Theatre for the fairneſs of their dealings: His thanks are alſo due to the performers for their aſſiduity in preparing the play for repreſentation. The reſt is before the public: Mr. BENSLEY and Mr. HULL did juſtice to their reſpective characters: Mr. SMITH's exertion of diſtinguiſhed merit is well known. Miſs MILLER ſtruggled even in illneſs for the public favour, and Mrs. HARTLEYS' beauty and elegant per⯑formance adorned every ſcene, in which ſhe appeared.

The Author cannot conclude without declaring, that (excluſive of his late tranſaction with Mr. COL⯑MAN) he has every reaſon to be diſguſted at the inter⯑nal occurrences of a theatre. It is, therefore, pro⯑bable that he ſhall never again be a candidate for Theatical Fame: From the farce of the APPRENTICE to the tragedy of ALZUMA his endeavours have at all times met with a moſt generous reception from the Town: He feels the obligation with the warmeſt ſenſibility, and remains with due reſpect to the PUBLIC,