The reader's discernment will discover some similar extravagancies in
the language of Almeyda and the Emperor.
It is a separate objection, that the manners of the age and country
are not adhered to. Sebastian, by disposition a crusading
knight-errant, devoted to religion and chivalry, becomes, in the hands
of Dryden, merely a gallant soldier and high-spirited prince, such as
existed in the poet's own days. But, what is worse, the manners of
Mahometans are shockingly violated. Who ever heard of human
sacrifices, or of any sacrifices, being offered up to Mahomet[2]; and
when were his followers able to use the classical and learned
allusions which occur throughout the dialogue! On this last topic
Addison makes the following observations, in the "Guardian," No. 110.
"I have now Mr Dryden's "Don Sebastian" before me, in which I find
frequent allusions to ancient poetry, and the old mythology of the
heathens. It is not very natural to suppose a king of Portugal would
be borrowing thoughts out of Ovid's "Metamorphoses," when he talked
even to those of his own court; but to allude to these Roman fables,
when he talks to an emperor of Barbary, seems very extraordinary.
But observe how he defies him out of the classics in the following
lines:
Why didst not thou engage me man to man,
And try the virtue of that Gorgon face,
To stare me into statue?
"Almeyda, at the same time, is more book-learned than Don Sebastian.
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