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 un­enlightened 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 particular­ly 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 in­dignation rose still higher, when it appeared that arti­cles [Page]of high treason were in form exhibited against ATA­HUALPA, 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 Ame­rican, 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 va­nished.

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 desert­ed: 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 [Page]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 writ­ten, 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 him­self into a dealing with managers. Those reasons sub­sisted 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 [Page]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 con­signed 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 oppor­tunity 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 per­formance adorned every scene, in which she appeared.

The Author cannot conclude without declaring, that (exclusive of his late transaction with Mr. COL­MAN) he has every reason to be disgusted at the inter­nal occurrences of a theatre. It is, therefore, pro­bable 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,