The heroic, or rhyming, plays, were borrowed from the French, to whose genius they are better suited than to the British.  An analogy may be observed between all the different departments of the belles lettres; and none seem more closely allied, than the pursuits of the dramatic writer, and those of the composer of romances or novels.  Both deal in fictitious adventure; both write for amusement; and address themselves nearly to the same class of admirers.  Nay, although the pride of the dramatist may be offended by the assertion, it would seem, that the nature of his walk is often prescribed by the successful impression of a novel upon the public mind.  If we laugh over low adventures in a novel, we soon see low comedy upon the stage:  If we are horror-struck with a tale of robbers and murder in our closet, the dagger and the green carpet will not long remain unemployed in the theatre; and if ghosts haunt our novels, they soon stalk amongst our scenes.  Under this persuasion, we have little doubt that the heroic tragedies were the legitimate offspring of the French romances of Calprenede and Scuderi.  Such as may deign to open these venerable and neglected tomes, will be soon convinced of their extreme resemblance to the heroic drama.  A remarkable feature in both, is the ideal world which they form for themselves.  Every sentiment is lofty, splendid, and striking; and no apology is admitted for any departure from the dignity of character, however natural or impressive.  The beauty of the heroine, and the valour of the hero, must be alike resistless; and the moving spring, through the whole action, is the overbearing passion of love.  Their language and manners are as peculiar to themselves, as their prowess and susceptibility.  The pastoral Arcadian does not differ more widely from an ordinary rustic, than these lofty persons do from the princes and kings of this world.  Neither is any circumstance of national character, or manners, allowed as an apology for altering the established character, which must be invariably sustained by the persons of the heroic drama.  The religion, and the state of society of the country where the scene is laid, may be occasionally alluded to as authority for varying a procession, or introducing new dresses and decorations; but, in all other respects, an Indian Inca, attired in feathers, must hold the same dignity of deportment, and display the same powers of declamation, and ingenuity of argument, with a Roman emperor in his purple, or a feudal warrior in his armour; for the rule and decorum of this species of composition is too peremptory, to give way either to the current of human passions, or to the usages of nations.  Gibbon has remarked, that the kings of the Gepidae, and the Ostrogoths in Corneille’s tragedy of Attila, are profound politicians, and sentimental lovers;—­a description which, with a varying portion of pride, courtesy, and heroism, will apply to almost all the characters in plays drawn upon this model.