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. 
  She plays an Hydra upon the Emperor, that is full as good as the
  Gorgon: 

    O that I had the fruitful heads of Hydra,
    That one might bourgeon where another fell! 
    Still would I give thee work, still, still, thou tyrant,
    And hiss thee with the last.

  “She afterwards, in allusion to Hercules, bids him ’lay down the
  lion’s skin, and take the distaff;’ and, in the following speech,
  utters her passion still more learnedly: 

    No; were we joined, even though it were in death,
    Our bodies burning in one funeral pile,
    The prodigy of Thebes would be renewed,
    And my divided flame should break from thine.

  “The emperor of Barbary shews himself acquainted with the Roman
  poets as well as either of his prisoners, and answers the foregoing
  speech in the same classic strain: 

    Serpent, I will engender poison with thee: 
    Our offspring, like the seed of dragon’s teeth,
    Shall issue armed, and fight themselves to death.

  “Ovid seems to have been Muley-Moloch’s favourite author; witness
  the lines that follow: 

    She, still inexorable, still imperious,
    And loud, as if, like Bacchus, born in thunder.

  “I shall conclude my remarks on his part with that poetical
  complaint of his being in love; and leave my reader to consider, how
  prettily it would sound in the mouth of an emperor of Morocco: 

    The god of love once more has shot his fires
    Into my soul, and my whole heart receives him.