John Hughes, the author of this tragedy, is described by his biographers as a man who possessed high talents, and a most amiable character. He was beloved, admired, and trusted, by the great Addison; and Steele has written on him the following panegyric: He may be the emulation of more persons of different talents than any one I have ever known. His head, hands, or heart, were always employed in something worthy imitation. His pencil, his bow, or his pen, each of which he used in a masterly manner, were always directed to raise and entertain his own mind, or that of others, to a more cheerful prosecution of what is noble and virtuous.²

This respected author was the son of a citizen of London, and born at Marlborough, in Wiltshire, in 1677. From his earliest youth, he gave testimony of an inclination for the three sister arts, painting, music, and poetry; in each of which he made a considerable progress by close application, and the enjoyment of a fine taste.

This play is dedicated to Earl Cowper, who, whilst he was Lord Chancellor of England, nominated Mr. Hughes, and without any previous solicitation, to many offices of considerable importance;³ and otherwise bestowed upon him marks of his affection and favour.

"The Siege of Damascus" was written in the neighbourhood of Lord Cowper's country seat, and received, progressively, as the author wrote, his lordship's attention and approbation.

The action of the play commences about two years after the death of the first caliph, the great Mahomet.—Abubeker, his successor, was, like himself, supreme, both in spiritual and temporal concerns. Following the steps of Mahomet, in propagating his new system of superstition by the sword, he sent a numerous army into Syria, under the command of the Arabian general, Caled; who, having subdued part of that devoted country, now besieged Damascus, its capital.

This event took place about the year 634⁴ —a most important era in Grecian history.

The christian emperor, Heraclius, found, at this period, his own subjects divided by controversies respecting the articles of faith and the forms of worship, by which christianity should be professed and adorned. He found, at the same time, the followers of Mahomet so firmly united in one belief, that Paradise would be the reward of extirpating the christians from the earth; and so enthusiastically bent upon this holy labour, that the Greek and Roman empire was shaken by their extensive conquests.

The basis of this tragedy being now described, it would be anticipating, and abating much of the reader's entertainment, to give any further delineation of its structure.

The following circumstances may, however, be stated, without forestalling the pleasure of curiosity.—The play was well received on its first appearance, and is still in high esteem, though seldom performed. The characters are varied, and distinguished by noble sentiments; the events highly interesting, and at times affecting. The scene itself gives a kind of pious dignity to the whole work; for the very sound of Damascus, to a christian ear, has somewhat of sacred influence.⁵

On presenting this play to the managers of the theatre, Mr. Hughes was prevailed upon, before they would accept the piece, to make an alteration in the character of one of his principal christian warriors in the drama, whom he had originally caused to change his religion, from some powerful temptation which assailed him.⁶

The managers, no doubt, were right in supposing, that an audience would never behold, with a favourable eye, the man who could change his faith from any motive except clear conviction;—but if, as it is said, they urged for their argument, that no hero was ever an apostate, they surely had forgotten Henry the Fourth of France, who had an undoubted right to both these epithets.⁷

"The Siege of Damascus" was brought before the public, at Drury Lane Theatre, on the 17th of Fe-
b 3[Page 6]bruary, 1719—and, on that first evening of its being represented, the author died.⁸

Mr. Hughes's constitution is said to have been weakly, and that a decline put a period to his existence at this remarkable juncture;—but, if his mind was delicate as his body, anxiety for the fate of this production might agitate him, even on the verge of the grave, and hasten his approach to it.