Human sacrifices, the cruellest effect of blind and groveling superstition, wore gradually out of use by the prevalence of reason and humanity. In the days of Sophocles and Euripides, the traces of this savage practice were still recent; and the Athenians, through the prevalence of custom, could without disgust suffer human sacrifices to be represented in their theatre. The Iphigenia of Euripides is a proof of this fact. But a human sacrifice, being altogether inconsistent with modern manners, as producing horror instead of pity, cannot with any propriety be introduced upon a modern stage. I must therefore condemn the Iphigenia of Racine, which, instead of the tender and sympathetic passions, substitutes disgust and horror. But this is not all. Another objection occurs against every fable that deviates so remarkably from improved notions and sentiments. If it should even command our belief, by the authority of genuine history, its fictitious and unnatural appearance, however, would prevent its taking such hold of the mind as to produce a perception of reality[32]. A human sacrifice is so unnatural, and to us so improbable, that few will be affected with the representation of it more than with a fairy tale. The objection first mentioned strikes also against the _Phedra_ of this author. The queen’s passion for her stepson, being unnatural and beyond all bounds, creates aversion and horror rather than compassion. The author in his preface observes, that the queen’s passion, however unnatural, was the effect of destiny and the wrath of the gods; and he puts the same excuse in her own mouth. But what is the wrath of a heathen god to us Christians? We acknowledge no destiny in passion; and if love be unnatural, it never can be relished. A supposition, like what our author lays hold of, may possibly cover slight improprieties; but it will never engage our sympathy for what appears to us frantic or extravagant. Neither can I relish the catastrophe of this tragedy. A man of taste may peruse, without disgust, a Grecian performance describing a sea-monster sent by Neptune to destroy Hippolytus. He considers, that such a story might agree with the religious creed of Greece; and, entering into ancient opinions, may be pleased with the story, as what probably had a strong effect upon a Grecian audience. But he cannot have the same indulgence for such a representation upon a modern stage; for no story which carries a violent air of fiction, can ever move us in any considerable degree.