To the most accomplished lady, the Lady Frances Wildegoss.

Madam,

Having long since renounced all sorts of civil homage which either customers hath blindly tendered or arrogance insolently assumed, as the affected rights of greatness, being but an ostentive colossus, nor accessible nor communicable, I now can figure to my thoughts no nobler object of respect than a clear, high and regular intellect, whose endowments may challenge a more plausible and legitimate acquisition in such public addresses of honour, as may sometime reach to a more remote posterity; in pursuit of which consequence, Madam, judging the dignity of your mind the most perfect model of so equal a design, I have presumed (from the obscurity of many years) to tender this piece to your view. The nature whereof, though vilified with vulgar obloquy (the unrestrained fury of whose ignorance hath not of late left the most high and sacred mysteries unimpeachable), can gain no further access on your inclinations than what a clear and solid argument impartially may produce, which to unfold it will be requisite to distinguish the nature and the use of this our subject now in agitation.

In order to which, the nature thereof is (without all opposition) poesy. What that is cannot in my apprehension be more elegantly and perspicuously delineated than the agreeable philosopher hath formed it in his convertible definition: "Poesy is a speaking picture. A picture is a dumb poesy". From which sense we may extract that poesy only is an art of lively representation of bodies natural, simply, without reference to other, or compositively with circumstance to their mutual communities, either natural or civil. Real in respect of their precedent, present, or future condition, or imaginary in relation to their possibility. In the extent of which exposition some particulars may probably at first appearance seem dubious, some erroneous.

"Dubious", as how it may fall within compass of human capacity to figure to another’s sense what falls not under the dimension of our own. Our purpose is not here to search into the causes of so high an illumination, it is sufficient proof to our position, to affirm such an inspection evident in its nature, as may be instanced from the sacred raptures of the Judaic prophets and the gentile sybils, whom though we seem improperly to include with the tractators of our subject, inspired by a nobler object, yet in reference to the analogy of form in their discourses, preceding ages have indifferently implied the intimation of their nature under one and the same denomination: "vates" (prophets), to which usage we have extended this our exposition.

"Erroneous", in that the fancy herein doth assume too vast a liberty, to figure forms are visibly to natural and to civil rules inconsonant, as in reference to the first, satyrs, centaurs, transmutation of forms and the like. In answer whereto although it be not difficult to prove, that even herein the art doth only nature imitate, who oftentimes from the inaptitude of matter doth err from her intention in the form, and in her ministry doth frequently produce a prodigy. Yet these inventions may by mean capacities be distinguished to be bur metaphors to a moral sense.

In relation to the second, inserting things profane, obscene, fabulous and preposterous.

"Profane", as the figuration of their gods invested with our human imperfections.

In reply whereto we may allege that, in reference to the civil frame, intended are hereby the potentates of the earth, an allusion may be produced from sacred proofs to form it warrantable. In relation to the natural texture are secretly herein involved moral, physical, or metaphysical mysteries, perhaps yet undiscovered, which from the vulgar eye should be concealed, as the adulterers of philosophy.

"Obscene", to clear which charge we might infer that if the indecent form hereof were figured, it rather would imply an imperfection in our civil commerce than any imputation to the art, whose end is only to expose each circumstance and accident inherent to the subject, in their most proper and essential colours, beauties, or deformities. Yet will we not so far insist on the strict rules of the art, as not to impute such indiscretion to the artist’s error. Who may if skilful, nay who ought (according to the true rules of his pattern, Nature) so gracefully to overshadow the less decent parts, as might not raise a strain on the most modest cheek to view them publicly.

"Fabulous", this subject bears so little weight in an objection that it might rather infer the ignorance of the impeacher than the imposture of the artist. All sorts of arts having some secret gloss and reservation of their mysteries to support their honour and advantage. This only and alone, pretending unto none declare things for such as it delivers them, feigned or essential, imaginary or historical; though in some textures of the latter kind may possibly be interwoven certain enlargements and digressions (as graces but peculiar to the art) not properly consistent with the dignity, weight, use of such a subject, required simple truth in every circumstance. Yet even herein a clear intelligence will suddenly distinguish shadows by the position of the natural light, like perfect ears in music still tain the grounds, orders, times of every note, though the musician's hand, to grace his harmony, cast various flourishes on the suspended measures to lend more weight unto the usage of invention in this rejected art, we shall not need to instance the excellence of the nature thereof to instruction, to which the choicest of essential similitudes cannot exactly reach, wanting such forms of circumstances as might enlighten the intention of the deliverer, restrained and obscured in a real narration. It may suffice to silence opposition, to allege we find our most authentic precepts couched in such forms of texture, as allegories or parables; a winning method to attract the grossest tempers and infix in all most durable impressions.

From the freedom of this latter objected subject, issues the objection of the last, "preposterous", in that it is supposed the unprescribed fancy, having assumed a liberty to rove, will suddenly contract extravagant mixtures in her compositions to form a prodigy in the civil frame, as formerly in the natural.

To this conjecture we may make reply that no absurdity can be imagined so irregular which may not meet a parallel in the occurrences of civil actions. Be it, that we should suppose the most evident truth condemned for the grossest error, that wisdom should be confuted by ignorance, integrity ejected by hypocrisy, valour overcome by lachety, industry supplanted by sloth, the innocent suffer by the criminal, justice smothered by iniquity, love rewarded with hate; which without further proof to verify, I only, Madam, will appeal to your own observation. If any shall allege such accidents to be but the effects of our corruption which guide us still to satisfy our sense rather than an infeasible impropriety in a civil usage, which the licentiousness of the art doth often figure; not to decline the smallest shadow of an objected scruple. We shall in some example devestate the action of this pretended object, leaving the occurrence immaterial or void in any consequence whatever. Can human sense reflect upon a more preposterous transaction than that the Monarch of the world should in the height of all his glory and in the eye of all the world magnificently solemnize nuptials with another man, the most abject of his domestics? Yet such a real precedent we may authentically collect from the records of Nero’s infamy.

Having thus briefly (as the capacity of our preface will give leave) discussed of the nature of our subject, order requires that we should next insist upon the use thereof. Whereon depends the real worth of every piece, in nature or in art, which to pursue methodically, we should in course unfold the several kinds thereof, in their particulars, as odes, elegies, epigrams and the like. But since the nature of our present subject may include them all, as several species under their proper gender, we only will adhere to agitate thereon, raising our introduction from the first view of the whole frame, without distinction of the parts thereof.

If intercourse in civil commerce may conduce to form the judgement, compose the mind, or rectify the manners (as none who hath received impression thereof can deny) no form of institution human reason can reflect upon, more suddenly and more perfectly can attain thereto than can the well composed illustrations of a theatre, where in few hours we may take full view of such variety in circumstance, as many ages cannot represent, and from the consequence of events collect such rules, may guide our undertakings with success to their peculiar objects. Whilst being uninterested spectators only, are to us distinguished the secret source of each transactor's purposes, whose actions leave so sensible an impression of their character in our thoughts that seldom in our own particular community we encounter such an inclination, but that the prepossession of their figure straight illuminates our senses to disclose their tract; whereby our fortunes, lives, liberties and fames are timely often times secured from secret trains.

To yield a true ally to the distempers of the soul, no art can form a fairer method than thus to represent the wild distractions of her irregular motives, transported with licentious fury, to execute the giddy will, with violation to each strict prescription, outrage to itself, with the disasters frequently ensue so stubborn a revolt from that interior light, should lend her dignity, if the deformity of the figure may reduce the mind to a more happy and decent regulation of her faculties. To which pattern was among the Spartans introduced a custom to inebriate their slaves: they might expose their loose demeanours to their children’s view, that such a loathsome spectacle might imprint a lasting detestation of so brutish a distemper.

Nor yet to regulate our manners can the most powerful precepts form the mind, so willingly susceptible of her intended object. If intimation of the glory and success of virtue may inflame the soul to noble enterprises, or the infamy and punishment of vice deter from shameful practises, which are the principal objects, a well compiled piece still vises at, or, seldom in the most imperfect are omitted. First, in regard the mind is here no way subordinate unto a more supreme sufficiency than her own. Secondly, in that such forms of institution do pretend unto no servile impositions, the most material impediments, why the authentic guides so seldom meet success in the intention of their elaborate prescriptions. Subjects of this nature propounding no other object but delight unto the auditory, the sensual mind is easily incited to view such spectacles, where left unto the freedom of her proper inclination, she insensibly assumes a voluntary propensity to those forms are represented in the fairest characters, with an aversion to the impeachable.

These are the essential uses of our subject; nor yet are the collateral less material as the community of a prince unto his people at whose peculiar charge were formerly erected such magnificent receipts for public spectacles, either to ingratiate himself with his subjects in a mutual participation of delight, as an endearing entertainment from himself, or else to represent the object, by circumstance and issue of some eminent expedition, enterprise or treaty within his proper jurisdiction, or with foreign states transacted by himself or substitutes, unto the illiterate and over-busied multitude, who usually want vacancy or capacity to peruse, conceive, or retain the sense thereof under the tedious, abstruse forms of public manifests, which figured in such interludes were even obvious to their very children. A happy piece of policy to inform with delight the meanest member of the civil frame in what he is concerned. The means to our security becoming once to us a mystery may justly by us be suspected for disguised furbery.

To this advantage herein doth succeed the benefit which arised from the people's intercourse with one another, not only in the introduction and pursuit of commerce or affairs, but in the initiation and support of mutual amities, sprung frequently from civil and unsought abodes and cherished with graceful entertainments in society, which here not limited to particulars, may possibly be dispensed through the civil structure to the composure of a general union, the strength and glory of a Commonwealth. From whence also ensues the requisite relaxation of mind and body, (overburdened with the travel of private or public negotiations) in a plausible divertissement, whereby become refreshed, both may with fuller vigour and alacrity reassume the pursuit of their civil functions.

Nor is the action of a theatre less useful in the education of our youth a frequent exercise in foreign seminaries, societies and schools, to inanimate their spirits, render them pliant and susceptible to every form, might either frame them more agreeable in their society, or more successful in their private commerce; as also, to lend a more assured graceful unconstrained demeanour to their persons and in such habits to indue them with undaunted confidence, facility and readiness to communicate in discourse the image of their thoughts to an attentive multitude, an acquisition of no little moment, in public consultations, conferences and pleas. In managing whereof, who hath not gained this dexterity shall find the weightiest reasons in his argument silenced, smothered, overswayed by the less pertinent clamour of an insisting impudence.

These are the general objects, which we but cursorily have only pointed at, omitting them to amplify or illustrate with the honour or example of antiquity, in due conformity to the quality of our introduction and the more clear inspection into the nature of our present subject, which possibly might appear to rigid tempers of far less validity, overshadowed with such formalities, as if they were but artificial ornaments, no proper or essential lustres.

The particular objects have a vaster influence, which (not to err from our prescription) we will contract to one united couplet to crown the closure of our texture, affirming that poesy invests virtues, glory with eternity on earth and inspiring life in harmony, lends zeal wings to scale the vault of Heaven. If this essay may in your honour, Madam, but pretend to the first branch hereof, my next endeavour shall in your piety attempt to reach the latter.

Madam,

Your humbly devoted servant,

L. W.