 of being likened to the
Labours of these Historians, we have taken every Occasion of interspersing
through the whole sundry Similes, Descriptions, and other kind of poetical
Embellishments. These are, indeed, designed to supply the Place of the said Ale,
and to refresh the Mind, whenever those Slumbers which in a long Work are apt to
invade the Reader as well as the Writer, shall begin to creep upon him. Without
Interruptions of this Kind, the best Narrative of plain Matter of Fact must
overpower every Reader; for nothing but the everlasting Watchfulness, which
Homer hath ascribed only to Jove himself, can be Proof against a News-Paper of
many Volumes.
    We shall leave to the Reader to determine with what Judgment we have chosen
the several Occasions for inserting those ornamental Parts of our Work. Surely
it will be allowed that none could be more proper than the present; where we are
about to introduce a considerable Character on the Scene; no less, indeed, than
the Heroine of this Heroic, Historical, Prosaic Poem. Here, therefore, we have
thought proper to prepare the Mind of the Reader for her Reception, by filling
it with every pleasing Image, which we can draw from the Face of Nature. And for
this Method we plead many Precedents. First, this is an Art well known to, and
much practised by, our Tragic Poets; who seldom fail to prepare their Audience
for the Reception of their principal Characters.
    Thus the Heroe is always introduced with a Flourish of Drums and Trumpets,
in order to rouse a martial Spirit in the Audience, and to accommodate their
Ears to Bombast and Fustian, which Mr. Lock's blind Man would not have grossly
erred in likening to the Sound of a Trumpet. Again, when Lovers are coming
forth, soft Music often conducts them on the Stage, either to sooth the Audience
with the Softness of the tender Passion, or to lull and prepare them for that
gentle Slumber in which they will most probably be composed by the ensuing
Scene.
    And not only the Poets, but the Masters of these Poets, the Managers of
Playhouses, seem to be in this Secret; for, besides the aforesaid Kettle Drums,
etc. which denote the Heroe's Approach, he is generally ushered on the Stage by
a large Troop of half a dozen Scene-shifters; and how necessary these are
imagined to his Appearance, may be concluded from the following Theatrical
Story.
    King Pyrrhus was at Dinner at an Alehouse bordering on the Theatre, when he
was summoned to go on the Stage. The Heroe, being unwilling to quit his
