Intrigues in practice, delight us with Accidents and odd Events, but not such as are wholly unusual or unpresidented, such which not being so distant from our Belief bring also the pleasure nearer us.  Romances give more of Wonder, Novels more Delight.  And with reverence be it spoken, and the Parallel kept at due distance, there is something of equality in the Proportion which they bear in reference to one another, with that betwen Comedy and Tragedy; but the Drama is the long extracted from Romance and History:  ’tis the Midwife to Industry, and brings forth alive the Conceptions of the Brain.  Minerva walks upon the Stage before us, and we are more assured of the real presence of Wit when it is delivered viva voce—­

   Segnius irritant animos demissa per aurem,
   Quam quae sunt oculis subjecta fidelibus, & quae
   Ipse sibi tradit spectator.—­Horace.

Since all Traditions must indisputably give place to the Drama, and since there is no possibility of giving that life to the Writing or Repetition of a Story which it has in the Action, I resolved in another beauty to imitate Dramatick Writing, namely, in the Design, Contexture and Result of the Plot.  I have not observed it before in a Novel.  Some I have seen begin with an unexpected accident, which has been the only surprizing part of the Story, cause enough to make the Sequel look flat, tedious and insipid; for ’tis but reasonable the Reader should expect it not to rise, at least to keep upon a level in the entertainment; for so he may be kept on in hopes that at some time or other it may mend; but the ’tother is such a balk to a Man, ’tis carrying him up stairs to show him the Dining-Room, and after forcing him to make a Meal in the Kitchin.  This I have not only endeavoured to avoid, but also have used a method for the contrary purpose.  The design of the Novel is obvious, after the first meeting of Aurelian and Hippolito with Incognita and Leonora, and the difficulty is in bringing it to pass, maugre all apparent obstacles, within the compass of two days.  How many probable Casualties intervene in opposition to the main Design, viz. of marrying two Couple so oddly engaged in an intricate Amour, I leave the Reader at his leisure to consider:  As also whether every Obstacle does not in the progress of the Story act as subservient to that purpose, which at first it seems to oppose.  In a Comedy this would be called the Unity of Action; here it may pretend to no more than an Unity of Contrivance.  The Scene is continued in Florence from the commencement of the Amour; and the time from first to last is but three days.  If there be any thing more in particular resembling the Copy which I imitate (as the Curious Reader will soon perceive) I leave it to show it self, being very well satisfy’d how much more proper it had been for him to have found out this himself, than for me to prepossess him with an Opinion of something extraordinary in an Essay began and finished in the