HAving consider'd, that of all Tragedies the old Oedipus, in the just estimation of the Antients and Moderns carry'd the Crown: a Story as yet untoucht by any English Pen; I thought, though defective in my art, I could not be but very fortunate in this my subject. Which has given me leave not only to include what is admirable in this Oedipus; but several great advantages above it for a Tragical Theater. Of which, one is the greatness of this Roman Emperour above so petty a Prince in Greece. Another is, that tis imagin'd, there was never any such person as this Oedi­pus, and the Story wholy fabulous. Whereas mine is found­ded in truth and reality. For, though by advise of friends I have disguis'd the names; yet this Emperour was one of the greatest that ever Rome boasted. He held his Adversary sometime reduc'd to that low condition and posture I de­scribe. And instigated by this malicious calumny of his Empress, put to death his own Son, after the creating of him Caesar. As it was affirm'd by the glorious Martyr Artemius in the presence of the Emperour Julian Apostate: Who was the near Kinsman of this Florus; and very in­quisitive after the sad end of so brave and illustrious a Person. Yet some Historians make him die accus'd for Treason: and I for both; with the most forcible reasons I could produce. For intending Valentius for my Protago­nist, [Page] [...] the most perfect subject of Tragical compassion in [...] of Aristotle, approv'd by all intelligent [...] strangely to circumvent him; and make the most excusable, I possibly could, that imprudence for which Zosimus maliciously defames him. Besides this Character of Oedipus, the true occurrents of this admira­ble Story afford me two others highly celebrated by all learn­ned Nations, in the persons of Fulvia, and Florus, who much represents the old Hippolytus, unless it be in the horrid rudeness of his carriage; which I have here chang'd into a gallant bravery, ending in a dismal Catastrophe, much more agreeable to the compassion of these Times. The antient Phoedra is here set off in a real Fulvia; and I am inform'd, some exceptions are taken at the wickedness I shew in her person: but sure these people want a subject of discourse, and trouble, who would fain concern themselves in my not concealing the ill qualities of a Pagan woman: who for the atrocity of these crimes is known in History to have had a miserable end. This Character has been ever much extoll'd: if my art has fail'd in the writing of it, it was highly recompenc'd in the scenical presentation; for it was incomparably acted. I have for the greater variety of the Stage divided this Character, conferring some share of it on Aurelia, which, though a great, various, and difficult part, was excellently performed. In the person of Honori­us, I have nothing of antiquity to plead for me, the Cha­racter being never thought of by any man but by self: nei­ther had I honour'd him with such noble company, but by the advice of some friends; who perswaded me, that his horrid opinions, by reason of the novelty, and the setting off [Page]a false Pagan Gallantry, would excellently suit with this Tragical Subject. At which no just exceptions can be taken, for none sure come to Playes to learn true history, or religion; and to make profane persons speake profanely, is practis'd in the Tragedies of Petavius; whom I my self knew as emi­nent for his piety, as learning.

If the language please not, I am sorry: the fault proceeds from no want of respect to the Audience. For I wrote the quantity of three or four Playes upon this noble Subject; of which I conceive this the best extract. Such who expect to have their ears tickled with the gingling Antitheses of Love and Honor, and such like petty wares, will find themselves deceiv'd. For the chief intent of Tragedy being to raise Terror and Compassion; I thought a more masculine and vi­gorous eloquence and graces more natural, and less affected, were requisite to inspire such impressions. For satisfa­ction of the English Stage, which delights in variety, I have sought to entertain the Audience with the divertise­ment of new accidents; not only from Act to Act, but Scene to Scene; where the Contests are lively, the Passions vio­lent, the Designes extreme, and the Deliberations horrid. My endeavour has been to conform this piece to the best rules of Art in all the parts: Though my Opposers have presum'd to condemn it cleer throughout: but especially in the fifth Act, which they have concluded senseless, and void of all art and reason; With which (as the head of man is with intelle­ctual faculties) it should be chiefly enricht. And so the Reader shall perceive it, if he please rather to direct him­self by the rules of solid Science; then the dreams of these Persons. For here he finds himself arriv'd at the end of [Page]strangely astonishing disasters; yet confin'd within the limits of Probability; without having the least reason to demand how he has been conducted, or by what means they have been wrought. Though in the passage (as I may say) they have been wholy surprising, and left him every where at a loss. This rule I have observ'd throughout the Play, to please the judicious, who still watch and expect things unexpected: And I believe will scarce find here one anticipated action, or event. For the Dream of Valentius, though it seems to give a manifest overture of the consequence, yet the obscure­ness is so dark, that it deceives not only Him, but the very Audience; the fatal thunderbolt falling, unseen and unheard in the midst of them. And here occurs in the Person of Valentius, what Aristotle admires in Oedipus, confessing human wit can invent in this kind nothing beyond it. For he incurs those very misfortunes, which with all ima­ginable care he shun'd; condemning his Son without know­ing him; and after death knowing him without all benefit: which makes him the best, and greatest of all Tragical Sub­jects. The narration I have made cleer, pathetique, and short; including a story curious, and therefore not taedious: To shun which fault I have also interrupted it with the dole­ful exclamation of Valentius in the Agnition of his Error: Which to judicious ears appears the most melodious part in Tragical composition. In the escape of Fulvia I have fol­low'd the example of Medea, which by the subtile and ju­dicious Castelvetro is only censur'd for the want of prepa­ratives: the foregoing parts having nothing contributed to this strange action. Which is here contrary; and the con­veyance more rational. Which my opposers should have re­markt. [Page]And how the great Catastrophes in this Play pro­ceed from no external helps, or new faces unseen before; but from the interweaving of the intrinsecal parts of the Sub­ject; And how I have not defil'd the Majestique Grace of a Tragique Theater with the company of any vile Plebeian Persons, though the Plot has been so variously intricated. They should lastly have taken notice, that here is nothing Episodical; which I have not made essential in the con­struction of the Story; from whence arises the graceful Vnion: An observation to be wisht more in fashion. For it is this Ʋnion, which like Harmony in Musique, gives the last perfection and beauty to all Subjects moral, as well as natural.