ral philosophy assures
us, make the essential differences of good and bad; he himself
best explaining his own intentions in his last act, which was the
restoration of his queen; and even before that, in the honesty of his
expressions, when he was unavoidably led by the impulsions of his love
to do it. That which with more reason was objected as an indecorum,
is the management of the last scene of the play, where Celadon and
Florimel are treating too lightly of their marriage in the presence of
the queen, who likewise seems to stand idle, while the great action of
the drama is still depending. This I cannot otherwise defend, than by
telling you, I so designed it on purpose, to make my play go off more
smartly; that scene being, in the opinion of the best judges, the most
divertising of the whole comedy. But though the artifice succeeded, I
am willing to acknowledge it as a fault, since it pleased his majesty,
the best judge, to think it so.

I have only to add, that the play is founded on a story in the
"Cyrus," which he calls the Queen of Corinth; in whose character,
as it has been affirmed to me, he represents that of the famous
Christina, queen of Sweden. This is what I thought convenient to write
by way of preface to "The Maiden Queen;" in the reading of which I
fear you will not meet with that satisfaction, which you have had in
seeing it on the stage; the chief parts of it, both serious and comic,
being performed to that height of excellence, that nothing but a
command, which I could not handsomely disobey, could have given me the
courage to have made it public.

PROLOGUE.

I.

He who writ this, not without pains and thought,
From French and English theatres has brought
The exactest rules, by which a play is wrought.

II.

The unities of action, place, and time;
The scenes unbroken; and a mingled chime
Of Jonson's humour, with Corneille's rhyme.

III.

But while dead colours he with care did lay,
He fears his wit, or plot, he did not weigh,
Which are the living beauties of a play.

IV.

Plays are like towns, which, howe'er fortified
By engineers, have still some weaker side,
By the o'er-seen defendant unespied.

V.

And with that art you make approaches now;
Such skilful fury in assaults you show,
That every poet without shame may bow.

VI.

Ours, therefore, humbly would attend your doom,
If, soldier-like, he may have terms to come,
With flying colours, and with beat of drum.

_The