very little instruction or entertainment.

Now, a comic romance is a comic epic poem in prose; differing from
comedy, as the serious epic from tragedy: its action being more extended
and comprehensive; containing a much larger circle of incidents, and
introducing a greater variety of characters. It differs from the serious
romance in its fable and action, in this; that as in the one these are
grave and solemn, so in the other they are light and ridiculous: it
differs in its characters by introducing persons of inferior rank, and
consequently, of inferior manners, whereas the grave romance sets the
highest before us: lastly, in its sentiments and diction; by preserving
the ludicrous instead of the sublime. In the diction, I think,
burlesque itself may be sometimes admitted; of which many instances
will occur in this work, as in the description of the battles, and some
other places, not necessary to be pointed out to the classical reader,
for whose entertainment those parodies or burlesque imitations are
chiefly calculated.

But though we have sometimes admitted this in our diction, we have
carefully excluded it from our sentiments and characters; for there it
is never properly introduced, unless in writings of the burlesque kind,
which this is not intended to be. Indeed, no two species of writing can
differ more widely than the comic and the burlesque; for as the latter
is ever the exhibition of what is monstrous and unnatural, and where our
delight, if we examine it, arises from the surprizing absurdity, as in
appropriating the manners of the highest to the lowest, or _e converso_;
so in the former we should ever confine ourselves strictly to nature,
from the just imitation of which will flow all the pleasure we can this
way convey to a sensible reader. And perhaps there is one reason why a
comic writer should of all others be the least excused for deviating