not according to real nature, but according to nature improved to that degree, which is confiftent with probability, and suitable to the poet's purpose *. And hence it is that we call Poetry, AN IMITATION OF NATURE. For that which is properly termed Imitation has always in it something which is not in the original. If the prototype and tranfcript be exactly alike; if there be nothing in the one which is not in the other; we may call the latter a reprefentation, a copy, a draught, or a picture, of the former; but we never call it an imitation. *Cum mundus fenfibilis fit anima rationali dignitate inferior, videtur Poefis hæc humanæ naturæ largiri quæ hiftoria denegat; atque animo umbris rerum utcunque fatisfacere, cum folida haberi non poffint. Si quis enim rem acutius introfpiciat, firmum ex Poefi fumitur argumentum, magnitudinem rerum magis illuftrem, ordinem magis perfectum, et varietatem magis pulchram, animæ humanæ complacere, quam in natura ipfa, poft lapfum, reperiri ullo modo poffit. Quapropter, cum res geftæ, et eventus, qui veræ hiftoriæ fubjiciuntur, non fint ejus amplitudinis, in qua anima humana fibi fatisfaciat, præfto eft Poefis, quæ facta magis heroica confingat. Cum hiftoria vera fucceffus rerum, minime pro meritis virtutum et fcelerum narret; corrigit eam Poefis, et exitus, et fortunas, fecundum merita, et ex lege Nemefeos, exhibet. Cum hiftoria vera, obvia rerum fatietate et fimilitudine, animæ humanæ faftidio fit; reficit eam Poefis, inexpectata, et varia, et viciffitudinum plena canens. Adeo ut Poefis ifta non folum ad delectationem, fed etiam ad animi magnitudinem, et ad mores conferat. Quare et merito etiam divinitatis particeps videri poffit; quia animum erigit, et in fublime rapit; rerum fimulacra ad animi defideria accommodando, non animum rebus (quod ratio facit et hiftoria) fubmittendo. Bacon. De Aug. Scient. pag. 168. Lug. Bat. 1645. CHAP. CHAP. V. Further Illuftrations. Of Poetical Arrangement. IT was formerly remarked, that the events of Poetry must be "more compact, more "clearly connected with causes and confequences, and unfolded in an order more flattering to the imagination, and more "interesting to the paffions," than the events of history commonly are. This may feem to demand fome illuftration. I. Some parts of history interest us much; but others fo little, that, if it were not for their use in the connection of events, we fhould be inclined to overlook them altogether. But all the parts of a poem must be interesting-Great, to raise admiration or terror; unexpected, to give furprise; pathetic, to draw forth our tender affections; important, from their tendency to the elucidation of the fable, or to the difplay of human character; amufing, from the agreeable pictures of nature they prefent us with; or of peculiar efficacy in promoting our moral improvement. And therefore, in forming an Epic or Dramatic Fable, from history or tra dition, dition, the poet must omit every event that cannot be improved to one or other of these purposes. II. Some events are recorded in history, merely because they are true; though their confequences be of no moment, and their caufes unknown. But of all poetical events, the causes ought to be manifeft, for the fake of probability; and the effects confiderable, to give them importance. III. A history may be as long as you please; for, while it is inftructive and true, it is still a good history. But a poem must not be too long: -first, because to write good poetry is exceedingly difficult, fo that a very long poem would be too extensive a work for human life, and too laborious for human ability;-fecondly, because, if you would be fuitably affected with the poet's art, you must have a diftinct remembrance of the whole fable, which could not be, if the fable were very long;—and, thirdly, because poetry is addreffed to the imagination and paffions, which cannot long be kept in violent exercife, without working the mind into a difagreeable state, and even impairing the health of the body.- That, by thefe three peculiarities of the poetical art, its powers of pleafing are heightened, and confequently its end promoted, is too obvious to require proof. *Ariftot. Poet. § 7. IV. The strength of a paffion depends in part on the vivacity of the impreffion made by its object. Diftrefs which we fee, we are more affected with than what we only hear of; and, of feveral defcriptions of an affecting object, we are most moved by that which is most lively. Every thing in poetry, being intended to operate on the paffions, must be displayed in lively colours, and fet as it were before the eyes: and therefore the poet must attend to many minute, though picturesque circumstances, that may, or perhaps must, be overlooked by the hiftorian. Achilles putting on his armour, is defcribed by Homer with a degree of minutenefs, which, if it were the poet's business fimply to relate facts, might appear tedious or impertinent; but which in reality anfwers a good purpofe, that of giving us a diftinct image of this dreadful warrior: it being the end of poetical description, not only to relate facts, but to paint them *; not merely to inform the * Homer's poetry is always picturefque. Algarotti, after Lucian, calls him the prince of painters. He fets before us the whole vifible appearance of the object he defcribes, fo that the painter would have nothing to do but to work after his model. He has more epithets expreffive of colour than any other poet I am acquainted with black earth, wine-coloured ocean, and even white milk, &c. This to the imagination of thofe readers. who study the various colourings of nature is highly amufing, however offenfive it may be to the delicacy of certain critics;- whofe rules for the ufe of epithets if VOL. II. N we the judgement, and enrich the memory, but to awaken the paffions, and captivate the imagination. we were to adopt, we should take 'the palm of poetry from Homer, Virgil, and Milton, and bestow it on thofe fimple rhimers, who, because they have no other inerit, must be admired for barrennefs of fancy, and poverty of language. An improper use of epithets is indeed a grievous fault. And epithets become improper: 1. when they add nothing to the fenfe; or to the picture; and ftill more, when, 2. they feem rather to take fomething from it; -3. when by their colloquial meannefs they debafe the fubject. These three faults are all exemplified in the following lines: The chariot of the King of kings, Tate and Brady. 4. Epithets are improper, when, instead of adding to the fenfe, they only exaggerate the found. Homer's πολυφλοίσβοιο θαλασσης contains both an imitative found, and a lively picture: but Thomson gives us nothing but noife, when he fays, defcribing a thunder ftorm, Follows the loofen'd aggravated roar, Enlarging, deepening, mingling, peal on peal, The following line of Pope is perhaps liable to the fame objection : Then rustling, crackling, crafhing, thunder down. Iliad 23. 5. Epithets are faulty, when they overcharge a verse so as to hurt its harmony, and incumber its motion. — 6. When they darken the fenfe, by crowding too many thoughts |