These different ingredients, which enter into the mind of a real agent, ought likewise to be nicely estimated as to the degrees in which they predominate, before we could be properly qualified to judge of their influence on his external appearance. As it is evidently impossible that we can ever be thoroughly apprised of the former, it is therefore obvious that our judgment of the latter must be always imperfect. On the contrary, we are never at a loss to conceive a just idea of one simple expression, because the Original from which the Copy is drawn exists in our own mind. We are likewise naturally taught to distinguish properly the insignia of imaginary creatures. Thus Fear is always known by her _bristled hair_, Admiration by his _erected eyes_, Time has his _scythe_ and his _hour-glass_, and Fortune (unchangeable in one sense) stands _blind_ on the _globe_, to which she was exalted by Cebes[82]. [Footnote 82: Cebet. Tab.] I ought, my Lord, to apologize for the length of this Digression on the nature of allegorical Persons; a subject which I have treated more particularly, as I do not remember to have seen it canvassed minutely by any Writer either ancient or modern. I shall only observe further on this head, that though a Poet is seldom in hazard of being grossly faulty, with respect to the dress and insignia of his personages, yet intemperate imagination will induce him to use this noble figure too frequently by personifying objects of small comparative importance; or by leaving the simple and natural path, to entangle himself in the labyrinth of Fiction. This is the fault which we have already found to characterise the writings of the first Lyric Poets, from which we should find it an hard task to vindicate their successors, even in the most improved state of ancient learning. Instead of producing examples of this intemperance, which the Greek Theology was peculiarly calculated to indulge, I shall only observe in general, that we are mistaken in thinking that the Genius of a Poet is indicated by the diversified incidents which enter into his Fable. True Genius, even in its most early productions, be discovered rather by _vivid_ and _picturesque descriptions_, than by any circumstances however extraordinary in the _narration_ of _events_. It is no difficult matter to conceive a series of fictitious incidents, and to connect them together in one story, though it requires judgment to do this in such a manner, as that the whole may have some happy and continued allusion to truth. We can imagine, for instance, with great ease something as impossible as Ariosto’s Magician pursuing the man who had taken off his head. But it will be found a much more difficult task, either to throw out one of those strokes of Nature which penetrate the heart, and cleave it with terror and with pity; or to paint Thought in such striking colours, as to render it immediately visible to the eye[83].