3. And we shall fix our young man yet the more if, when we enter him in the poets, we first describe poetry to him, and tell him that it is an imitating art and doth in many respects correspond to painting; not only acquainting him with that common saying, that poetry is vocal painting and painting silent poetry, but teaching him, moreover, that when we see a lizard or an ape or the face of a Thersites in a picture, we are surprised with pleasure and wonder at it, not because of any beauty in the things, but for the likeness of the draught. For it is repugnant to the nature of that which is itself foul to be at the same time fair; and therefore it is the imitation—be the thing imitated beautiful or ugly—that, in case it do express it to the life, is commended; and on the contrary, if the imitation make a foul thing to appear fair, it is dispraised because it observes not decency and likeness. Now some painters there are that paint uncomely actions; as Timotheus drew Medea killing her children; Theon, Orestes murdering his mother; and Parrhasius, Ulysses counterfeiting madness; yea, Chaerephanes expressed in picture the unchaste converse of women with men. Now in such cases a young man is to be familiarly acquainted with this notion, that, when men praise such pictures, they praise not the actions represented but only the painter’s art, which doth so lively express what was designed in them. Wherefore, in like manner, seeing poetry many times describes by imitation foul actions and unseemly passions and manners, the young student must not in such descriptions (although performed never so artificially and commendably) believe all that is said as true or embrace it as good, but give its due commendation so far only as it suits the subject treated of. For as, when we hear the grunting of hogs and the shrieking of pulleys and the rustling of wind and the roaring of seas, we are, it may be, disturbed and displeased, and yet when we hear any one imitating these or the like noises handsomely (as Parmenio did that of an hog, and Theodorus that of a pulley), we are well pleased; and as we avoid (as an unpleasing spectacle) the sight of sick persons and of a lazar full of ulcers, and yet are delighted to be spectators of the Philoctetes of Aristophon and the Jocasta of Silanion, wherein such wasting and dying persons are well acted; so must the young scholar, when he reads in a poem of Thersites the buffoon or Sisyphus the whoremaster or Batrachus the bawd speaking or doing any thing, so praise the artificial managery of the poet, adapting the expressions to the persons, as withal to look on the discourses and actions so expressed as odious and abominable. For the goodness of things themselves differs much from the goodness of the imitation of them; the goodness of the latter consisting only in propriety and aptness to represent the former. Whence to foul actions foul expressions are most suitable and proper. As the shoes