And yet I am not ignorant that there be artes and methods both to speake and to perswade and also to dispute, and by which the naturall is in some sorte relieued, as th'eye by his spectacle, I say relieued in his imperfection, but not made more perfit then the naturall, in which respect I call those artes of Grammer, _Logicke_, and _Rhetorick_ not bare imitations, as the painter or keruers craft and worke in a forraine subiect viz. a liuely purtraite in his table of wood, but by long and studious obseruation rather a repetition or reminiscens naturall, reduced into perfection, and made prompt by use and exercise. And so whatsoeuer a man speakes or perswades he doth it not by imitation artificially, but by obseruation naturally (though one follow another) because it is both the same and the like that nature doth suggest: but if a popingay speake, she doth it by imitation of mans voyce artificially and not naturally being the like, but not the same that nature doth suggest to man. But now because our maker or Poet is to play many parts and not one alone, as first to deuise his plat or subiect, then to fashion his poeme, thirdly to vse his metricall proportions, and last of all to vtter with pleasure and delight, which restes in his maner of language and stile as hath bene said, whereof the many moodes and straunge phrases are called figures, it is not altogether with him as with the crafts man, nor altogither otherwise then with the crafts man, for in that he vseth his metricall proportions by appointed and harmonicall measures and distaunces, he is like the Carpenter or Ioyner, for borrowing their tymber and stuffe of nature, they appoint and order it by art otherwise then nature would doe, and worke effects in apparance contrary to hers. Also in that which the Poet speakes or reports of another mans tale or doings, as _Homer_ of _Priamus_ or _Vlisses_, he is as the painter or keruer that worke by imitation and representation in a forrein subiect, in that he speakes figuratiuely, or argues subtillie, or perswades copiously and vehemently, he doth as the cunning gardiner that vsing nature as a coadiutor, furders her conclusions & many times makes her effectes more absolute and straunge. But for that in our maker or Poet, which restes onely in deuise and issues from an excellent sharpe and quick inuention, holpen by a cleare and bright phantasie and imagination, he is not as the painter to counterfaite the naturall by the like effects and not the same, nor as the gardiner aiding nature to worke both the same and the like, nor as the Carpenter to worke effects vtterly vnlike, but euen as nature her selfe working by her owne peculiar vertue and proper instinct and not by example or meditation or exercise as all other artificers do, is then most admired when he is most naturall and least artificiall. And in the feates of his language and vtterance, because they hold as well of nature to be