sometimes want of experience; whereby that seemeth to a man new and rare, which doth not so to others: sometimes pusillanimity; by which that seems great to him, which other men think a trifle: and whatsoever is new, or great, and therefore thought fit to be told, withdraws a man by degrees from the intended way of his discourse. In a good poem, whether it be _epic_, or _dramatic_; as also in _sonnets_, _epigrams_, and other pieces, both judgment and fancy are required: but the fancy must be more eminent; because they please for the extravagancy; but ought not to displease by indiscretion. In a good history, the judgment must be eminent; because the goodness consisteth, in the method, in the truth, and in the choice of the actions that are most profitable to be known. Fancy has no place, but only in adorning the style. In orations of praise, and in invectives, the fancy is predominant; because the design is not truth, but to honour or dishonour; which is done by noble, or by vile comparisons. The judgment does but suggest what circumstances make an action laudable, or culpable. In hortatives, and pleadings, as truth, or disguise serveth best to the design in hand; so is the judgment, or the fancy most required. [Sidenote: Discretion.] In demonstration, in counsel, and all rigorous search of truth, judgment does all, except sometimes the understanding have need to be opened by some apt similitude; and then there is so much use of fancy. But for metaphors, they are in this case utterly excluded. For seeing they openly profess deceit; to admit them into counsel, or reasoning, were manifest folly. And in any discourse whatsoever, if the defect of discretion be apparent, how extravagant soever the fancy be, the whole discourse will be taken for a sign of want of wit; and so will it never when the discretion is manifest, though the fancy be never so ordinary.