That which giveth a poem the true and natural colour, consisteth in two things; which are, _to know well_, that is, to have images of nature in the memory distinct and clear; and _to know much_. A sign of the first is perspicuity, propriety, and decency; which delight all sorts of men, either by instructing the ignorant, or soothing the learned in their knowledge. A sign of the latter is novelty of expression, and pleaseth by excitation of the mind; for novelty causeth admiration, and admiration curiosity, which is a delightful appetite of knowledge. There be so many words in use at this day in the English tongue, that, though of magnific sound, yet like the windy blisters of troubled waters, have no sense at all, and so many others that lose their meaning by being ill coupled; that it is a hard matter to avoid them. For having been obtruded upon youth in the schools, by such as make it, I think, their business there, as it is expressed by the best poet “With terms to charm the weak and pose the wise,” GONDIBERT, Book ii. Canto 5, verse 44. they grow up with them, and gaining reputation with the ignorant, are not easily shaken off. To this palpable darkness, I may also add the ambitious obscurity of expressing more than is perfectly conceived; or perfect conception in fewer words than it requires. Which expressions, though they have had the honour to be called strong lines, are indeed no better than riddles, and not only to the reader, but also after a little time to the writer himself, dark and troublesome. To the propriety of expression I refer that clearness of memory, by which a poet when he hath once introduced any person whatsoever, speaking in his poem, maintaineth in him to the end the same character he gave him in the beginning. The variation whereof, is a change of pace, that argues the poet tired.