Of the indecencies of an heroic poem, the most remarkable are those that show disproportion either between the persons and their actions, or between the manners of the poet and the poem. Of the first kind, is the uncomeliness of representing in great persons the inhuman vice of cruelty, or the sordid vices of lust and drunkenness. To such parts, as those the ancient approved poets thought it fit to suborn, not the persons of men, but of monsters and beastly giants, such as Polyphemus, Cacus, and the Centaurs. For it is supposed a Muse, when she is invoked to sing a song of that nature, should maidenly advise the poet to set such persons to sing their own vices upon the stage; for it is not so unseemly in a _tragedy_. Of the same kind it is to represent scurrility, or any action or language that moveth much laughter. The delight of an _epic_ poem consisteth not in mirth, but admiration. Mirth and laughter are proper to _comedy_ and _satire_. Great persons, that have their minds employed on great designs, have not leisure enough to laugh, and are pleased with the contemplation of their own power and virtues, so as they need not the infirmities and vices of other men to recommend themselves to their own favour by comparison, as all men do when they laugh. Of the second kind, where the disproportion is between the poet and the persons of his poem, one is in the dialect of the inferior sort of people, which is always different from the language of the court. Another is, to derive the illustration of any thing from such metaphors or comparisons as cannot come into men’s thoughts, but by mean conversation, and experience of humble or evil arts, which the person of an epic poem cannot be thought acquainted with. From _knowing much_, proceedeth the admirable variety and novelty of metaphors and similitudes, which are not possible to be lighted on in the compass of a narrow knowledge. And the want whereof compelleth a writer to expressions that are either defaced by time, or sullied with vulgar or long use. For the phrases of poesy, as the airs of music, with often hearing become insipid; the reader having no more sense of their force, than our flesh is sensible of the bones that sustain it. As the sense we have of bodies, consisteth in change of variety of impression, so also does the sense of language in the variety and changeable use of words. I mean not in the affectation of words newly brought home from travel, but in new, and withal significant, translation to our purposes, of those that be already received; and in far-fetched, but withal, apt, instructive, and comely similitudes.