It is true, the boldness of the figures is to be hidden sometimes by the address of the poet; that they may work their effect upon the mind, without discovering the art which caused it.  And therefore they are principally to be used in passion; when we speak more warmly, and with more precipitation than at other times:  For then, Si vis me flere, dolendum est primum ipsi tibi; the poet must put on the passion he endeavours to represent:  A man in such an occasion is not cool enough, either to reason rightly, or to talk calmly.  Aggravations are then in their proper places; interrogations, exclamations, hyperbata, or a disordered connection of discourse, are graceful there, because they are natural.  The sum of all depends on what before I hinted, that this boldness of expression is not to be blamed, if it be managed by the coolness and discretion which is necessary to a poet.

Yet before I leave this subject, I cannot but take notice how disingenuous our adversaries appear:  All that is dull, insipid, languishing, and without sinews, in a poem, they call an imitation of nature:  They only offend our most equitable judges, who think beyond them; and lively images and elocution are never to be forgiven.

What fustian, as they call it, have I heard these gentlemen find out in Mr Cowley’s Odes!  I acknowledge myself unworthy to defend so excellent an author, neither have I room to do it here; only in general I will say, that nothing can appear more beautiful to me, than the strength of those images which they condemn.

Imaging is, in itself, the very height and life of poetry.  It is, as Longinus describes it, a discourse, which, by a kind of enthusiasm, or extraordinary emotion of the soul, makes it seem to us, that we behold those things which the poet paints, so as to be pleased with them, and to admire them.

If poetry be imitation, that part of it must needs be best, which describes most lively our actions and passions; our virtues and our vices; our follies and our humours:  For neither is comedy without its part of imaging; and they who do it best are certainly the most excellent in their kind.  This is too plainly proved to be denied:  But how are poetical fictions, how are hippocentaurs and chimeras, or how are angels and immaterial substances to be imaged; which, some of them, are things quite out of nature; others, such whereof we can have no notion?  This is the last refuge of our adversaries; and more than any of them have yet had the wit to object against us.  The answer is easy to the first part of it:  The fiction of some beings which are not in nature, (second notions, as the logicians call them) has been founded on the conjunction of two natures, which have a real separate being.  So hippocentaurs were imaged, by joining the natures of a man and horse together; as Lucretius tells us, who has used this word of image oftener than any of the poets: