actions of a man who is unknown to us, our idea of
him is taken from the passion which appears to have predominated in his
conduct; but we are not acquainted with numberless little peculiarities
which enter into a complicated character, and have their corresponding
expressions imprinted on the countenance. Thus when we consider only the
martial exploits of the celebrated Duke de Vendome, we have the idea of
an Heroe full of spirit and impetuosity; but this idea would be very
imperfect as a representation of his character, if we did not know
likewise that he was slovenly, voluptuous, effeminate, and profuse[81].

[Footnote 81: Volt. Siec. Louis XIV. c. 21.]

These different ingredients, which enter into the mind of a real agent,
ought likewise to be nicely estimated as to the degrees in which they
predominate, before we could be properly qualified to judge of their
influence on his external appearance. As it is evidently impossible that
we can ever be thoroughly apprised of the former, it is therefore
obvious that our judgment of the latter must be always imperfect. On the
contrary, we are never at a loss to conceive a just idea of one simple
expression, because the Original from which the Copy is drawn exists in
our own mind. We are likewise naturally taught to distinguish properly
the insignia of imaginary creatures. Thus Fear is always known by her
_bristled hair_, Admiration by his _erected eyes_, Time has his _scythe_
and his _hour-glass_, and Fortune (unchangeable in one sense) stands
_blind_ on the _globe_, to which she was exalted by Cebes[82].

[Footnote 82: Cebet. Tab.]

I ought, my Lord, to apologize for the length of this Digression on the
nature of allegorical Persons; a subject which I have treated more
particularly, as I do not remember to have seen it canvassed minutely by
any Writer either ancient or modern.

I shall only observe further on this head, that though a Poet is seldom
in hazard of being grossly faulty, with respect to the dress and
insignia of his personages, yet intemperate imagination will induce him
to use this noble figure too frequently by personifying objects of small
comparative importance; or by leaving the simple and natural path, to
entangle himself in the labyrinth of Fiction. This is the fault which
we have already found to characterise the writings of the first Lyric
Poets, from which we should find it an hard task to vindicate their
successors, even in the most impr