Nevertheless, this principle is not once only but often to be inculcated and pressed on young men, that poetry, when it undertakes a fictitious argument by way of imitation, though it make use of such ornament and illustration as suit the actions and manners treated of, yet disclaims not all likelihood of truth, seeing the force of imitation, in order to the persuading of men, lies in probability. Wherefore such imitation as does not altogether shake hands with truth carries along with it certain signs of virtue and vice mixed together in the actions which it doth represent. And of this nature is Homer’s poetry, which totally bids adieu to Stoicism, the principles whereof will not admit any vice to come near where virtue is, nor virtue to have any thing to do where any vice lodgeth, but affirms that he that is not a wise man can do nothing well, and he that is so can do nothing amiss. Thus they determine in the schools. But in human actions and the affairs of common life the judgment of Euripides is verified, that Virtue and vice ne’er separately exist, But in the same acts with each other twist. Next, it is to be observed that poetry, waiving the truth of things, does most labor to beautify its fictions with variety and multiplicity of contrivance. For variety bestows upon fable all that is pathetical, unusual, and surprising, and thereby makes it more taking and graceful; whereas what is void of variety is unsuitable to the nature of fable, and so raiseth no passions at all. Upon which design of variety it is, that the poets never represent the same persons always victorious or prosperous or acting with the same constant tenor of virtue;—yea, even the Gods themselves, when they engage in human actions, are not represented as free from passions and errors;—lest, for the want of some difficulties and cross passages, their poems should be destitute of that briskness which is requisite to move and astonish the minds of men.