(1) Poesy is a part of learning in measure of words, for the most part restrained, but in all other points extremely licensed, and doth truly refer to the imagination; which, being not tied to the laws of matter, may at pleasure join that which nature hath severed, and sever that which nature hath joined, and so make unlawful matches and divorces of things — Pictoribus atque poetis, &c. It is taken in two senses in respect of words or matter. In the first sense, it is but a character of style, and belongeth to arts of speech, and is not pertinent for the present. In the latter, it is — as hath been said — one of the principal portions of learning, and is nothing else but feigned history, which may be styled as well in prose as in verse.

(2) The use of this feigned history hath been to give some shadow of satisfaction to the mind of man in those points wherein the nature of things doth deny it, the world being in proportion inferior to the soul; by reason whereof there is, agreeable to the spirit of man, a more ample greatness, a more exact goodness, and a more absolute variety, than can be found in the nature of things. Therefore, because the acts or events of true history have not that magnitude which satisfieth the mind of man, poesy feigneth acts and events greater and more heroical. Because true history propoundeth the successes and issues of actions not so agreeable to the merits of virtue and vice, therefore poesy feigns them more just in retribution, and more according to revealed Providence. Because true history representeth actions and events more ordinary and less interchanged, therefore poesy endueth them with more rareness and more unexpected and alternative variations. So as it appeareth that poesy serveth and conferreth to magnanimity, morality and to delectation. And therefore, it was ever thought to have some participation of divineness, because it doth raise and erect the mind, by submitting the shows of things to the desires of the mind; whereas reason doth buckle and bow the mind unto the nature of things. And we see that by these insinuations and congruities with man’s nature and pleasure, joined also with the agreement and consort it hath with music, it hath had access and estimation in rude times and barbarous regions, where other learning stood excluded.

(3) The division of poesy which is aptest in the propriety thereof (besides those divisions which are common unto it with history, as feigned chronicles, feigned lives, and the appendices of history, as feigned epistles, feigned orations, and the rest) is into poesy narrative, representative, and allusive. The narrative is a mere imitation of history, with the excesses before remembered, choosing for subjects commonly wars and love, rarely state, and sometimes pleasure or mirth. Representative is as a visible history, and is an image of actions as if they were present, as history is of actions in nature as they are (that is) past. Allusive, or parabolical, is a narration applied only to express some special purpose or conceit; which latter kind of parabolical wisdom was much more in use in the ancient times, as by the fables of AEsop, and the brief sentences of the seven, and the use of hieroglyphics may appear. And the cause was (for that it was then of necessity to express any point of reason which was more sharp or subtle than the vulgar in that manner) because men in those times wanted both variety of examples and subt............