by Fancy of the
figure of an Heroe, whose actions had raised admiration; I say, we find
that this representation has been wide of the truth, when we come either
to see the original, or a faithful copy of it: but our ideas of
imaginary persons are generally so exact, that upon seeing a group of
these displayed on a plate, we are capable to give each its proper
designation, as soon as we observe it. Thus Anger, Revenge, Despair,
Hope, &c. can be distinguished from each other almost as easily when
they are copied by the pencil, as when _we feel their influence on our
own minds, or make others observe it on our actions_.

From this detail it obviously follows, that as our ideas of imaginary
personages are more just and accurate, than those which are excited
merely by a particular relation of the actions of real ones; so we will
judge with more certainty of the precise colouring which belongs to the
former, and of the propriety with which they are introduced, than we can
possibly do with regard to the latter. A Painter may deceive us, by
throwing into the face of an Heroe, whom we have never seen, particular
marks of resolution and fortitude, which form only a part of his
character. But we cannot be deceived with regard to the signatures which
show the predominancy of these virtues, with whatever degree of justice
they may be applied. This observation has equal force, when we refer it
to the allegorical personages of the Poet. The least impropriety in the
colouring, dress, or arrangement of objects, is immediately perceptible,
and we pass a favourable judgment, when faults of this kind are ascribed
to inattention. In short, the imaginary persons who are introduced in a
poem, must on all occasions be distinguished by peculiar characters, and
the manners attributed to each of them ought to be such as can be
applied with no propriety to any other object. Every picture must
therefore be, as Pope somewhere has it,

Something whose truth convinc'd at sight we find.
That gives us back the image of the mind.

A little reflection will enable us to discover the reason of this
difference betwixt our ideas of allegorical and of real personages.
We are (as I formerly observed) often mistaken in our notions of the
latter of these, because the mind cannot receive a sufficient degree
of information, concerning the person, to be able to form any perfect
judgment of his address or demeanour. Upon hearing, for instance,
a recital of the