( 53 )

Appearance of a real Work , the more ridiculous itbecomes.

The to evffworrov as the great Master of Arts calls it inhis Poeticks, [cap. 23.) but particularly [cap. 7.) wherehe (hews that the r o ncaov the Beautiful or the Sublime inthese above mentioned Arts, is from the Expression ofGreatness with Order : that is to lay, exhibiting thePrincipal or Main of what is design’d, in the verylargest Proportions in which it is capable of being view’d.For when it is gigantick, ’tis in a Manner out of Sight,and can be no Way comprehended in that simple andunited View. As, on the contrary, when a Piece is of theMiniature Kind ; when it runs into the Detail and niceDelineation of every little Particular ; ’tis, as it were,invisible, for the fame Reason ; because the summaryBeauty , the Whole it self cannot be comprehended inthat one united View, which is broken and lost by thenecessary Attraction of the Eye to every {mail and sub-ordinate Part. In a poetick System, the same Regardmust be had to the Memory, as in Painting to the Eye.The dramatick is consin’d within the convenient andproper Time of a Spectacle. The Epick is left more atlarge. Each Work however, must aim at Fastness andbe as great and of as long Duration as possible ; but soas to be comprehended fas to the Main of it) by one eafyGlance or Retrospect of Memory. And this the Philo-7fopher calls, accordingly farm*

Respicere exemplar vitœ morumque jubeboDo&um imitatorem i Veras him ducere Voces.

, , , Hor. de Arte Poet.

H

The