If a painter1 should wish to unite a horse's neck to a human head, and spread a variety of plumage over limbs [of different animals] taken from every part [of nature],2 so that what is a beautiful woman in the upper part terminates unsightly in an ugly fish below; could you, my friends, refrain from laughter, were you admitted to such a sight Believe, ye Pisos, the book will be perfectly like such a picture, the ideas of which, like a sick man's dreams, are all vain and fictitious: so that neither head nor foot can correspond to any one form. "Poets and painters [you will say] have ever had equal authority for attempting any thing." We are conscious of this, and this privilege we demand and allow in turn: but not to such a degree, that the tame should associate with the savage; nor that serpents should be coupled with birds, lambs with tigers.
In pompous introductions,3 and such as promise a great deal, it generally happens that one or two verses of purple patch-work, that may make a great show, are tagged on; as when the grove and the altar of Diana and the meandering of a current hastening through pleasant fields, or the river Rhine, or the rainbow is described. But here there was no room for these [fine things]: perhaps, too, you know how to draw a cypress:4 but what is that to the purpose, if he, who is painted for the given price, is [to be represented as] swimming hopeless out of a shipwreck? A large vase at first was designed: why, as the wheel revolves, turns out a little pitcher? In a word, be your subject what it will, let it be merely simple and uniform.
The great majority of us poets, father, and youths worthy such a father, are misled by the appearance of right. I labor to be concise, I become obscure: nerves and spirit fail him, that aims at the easy: one, that pretends to be sublime, proves bombastical: he who is too cautious and fearful of the storm, crawls along the ground: he who wants to vary his subject in a marvelous manner,
5 paints the dolphin in the woods, the boar in the sea. The avoiding of an error leads to a fault, if it lack skill.
A statuary about the Aemilian school shall of himself, with singular skill,6 both express the nails, and imitate in brass the flexible hair; unhappy yet in the main, because he knows not how to finish a complete piece. I would no more choose to be such a one as this, had I a mind to compose any thing, than to live with a distorted nose, [though] remarkable for black eyes and jetty hair.
Ye who write, make choice of a subject suitable to your abilities; and revolve in your thoughts a considerable time what your strength7 declines, and what it is able to support. Neither elegance of style, nor a perspicuous disposition, shall desert the man, by whom the subject matter is chosen judiciously.
This, or I am mistaken, will constitute the merit and beauty of arrangement, that the poet just now say what ought just now to be said, put off most of his thoughts, and waive them for the present.
