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 dreadful that his intimate friend, who is also an excellent man, should die?—By no means (an excessive refinement). He will abstain then from lamenting over his loss, as if he had suffered some great evil?—Surely.—May we not assert in addition, that such a person as we have described suffices to himself for all purposes of living well and happily, and in no manner needs the assistance or society of another? that he would endure with resignation the destitution of a son, or a brother, or possessions, or whatever external adjuncts of life might have been attached to him? and that, on the occurrence of such contingencies, he would support them with moderation and mildness, by no means bursting into lamentations, or resigning himself to despondence?—Lib. iii. Then he proceeds to allege passages of the poets in which opposite examples were held up to approbation and imitation.

XIV.—THE INFLUENCE OF EARLY CONSTANT IMITATION.

Do you not apprehend that imitations, if they shall have been practised and persevered in from early youth, become established in the habits and nature, in the gestures of the body, and the tones of the voice, and lastly, in the intellect itself?—C. iii.

XV.—ON THE EFFECT OF BAD TASTE IN ART.

Nor must we restrict the poets alone to an exhibition of the example of virtuous manners in their compositions, but all other artists must be forbidden, either in sculpture, or painting, or architecture, to employ their skill upon forms of an immoral, unchastened, monstrous, or illiberal type, either in the forms of living beings, or