Deformity is always disgusting, and the imagination cannot reconcile it with the idea of a favourite character; therefore the poet and romance-writer are fully justified in giving a larger share of beauty to their principal figures than is usually met with in common life. A late genius, indeed, in a whimsical mood, gave us a lady with her nose crushed for the heroine of his story; but the circumstance spoils the picture; and though in the course of the story it is kept a good deal out of sight, whenever it does recur to the imagination we are hurt and disgusted. It was an heroic instance of virtue in the nuns of a certain abbey, who cut off their noses and lips to avoid violation; yet this would make a very bad subject for a poem or a play. Something akin to this is the representation of any thing unnatural; of which kind is the famous story of the Roman charity, and for this reason I cannot but think it an unpleasing subject for either the pen or the pencil.
Poverty, if truly represented, shocks our nicer feelings; therefore, whenever it is made use of to awaken our compassion, the rags and dirt, the squalid appearance and mean employments incident to that state must be kept out of sight, and the distress must arise from the idea of depression, and the shock of falling from higher fortunes. We do not pity Belisarius as a poor blind beggar; and a painter would succeed very ill who should sink him to the meanness of that condition. He must let us still discover the conqueror of the Vandals, the general of the imperial armies, or we shall be little interested. Let us look at the picture of the old woman in Otway:
—— A wrinkled hag with age grown double,
Picking dry sticks, and muttering to herself;
Her eyes with scalding rheum were gall’d and red;
Cold palsie shook her head; her hands seem’d wither’d;
And on her crooked shoulder had she wrapt
The tatter’d remnant of an old strip’d hanging,
Which serv’d to keep her carcase from the cold;