Here Lowly Innocence makes a sure retreat,
A harmless Life, and ignorant of deceit,
and free from fears with various sweet's encrease,
And all's or'e spread with the soft wings of Peace:
Here Oxen low, here Grots, and purling Streams,
And Spreading shades invite to easy dreams.
And thus Horace,
Happy the man beyond pretence
Such was the state of Innocence, &c.
{6} And from this head I think the dignity of _Bucolicks_ is
sufficiently cleared, for as much as the Golden Age is to be preferred
before the _Heroick_, so much _Pastorals_ must excell _Heroick_ Poems:
yet this is so to be understood, that if we look upon the majesty and
loftiness of _Heroick_ Poems, it must be confest that they justly
claim the preheminence; but if the unaffected neatness, elegant,
graceful smartness of the expression, or the polite dress of a Poem be
considered, then they fall short of _Pastorals_: for this sort flows
with Sweet, Elegant, neat and pleasing fancies; as is too evident to
every one that hath tasted the sweeter muses, to need a farther
explication: for tis not probable that _Asinius Pollio_, _Cinna_,
_Varius_, _Cornelius Gallus_, men of the neatest Wit, and that lived
in the most polite Age, or that _Augustus Cæsar_ the Prince of the
_Roman_ elegance, as well as of the common Wealth, should be so
extreamly taken with _Virgils Bucolicks_, or that _Virgil_ himself a
man of such singular prudence, and so correct a judgment, should
dedicate his Eclogues to those great Persons; unless he had known that
there is somewhat more then ordinary Elegance in those sort of
Composures, which the wise perceive, tho far above the understanding
of the Crowd: nay if _Ludovicus Vives_, a very learned man, and
admired for politer studies may be believed, there is somewhat more
sublime and excellent in those _Pastorals_, than the Common {7} sort
of Grammarians imagine: This I shall discourse of in an other place,
and now inquire into the Antiquity of Pastorals.
Since _Linus_, _Orpheus_, and _Eumolpus_ were famous for their Poems,
before the _Trojan_ wars; those are certainly mistaken, who date
Poetry from that time; I rather incline to their opinion who make it
as old as the World it self; which Assertion as it ought to be
understood of Poetry in general, so especially of _Pastoral_, which,
as _Scaliger_ delivers, was the most antient kind of Poetry, and
resulting from the most _antient_ way of Liveing: _Singing first began
amongst Sheapards as they fed their Flocks, either by the impulse of
nature, or in imitation of the notes of Birds, or the whispering of
Trees._
For since the first men were either _Sheapards_ or _Ploughmen_, and
_Sheapards_, as may be gathered out of _Thucydides_ and _Varro_, were
before the others, they were the first that either invited by their
leisure, or (which _Lucretius_ thinks more probable) in imitation of
Birds, began a tune.
Thro all the Woods they heard the pleasing noise
Of chirping Birds, and try'd to frame their voice,
And Imitate, thus Birds instructed man,
And taught them Songs before their Art began.
In short, tis so certain that Verses first began in the Country that
the thing is in it self evident, and this _Tibullus_ very plainly
signifies,
{8} First weary at his Plough the labouring Hind
In certain feet his rustick words did bind:
His dry reed first he tun'd at sacred feasts
To thanks the bounteous Gods, and cheer his Guests.
_In certain feet_ according to _Bern Cylenius_ of _Verona_ his
interpretation _in set measures_: for _Censorinus_ tells us, that the
antient Songs were loose and not ty'd up to any strict numbers, and
afterwards by certain laws and acknowledged rules were confin'd to
such and such measures: for this is the method of Nature in all her
works, from imperfect and rude beginnings things take their first
rise, and afterwards by fit and apposite additions are polish't, and
brought to perfection: such were the Verses which heretofore the
_Italian_ Sheapards and Plough-men, as _Virgil_ says, sported amongst
themselves.
Italian Plough-men sprung from antient _Troy_
Did sport unpolish't Rhymes--
_Lucretius_ in his Fifth Book _de Natura Rerum_, says, that Sheapards
were first taught by the rushing of soft Breezes amongst the Canes to
blow their Reeds, and so by degrees to put their Songs in tune.
For Whilst soft Evening Gales blew or'e the Plains
And shook the sounding Reeds, they taught the Swains,
And thus the Pipe was fram'd, and tuneful Reed,
And whilst the Flocks did then securely feed,
The harmless Sheapards tun'd their Pipes to Love,
{9} And Amaryllis name fill'd every Grove.
From all which tis very plain that _Poetry_ began in those days, when
Sheapards took up their employment: to this agrees _Donatus_ in his
Life of _Virgil_, and _Pontanus_ in his Fifth Book of Stars, as
appears by these Verses.
Here underneath a shade by purling Springs
The Sheapards Dance, whilst sweet _Amyntas_ sings;
Thus first the new found Pipe was tun'd to Love,
And Plough-men taught their Sweet hearts to the Grove,
Thus the _Fescennine_ jests when they sang harvest-home, and then too
the Grape gatherers and Reapers Songs began, an elegant example of
which we have in the Tenth _Idyllium_ of _Theocritus_.
From this birth, as it were, of _Poetry_, Verse began to grow up to
greater matters; For from the common discourse of _Plough-men_ and
_Sheapards_, first _Comedy_, that Mistress of a private Life, next
_Tragedy_, and then _Epick Poetry_ which is lofty and _Heroical_
arrose, This _Maximus Tyrius_ confirms in his Twenty first
dissetation, where he tells us that Plough-men just comeing from their
work, and scarce cleansed from the filth of their employment, did use
to flurt out some sudden and _extempore_ Catches; and from this
beginning Plays were produc'd and the Stage erected: Thus {10} much
concerning the _Antiquity_, next of the _Original_ of this sort.
About this Learned men cannot agree, for who was the first Author, is
not sufficiently understood; _Donatus_, tis true, tells us tis proper
to the Golden Age, and therefore must needs be the product of that
happy time: but who was the Author, where, what time it was first
invented hath been a great Controversy, and not yet sufficiently
determined: _Epicharmus_ one of _Pythagoras_ his School, in his
*alkyoni* mentions one _Diomus_ a _Sicilian_, who, if we believe
_Athænæus_ was the first that wrote _Pastorals: those that fed Cattle
had a peculiar kind of Poetry, call'd Bucolicks, of which Dotimus a
Sicilian was inventer:_
_Diodorus Siculus_ *en tois mythologoumenois*, seems to make
_Daphnis_ the son of _Mercury_ and a certain _Nymph_, to be the
Author; and agreeable to this, _Theon_ an old _scholiast_ on
_Theocritus_, in his notes upon the first _Idyllium_ mentioning
_Daphnis_, adds, _he was the author of Bucolicks_, and _Theocritus
himself_ calls him _the Muses Darling_: and to this Opinion of
_Diodorus Siculus Polydore Virgil_ readily assents.
But _Mnaseas_ of _Patara_ in a discourse of his concerning _Europa_,
speaks thus of a Son of _Pan_ the God of Sheapards: _Panis Filium
Bubulcum à quo & Bucolice canere:_ Now Whether _Mnaseas_ by that
_Bubulcum_, means only a _Herds-man_, or one skilled in _Bucolicks_,
is uncertain; but if _Valla's_ {11} judgment be good, tis to be taken
of the latter: yet _Ælian_ was of another mind, for he boldly affirms
that _Stesichorus_ called _Himeræus_ was the first, and in the same
place adds, that _Daphnis_ the Son of _Mercury_ was the first Subject
of _Bucolicks_.
Some ascribe the Honor to _Bacchus_ the President of the _Nymphs,
Satyrs_, and the other Country Gods, perhaps because he delighted in
the Country; and others attribute it to _Apollo_ called _Nomius_ the
God of Sheapards, and that he invented it then when he served
_Admetus_ in _Thessaly_, and fed his Herds: For, tis likely, he to
recreate himself, and pass away his time, applied his mind to such
Songs as were best suitable to his present condition: Many think we
owe it to _Pan_ the God of Sheapards, not a few to _Diana_ that
extreamly delighted in solitude and Woods; and some say _Mercury_
himself: of all which whilst _Grammarians_ prattle, according to their
usual custome they egregiously trifle; they suffer themselves to be
put upon by Fables, and resign their judgment up to foolish
pretentions, but things and solid truth is that we seek after.
As about the Author, so concerning the place of its Birth there is a
great dispute, some say _Sparta_, others _Peloponesus_, but most are
for _Sicily_.
_Valla the Placentine_, a curious searcher into Antiquity, thinks
this sort of Poetry first appear'd amongst the _Lacedemonians_, for
when the _Persians_ had wasted allmost all _Greece_, the _Spartans_
say {12} that they for fear of the _Barbarians_ fled into Caves and
lurking holes; and that the Country Youth then began to apply
themselves in Songs to _Diana Caryatis_, together with the Maids, who
midst their Songs offerd Flowers to the Goddess: which custome
containing somewhat of Religion was in those places a long time very
scrupulously observed.
_Diomedes_ the Grammarian, in his treatise of _Measures_, declares
_Sicily_ to be the Place: for thus he says, the _Sicilian_ Sheapards
in time of a great _Pestilence_, began to invent new Ceremonies to
appease incensed _Diana_, whom afterward, for affording her help, and
stopping the Plague they called *Lyên*: _i.e._ the _Freer_ from their
Miserys. This grew into custom, and the Sheapards used to meet in
Companies, to sing their deliverer _Diana's_ praise, and these
afterwards passing into _Italy_ were there named _Bucoliastæ_.
_Pomponius Sabinus_ tells the story thus: When the Hymns the Virgins
us'd to sing in the Country to _Diana_ were left off, because, by
reason of the present Wars, the Maidens were forc't to keep close
within the Towns; the Shepherds met, and sang these kind of Songs,
which are now call'd _Bucolicks_, to _Diana_; to whom they could not
give the usual worship by reason of the Wars: But _Donatus_ says, that
this kind of Verses was first sung to _Diana_ by _Orestes_, when he
wandred about _Italy_; after he fled from _Scythia Taurica_, and had
{13} taken away the Image of the Goddess and hid it in a bundle of
sticks, whence she receiv'd the name of _Fascelina_, or _Phacelide_
*apo tou phakelou* At whose Altar, the very same _Orestes_ was
afterward expiated by his Sister _Iphigenia_: But how can any one
rely on such Fables, when the inconsiderable Authors that propose them
disagree so much amongst themselves?
Some are of Opinion that the Shepherds, were wont in solem and set
Songs about the Fields and Towns to celebrate the Goddess _Pales_; and
beg her to bless their flocks and fields with a plenteous encrease and
that from hence the name, and composure of _Bucolicks_ continued.
Other prying ingenious Men make other conjectures, as to this mazing
Controversy thus _Vossius_ delivers himself; _The Antients cannot be
reconcil'd, but I rather incline to their opinion who think_ Bucolicks
_were invented either by the_ Sicilians _or_ Peloponesians, _for both
those use the_ Dorick _dialect, and all the_ Greek Bucolicks _are writ
in that_: As for my self I think, that what _Horace_ says of _Elegies_
may be apply'd to the present Subject.
But who soft Elegies was the first that wrote
Grammarians doubt, and cannot end the doubt:
For I find nothing certain about this matter, since neither _Valla_ a
diligent inquirer after, and a good judge in such things, nor any of
the late writers produce any thing upon which I can safely rely; yet
what beginning this kind of Poetry {14} had, I think I can pretty well
conjecture: for tis likely that first Shepherds us'd Songs to recreate
themselves in their leisure hours whilst they fed their Sheep; and
that each man, as his wit served, accommodated his Songs to his
present Circumstances: to this Solitude invited, and the extream
leisure that attends that employment absolutely requir'd it: For as
their retirement gave them leisure, and Solitude a fit place for
Meditation, Meditation and Invention produc'd a Verse; which is
nothing else but a Speech fit to be sung, and so Songs began: Thus
_Hesiod_ was made a Poet, for he acknowledges himself that he receiv'd
his inspiration;
Whilst under _Helicon_ he fed his Lambs.
for either the leisure or fancy of Shepherds seems to have a natural
aptitude to Verse.
And indeed I cannot but agree with _Lucretius_ that accurate Searcher
into Nature, who delivers that from that state of Innocence the Golden
Age, Pastorals continued down to his time, for after he had in his
fifth book describ'd that most happy age, he adds,
For then the Rural Muses reign'd.
From whence 'tis very plain, that as _Donatus_ himself observ'd,
Pastorals were the invention of the simplicity and innocence of that
Golden age, if there was ever any such, or certainly of that time
which succeeded the beginning of the World: For tho the Golden Age
must be acknowledged {15} to be only in the fabulous times, yet 'tis
certain that the Manners of the first Men were so plain and simple,
that we may easily derive both the innocent imployment of Shepherds,
and Pastorals from them.
{16} _The Second_ PART.
Now let us inquire into the nature of _Pastoral_, in what its
excellencies consist, and how it must be made to be exact: And this
must needs be a hard Task, since I have no guide, neither _Aristotle_
nor _Horace_ to direct me; for both they, whatever was the matter,
speak not one word of this sort of Verse. And I am of opinion that
none can treat well and clearly of any kind of _Poetry_ if he hath no
helps from these two: But since they lay down some general Notions of
_Poetry_ which may be useful in the present case, I shall follow their
steps as close as possible I can.
Not only _Aristotle_ but _Horace_ too hath defin'd that _Poetry_ in
general is Imitation; I mention only these two, for tho _Plato_ in his
Second Book _de Rep._ and in his _Timæus_ delivers the same thing, I
shall not make use of his Authority at all: Now as _Comedy_ according
to _Aristotle_ is the _Image and Representation of a gentiel and City
Life_, so is _Pastoral Poetry_ of a County and _Sheapards_ Life; for
since _Poetry_ in general is Imitation; its several _Species_ must
likewise Imitate, take _Aristotles_ own words _Cap._ 1. *pasai
tynchanousin ousa mimêseis*; And these _Species_ are {17} differenc't
either by the subject matter, when the things to be imitated are quite
different, or when the manner in which you imitate, or the mode of
imitation is so: *en trisi dê tautais diaphorais hê mimêsis estin, en
hois kai ha, kai hôs*: Thus tho of _Epick_ Poetry and _Tragedy_ the
Subject is the same, and some great illustrious Action is to be
_imitated_ by both, yet since one by representation, and the other by
plain narration imitates, each makes a different _Species_ of
imitation. And _Comedy_ and _Tragedy_, tho they agree in this, that
both represent, yet because the Matter is different, and _Tragedy_
must represent some brave action, and _Comedy_ a humor; these Two
sorts of imitation are _Specifically different_. And upon the same
account, since _Pastoral_ chooses the mannes of Sheapards for its
imitation, it takes from its matter a peculiar difference, by which it
is distinguish'd frõ all others.
But here _Benius_ in his comments upon _Aristotle_ hath started a
considerable query: which is this; Whether _Aristotle_, when he
reckons up the different _Species_ of Poetry _Cap_ 1. doth include
_Pastoral,_ or no? And about this I find learn'd men cannot at all
agree: which certainly _Benius_ should have determin'd, or not rais'd:
some refer it to that sort which _was sung to Pipes_, for that
_Pastorals_ were so _Apuleius_ intimates, when at the marriage Feast
of _Phyche_ He brings in _Paniscus_ singing _Bucolicks_ to his Pipe;
But since they did not seriously enough consider, what _Aristotle_
{18} meant by that which he calls *aulêtikên* they trifle, talk idly,
and are not to be heeded in this matter; For suppose some _Musitian_
should sing _Virgils Ænæis_ to the Harp, (and _Ant. Lullus_ says it
hath been done,) should we therefore reckon that divine and
incomparable Master of _Heroick_ Poetry amongst the _Lyricks_?
Others with _Cæsius Bassus_ and _Isacius Tzetzes_ hold that that
distribution of _Poetry_, which _Aristotle_ and _Tully_ hath left us,
is deficient and imperfect; and that only the chief Species are
reckoned, but the more inconsiderable not mention'd: I shall not here
interest my self in that quarrel of the _Criticks_, whether we have
all _Aristotles_ books of Poetry or no; this is a considerable
difficulty I confess, for _Laertius_ who accurately weighs this
matter, says that he wrote two books of _Poetry_, the one lost, and
the other we have, tho _Mutinensis_ is of an other mind: but to end
this dispute, I must agree with _Vossius_, who says the Philosopher
comprehended these Species not expressly mentioned, under a higher and
more noble head: and that therefore _Pastoral_ was contain'd in
_Epick_. for these are his own words, _besides there are Epicks of an
inferior rank, such as the Writers of Bucolicks_. _Sincerus_, as
_Minturnus_ quotes him, is of the same mind, for thus he delivers his
opinion concerning _Epick Verse_: _The matters about which these
numbers may be employed is various; either mean and low, as in
Pastorals, great and lofty, as when {19} the Subject is Divine Things,
or Heroick Actions, or of a middle rank, as when we use them to
deliver precepts in:_ And this likewise he signifys before, where he
sets down three sorts of _Epicks_: _one of which, says he, is divine,
and the most excellent by much in all Poetry_; the _other the lowest
but most pure, in which Theocritus excelled, which indeed shews
nothing of Poetry beside the bare numbers_: These points being thus
settled, the remaining difficultys will be more easily dispatched.
For as in _Dramatick_ Poetry the Dignity and meanness of the
_Persons_ represented make two different _Species of imitation_ the
one _Tragick_, which agrees to none but great and Illustrious persons,
the other _Comick_, which suits with common and gentile humors: so in
_Epick_ too, there may be reckoned two sorts of _Imitation_, one of
which belongs to _Heroes_, and that makes the _Heroick_; the other to
_Rusticks_ and _Sheapards_ and that constitutes the _Pastoral_, now as
a _Picture_ imitates the Features of the face, so _Poetry_ doth
action, and tis not a representation of the Person but the Action.
From all which we may gather this definition of Pastoral: _It is the
imitation of the Action of a Sheapard, or of one taken under that
Character_: Thus _Virgil's Gallus_, tho not really a _Sheapard_, for
he was a man of great quality in _Rome_, yet belongs to _Pastoral_,
because he is represented like a Sheapard: hence the Poet:
{20} The Goatherd and the heavy Heardsmen came,
And ask't what rais'd the deadly Flame.
The _Scene_ lys amongst Sheapards, the _Swains_ are brought in, the
_Herdsmen_ come to see his misery, and the fiction is suited to the
real condition of a _Sheapard_; the same is to be said for his
_Silenus_, who tho he seems lofty, and to sound to loud for an oaten
reed, yet since what he sings he sings to _Sheapards_, and suits his
Subject to their apprehensions, his is to be acknowledged _Pastoral_.
This rule we must stick to, that we might infallibly discern what is
stricktly _Pastoral_ in _Virgil_ and _Theocritus_, and what not: for
in _Theocritus_ there are some more lofty thoughts which not having
any thing belonging to Sheapards for their Subject, must by no means
be accounted _Pastoral_, But of this more in its proper place.
My present inquiry must be what is the _Subject Matter_ of a
_Pastoral_, about which it is not easy to resolve; since neither from
_Aristotle_, nor any of the _Greeks_ who have written _Pastorals_, we
can receive certain direction. For sometimes they treat of high and
sublime things, like _Epick Poets_; what can be loftier than the whole
_Seaventh Idyllium of Bias_ in which _Myrsan_ urges _Lycidas_ the
Sheapard to sing the Loves of _Deidamia_ and _Achilles_. For he
begins from _Helen's_ rape, and goes on to the revengful fury of the
_Atrides_, and shuts up in one _Pastoral_, all that is great and
sounding in _Homers Iliad_.
{21} Sparta was fir'd with Rage
And gather'd Greece to prosecute Revenge.
And _Theocritus_ his verses are sometimes as sounding and his
thoughts as high: for upon serious consideration I cannot mind what
part of all the _Heroicks_ is so strong and sounding as that
_Idyllium_ on _Hercules_ *leontophonô* in which _Hercules_ himself
tells _Phyleus_ how he kill'd the Lyon whose Skin he wore: for, not to
mention many, what can be greater than this expression.
And gaping Hell received his mighty Soul:
Why should I instance in the *dioskouroi*, which hath not one line
below Heroick; the greatness of this is almost inexpressible.
*anêr hyperoplos enêmeros, endiaaske
deinos idein*
And some other pieces are as strong as these, such is the _Panegyrick
on Ptolemy_, _Helen's Epithalamium_, and the Fight of young _Hercules_
and the Snakes: now how is it likely that such Subjects should be fit
for _Pastorals_, of which in my opinion, the same may be said which
_Ovid_ doth of his _Cydippe_.
Cydippe, Homer, doth not fit thy Muse.
For certainly _Pastorals_ ought not to rise to the Majesty of
_Heroicks_: but who on the other side {22} dares reprehend such great
and judicious Authors, whose very doing it is Authority enough? What
shall I say of _Virgil_? who in his Sixth _Eclogue_ hath put together
allmost all the particulars of the fabulous Age; what is so high to
which _Silenus_ that Master of Mysterys doth not soar?
For lo! he sung the Worlds stupendious birth,
How scatter'd seeds of sea, of Air, and Earth,
And purer Fire thro universal night
And empty space did fruitfully unite:
From whence th' innumerable race of things
By circular successive order springs: