_Mopsus_ weds _Nisa_, what may'nt Lovers hope?
and in the second _Eclogue_,
{40} Whom dost thou fly ah frantick! oft the Woods
Hold Gods, and _Paris_ equal to the Gods.
This Grace _Virgil_ learn'd from _Theocritus_, allmost most all whose
Periods; especially in the third _Idyllium_, have no conjunction to
connect them, that the sense might be more close, and the Affection
vehement and strong: as in this
Let all things change, let Pears the Firs adorn
Now _Daphnis_ dyes.
And in the third _Eclogue_.
But when she saw, how great was the surprize! &c.
And any one may find a great many of the like in _Theocritus_ and
_Virgil_, if with a leisurely delight he nicely examines their
delicate Composures: And this I account the greatest grace in
_Pastorals_, which in my opinion those that write _Pastorals_ do not
sufficiently observe: 'Tis true Ours (the _French_) and the _Italian_
language is to babling to endure it; This is the Rock on which those
that write _Pastorals_ in their _Mother_ tongue are usually split, But
the _Italians_ are inevitably lost; who having store of _Wit_, a very
subtle invention and flowing fancy, cannot contain; everything that
comes into their mind must be poured out, nor are they able to endure
the least restraint: as is evident from _Marinus's_ _Idylliums_, and a
great many of that nation who have ventur'd on such composures; For
unless there are many {41} stops and breakings off in the series of a
_Pastoral_, it can neither be pleasing nor artificial: And in my
Opinion _Virgil_ excells _Theocritus_ in this, for _Virgil_ is
neither so continued, nor so long as _Theocritus_; who indulges too
much the garrulity of his _Greek_; nay even in those things which he
expresseth he is more close, and more cautiously conceals that part
which ought to be dissembled: And this I am sure is a most admirable
part of Eloquence; as _Tully_ in his Epistle to _Atticus_ says, _'Tis
rare to speak Eloquently, but more rare to be eloquently silent_: And
this unskillful _Criticks_ are not acquainted with, and therefore are
wont oftner to find fault with that which is not fitly exprest, than
commend that which is prudently conceal'd: I could heap up a great
many more things to this purpose, but I see no need of such a trouble,
since no man can rationally doubt of the goodness of my Observation.
Therefore, in short, let him that writes Pastorals think brevity, if
it doth not obscure his sense, to be the greatest grace which he can
attain.
Now why _Bucolicks_ should require such Brevity, and be so
essentially sparing in _Expression_, I see no other reason but this:
It loves _Simplicity_ so much that it must be averse to that Pomp and
Ostentation which _Epick_ Poetry must show, for that must be copious
and flowing, in every part smooth, and equal to it self: But
_Pastoral_ must dissemble, and hide even that which it would {42}
show, like _Damon's_ _Galatea_, who flies then when she most desires
to be discovered.
And to the Bushes flys, yet would be seen.
And this doth not proceed from any malitious ill-natur'd Coyness, as
some imagine, but from an ingenuous modesty and bashfulness, which
usually accompanies, and is a proof of _Simplicity: Tis very rare_,
says Pliny, _to find a man so exquisitely skillful, as to be able to
show those Features in a Picture which he hides_, and I think it to be
so difficult a task, that none but the most excellent Wits can attempt
it with success: For small Wits usually abound with a multitude of
words.
The third Grace of _Bucolicks_ is _Neatness_, which contains all the
taking prettiness and sweetness of Expression, and whatsoever is
call'd the Delicacies of the more delightful and pleasing _Muses_:
This the Rural _Muses_ bestow'd on _Virgil_, as _Horace_ in the tenth
_Satyr_ of his first Book says,
And _Virgils_ happy Muse in Eclogues plays,
soft and facetious;
Which _Fabius_ takes to signify the most taking neatness and most
exquisite Elegance imaginable: For thus he explains this place, in
which he agrees with _Tully_, who in his _Third Book de Oratore_,
says, the _Atticks_ are Facetious _i.e._ elegant: Tho the common
Interpreters of these words are not of the same mind: But if by
_Facetious Horace_ had meant _jesting_, and such as is design'd to
make men laugh, and apply'd that to _Virgil_, nothing {43} could have
been more ridiculous; 'tis the design of _Comedy_ to raise laughter,
but _Eclogue_ should only delight, and charm by its takeing
_prettiness_: All ravishing _Delicacies_ of Thought, all sweetness of
Expression, all that Salt from which _Venus_, as the Poets Fable,
rose; are so essential to this kind of _Poetry_, that it cannot endure
any thing that is scurillous, malitiously biteing, or ridiculous:
There must be nothing in it but _Hony, Milk, Roses, Violets_, and the
like sweetness, so that when you read you might think that you are in
_Adonis's_ Gardens, as the _Greeks_ speak, _i.e._ in the most pleasant
place imaginable: For since the subject of _Eclogue_ must be mean and
unsurprizing, unless it maintains purity and neatness of Expression,
it cannot please.
Therefore it must do as _Tully_ says his friend _Atticus_ did, who
entertaining his acquaintance with Leeks and Onions, pleas'd them all
very well, because he had them serv'd up in wicker Chargers, and clean
Baskets; So let an _Eclogue_ serve up its fruits and flowers with
some, tho no costly imbellishment, such as may answer to the wicker
Chargers, and Baskets; which may be provided at a cheap rate, and are
agreeable to the Country: yet, (and this rule if you aim at exact
simplicity, can never be too nicely observ'd,) you must most carefully
avoid all paint and gawdiness of Expression, and, (which of all sorts
of Elegancies is the most difficult to be avoided) {44} you must take
the greatest care that no scrupulous trimness, or artificial finessess
appear: For, as _Quintilian_ teaches, _in some cases diligence and
care most most troublesomly perverse_; and when things are most sweet
they are next to loathsome and many times degenerate: Therefore as in
Weomen a careless dress becomes some extreamly. Thus _Pastoral_, that
it might not be uncomely, ought sometimes to be negligent, or the
finess of its ornaments ought not to appear and lye open to every
bodies view: so that it ought to affect a studied carelessness, and
design'd negligence: And that this may be, all gawdiness of Dress,
such as Paint and Curls, all artificial shining is to be despis'd, but
in the mean time care must be taken that the Expression be bright and
simply clean, not filthy and disgustful, but such as is varnisht with
Wit and Fancy: Now to perfect this, _Nature_ is chiefly to be lookt
upon, (for nothing that is disagreeable to Nature can please) yet that
will hardly prevail naked, by it self, and without the polishing of
Art.
Then there are three things in which, as in its parts, the whole
_Character_ of a _Pastoral_ is contain'd: _Simplicity_ of Thought and
expression: _Shortness_ of Periods full of sense and spirit: and the
_Delicacy_ of a most elegant ravishing unaffected neatness.
Next I will enquire in to the _Efficient_, and then into the _Final_
Cause of _Pastorals_.
{45} _Aristotle_ assigns two efficient Causes of _Poetry_, The
natural desire of Imitation in Man whom he calls the most imitative
Creature; and Pleasure consequent to that Imitation: Which indeed are
the _Remote_ Causes, but the _Immediate_ are _Art_ and _Nature_; Now
according to the differences of _Genius's_ several _Species_ of
Poetry have been introduced. For as the _Philosopher_ hath observ'd,
*diespathê kata ta oikeia êthê hê poiêsis* Thus those that were lofty
imitated great and Illustrious; those that were low spirited and
groveling mean Actions: And every one, according to the various
inclination of his _Nature_, follow'd this or that sort of _Poetry_:
This the _Philosopher_ expresly affirms, And _Dio Chrysostomus_ says
of _Homer_ that he received from the Gods a Nature fit for all sorts
of Verse: but this is an happiness which none partake but, as he in
the same place intimates, Godlike minds.
Not to mention other kinds of _Poetry_, what particular Genius is
requir'd to _Pastoral_ I think, is evident from the foregoing
Discourse, for as every part of it ought to be full of simple and
inartificial neatness, so it requires a Wit naturally neat and
pleasant, born to delight and ravish, which are the qualifications
certainly of a great and most excellent Nature: For whatsoever in any
kind is delicate and elegant, that is usually most excellent: And such
a _Genius_ that hath a sprightfulness of Nature, and is well
instructed {46} by the rules of Art, is fit to attempt _Pastorals_.
Of the end of Pastorals tis not so easy to give an account: For as to
the end of Poetry in General: The Enemies of Poets run out into a
large common place, and loudly tell us that Poetry is frivolous and
unprofitable. Excellent men! that love _profit_ perchance, but have no
regard for _Honesty_ and _Goodness_; who do not know that all
excellent _Arts_ sprang from _Poetry_ at first.
Which what is honest, base, or just, or good,
Better than _Crantor_, or _Chrysippus_ show'd.
For tis _Poetry_ that like a chast unspotted Virgin, shews men the
way, and the means to live happily, who afterward are deprav'd by the
immodest precepts of vitiated and impudent _Philosophy_. For every
body knows, that the _Epick_ sets before us the highest example of the
Bravest man; the _Tragedian_ regulates the Affections of the Mind; the
_Lyrick_ reforms Manners, or sings the Praises of Gods, and Heroes; so
that there's no part of _Poetry_ but hath it's proper end, and
profits.
But grant all this true, _Pastoral_ can make no such pretence: if you
sing a _Hero_, you excite mens minds to imitate his Actions, and
notable Exploits; but how can _Bucolicks_ apply these or the like
advantages to its self? _He that reads {47} Heroick Poems, learns what
is the vertue of a Hero, and wishes to be like him; but he that reads
Pastorals, neither learns how to feed sheep, nor wishes himself a
shepherd:_ And a great deal more to this purpose you may see in
_Modicius_, as _Pontanus_ cites him in his Notes on _Virgil's_
_Eclogues_.
But when tis the end of _Comedy_, as _Jerom_ in his Epistle to
_Furia_ says, to know the Humors of Men, and to describe them; and
_Demea_ in _Terence_ intimates the same thing,
To look on all mens lives as in a Glass,
And take from those Examples for our Own,
so that our Humors and Conversations may be better'd, and improv'd;
why may not _Pastoral_ be allow'd the same Priviledge, and be admitted
to regulate and improve a _Shepherd's_ life by its _Bucolicks_? For
since tis a product of the Golden Age, it will shew the most innocent
manners of the most ancient Simplicity, how plain and honest, and how
free from all varnish, and deceit, to more degenerate, and worse
times: And certainly for this tis commendable in its kind, since its
design in drawing the image of a Country and Shepherd's life, is to
teach Honesty, Candor, and Simplicity, which are the vertues of
_private_ men; as _Epicks_ teach the highest Fortitude, and Prudence,
and Conduct, which are the vertues of _Generals_, and _Kings_. And tis
necessary {48} to Government, that as there is one kind of _Poetry_ to
instruct the _Citizens_, there should be another to fashion the
manners of the _Rusticks_: which if _Pastoral_, as it does, did not
do, yet would it not be altogether frivolous, and idle, since by its
taking prettinesses it can delight, and please. It can scarce be
imagin'd, how much the most flourishing times of the _Roman_ Common-
wealth, in which _Virgil_ wrote, grew better and brisker by the use of
_Pastoral_: with it were _Augustus_, _Mecænas_, _Asinius Pollio_,
_Alphenus Varus_, _Cornelius Gallus_, the most admired Wits of that
happy Age, wonderfully pleas'd; for whatever is sweet, and ravishing,
is contain'd in this sweetest kind of Poetry. But if we must slight
every thing, from which no _profit_ is to be hop'd, all pleasures of
the Eye and Ear are presently to be laid aside; and those excellent
Arts, _Musick_, and _Painting_, with which the best men use to be
delighted, are presently to be left off. Nor is it indeed credible,
that so many excellent Wits, as have devoted themselves to Poetry,
would ever have medled with it, if it had been so empty, idle, and
frivolous, as some ridiculously morose imagine; who forsooth are
better pleas'd with the severity of _Philosophy_, and her harsh,
deform'd impropriety of Expressions. But the judgments of such men are
the most contemptible in the world; for when by _Poetry_ mens minds
are fashioned to generous {49} Humors, Kindness, and the like: those
must needs be strangers to all those good qualites, who hate, or
proclaim _Poetry_ to be frivolous, and useless.
{50} _The Third_ PART
_Rules for writing_ Pastorals.
In delivering Rules for writing _Pastorals_, I shall not point to the
_streams_, which to look after argues a small creeping _Genius_, but
lead you to the _fountains_. But first I must tell you, how difficult
it is to write _Pastorals_, which many seem not sufficiently to
understand: For since its matter is low, and humble, it seems to have
nothing that is troublesome, and difficult. But this is a great
mistake, for, as _Horace_ says of _Comedy_, "It is by so much the more
difficult, by how much the less pardonable are the mistakes committed
in its composure": and the same is to be thought of every thing, whose
end is to please, and delight. For whatsoever is contriv'd for
pleasure, and not necessarily requir'd, unless it be exquisite, must
be nauseous, and distastful; as at a Supper, scraping Musick, thick
Oyntment, or the like, because the Entertainment might have been
without all these; For the sweetest things, and most delicious, are
most apt to satiate; for tho the sense may sometimes be pleas'd, yet
it presently disgusts that which is {51} luscious, and, as _Lucretius_
phraseth it,
E'en in the midst and fury of the Joys,
Some thing that's better riseth, and destroys.
Beside, since _Pastoral_ is of that nature, that it cannot endure too
much negligence, nor too scrupulous diligence, it must be very
difficult to be compos'd, especially since the expression must be
neat, but not too exquisite, and fine: It must have a simple native
beauty, but not too mean; it must have all sorts of delicacies, and
surprizing fancies, yet not be flowing, and luxuriant. And certainly,
to hit all these excellencies is difficult enough, since Wit, whose
nature it is to pour it self forth, must rather be restrain'd than
indulg'd; and that force of the Mind, which of it self is so ready to
run on, must be checkt, and bridled: Which cannot be easily perform'd
by any, but those who have a very good Judgment, and practically
skill'd in Arts, and Sciences: And lastly, a neat, and as it were a
happy Wit; not that curious sort, I mean, which _Petronius_ allows
_Horace_, lest too much _Art_ should take off the Beauty of the
_Simplicity_. And therefore I would not have any one undertake this
task, that is not very polite by _Nature_, and very much at leisure.
For what is more hard than to be always in the _Country_, and yet
never to be _Clownish_? to sing of _mean_, and _trivial_ matters, {52}
yet not _trivially_, and _meanly_? to pipe on a _slender_ Reed, and
yet keep the sound from being _harsh_, and _squeaking_? to make every
thing _sweet_, yet never _satiate_? And this I thought necessary to
premise, in order to the better laying down of such Rules as I design.
For the naked _simplicity_ both of the Matter and Expression of a
_Pastoral_, upon bare Contemplation, might seem easily to be hit, but
upon trial 'twill be found a very hard task: Nor was the difficulty to
be dissembled, lest _Ignorance_ should betray some into a rash
attempt. Now I must come to the very Rules; for as nothing excellent
can be brought to perfection without _Nature_, (for Art unassisted by
that, is vain, and ineffectual,) so there is no _Nature_ so excellent,
and happy, which by its own strength, and without _Art_ and _Use_ can
make any thing excellent, and great.
But tis hard to give _Rules_ for that, for which there have been none
already given; for where there are no footsteps nor path to direct, I
cannot tell how any one can be certain of his way. Yet in this
difficulty I will follow _Aristotle's_ Example, who being to lay down
Rules concerning _Epicks_, propos'd _Homer_ as a Pattern, from whom he
deduc'd the whole Art: So I will gather from _Theocritus_ and
_Virgil_, those Fathers of _Pastoral_, what I shall deliver on this
account. For all the Rules that are to be given of any Art, are to be
given of it as excellent, and perfect, and {53} therefore ought to be
taken from them in whom it is so.
The first Rule shall be about the _Matter_, which is either the
_Action_ of a _Shepherd_, or contriv'd and fitted to the _Genius_ of a
Shepherd; for tho _Pastoral_ is simple, and bashful, yet it will
entertain lofty subjects, if it can be permitted to turn and fashion
them to its own proper Circumstances, and Humor: which tho
_Theocritus_ hath never done, but kept close to _pastoral_ simplicity,
yet _Virgil_ hath happily attempted; of whom almost the same
_Character_ might be given, which _Quintilian_ bestow'd on
_Stesichorus_, who _with his Harp bore up the most weighty subjects
of_ Epick _Poetry_; for _Virgil_ sang great and lofty things to his
Oaten Reed, but yet suited to the Humor of a Shepherd, for every thing
that is not agreeable to that, cannot belong to _Pastoral_: of its own
nature it cannot treat of lofty and great matters.
Therefore let _Pastoral_ be smooth and soft, not noisy and bombast;
lest whilst it raiseth its voice, and opens its mouth, it meet with
the same fate that, they say, an _Italian_ Shepherd did, who having a
very large mouth, and a very strong breath, brake his Pipe as often as
he blow'd it. This is a great fault in one that writes _Pastorals_:
for if his words are too sounding, or his sense too strong, he must be
absurd, because indecently loud. And this is not the rule of an
unskilful {54} impertinent Adviser, but rather of a very excellent
Master in this _Art_; for _Phoebus_ twitcht _Virgil_ by the Ear, and
warn'd him to forbear great Subjects: but if it ventures upon such, it
may be allow'd to use some short _Invocations_, and, as _Epicks_ do,
modestly implore the assistance of a Muse. This _Virgil_ doth in his
_Pollio_, which is a Composure of an unusual loftiness:
_Sicilian_ Muse begin a loftier strain.
So he invocates _Arethusa_, when _Cornelius Gallus Proconsul of
Ægypt_ and his _Amours_, matters above the common reach of _Pastoral_,
are his Subject.
One Labor more O _Arethusa_ yield.
Why he makes his application to _Aretheusa_ is easy to conjecture,
for she was a _Nymph_ of _Sicily_, and so he might hope that she could
inspire him with a _Genius_ fit for _Pastorals_ which first began in
that _Island_, Thus in the seventh and eighth _Eclogue_, as the matter
would bear, he invocates the Nymphs and Muses: And _Theocritus_ does
the same,
Tell Goddess, you can tell.
From whence 'tis evident that in _Pastoral_, tho it never pretends to
any greatness, _Invocations_ {55} may be allow'd: But whatever Subject
it chooseth, it must take care to accommodate it to the Genius and
Circumstances of a Shepherd.
Concerning the Form, or mode of _Imitation_, I shall not repeat what
I have already said, _viz._ that this is in it self _mixt_; for
_Pastoral_ is either _Alternate_, or hath but _one Person_, or is
_mixt_ of both: yet 'tis properly and chiefly _Alternate_. as is
evident from that of _Theocritus_.
Sing _Rural_ strains, for as we march along
We may delight each other with a Song.
In which the _Poet_ shows that _alternate_ singing is proper to a
_Pastoral_: But as for the _Fable_, 'tis requisite that it should be
simple, lest in stead of _Pastoral_ it put on the form of a _Comedy_,
or _Tragedy_ if the _Fable_ be great, or intricate: It must be _One_;
this _Aristotle_ thinks necessary in every _Poem_, and _Horace_ lays
down this general Rule,
Be every _Fable_ simple, and but one:
For every Poem, that is not _One_, is imperfect, and this _Unity_ is
to be taken from the _Action_: for if that is _One_, the Poem will be
so too. Such is the Passion of _Corydon_ in _Virgil's_ second Eclogue,
_Meliboeus's_ Expostulation with _Tityrus_ about his Fortune;
_Theocritus's_ _Thyrsis, Cyclops_, and _Amaryllis_, of which perhaps
in its proper place I may treat more largely.
{56} Let the third Rule be concerning the _Expression_, which cannot
be in this kind excellent unless borrow'd from _Theocritus's_
_Idylliums_, or _Virgil's_ _Eclogues_, let it be chiefly simple, and
ingenuous: such is that of _Theocritus_,
A Kid belongs to thee, and Kids are good,
Or that in _Virgil's_ seventh Eclogue,
This Pail of Milk, these Cakes (_Priapus_) every year
Expect; a little Garden is thy care:
Thou'rt Marble now, but if more Land I hold,
If my Flock thrive, thou shalt be made of Gold,
than which I cannot imagine more simple, and more ingenuous
expressions. To which may be added that out of his _Palemon_,
And I love _Phyllis_, for her Charms excell;
At my departure O what tears there fell!
She sigh'd, Farewell Dear Youth, a long Farewell.
Now, That I call an ingenuous Expression which is clear and smooth,
that swells with no insolent words, or bold metaphors, but hath
something familiar, and as it were obvious in its Composure, and not
disguis'd by any study'd and affected dress: All its Ornament must be
like the Corn and fruits in the Country, easy to {57} be gotten, and
ready at hand, not such as requires Care, Labor, and Cost to be
obtain'd: as _Hermogenes_ on _Theocritus_ observes; _See how easie and
unaffected this sounds_,
Pines murmurings, Goatherd, are a pleasing sound,
_and most of his expressions, not to say all, are of the same
nature_: for the ingenuous simplicity both of Thought and Expression
is the natural _Characteristick_ of _Pastoral_. In this _Theocritus_
and _Virgil_ are admirable, and excellent, the others despicable, and
to be pittied; for they being enfeebled by the meanes of their
subject, either creep, or fall flat. _Virgil_ keeps himself up by his
choice and curious words, and tho his matter for the most part (and
_Pastoral_ requires it) is mean, yet his expressions never flag, as is
evident from these lines in his _Alexis_:
The glossy Plums I'le bring, and juicy Pear,
Such as were once delightful to my Dear:
I'le crop the Laurel, and the Myrtle tree,
Confus'dly set, because their Sweets agree.
For since the matter must be low, to avoid being abject, and
despicable, you must borrow some light from the Expression; not such
as is dazling, but pure, and lambent, such as may shine thro the whole
matter, but never flash, and blind. {58} The words of such a _Stile_
we are usually taught in our Nurses armes, but 'tis to be perfected
and polished by length of time, frequent use, study, and diligent
reading of the most approved Authors: for Pastoral is apt to be
slighted for the meaness of its Matter, unless it hath some additional
Beauty, be pure, polisht, and so made pleasing, and attractive.
Therefore never let any one, that designs to write _Pastorals_,
corrupt himself with foreign manners; for if he hath once vitiated the
healthful habit, as I may say, of Expression, which _Bucolicks_
necessarily require, 'tis impossible he should be fit for that task.
Yet let him not affect pompous or dazling Expressions, for such belong
to _Epicks_, or _Tragedians_. Let his words sometimes tast of the
Country, not that I mean, of which _Volusius's_ Annals, upon which
_Catullus_ hath made that biting _Epigram_, are full; for though the
Thought ought to be rustick, and such as is suitable to a Shepherd,
yet it ought not to be Clownish, as is evident in _Corydon_, when he
makes mention of his Goats.
Young sportive Creatures, and of spotted hue,
Which suckled twice a day, I keep for you:
These_ Thestilis _hath beg'd, and beg'd in vain,
But now they're Hers, since You my Gifts disdain.
For what can be more Rustical, than to design those _Goats_ for
_Alexis_, at that very time when {59} he believes _Thestylis's_
winning importunity will be able to prevail? yet there is nothing
Clownish in the words. In short, _Bucolicks_ should deserve that
commendation which _Tully_ gives _Crassus_, of whose Orations he would
say, _that nothing could be more free from childish painting, and
affected finery_. So let the Expression in _Pastoral_ be without gawdy
trappings, and all those little fineries of Art, which are us'd to set
off and varnish a discourse: But let an ingenuous Simplicity. and
unaffected pleasing Neatness appear in every part; which yet will be
flat, if 'tis drawn out to any length, if not close, short, and
broken, as that in _Virgil_,
He that loves _Bavius_ Verses, hates not Thine:
And in the same _Eclogue_,
--It is not safe to drive too nigh,
The Bank may fail, the Ram is hardly dry:
And in _Corydon_,
To learn this Art what won't _Amyntas_ do?
And in _Theocritus_ much of the same nature may be seen; as in his
other _Pastoral Idylliums_, so chiefly in his fifth. Thus _Battus_ in
the fourth _Idyllium_, complaining for the loss of _Amaryllis_,
{60} Dear Nymph, dear as my Goats, you dy'd.
And how soft and tender is that in the third _Idyllium_,
And she may look on me, she may be won,
She may be kind, she is not perfect Stone,
And in this _concise_, close way of Expression lies the chiefest
Grace of _Pastorals_: for in my opinion there's nothing in the whole
Composition that can delight more than those frequent stops, and
breakings off. Yet lest in these too it become dull and sluggish, it
must be quickned by frequent lively touches of Concernment: such as
that of the Goatherd in the third Idyllium,
--I see that I must die:
Or _Daphnis's_ despair, which _Thyrsis_ sings in the first
_Idyllium_,
Ye Wolves, and Pards, and Mountain Bores adieu,
The Herdsmen now must walk no more with You.
How tender are the lines, and yet what passion they contain! And most
of _Virgil's_ are of this nature, but there are likewise in him some
touches of despairing Love, such as is this of _Alphesiboeus_,
Nor have I any mind to be reliev'd:
{61} Or that of _Damon_,
I'le dy, yet tell my Love e'en whilst I dy:
Or that of _Corydon_,
He lov'd, but could not hope for Love again.
For tho _Pastoral_ doth not admit any violent passions, such as
proceed from the greatest extremity, and usually accompany despair;
yet because Despairing Love is not attended with those frightful and
horrible consequences, but looks more like _grief to be pittied_, and
a _pleasing madness_, than _rage_ and _fury_, _Eclogue_ is so far from
refusing, that it rather loves, and passionately requires them.
Therefore an unfortunate _Shepherd_ may be brought in, complaining of
his successless Love to the _Moon, Stars_, or _Rocks_, or to the
Woods, and purling Streams, mourning the unsupportable anger, the
frowns and coyness of his proud _Phyllis_; singing at his _Nymphs_
door, (which _Plutarch_ reckons among the signs of Passion) or doing
any of those fooleries, which are familiar to Lovers. Yet the Passion
must not rise too high, as _Polyphemus's_, _Galateas's_ mad Lover, of
whom _Theocritus_ divinely thus, as almost of every thing else:
His was no common flame, nor could he move
In the old Arts, and beaten paths of Love,
No Flowers nor Fruits sent to oblige the Fair,
{62} His was all Rage, and Madness:
For all violent Perturbations are to be diligently avoided by
_Bucolicks_, whose nature it is to be _soft_, and _easie_: For in
small matters, and such must all the strifes and contentions of
Shepherds be, to make a great deal of adoe, is as unseemly, as to put
_Hercules's_ Vizard and Buskins on an Infant, as _Quintilian_ hath
excellently observ'd. For since _Eclogue_ is but weak, it seems not
capable of those Commotions which belong to the _Theater_, and
_Pulpit_; they must be soft, and gentle, and all its Passion must seem
to flow only, and not break out: as in _Virgil's Gallus_,
Ah, far from home and me You wander o're
The _Alpine_ snows, the farthest Western shore,
And frozen _Rhine_. When are we like to meet?
Ah gently, gently, lest thy tender feet
Sharp Ice may wound.
To these he may sometimes joyn some short Interrogations made to
_inanimate Beings_, for those spread a strange life and vigor thro the
whole Composure. Thus in _Daphnis_,
Did not You Streams, and Hazels, hear the Nymphs?
Or give the very Trees, and Fountains sense, as in _Tityrus_,
Thee (_Tityrus_) the Pines, and every Vale,
The Fountains, Hills, and every shrub did call:
for by this the Concernment is express'd; and of the like nature is
that of _Thyrsis_, in _Virgil's_ _Meliboeus_,
{63} When _Phyllis_ comes, my wood will all be green.
And this sort of Expressions is frequent in _Theocritus_, and
_Virgil_, and in these the delicacy of _Pastoral_ is principally
contain'd, as one of the old _Interpreters_ of _Theocritus_ hath
observ'd on this line, in the eighth _Idyllium_,
Ye Vales, and Streams, a race Divine:
But let them be so, and so seldom us'd, that nothing appear vehement,
and bold, for Boldness and Vehemence destroy the sweetness which
peculiarly commends _Bucolicks_, and in those Composures a constant
care to be soft and easie should be chief: For _Pastoral_ bears some
resemblance to _Terence_, of whom _Tully_, in that Poem which he
writes to _Libo_, gives this Character,
His words are soft, and each expression sweet.
In mixing _Passion_ in _Pastorals_, that rule of _Longinus_, in his
golden Treatise *peri hypsous*, must be observ'd, _Never use it, but
when the matter requires it, and then too very sparingly_.
Concerning the _Numbers_, in which _Pastoral_ should be written, this
is my opinion; the _Heroick_ Measure, but not so strong and sounding
as in _Epicks_, is to be chosen. _Virgil_ and _Theocritus_ have given
us examples; for tho _Theocritus_ hath in one Idyllium mixt other
Numbers, yet that can be of no force against all the rest; and
_Virgil_ useth no Numbers but _Heroick_, from whence it may be
inferr'd, that those are the fittest.
{64} _Pastoral_ may sometimes admit plain, but not long _Narrations_
such as _Socrates_ in _Plato_ requires in a Poet; for he chiefly
approves those who use a plain _Narration_, and commends that above
all other which is short, and fitly expresseth the nature of the
Thing. Some are of opinion that _Bucolicks_ cannot endure Narrations,
especially if they are very long, and imagine there are none in
_Virgil_: but they have not been nice enough in their observations,
for there are some, as that in _Silenus_.
Young _Chromis_ and _Mnasylus_ chanct to stray,
Where (sleeping in a Cave) _Silenus_ lay,
Whose constant Cups fly fuming to his brain,
And always boyl in each extended vein:
His trusty Flaggon, full of potent Juice,
Was hanging by, worn out with Age, and Use, &c.
But, because _Narrations_ are so seldom to be found in _Theocritus_,
and _Virgil_, I think they ought not to be often us'd; yet if the
matter will bear it, I believe such as _Socrates_ would have, may very
fitly be made use of.
The Composure will be more suitable to the Genius of a Shepherd, if
now and then there are some short turns and digressions from the
purpose: Such is that concerning _Pasiphae_ in _Silenus_, although tis
almost too long; but we may give _Viogil_ a little leave, who takes so
little liberty himself.
{65} Concerning _Descriptions_ I cannot tell what to lay down, for in
this matter our Guides, _Virgil_, and _Theocritus_, do not very well
agree. For he in his first _Idyllium_ makes such a long immoderate
description of his _Cup_, that _Criticks_ find fault with him, but no
such description appears in all _Virgil_; for how sparing is he in his
description of _Meliboeus's_ Beechen Pot, the work of Divine
_Alcimedon_? He doth it in _five_ verses, _Theocritus_ runs out into
_thirty_, which certainly is an argument of a wit that is very much at
leisure, and unable to moderate his force. That _shortness_ which
_Virgil_ hath prudently made choice of, is in my opinion much better;
for a Shepherd, who is naturally incurious, and unobserving, cannot
think that tis his duty to be exact in particulars, and describe every
thing with an accurate niceness: yet _Roncardus_ hath done it, a man
of most correct judgment, and, in imitation of _Theocritus_, hath,
considering the then poverty of our language, admirably and largely
describ'd _his_ Cup; and _Marinus_ in his Idylliums hath follow'd the
same example. He never keeps within compass in his Descriptions, for
which he is deservedly blam'd; let those who would be thought
accurate, and men of judgment, follow _Virgil's_ prudent moderation.
Nor can the Others gain any advantage from _Moschus's_ _Europa_, in
which the description of the _Basket_ is very long, for that Idyllium
is not _Pastoral_; yet I confess, that some {66} descriptions of such
trivial things, if not minutely accurate, may, if seldom us'd, be
decently allow'd a place in the discourses of _Shepherds_.
But tho you must be sparing in your _Descriptions_, yet your
_Comparisons_ must be frequent, and the more often you use them, the
better and more graceful will be the Composure; especially if taken
from such things, as the Shepherds must be familiarly acquainted with:
They are frequent in _Theocritus_ but so proper to the Country, that
none but a _Shepherd_ dare use them. Thus _Menalcas_ in the eighth
Idyllium:
Rough Storms to Trees, to Birds the treacherous Snare,
Are frightful Evils; Springes to the Hare,
Soft Virgins Love to Man, &c.
And _Damoetas_ in _Virgil's_ _Palæmon_,
Woolves sheep destroy, Winds Trees when newly blown,
Storms Corn, and me my _Amaryllis_ frown.
And that in the eighth _Eclogue_,
As Clay grows hard, Wax soft in the same fire,
So _Daphnis_ does in one extream desire.
And such _Comparisons_ are very frequent in him, and very suitable to
the Genius of a Shepherd; as likewise often _repetitions_, and
doublings of some words: which, if they are luckily plac'd have an
unexpressible quaintness, and make the Numbers extream sweet, and the
turns ravishing and delightful. An instance of this we have in
_Virgil's_ _Meliboeus_,
_Phyllis_ the Hazel loves; whilst _Phyllis_ loves that Tree,
{67} Myrtles than Hazels of less fame shall be.
As for the _Manners_ of your _Shepherds_, they must be such as theirs
who liv'd in the Islands of the Happy or Golden Age: They must be
candid, simple, and ingenuous; lovers of Goodness, and Justice,
affable, and kind; strangers to all fraud, contrivance, and deceit; in
their Love modest, and chast, not one suspitious word, no loose
expression to be allowed: and in this part _Theocritus_ is faulty,
_Virgil_ never; and this difference perhaps is to be ascrib'd to
their Ages, the times in which the latter liv'd being more polite,
civil, and gentile. And therefore those who make wanton Love-stories
the subject of Pastorals, are in my opinion very unadvis'd; for all
sort of lewdness or debauchery are directly contrary to the
_Innocence_ of the _golden_ Age. There is another thing in which
_Theocritus_ is faulty, and that is making his Shepherds too sharp,
and abusive to one another; _Comatas_ and _Lacon_ are ready to fight,
and the railing between those two is as bitter as _Billingsgate_: Now
certainly such Raillery cannot be suitable to those sedate times of
the Happy Age.
As for _Sentences_, if weighty, and Philosophical, common Sense tells
us they are not fit for a _Shepherd's_ mouth. Here _Theocritus_ cannot
be altogether excus'd, but _Virgil_ deserves no reprehension. But
_Proverbs_ justly challenge admission into _Pastorals_, nothing being
more common in {68} the mouths of Countrymen than old Sayings.
Thus much seem'd necessary to be premis'd out of _RAPIN_, for the
direction and information of the Reader.
* * * * *