Chapter II: Part 2

Now as too much neatness in _Pastoral_ is not to be allow'd, so rusticity (I do not mean that which _Plato_, in his Third Book of a Commonwealth, mentions which is but a part of a down right honesty) but Clownish stupidity, such as _Theophrastus_, in his Character of a _Rustick_, describes; or that disagreeable unfashionable roughness which _Horace_ mentions in his Epistle to _Lollius_, must not in my opinion be endur'd: On this side _Mantuan_ errs extreamly, and is intolerably absur'd, who makes Shepherds blockishly sottish, and insufferably rude: And a certain Interpreter blames _Theocritus_ for the same thing, who in some mens opinion sometimes keeps too close to the _Clown_, and is rustick and uncouth; But this may be very well excus'd because the Age in which he sang was not as polite as now.

But that every Part may be suitable to a Shepherd, we must consult unstain'd, uncorrupted Nature; so that the manners might not be too Clownish nor too Caurtly: And this mean may be easily observed if the manners of our Shepherds be represented according to the _Genius_ of the _golden Age_, in which, if _Guarinus_ may be believ'd {34}, every man follow'd that employment: And _Nannius_ in the Preface to his Comments on _Virgil's_ _Bucolicks_ is of the same opinion, for he requires that the manners might represent the Golden Age: and this was the reason that _Virgil_ himself in his _Pollio_ describes that Age, which he knew very well was proper to _Bucolicks_: For in the whole course of a Shepherds life there can be no form more excellent than that which was the practise of the Golden Age; And this may serve to moderate and temper the affections that must be exprest in this sort of Poetry, and sufficiently declare the whole Essence of it, which in short must be taken from the nature of a Shepherds life to which a Courtly dress is not agreeable.

That the Thought may be commendable, it must be suitable to the _manners_; as those must be plain and pure that must be so too: nor must contain any, deep, exquisite, or elaborate fancies: And against this the _Italians_ offend, who continually hunt after smart witty sayings, very foolishly in my opinion; for in the Country, where all things should be full of plainess and simplicity who would paint or endeavor to be gawdy when such appearances would be very disagreeable and offend? _Pontanus_ in this matter hath said very well, _The Thought must not be to exquisite and witty, the Comparisons obvious and common, such as the State of Persons and Things require_: Yet tho too scrupulous a Curiosity in Ornament ought to be rejected, {35} yet lest the Thought be cold and flat, it must have some quickness of Passion, as in these.

Cruel _Alexis_ can't my Verses move?
Hast thou no Pitty? I must dye for Love_.

And again,

He neither Gods, nor yet my Verse regards.

The Sense must not be long, copious, and continued, For _Pastoral_ is weak, and not able to hold out; but of this more when I come to lay down rules for its Composure: But tho it ought to imitate _Comedy_ in its common way of discourse, yet it must not chose _old Comedy_ for its pattern, for that is too impudent, and licentiously abusive: Let it be free and modest, honest and ingenuous, and that will make it agreeable to the Golden Age.

Let the Expression be plain and easy, but elegant and neat, and the purest which the language will afford; _Pontanus_ upon _Virgils_ Bucolicks gives the very same rule, _In Bucolicks the Expression must be humble, nearer common discourse than otherwise, not very Spirituous and vivid, yet such as shows life and strength_: Tis certain that _Virgil_ in his _Bucolicks_ useth the same words which _Tully_ did in the _Forum_ or the _Senate_; and _Tityrus_ beneath his shady Beech speaks as pure and good _Latin_ as _Augustus_ in his Palace, as _Modicius_ in his _Apology_ for _Virgil_ hath excellently observ'd: {36} This rule, 'tis true; _Theocritus_ hath not so strictly follow'd, whose Rustick and Pastoral Muse, as _Quintilian_ phraseth it, _not only is affraid to appear in the_ Forum, _but the City_, and for the very same thing an _Alexandrian_ flouts the _Syracucusian Weomen_ in the Fifteenth _Idyllium_ of _Theocritus_, for when they, being then in the City, spoke the _Dorick_ Dialect, the delicate Citizen could not endure it, and found fault with their distastful, as he thought, pronunciation: and his reflection was very smart.

Like Pidgeons you have mouths from Ear to Ear.

So intolerable did that broad way of pronunciation, tho exactly fit for a Clowns discourse, seem to a Citizen: and hence _Probus_ observes that 'twas much harder for the _Latines_ to write _Pastorals_ than for the _Greeks_; because the _Latines_ had not some _Dialects_ peculiar to the Country, and others to the City, as the _Greeks_ had; Besides the _Latine_ Language, as _Quintilian_ hath observ'd, is not capable of the neatness which is necessary to Bucolicks, no, that is the peculiar priviledge of the _Greeks_: _We cannot_, says he, _be so low, they exceed us in subtlety, and in propriety they are at more certainty than We_: and again, _in pat and close Expressions we cannot reach the Greeks_: And, if we believe _Tully_, _Greek is much more fit for Ornament than Latin_ for it hath much more of that neatness, {37} and ravishing delightfulness, which _Bucolicks_ necessarily require.

Yet of Pastoral, with whose Nature we are not very well acquainted, what that _Form_ is which the _Greeks_ call the _Character_, is not very easy to determine; yet that we may come to some certainty, we must stick to our former observation, _viz._ that _Pastoral_ belongs properly to the _Golden Age_: For as _Tully_ in his Treatise _de Oratore_ says, _in all our disputes the Subject is to be measur'd by the most perfect of that kind_, and _Synesius_ in his _Encomium_ on _Baldness_ hints the very same, when he tells us that Poetry fashions its subject as Men imagine it should be, and not as really it is: *pros doxan, ou pros alêtheian*: Now the Life of a Shepherd, that it might be rais'd to the highest perfection, is to be referr'd to the manners and age of the world whilst yet innocent, and such as the Fables have describ'd it: And as Simplicity was the principal vertue of that Age, so it ought to be the peculiar Grace, and as it were _Character_ of _Bucolicks_: in which the Fable, Manners, Thought, and Expression ought to be full of the most innocent simplicity imaginable: for as Innocence in Life, so purity and simplicity in discourse was the Glory of that Age: So as gravity to _Epicks_, Sweetness to _Lyricks_, Humor to _Comedy_, softness to _Elegies_ and smartness to _Epigrams_, so simplicity to _Pastorals_ is proper; and one upon _Theocritus_ says, _that the Idea of his Bucolicks is in every part pure, and in all {38} that belongs to simplicity very happy_: Such is this of _Virgil_, unwholsome to us Singers is the shade

Of Juniper, 'tis an unwholsome shade:

Than which in my opinion nothing can be more simply; nothing more rustically said; and this is the reason I suppose why _Macrobius_ says that this kind of Poetry is creeping and upon mean subjects; and why too _Virgils Tityrus_ lying under his shady Beech displeaseth some; Excellent Criticks indeed, whom I wish a little more sense, that they might not really be, what they would not seem to be, _Ridiculous_: _Theocritus_ excells _Virgil_ in this, of whom _Modicius_ says, _Theocritus deserves the greatest commendation for his happy imitation of the simplicity of his Shepherds_, Virgil _hath mixt Allegories, and some other things which contain too much learning, and deepness of Thought for Persons of so mean a Quality_: Yet here I must obviate their mistake who fancy that this sort of _Poetry_, because in it self low and simple, is the proper work of _mean_ Wits, and not the most _sublime_ and _excellent_ perfections: For as I think there be can nothing more elegant than easy naked simplicity, so likewise nothing can require more strength of Wit, and greater pains; and he must be of a great and clear judgment, who attempts _Pastoral_, and comes of with Honor. For there is no part of _Poetry_ that requires more spirit, for if any part is not close and well compacted the whole Fabrick will be ruin'd, and the {39} matter, in it self humble, must creep; unless it is held up by the strength and vigor of the _Expression_.

Another qualification and excellence of _Pastoral_ is to imitate _Timanthes's_ Art, of whom _Pliny_ writes thus; _Timanthes was very Ingenious, in all his peices more was to be understood than the Colours express'd, and tho his Art was very extraordinary yet his Fancy exceeded it_: In this _Virgil_ is peculiarly happy, but others, especially raw unexperienced Writers, if they are to describe a Rainbow, or a River, pour out their whole stock, and are unable to contain: Now 'tis properly requisite to a Pastoral that there should be a great deal coucht in a few words, and every thing it says should be so short, and so close, as if its chiefest excellence was to be spareing in Expression: such is that of _Virgil_;

These Fields and Corn shall a Barbarian share?
See the Effects of all our Civil War.

How short is that? how concise? and yet how full of sense in the same _Eclogue_.

I wonder'd why all thy complaints were made,
Absent was _Tityrus_:

And the like you may every where meet with, as

_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.

* * * * *

ERRATA.

p. 13. l. 15. _read_ the wind. p. 15. l. 16. _read_ fight. p. 60. l. 4. _read_ Shoes. p. 95. l. 17. _read_ whilst all. p. 112. l. 9. _read_ of my Love.

[ Transcriber's Note: The listed errata appear to belong to the translation of Theocritus, not included in this reprint. The following uncorrected words in the Rapin text are probably misprints:

p. 9 dissetation. p. 17 mannes. p. 24 theefore. p. 25 stifes. p. 44 finessess [uncertain reading]. p. 64 Viogil. ]

* * * * *
* * * *
* * * * *

Rapin's _Discourse of Pastorals_ was first published in Latin, with his eclogues, under the title: Eclogae, cum dissertatione de carmine pastorali. Parisiis, apud S. Cramoisy, 1659.

The English translation by Thomas Creech, prefixed to his translation of the _Idylliums_ of Theocritus, appeared in 1684. A second edition "to which is prefix'd, The Life of Theocritus. By Basil Kennet", was printed at London for E. Curll, at the Dial and Bible against St. Dunstan's Church in Fleet-street, in 1713, and a third edition, also printed for Curll, appeared in 1721.

Ella M. Hymans

Curator of Rare Books,
General Library,
University of Michigan

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MAY, 1946: Series I, No. 1--Richard Blackmore's _Essay upon Wit_ (1716), and Addison's _Freeholder_ No. 45 (1716).

JULY, 1946: Series II, No. 1--Samuel Cobb's _Of Poetry_ and _Discourse on Criticism_ (1707)

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NOV., 1946: Series I, No. 2--Anon., _Essay on Wit_ (1748), together with Characters by Flecknoe, and Joseph Warton's _Adventurer_ Nos. 127 and 133.

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MAY, 1947: Series I, No. 3--John Gay's _The Present State of Wit_; and a section on Wit from _The English Theophrastus_. With an Introduction by Donald Bond.

JULY, 1947: Series II, No. 3--Rapin's _De Carmine Pastorali_, translated by Creech. With an Introduction by J. E. Congleton.

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NOV., 1947: Series I, No. 4--Corbyn Morris' _Essay towards Fixing the True Standards of Wit_, etc. With an Introduction by James L. Clifford.

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