I need not instance in the tedious Descriptions of Theocritus, Ovid and Spencer. But certainly, if long Descriptions are faulty in Epick Poetry, as they prevent the Curiosity of the Reader, and leave him nothing to invent, or to imploy his own Mind upon, they are in Pastoral much more disagreeable. Tho' if any thing would excuse a long Description, there is in Ovid and Spencer, that inimitable Delightfulness, which would make 'em pass. Virgil has no Descriptions in his Pastorals so long as Spencer, and Heavens deliver us if he had; for as 'tis, I can better read the longest of Spencer's, than the shortest of his, in his Pastorals.

SECT. 2.

The proper Length for Descriptions adjusted, from several Considerations.

What I have laid down seem's in its self plain and evident; but because Rapin, and some other Criticks, famous for the Niceness of their Judgments, have made it a considerable Question, and at last own'd themselves unable to decide it, I shall further consider the Matter.

'Tis best, I think, only just to exhibit the Picture of an Object to the Reader's Mind; for if 'tis rightly set and well given, he will himself supply the minute Particulars better to please himself than any Poet can do; as no different Fancies are equally delighted with one and the same thing, the Poet in an extended Description must needs hit upon many Circumstances not pleasant to every Fancy; even tho' he touches all the best Particulars. But if the Poet only set's the Image in the finest Light, by enumerating two or three Circumstances, the Reader's Mind in that very instant it sees the Image or Picture, fill's up all the Omissions with such Particulars, as are most suitable to it's own single Fancy. Which farther conceives something beyond, and something out of the way, if all is not told. Whereas descending to Particulars cool's the Mind, which in those Cases ever finds less than it expected.

To instance in Painting, for that's the same. When I first cast my Eye on a beauteous Landscape, and take in a View of the whole and all it's parts at once, I am in Rapture, not knowing distinctly what it is that pleases me; but when I come to examine all the several Parts, they seem less delightful. Pleasure is greatest if we know not whence it proceeds. And such is the Nature of Man, that if he has all he desires he is no longer delighted; but if ought is with-held, he is still in Eagerness, and full of Curiosity.

Besides, Descriptions in Pastoral should be particularly short, because it draw's into Description nought but the most Common tho' the most Beautiful of Nature's Works: Whereas Epick Poetry, whose Business is to Astonish, represents Monsters and Things unheard of before, and a Polyphemus or a Cyclops will bear, nay require, a more particular Description, than a beauteous Grott, or falling Water; because the One is only calling up into our Mind what we knew before, the other is Creation. Besides that in Epick Poetry the Descriptions are generally more necessary than in Pastoral. To describe the fair Bank where your Lovers sate to talk does not help the Fable; but if Homer had not prepared us, by a particular Description of Polyphemus's hugeness, he would not have been credited, when he afterwards said, That he hurl'd such a Piece of a Rock after Ulysses's Ship, as drove it back, tho' it touch'd it not, but only plung'd into the Waves, and made 'em roll with so great Violence.

I shall only add one Observation on this Head, and proceed. Pastoral admits of Narration and Dialogue, but in Narration we may be greatly more diffuse in our Descriptions than in the Dialogue part of the Piece. For nothing in Poetry is to be preserv'd with more care than probability, especially in Pastoral. Now for a Shepherd to be relating an Accident of Concern, and to dwell on a Description of Place or Person for four or five Lines in the midst, does it not look as if 'twere only Verses written, and not a Tale actually told by the Swain, since in such a Case 'tis natural to hast to the main Point, and not to dwell so particularly on Matters of no Consideration.

I might give several other Reasons for the shortness of Pastoral Descriptions, as that 'tis the manner of Shepherds not to dwell on one Matter so precisely, but to run from one thing to another; Also, that the Reader's Mind is delighted when it has scope to employ it self; and the like. But the clearness of the Question prevents me.

SECT. 3.

What Pastoral Images will shine most in a Description.

We have just shown which Images are the finest; and 'tis evident that by an accumulation of the best Images is form'd the best Description. 'Tis not here my business particularly to show which Circumstances, in any Description, are best, which worst; 'tis enough, that in general We affirm the most Beautiful to be finest in Pastoral, and the most Sublime in Epick Poetry; which are most Beautiful, and which are most Sublime I have elsewhere shown.

Yet there are several foreign Assistances or Adjuncts, which do greatly add to a beautiful Circumstance; as for Instance; if along with a beautiful Image, we by any means show at once the Happiness and Innocence of the rural Inhabiters, it renders the Circumstance greatly more delightful. This can't so well be explain'd as by an Instance. Ovid describes PROSERPINA, as she is gathering Flowers in a Meadow among her Play-Fellows, hurried away by PLUTO, in order to her Ravishment. Among the Misfortunes, which that Violence brought upon the Innocent young Creature, this is one;

And oh, out Lap the pretty florets fell.

There is no Circumstance in any Author, nor any one will be ever invented, more proper for Pastoral than this Line: As it contains not only a most beautiful Image, but show's us at once the Simplicity, and Happiness of the Country, where even such Accidents are accounted Misfortunes.

But this is a Circumstance that would but just bear the touching upon; and Ovid by his two next Lines, has, I think, spoil'd it. In Mr. SEWEL's Translation they run thus.

Oft on her Mates, oft on her Mother call's, And from her Lap her fragrant Treasure fall's; And she (such Innocence in Youth remains) Of that small Loss, among the rest, complains.

If he had stopt with the second Line he had put himself, as 'twere, in the place of a Shepherd, and spoke of the Misfortune as if it came from his Heart, and he was interested for the Beauteous Innocent. But in the two last Lines he takes upon him the Author, is grave and reflecting; but nothing is so Beautiful in these kind of Descriptions, as for a Writer to put himself as 'twere in the Place of the Person he speaks of; and unless a Writer delights to do this, and takes Pleasure in his Characters, and has, as 'twere, a Love and Kindness for 'em, he'll never excell in Pastoral. And I have been told, Cubbin, by some of your Acquaintance, that they can easily tell what sort of Characters you were fondest of when your wrote your Pastorals; for there is one you never mention but with an unusual Pleasure and Alacrity; and it appear's from your Description of her that your Heart was on the flutter when you drew it. And if you read it over now, so long after, you'll observe it. But it has made you excell your self.

SECT. 4.

_Cautions for the avoiding some Faults which_ Theocritus, Ovid, Spencer, Tasso, &c. have fallen into in their Descriptions_.

The generality of our narrative Poets under their general Descriptions, bring in the Descriptions of particular and lesser Things. This is very faulty. I might Instance In OVID, SPENCER, CHAUCER, &c, but there is an Example of this so very flagrant in TASSO, that I can't forbear mentioning it, as I think 'tis the most monstrous one I ever saw, and these Observations relate alike to Epick Poetry and Pastoral. This Author has occasion in the Thirteenth Book of his Hierusalem to describe a Drought, which he does In Six and Fifty Lines, and then least we might mistake what he's describing tell's us in Eight Lines more, how the Soldiers panted and languished thro' excessive Heat, then in Eight more describes the Horses panting and languishing; then in Eight more gives us a Description of the Dogs, who lay before the Tents also panting and languishing, and so on.

This is what I mean by bringing one Description within another; and 'tis the greatest of Faults. We lose all thoughts of the general Description, and are so engaged in Under-ones, that we have forgot what he at first propos'd to describe.

Another Observation I would make, is, that a Pastoral Writer should be particularly careful not to proceed too far, or dwell too minutely on Circumstances, in his most pleasurable Descriptions, which we may term the Luscious. Such as Spencer's, where he makes his Knight lye loll'd in Pleasures, and Damsels stripping themselves and dancing around for his Diversion. This, SPENCER methinks carries to an excess; for he describes 'em catching his Breath as it steam'd forth; distilling the Sugar'd Liquor between his Lips, and the like. Such Descriptions will grow fulsome if more than just touch'd, as the most delicious things the soonest cloy.



CHAP. IV.

That Pastoral should Image almost every thing.

There is nothing more recommends the Tragedys of Mr. Row, than his Language, which I think is (in it's own Nature) particularly Beautiful.

As I cannot forbear looking into the Springs and Means by which our best Poets attain their Excellence in the several Dialects they touch the finest, what 'tis that constitutes the Difference between the Language of one and that of another; and also what Rank or Class each Dialect belongs to; I have done the same as to the Writings of Mr. Row. And I observe that the chiefest Means he makes use of to render his Tragick Language at once Uncommon and Delightful, is the Figurative Way of considering Things as Persons. What I mean is this.

——Comfort Dispels the sullen Shades with her sweet Influence.

And again:

——My wrongs will tear their Way, And rush at once upon thee.

Jane Shore: Act 1.

And this is extreamly frequent, especially in Jane Shore. And nothing can be more Beautiful in Heroick Language; and this Author has some Sentiments dress'd, by this Figurative Way, as finely as most of Shakespear's; As this

Care only wakes, and moping Pensiveness; With Meagre, discontented Looks they sit, And watch the wasting of the Mid-night Taper.

Now what is this but imaging almost every thing, or turning as many Thoughts as possible into Images?

Now if the Thoughts in strong Lines, (as they call 'em) appear best in Imagery, how much more will Pastoral Thoughts. The former have Passion and Heat to support 'em, the latter are entirely Simple. And If Heroick Writers are fond of Images, how much more should Pastoral Writers avoid a long Series of bare Thoughts, and endeavour to Address the Mind of the Reader with a constant Variety of Pictures.

What I have here delivered may seem trifling to the Reader. But if he looks into the modern Pastoral-Writers he'll observe that the Scarcity of Images goes a great way towards making their Pieces flat and insipid. And 'tis impossible indeed to have a sufficient Variety of Images in a Pastoral that is compos'd by nought but a mournful Speech or Complaint. Therefore a Writer who would not only write regular, but also delightful Pastorals, should doubtless run very much upon Description.

I need not make the Distinction between an Epick and a Pastoral Writer's manner of Imaging. They are widely different; nor can a Pastoral Image so many Things as an Epick Writer. For he cannot consider Things as Persons, nor use the other Methods that Heroick Poetry takes to effect it.



CHAP. V.

Of the Thoughts. And which are proper for Pastoral, which not.

I Shall not consider those Thoughts which are, in their own Nature, Vicious; as the Ambiguous, the Pointed, the Insipid, the Refined, the Bombast, and the rest. But of those Kind of Thoughts which are in themselves good, only these three do properly belong to Pastoral; namely, The Agreeable, or Joyous; The Mournful, or Piteous; And the Soft or Tender.

Yet the rest of those Thoughts which are in their own Nature good, may be so order'd as to bear a part in Pastoral. For as We may make a Shepherd false to his Mistress, if he be offended with the Levity of his Nature; so We may make a Lass Ill-natured and Satyrical, for Instance, if 'tis not in her Temper, but assumed only for a good Purpose.

SECT. 2.

Of those Thoughts which are proper for Pastoral, how to Judge which are finest.

I need only observe, that where is the greatest Combination of those things which make the best Figure in Pastoral, that is always the best Thought. As a Thought that is not only agreeable or Beautiful, but has also Simplicity. The two finest Passages that I remember in THEOCRITUS for their Simplicity, are these. Which are exceeding well Translated by CREECH; whose Language (next to some of Spencer's) is vastly the best we have, for pastoral. I will quote the whole Passage.

Daph.) And as I drove my Herd, a lovely Maid Stood peeping from a Cave; she smil'd, and said, Daphnis is lovely, ah! a lovely Youth; What Smiles, what Graces sit upon his Mouth! I made no sharp Returns, but hung my Head And went my Way, yet pleas'd with what she said.

Idyll. 8.

Of the same Nature is what COMATAS says in another Place.

Com.) I milk two Goats; a Maid in yonder Plain Lookt on, and Sigh'd, Dost milk thy self poor Swain!

And what follows soon after.

Com.) The fair Calistria, as my Goats I drove, With Apples pelts me, and still murmurs Love.

Idyll. 5.

Tho' these Thoughts are so exceeding Beautiful thro' their Simplicity, I rather take 'em to be Agreeable Thoughts; and Simplicity to be only an Adjunct or Addition to 'em; as Passion is an Addition and Embellishment to the Sublime Thoughts.

The Mournful Thought, with the Addition of Simplicity, is as pleasing, I think, as the Agreeable with Simplicity. The finest of this kind that I remember in THEOCRITUS, are in his 22 Idyll. A Shepherd resolves to Hang himself, being scorn'd by the Fair he ador'd. For the more he was frown'd upon the more he loved.

But when o'recome, he could endure no more, He came and wept before the hated Dora; He wept and pin'd, he hung the sickly Head, The Threshold kist, and thus at last he said.

Many Thoughts In the Complaint are as fine as this. As, of the following Lines, the 3d and 4th.

Unworthy of my Love, this Rope receive. The last, most welcome Present I can give. I'll never vex thee more. I'll cease to woe. And whether you condemned, freely go; Where dismal Shades and dark Oblivion dwell.

Of the same Nature also is what soon after follows.

Yet grant one Kindness and I ask no more; When you shall see me hanging at the Door. Do not go proudly by, forbear to smile. But stay, Sweet Fair, and gaze, and weep a while; Then take me down, and whilst some Tears are shed, Thine own soft Garment o're my Body spread. And grant One Kiss,—One Kiss when I am dead. Then dig a Grave, there let my Love be laid; And when you part, say thrice, My friend is Dead.

All these Thoughts contain Simplicity as an Addition to the Mournful. And 'tis impossible for any Thoughts to be more Natural.

'Twere endless to enumerate all the several kinds of Beautiful Pastoral Thoughts, but from these any one may discover the rest; and the general Rule we gave at the beginning of the Chapter will be a Direction for his ranging them into distinct Classes.

Yet give me leave to mention one Kind, which I think we may term the finest. 'Tis where the Agreeable Thought, and the Tender, meet together, and have besides, the Addition of Simplicity. I would explain my Meaning by a Quotation out of some Pastoral Writer, but I am at a loss how to do it; give me leave therefore to bring a Passage out of the Orphan. A Thought may contain the Tender, either with regard to some Person spoken of, or the Person speaking. The first is common, this Play is full of it. I will therefore Instance in the latter. And first where 'tis chiefly occasion'd by the turn that is given to it in the Expression. Chamont presses his Sister to tell him who has abused her.

Mon.) But when I've told you, will you keep your Fury Within it's bound? Will you not do some rash And horrid Mischief? for indeed, Shamont, You would not think how hardly I've been used From a near Friend.

Cham.) I will be calm; but has Castalio wrong'd thee?

Mon.) Oh! could you think it! (Cham.) What?

Mon.) I fear he'll kill me. (Cham.) Hah!

Mon.) Indeed I do; he's strangely cruel too me. Which if it lasts, I'm sure must break my Heart.

Act. 4.

In the other passage the Tender lyes more in the Thought.

Mon.) Alas my Brother! What have I done? And why do you abuse me? My Heart quakes in me; in your settled Face And clouded Brow methink's I see my Fate; You will not kill me!

Cham.) Prithee, why dost talk so?

Mon.) Look kindly on me then, I cannot bear Severity; it daunts and does amaze me. My Heart's so tender, should you charge me rough. I should but Weep, and Answer you with Sobing. But use me gently, like a loving Brother, And search thro' all the Secrets of my Soul.



CHAP. VI.

Of three Kind of Thoughts which seem to be false, yet are admitted and valued by Pastoral Writers.

Tho' I proposed not to consider those Thoughts which are false, either in their own Nature, or with Respect to Pastoral; yet there are some such, that yet are thought good, by the generality of Writers, which I shall therefore Just mention; since Pastoral-Writers are especially fond of 'em, and seem to look upon 'em as Beautys. Of these false Thoughts there are, I think, three sorts. The EMBLEMATICAL, the ALLEGORICAL, and the REFINED.

Of the first Sort, or the EMBLEMATICAL, SPENCER was so fond, that he makes it run all thro' his first and last Pastoral; which two come the nearest of any he has to true Pastorals; and contain Thoughts more pleasant than those in his other (especially his Allegorical) Pieces. But these pleasant Thoughts are mostly Emblematical, as this, which I think, is in SPENCER.

My Leaf is dry'd, my Summer Season's done, And Winter, blasting Blossoms, hieth on.

Meaning that his happy time of Life was past, and Old Age drew on. I need not prove these Thoughts to be improper for Pastoral.

The Second Sort, or the ALLEGORICAL, is also what SPENCER delighted equally in. His every Pastoral almost has under the plain Meaning a hidden one. Let all judge of Allegorical Pastorals as they please, but in my Opinion, they are not consistent with the Simplicity of that Poem.

The Third Sort I mention'd was the REFINED. And of this our Modern Swains are as fond, as SPENCER was of the two first. But all the Difficulty is to show that their Thoughts are refin'd; for all allow a Refin'd Thought to be faulty. But those I am going to mention are not at present look't upon as such. As that Apostrophe, where the Shepherd calls upon the Works of Nature to assist him in his Grief. This Thought being us'd by all Pastoral-Writers show's how Beautiful they thought it: And the generality of them, 'tis plain, took delight in the Affectation of it, because they have put it as affected as they could.

If 'tis possible for any, the finest Turn, that can be given it, to prevent the Affectation, I think the Ingenious Mr. ROW has done it, in his excellent Tragedy, call'd JANE SHORE.

Give me your Drops, Ye soft-descending Rains, Give me your Streams, Ye never-ceasing Springs, &c.

But the very best Turn, methinks, that can possibly be given to this Thought, Mr. PHILIPS, in his Pastorals, has hit upon.

Teach me to grieve, with bleating Moan, my Sheep, Teach me, thou ever-flowing Stream, to weep; Teach me, ye faint, ye hollow Winds, to sigh, And let my Sorrows teach me how to dye.

The Thought likewise of the Heavens and the Works of Nature wailing along with the Swain, is what Pastoral-Writers all aim at. I need not quote different Authors, for the different Turns that are given to this Thought; I remember Mr. CONGREVE has it in four several Places. The best express'd, I think, is this.

The Rocks can Melt, and Air in Mists can mourn, And Floods can weep, and winds to Sighs can turn, &c.

It seem's to be turn'd the best next in these Lines.

And now the Winds, which had so long been still, Began the swelling Air, with Sighs to fill, &c.

The Affectation of the Thought show's it self rather more, I think, in the following Lines.

And see, the Heav'ns to weep in Dew prepare. And heavy Mists obscure the burd'ned Air On ev'ry Tree the Blossoms turn to Tears, And every Bough a weeping Moisture bears.

But give me leave to quote the Thought once more and I have done.

The Marble Weep's, and with a silent Pace, It's trickling Tears distil upon her Face. Falsely ye weep, ye Rocks, and falsely Mourn! For never will ye let the Nymph return!

If any should have a Curiosity to see these Thoughts at large, for we have not quoted the whole of 'em, he may find 'em in Congreve's Pastoral, call'd The Mourning Muse of ALEXIS.

I shall trouble you with but one Thought more of those which we reduce under the Denomination of Refin'd, and that is the ANTITHESIS. I do not just now remember a Line of this Nature in any Author but Mr. PHILIPS; otherwise, I avoid hinting at particular Faults in a Writer who is generally regular and correct, in his Sentiments.

In vain thou seek'st the Cov'rings of the Grove, In the cool Shades to sing the Heats of Love.

SECT. 2.

Of SIMPLE THOUGHTS. And the finest quoted out of SHAKESPEAR and PHILIPS.

'Twould be well if Pastoral-Writers would leave aiming at such Thoughts as these, and endeavour to introduce the Simple Ones in their stead. But what is most surprizing, is, that their false Thoughts are as seldom their own, as their true ones, and they steal all indifferently from THEOCRITUS and VIRGIL. Which shows how necessary it is to be a thorough Critick, if you would be a good Poet.

Pastoral-Writers are sufficiently for Simplicity; nay so much, that they form their Storys or Fables so little and triffling as to afford no Pleasure; is it not strange then that they should be so averse to Simplicity in their Thoughts; where Simplicity would be the greatest Beauty in their Poetry? Pastoral-Writers have all sorts of false Thoughts but those which we may call the Too Simple. I do not indeed know any Author who has such a Thought unless it be our wide-thoughted SHAKESPEAR. And indeed 'tis scarce possible to rise to Simplicity enough, in Pastoral, much less to have a Thought too Simple. SHAKESPEAR's is this.

Des.) Mine Eyes do itch, doth that boad Weeping?

Emil.) 'Tis neither here nor there.

Des.) I have heard it said so: O these Men, these Men! Dost thou in Conscience think, tell me Emilia, That there be Women do abuse their Husbands, In such gross kind? &c.

Othello. Act. 4. Sc. last.

But if this passage is too Simple, 'tis for Tragedy so, not for Pastoral; and because DESDEMONA was a Senators Daughter, and Educated in so polite a place as VENICE; but in Pastoral, I think, we may Introduce a Character so Young, Simple and Innocent, that there is no Thought so Simple but will square with it; at least, we have no Instance of any such one as yet. The Simplicity of this Scene would be inimitable for Pastoral; and I think, it shows as great if not a greater Genius, in the Writing it, than any one in SHAKESPEAR. But a Scene so truly Simple and Innocent cannot well be represented. Besides, what is best writ is most open to the Ridicule of little Genius's; And more, I doubt, look upon this Scene in OTHELLO as Comedy, than have a taste of that sweet Simplicity, that is in it, if we consider the Sentiments only in themselves.

Yet must we not carry the Reflection too far, of Pastoral-Writers having no such thing as the Simple in any of their Thoughts, for there are passages in Mr. PHILIPS Pieces truly Simple. And 'tis worthy Observation how beautiful a figure they make, tho' we don't consider 'em as being in a Pastoral. Such is the celebrated one, contain'd in the last of these Lines.

I smooth'd her Coats, and stole a silent Kiss: Condemn me Shepherds if I did amiss.

Phllips Past. 6.

But we have greatly more Simple Thoughts in other Pieces than in Pastorals. The finest of all which, is this famous one in OTHELLO.

Why I should fear I know not, Since Guiltiness I know not: But yet I feel I fear.

Yet need we not much wonder at the scarcity of these Simple Thoughts; since there is nothing requires so great a Genius as finely to touch the SIMPLE; and the greatest Genius's never attempt Pastoral; it being a Form so mean, little and trifling, without the Ornaments of Poetry, FABLE, MANNERS, MORAL, &c. and of a confused Imperfect Nature.



CHAP. VII.

Of COMPARISONS in Pastoral. And how much our modern Pastoral-Writers have fail'd therein.

SIMILIES in Pastoral must be managed with an exceeding deal of Care, or they will be faulty. As a Poet may range Nature for Comparisons; this gives a Pastoral-Writer a very easy Opportunity of introducing rural Thoughts. VIRGIL therefore, and those Swains who have written Pastorals more by Art and Imitation than Genius, generally heap three or four SIMILIES together for the same thing; and which is of no Moment; nor wanted any Comparison.

As I have hinted that Theocritus had a Genius capable of writing a perfect Set of Pastorals, his Similies are infinitely the best of any Swain's. The chief Rule, I think, to be observ'd is (if Rules can be given for such Things as these) that SIMILIES be contain'd in three or four Words. As this of PHILIPS's.

Whilon did I, all as this Pop'lar fair, Up-raise my heedless Head devoid of Care, &c.

Or at most they ahould not exceed a Line. As this is a very Beautiful one In the same Author. And also in his 1st Pastoral.

A Girland, deck't with all the Pride of May, Sweet as her Breath, and as her Beauty gay, &c.

I shall not give my Opinion of the following Similies; yet I might say that I think 'em not altogether so fine as the foregoing two. Altho' they contain delightful Images

As Milk-white Swans on Silver Streams do show, And Silver Streams to grace the Meadows flow; As Corn the Vales and Trees the Hills adorn, So thou to thine an Ornament was't born.

Past. 3.

The next relates to the Sweetness of Colinet's Voice.

Not half so sweet are Midnight Winds, that move In drowsy Murmurs o're the waving Grove; Nor dropping Waters, that in Grotts distil, And with a tinkling Sound their Caverns fill.

Past. 4.

Methinks thus dressing a Thought so pompous in SIMILIES, raises so our Expectation, that we are fit to smile when the last Line comes.

There are also another kind of Similies, which being heapt in the same manner, seem to be design'd by VIRGIL, and those who have taken their Thoughts from him, rather to fill up Space with somthing Pastoral, than to be the natural Talk of Shepherds. For Swains are not suppos'd to retard their Storys by many or long SIMILIES; their Talk comes from the Heart, Unornamental; but Similies, in Pastoral, are for Ornament. But I must show what kind of Thoughts I mean, which I also account SIMILIES, but they have a peculiar Turn given to 'em. I remember but two in Mr. PHILIPS Pastorals.

First then shall lightsome Birds forget to fly, The briny Ocean turn to pastures dry, And every rapid River cease to flow, 'Ere I unmindful of Menalcas grow.

The other is this.

While Mallow Kids; and Endive Lambs pursue; While Bees love Thyme; and Locusts sip the Dew; While Birds delight in Woods their Notes to strain, Thy Name and sweet Memorial shall remain.

But now I have given Examples of those Similies which seem faulty; and quoted at the beginning of the Section, some that are good; I will bring an Instance of a SIMILIE, which is more delightful to the Fancy than all these put together; and which show's that Theocritus thought 'twas a small thing to put down Pastoral Thoughts or Images, if he did not cull the most pleasurable in Nature. CREECH has translated it very well. DAPHNIS had conquer'd MENALCAS in Singing.

The Boy rejoyc'd, he leap'd with youthful Heat, As sucking Colts leap when they swig the Teat; The other griev'd, he hung his bashful Head, As marry'd Virgins when first laid in Bed.



CHAP. VIII.

Of imitation; or Stealing Sentiments from the ANTIENTS.

If a direct Imitation of the Thoughts of the Greeks and Romans, shows no great Richness of Genius, in any kind of Poetry, in Pastoral 'tis much more to be avoided. If a Hero does sometimes talk out HOMER and VIRGIL, 'tis not so shocking, because tis not dissonant to Reason to suppose such a Person acquainted with Letters and Authors; nor is an Heroick Poems Essence Simplicity; But if a Modern gives me the Talk of a Shepherd, and I have seen it almost all before in THEOCRITUS, VIRGIL and SPENCER, it cannot delight me. For that Poetry pleases the most, that deceives the most naturally. But how can I, while I am reading a pastoral, impose upon my self that I am among Swains and in the Country, if I remember all they say is in Greek and Roman Authors. And few read Modern-Writers but have read the Antients first. A Shepherd should speak from his Heart, as if he had no design of Pleasing, but is prompted to utter all he says: But if in all he says we see an Imitation, or a Thought stole from other Authors, it destroys all Simplicity, shows Design and Labour.

Besides, Epick Poetry warms and elevates the Mind, hurries it on with fury and Violence, which prevents our noting any slight Inacuracy, so as to be offended by it; but in so cool a Poem as Pastoral, whose design is to sooth and soften the Mind, we have leasure to consider every Unnaturalness and every Improbability.

SECT. 2.

Of Soloman's Allegorical pastorals; Entitled The CANTICLES.

Yet I know not how, tho' 'tis so unnatural to find Thoughts in the Mouths of Shepherds, which we have observ'd in THEOCRITUS and VIRGIL, yet I am never better pleased than with those Thoughts which are taken out of the Scripture. Methinks the Thoughts in the CANTICLES are so exceeding fine for Pastoral that 'tis pity to give 'em any other Turn than what they have there; and if I did take any of those Pastoral Sentiments, I would translate the whole Passage as we there find it.

MILTON in his soft Passages has often imitated the Thoughts in the CANTICLES; and Mr. PHILIPS has taken from thence the hint of the finest Image but one he has in his Pastorals.

Breath soft ye Winds, ye Waters gently flow, Shield her ye Trees, ye Flow'rs around her grow, Ye Swains, I beg ye pass in silence by, My Love in yonder Vale asleep doth lye.

My not disliking Thoughts taken from the CANTICLES, makes me think that 'tis not so much the Thoughts being stolen from THEOCRITUS or VIRGIL that makes me dislike 'em, as the poor and mean Figure they make in Poetry. Could Poets take as fine Pastoral Images from the Antients, as this of Philips, I believe no one but would be pleased by 'em, come from whence they would. But the Thoughts which our Writers take from the Antients are such, that would they trust their own Genius's, I am satisfied they would, at least, not have worse, nor more false ones.

I was a little surprized when I first read Mr. Philips's 5th Pastoral, (which has the most of a story or Fable of any) how he came to take the very story which STRADA tell's to show what a Genius CLAUDIAN had. OVID's Metamorphoses is full of such Fairy and Romantick Tales, and he might well enough have given a Description of a Bird's contending with a Man for the Prize in Singing, but methinks 'tis not wholly probable enough for a Fable in Pastoral.

Now the Cause of my mentioning this in Mr. PHILIPS, is to persuade, if possible, those who shall hereafter engage in Pastoral-Writing to trust to their own Genius's. By that means we may hope Pastoral will, one Day, arrive at it's utmost Perfection, which if Writers pretend to go no farther than the first who undertook it (I mean THEOCRITUS) it never can do. For 'tis no one Genius that can bring any Kind of Poetry to it's greatest Compleatness. And all know by what slow Steps Epick Poetry, Tragedy, and Comedy arrived at the Perfection they now bear.

SECT. Last.

But now the time of Day drew on, when Cubbin must drive his Heifers to Water. Sophy therefore withdrew, but promised to be there in the Evening agen.

When the Heat of the Day was over, and the Evening Air began to breath in a delightful manner, Sophy accordingly appear'd, and setting him on the Rushes, that esprouted up by the River side, open'd his Book, and proceeded in the following Manner.

The End of the Third part.



PART IV.



CHAP. 1.

Of the Pastoral Language in general.

I must here premise, that I intend not here a full and compleat Discourse on the Pastoral Language; for that would take up a Volume. But I would recommend it to some other Hand; for I know nothing that would be more acceptable to the Letter'd World than an Enquiry into the Nature of the English Language.

But there is no Dialect or Part of our Language so little understood, as that which relates to Pastoral; nor none (not even the Sublime) so difficult to write. Of all who have attempted Pastoral in our Tongue, no one (but SPENCER) has gone so far as even the weakening and enervating their Dialect; yet after that is perform'd, a Pastoral-Writer has gone but half way; for after the Strength is taken away, a Tenderness and Simplicity of Expression must supply its Place, or else 'tis only bald and low, instead of Soft and Sweet.

Spencer's Language is what supports his Pastorals; for I can maintain, that he has not above one Sentiment in fifteen but is either false, or taken from the Antients, throughout his Pastorals. The greatest Defect in his Language is it's want of Softness. He has introduced a sufficient, or perhaps too great a Number, of Old-Words. But they are promiscuously used. He took not the Pains to form his Dialect before he wrote his Pastorals, by which means he has used more rough and harsh Old-Words, than Smooth and Agreeable Ones. They are used where our common Words were infinitely more Soft and Musical. As What gar's thee Greet? For, What makes thee Grieve? How Harsh and Grating is the Sound of SPENCER's two Words, But Instances were endless. He is the more blamable, because there are full enough Old-Words to render a Dialect Rustick and Uncommon of the most sweet and delightful Sound imaginable. As ween or weet, for think; yclepen, for call'd, and the like. These being so tender and soft, render the Language of Pastoral infinitely more tender also, than any common Words, now in use, can do.



CHAP. II.

How to attain to the Soft in Writing.

That a Shepherd should talk in a different Dialect from other People, is allow'd by all. That the Pastoral Language should be soft and agreeable is equally past dispute. The only remaining Question then is, what it is that composes such a Dialect, and how to attain it.

In order to compose a Pastoral Dialect entirely perfect; the first thing, I think, a Writer has to do, is, as we said before, to enervate it and deprive it of all strength.

As for the manner of enervating a Language, it must be perform'd by the Genius of the Poet, and not shown by a Critick. However when the Thing is done, 'tis not difficult to see what chiefly effected it. There are, I think, Cubbin, two Things that principally enervate your Language.

First, 'Tis perform'd by throwing out all Words that are Sonorous and raise a Verse. Mr. PHILIPS comes the nearest to a Pastoral Language of any English Swain but Spencer. And he has truly enervated his Language in four several Lines. One of which is the last of these two.

Ye Swains, I beg ye pass in silence by; My Love in yonder Vale asleep doth lye.

The Word Doth, is what enervates the last Line. But 'twould be still better enervated if Mr. Philips had used only such Words as have very few Consonants in them. For by Consonants, joyn'd with the Vowel O, a Writer may render his Language, in Epick Poetry, just as Sonorous as he will; and by the want of Consonants and by delighting in the other soft Vowels he may render it weak. I cannot see that Mr. PHILIPS has any Line where the Language is wholly enervated. But see how Spencer has done this. Especially in the second of these Lines.

The gentle Shepherd sate beside a Spring. All in the Shadow of a Bushy Breer. &c.

In this last Line, there is but one Word end's with a Consonant, where the following Word begin's with one. But a Writer, who is perfectly Master of his Language, will be able to have every Line like this; and no Word more strong than Evening, Rivulet, and the like, will he be forc'd to use.

Secondly, The Language is by nothing more weaken'd, than by the use of Monisyllables. This no one ever had the least Notion of but Spencer. Which I wonder has not been observed, 'tis so very palpable in him. What makes the finess of these Lines else?

All as the Sheep such was the Shepherd's look, For pale and wan he was (alas the while!) May seem he lov'd, or also some Care he took, Well could he tune his Pipe and form his Stile.

Past. 1.

Here is but two Words for four Lines, except Monosyllables.

The best Lines in PHILIPS, for the Language, are these, where Monosyllables reign.

...Fine gain at length, I trow, To hoard up to my self such deal of Woe!

And the last of these; for the first is rough thro' too many Consonants.

A lewd Desire strange Lands and Swains to know: Ah Gad! that ever I should covet Woe! Past. 2.

There are other Methods, I see, Cubbin, you have taken to enervate your Language; too minute and too numerous to recite, but they are easily, I think, observ'd, if a Person peruses the Pastoral Writers with Care.

When our Dialect is thus render'd weak and low, we must then add to it, (in order to render it as pleasant as a Dialect that is not low and mean) Simplicity, Softness and Rusticity. This is perform'd principally by these three things. By Old-Terms; by Turns of Words, and Phrazes; and by Compound Words. Of all which I shall crave leave to treat distinctly. And first of Ancient Terms.

SECT. 2.

Of Old-Words.

When first I look'd into Chaucer. I thought him the most dry insipid Writer I ever saw. And there is indeed nothing very valuable in either his Images or Thoughts; but after a Person is accustom'd to his manner of Writing and his Stile, there is something of Simplicity in his Old Language, inimitably sweet and pleasing. If 'tis thus in Chaucer, in Pastoral such a Language is vastly more delightful. For we expect something very much out of the Way, when we come among Shepherds; and how can the Language of Shepherds be made to differ from that of other Persons, if they use not Old-Words?

'Tis very remarkable that all our greatest Poets whose Works will live to Eternity, have introduced into their Language Old-Words; as Shakespear, Spencer, Milton. Dryden also, whose Genius was much inferiour to those Writers; has used some few. And Ben. Johnson (tho' he lived at the same time with Shakespear, Spencer, &c.) whose Genius was yet meaner than Dryden, has not one Old-Word.

Ancient Terms were doubtless a great disadvantage, especially to Spencer, when his Works appear'd first in the World; but he had a Soul large enough to write rather for Posterity, than present Applause. He took so excessive a delight in the Old Language of his admired Chaucer, that he could not help, in some measure, imitating it.

Our greatest Writers having all given into an Ancient Dialect, would almost encline us of the present Age, to think of making their Language a standing Language; for Queen Elizabeth's Age is to us what Augustus's was to the Latins; we must never hope to have so many noble Genius's adorn any one Age for the future; I might have said, any twenty Ages. Therefore if any English Dialect survives to the World's End, 'twill certainly be theirs; and 'twill be prudence in any After-writer to draw his Language as near to theirs as possible; that if theirs are understood a thousand Years hence, his may too.

But to leave the Consideration of Old-Words in Epick Poetry and Tragedy, let us proceed to Pastoral. There are several Advantages flow from the Use of Old-Words, but I have time to mention but two or three.

There is a Spirit and a Liveliness of Expression to be preserv'd in Pastoral as well as other Poetry; now I affirm that 'tis impossible to perform this without Old-Words; unless a Writer make Shepherds talk Sublimely, and with Passion, as in Tragedies.

Again, if a Writer has a Genius for Pastoral he will have some Thoughts occur so inimitably Simple, that they would appear ridiculous in the Common Language; and 'tis necessary that the Language should answer to the Thought. These are the finest Thoughts of all for pastoral.

There are also several Thoughts which, tho' extreamly agreeable to the simple Innocence of young Country Girls, will appear too luscious, unless the Simplicity and Rusticity of the Speaker appear's, by the Old Language spoken. But we smile at a Thought in such simple Language, which perhaps we shall nauseate in a polite Dialect.

But one of the greatest Advantages of Old-Words, is, that they afford the Writer so fine an Opportunity of rendring his Language most inimitably soft and smooth. This cannot be done by any other Means; and how proper soft and simple Language is to Pastoral (at least where the Characters are Young, Tender, and Innocent) I need not say. As for VIRGIL and those Pastoral Writers who seem not to aim at Simplicity in either their Characters or Sentiments, the using of Old-Words is entirely different with regard to them. To see a Sentiment, which would as well become any other Person as a Shepherd, dress'd in the Simplicity of an Ancient Dialect, would appear nothing but Affectation. We are used to see such Sentiments in another Dress. Nay, were their Thoughts Simple, 'twould not be agreeable for them to use Old-Words, unless the whole Turn of their Language was answerable to it; to have a common, ordinary Language, with Old-Words scatter'd through it, is a mixt confused Language, and what is very expressively named by our Word Hodge-podge. 'Tis not enough therefore, for the forming a pastoral Language to use Old-Words; a Writer must set down, and by true Pains and Industry constitute a Language entirely of a piece and consistant; in performing which the choicest Old-Words will be of some little Assistance.

If I might advise you, Cubbin, I would have you always write Pastorals in either such a Language as this, entirely uniform and of a piece, or else to write in a strong polite Language. Never write any single thing in a low and mean Language. Polite Language is only faulty with respect to it's being in Pastoral; but low Language is in it's own Nature faulty. The first is only unnatural; the latter is stupid and dull. Therefore unless you resolve to go quite thro', never weaken or enervate your Pastoral Language at all. Unless you resolve to add Simplicity and Softness, to supply the place of Strength, never rob it of it's Strength. It had better have strength and Sprightliness and Politeness than Nothing.

The best Way is that which Sir Philip Sidney has taken, to suppose your Swains to live in the Golden-Age, and to be above the ordinary Degree of Shepherds, for Kings Sons and Daughters, were then of that Employ. And upon this Supposition to make 'em talk in a polite, delightful and refined Dialect. By this Means you will disable the Criticks at once.

But perhaps some may expect that I should vindicate the Use of Old-Words, on my own Account. But for that Reason I am the more careless in touching the Subject; because I would leave the World to a free and unbias'd Judgment of what I have done. Nor is this an Age, indeed, to begin to vindicate Old-Words in. The Method has been approv'd of in all Ages even in Epick Poetry and Tragedy, and should we go now to defend it in Pastoral? A Friend indeed of SPENCER's wrote a Vindication of his Old-Words, but had SPENCER been living be would doubtless have been ashamed of it's appearing in the World. 'Tis the Opinion of the best Judges that the Old-Words used by Mr. Row, even In the Tragedy of JANE SHORE are a great Beauty to that Piece. And those who have objected against SALLUST for affecting Old-Words, have made nothing out. Tho' History is to deliver plainly Matters of Fact, and not to flourish, and beautify it's self with foreign Ornaments, as Poetry is. There are not so many disapprove of SALLUST's Old-Words, as commend him for adding a Majesty and Solemness to his Writings thereby.

I might add (were there occasion for vindicating Old-Words) that we have render'd our English Language unexpressive and bare of Words, by throwing out several useful Old-Words; as Freundina a She-Friend; Theowin a She-Servant, &c. But as no one has shewn Old-Words to be faulty, for so many hundred Years, 'twould be folly to trouble the Reader with a Vindication of 'em, at this Day. The only Question is, whether an Author has chose the Softest and Finest; or has shown by his Choice the weakness of his Judgment.

SECT. 3.

Of Compound Words.

Another thing which occasions Softness in the Pastoral Language, if rightly managed, is the use of Compound Words. But there is nothing requires a greater Genius than to form Beautiful Compound Words in Epick Poetry, or more Exactness and Labour in Pastoral. In Epick Poetry 'tis absurd to make a Compound Word, unless it helps forward the Sence; and in Pastory, it must add to the Softness of the Dialect, and in some measure assist the Thought, yet it need not do it so much as in Epick Poetry; where a Writer of Genius will form such Compound Words as will each contain as much as a whole Line. As may be seen in Homer, and the Greek Poets, especially. Among the English, Milton's are often very fine.

Brandish'd aloft the horrid Edge came down, Wide-wasting.

The Compound Words, in Pastory, must be so easy and natural, as scarce to be observ'd from the other Language. They must run easy and smooth, and glide off the Tongue, and that will occasion their not being observ'd in the reading.

A Pastoral Writer will often be able, if he gives an Image in one Line, by a Compound Word in that Line to give another Image, or another Thought as full and as fine an one as that which the whole Line contains. But as this and the like Observations cannot be well understood without Instances quoted, I shall leave 'em to the Observation of those who intend to engage in Pastoral Writing; for that and nothing else, will put 'em upon a thorough Search into the Springs and Rules by which all former Pastoral Writers have excell'd.

SECT. 4.

Of Turns of Words and Phrazes.

Another help to Softness, and the very greatest Beauty of all in the Pastoral Language, is, a handsome use of Phrazes. This must depend entirely on the Genius of the Writers, for there is no one Rule can be given for the attaining thereto. A Person who writes now may imitate Ovid and Spencer in this particular (if he can submit his Fancy to Imitation) and that is all the Assistance he can have. As for rural Phrazes, there are not above half a dozen in all the Counties or Dialects that I am acquainted with.

All that we can do on this Head, is to leave the Reader to Observation. For I confess that I do not so much as know how I came by those few I myself have, farther than that by use and practising in an Uncommon Dialect, I happen'd on 'em at Unawares.

However I may quote those which are the very finest of any in Spencer. Who is the only Writer in our Language that ever attempted tender Phrazes or Turns of Words. Yet there are two such Passages in Creech's Theocritus, which I will also quote.

All as the Sheep, such was the Shepherd's Look; For pale and wan he was (alas the while!) &c.

And again.

Ye Gods of Love, who pity Lover's Pain. (If any Gods the Pain of Lovers pity) &c.

And again.

A simple Shepherd Born in Arcady, Of gentlest Blood that ever Shepherd bore, &c.

Such beautiful Turns of Words as these are extremely scarce in Spencer; but he has not one but what is inimitably fine and natural.

Let us now see the two Phrazes which Creech has happen'd upon. Whose Language I have observ'd to be infinitely the best of any of our Pastoral writers, next to Spencer. This is one of them. A Shepherdess says to a persuading Swain.

You will deceive, you Men are all Deceit; And we so willing to believe the Cheat.

The other is this, to Diana; when she consents.

I liv'd your Vot'ry, but no more can live.



CHAP. III.

The Tender in Pastory distinguish'd from that in Epick poetry or Tragedy.

'Tis strange to me that our Pastoral Writers should make no Distinction between their SOFT when they write Pastories, and when they write Epick Poetry. This in Philips is the Epick Softness, or what we call the Beautiful sometimes in Epick Poetry in Opposition to the Sublime.

Breath soft ye Winds, ye Waters gently flow; Shield her ye Trees, ye Flow'rs around her grow, &c.

And this which also is the Sixth Pastory.

Once Delia lay, on easy Moss reclin'd, Her lovely Limbs half bare, and rude the Wind, &c.

This also is of the same kind of SOFT.

A Girland deckt in all the Pride of May, Sweet as her Breath, and as her Beauty Gay, &c.

But Instances were endless. In Opposition to this kind of Soft, I shall quote out of Spencer some Passages which have the truest Softness. For such that Author has, beyond any in the World, tho' perhaps not very often. He begins his last Pastory thus.

A gentle Shepherd sate besides a Spring, All in the shadow of a bushy Breer, &c.

And his first he begins thus.

A Shepherd's Boy (no better do him call) &c.

His Pastoral named Colin Clout's come home, begins thus.

The Shepherd-boy (best known by that Name) Who after TITYRUS first sang his Lay, Lays of sweet Love, without Rebuke or Blow, Sate, as his manner was, upon a Day, &c.

These Lines of Spencer and those of Philips, both contain agreeable Images and Thoughts, yet are they as different as Milton and D'Urfey.

I shall only make one Observation on this difference. Namely, that in the soft and beautiful Lines of Philips, each Word, only signifies a soft and beautiful Idea; As Breath, Waters, Flow, Gently, Soft, &c. but in Spencer the sound also is soft. Had such an Author dress'd this inimitable Thought of Philips, the Line would have glided as smooth and easy off the Tongue, as the Waters he mentions, do along the Meadows.

SECT. II.

That no Language is so fit for Pastoral as the English.

I have before observed, that this softness is effected, among other things by little Words; yet I cannot help observing here, that our Language is infinitely the finest of any in the World for Pastoral, and it's abounding so much in little Words is one Reason of it. The Pomps and Stateliness of the Latin Lines could not have been made proper for Pastoral, unless entirely alter'd, and 'tis not likely that a Genius daring enough to do that would engage in Pastoral.

The Romans had not a Particle, as we have, before their Substantives; As A and The Tree. Seldom used a Word before the Verbs; as He goes, They go. Nor had they our Doth and Does; without which no Englishman could form a Pastoral Language. As the sweet Simplicity of that Line, I have just quoted, is occasion'd by nothing else.

A Shepherd-boy (no better do him call.)

The Greek Language was greatly more fit for Pastoral than the Latin. Among other Reasons, because the former had so many Particles; and could render their Language uncommon, by their different Dialects, and by their various Methods of changing, and of compounding Words. Which no Language will admit of in an equal degree, besides the English. But then the Greek Language is too sonorous for Pastoral. Give me leave to show the inimitable softness and sweetness of the English Tongue, only by instancing in one Word. Which will also show how copious a Language ours is. I know but three Words the Greeks had to express the Word Lad or Swain by: [Greek: Agrikos, Poimruos; and Bokolos]; and how sonorous are they all. We have six; Swain, Boy, Shepherd, Youth, Stripling, Lad; and how inimitably soft is the sound of 'em all.

Theocritus has more Turns of Words or Phrazes than Spencer; yet he could in none of 'em come up to Spencer's smoothness and simplicity in his Numbers. As I quoted only the Phrazes of my Country-men In the Chapter on that Head; I will here put down the finest in Theocritus, tho' I cannot say indeed that he has any but in his first Pastoral.

[Greek: Archete boukolikas Moisai philai harchet haoithas. Thursis hod hox Ahitnas, kai Thursidos adea phona. Pa pok had esth, oka Daphnis etaketo, pa poka Numphai;]

The finest of these Lines (and the softest but one that I remember thro' all his Pieces) is the middle one; it is most incorrigibly translated by Creech: tho' I blame him not for it, because of the difficulty of inventing fine Phrazes, much more of translating those of other Men, into Rhime; for which Reason Creech has not attempted to give us any of Theocritus's Turns of Words.



CHAP. IV.

That there may be several sorts of Pastorals.

To conclude this Essay, as there are Tempers and Genius's of all sorts, so perhaps it may not be amiss to allow Writings of all sorts too. I think every Person's Aim should be to be subserving as much as possible, to the Delight and Amusement of his Fellow-Creatures. And if any can take pleasure in what is really not pleasant, 'tis pity, methinks, to rob 'em of it. Yet if there is in nature a Method which pursued will be still more delightful, the Critick is to be observed who points out the Way thereto.

If any of my Countrymen therefore can take delight from reading the Pastorals of Theocritus and Virgil, or any of those who have imitated those two Ancients, I shall be ready to allow that there may be several sorts of Pastorals. 'Tis certain that Milton and Homer, (thro' the Scene of the Former lying about the Sphere of Men) are as different as East from West, yet both excellent. Tragedy has as different sorts as Epick-Poetry; Nor are Julius Caesar and the Orphan of the same Nature. The same difference in Tragedy, is between all those, whose Chief CHARACTER is a Hero, and those that draw a Female, as Jane Shore, the Lady Jane Gray, and the like, are to me entirely different from Shakespear's, not respecting the Excellency of 'em. Shakespear having a Genius made for the Sublime, and perhaps Mr. Row rather for the Soft and Tender; as appears in two Passages at the End of JANE SHORE. Which in my Judgment are not much excell'd by even Otway himself.

Since I have mention'd that Author, I can't help remarking how difficult a thing it is for any Person to know what his own Genius is fittest for; and how great a Chance it is whether ever a Writer comes to know it. Tho' Otway had so fine a Genius for the TENDER, it never appear'd till a little before he dyed. Thro' all his Plays we cannot trace even the least Glimpse of it, till his two last, The Orphan and Venice Preserv'd. But we run the Digression too far.

SECT. 2.

What Kind of Pastorals would please most Universally; and delight the greatest Number of Readers.

For my own Part, as I said, I could be delighted with any Kind of Pastoral, if the Writer would but be at the Pains of selecting the most beautiful Images, and tenderest Thoughts. This is the first and principal Matter. Yet this might be perform'd by a moderate Capacity, without a Genius born for Tragedy.

Would a Person but form a delightful Story, invent new and uncommon and pleasing Characters, and furnish his Mind with a small Number of fine Images from the Country, before he sate down to write his Pieces, He would not fail of Success. But if Writers will only put down a parcel of common triffling Thoughts from Theocritus and Virgil, nor will so much as aim at any thing themselves, can you blame me Cubbin, if I throw 'em aside. Let 'em have a thousand Faults, I can be pleas'd by 'em, if they have but Beauties with 'em; nor will you ever hear me blame Shakespear for his Irregularity. And Pastoral is delightful to me in it's own Nature, that were these Authors to employ but my Mind in any manner, I should have Patience to peruse 'em.

But if these Authors were unwilling to be at the Pains of forming a pleasant Story themselves, they might go upon little Tales already known, such as, The Two Children in the Wood, and a thousand others inimitably pretty and delightful.

And had we a Set of such Pastorals as these, I am satisfied they would take extreamly. More Cubbin, perhaps than yours ever will; because perfect Pastories are directed only to Persons of Reading and Judgment. But you cannot I suppose satisfie your own Mind, unless you write up to what you judge the Standard of Perfection in every sort of Writing.

FINIS.



Notes on the Text.

It was impractical to issue Purney's Enquiry in facsimile because of the blurred condition of the photostats. This reprint follows the original text faithfully, with the following exceptions: the long "s" and the double "v" are modernized; small capitals, which appear frequently in the 1717 version, are reduced to lower-case letters; a few very slight typographical errors have been silently corrected. On page 40, line 1, thoroughly reads throughly in the original; and the three lines of Greek on p. 70, somewhat garbled in the original, are given in corrected form.



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