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+*** START OF THE PROJECT GUTENBERG EBOOK 14495 ***
+
+            Series Two:
+        _Essays on Poetry_
+
+              No. 3
+
+
+    Rapin's _De Carmine Pastorali_,
+prefixed to Thomas Creech's translation
+of the _Idylliums_ of Theocritus (1684)
+
+
+
+
+      With an Introduction by
+          J.E. Congleton
+                and
+       a Bibliographical Note
+
+
+
+
+The Augustan Reprint Society
+July, 1947
+Price: 75c
+
+  *       *       *       *       *
+
+
+GENERAL EDITORS
+
+RICHARD C. BOYS, University of Michigan
+EDWARD NILES HOOKER, University of California, Los Angeles
+H.T. SWEDENBERG, JR., University of California, Los Angeles
+
+
+ADVISORY EDITORS
+
+EMMETT L. AVERY, State College of Washington
+LOUIS I. BREDVOLD, University of Michigan
+BENJAMIN BOYCE, University of Nebraska
+CLEANTH BROOKS, Louisiana State University
+JAMES L. CLIFFORD, Columbia University
+ARTHUR FRIEDMAN, University of Chicago
+SAMUEL H. MONK, University of Minnesota
+JAMES SUTHERLAND, Queen Mary College, London
+
+
+
+
+Lithoprinted from copy supplied by author
+                 by
+        Edwards Brothers, Inc.
+      Ann Arbor, Michigan, U.S.A.
+                1947
+
+
+  *       *       *       *       *
+
+
+INTRODUCTION
+
+Recent students of criticism have usually placed Rapin in the School
+of Sense. In fact Rapin clearly denominates himself a member of that
+school. In the introduction to his major critical work, _Reflexions
+sur la Poetique d'Aristote_ (1674), he states that his essay "is
+nothing else, but Nature put in Method, and good _Sense_ reduced to
+Principles" (_Reflections on Aristotle's Treatise of Poesie_, London,
+1731, II, 131). And in a few passages as early as "A Treatise de
+Carmine Pastorali" (1659), he seems to imply that he is being guided
+in part at least by the criterion of "good _Sense_." For example,
+after citing several writers to prove that "brevity" is one of the
+"graces" of pastoral poetry, he concludes, "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" (p.41).
+
+The basic criterion, nevertheless, which Rapin uses in the "Treatise"
+is the authority of the Ancients--the poems of Theocritus and Virgil
+and the criticism of Aristotle and Horace. Because of his constant
+references to the Ancients, one is likely to conclude that he (like
+Boileau and Pope) must have thought they and Nature (good sense) were
+the same. In a number of passages, however, Rapin depends solely on
+the Ancients. Two examples will suffice to illustrate his absolutism.
+At the beginning of "_The Second_ Part," when he is inquiring "into
+the nature of _Pastoral,_" he admits:
+  And this must needs be a hard Task, since I have no guide,
+  neither _Aristotle_ nor _Horace_ to direct me.... And I am of
+  opinion that none can treat well and clearly of any kind of
+  _Poetry_ if he hath no helps from these two (p. 16).
+
+In "_The Third_ Part," when he begins to "lay down" his _Rules for
+writing_ Pastorals," he declares:
+  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 (p. 52).
+
+These passages represent the apogee of the neoclassical criticism of
+pastoral poetry. No other critic who wrote on the pastoral depends so
+completely on the authority of the classical critics and poets. As a
+matter of fact, Rapin himself is not so absolute later. In the
+section of the _Réflexions_ on the pastoral, he merely states that
+the best models are Theocritus and Virgil. In short, one may say
+that in the "Treatise" the influence of the Ancients is dominant; in
+the _Réflexions_, "good _Sense_."
+
+Reduced to its simplest terms, Rapin's theory is Virgilian. When
+deducing his theory from the works of Theocritus and Virgil, his
+preference is almost without exception for Virgil. Finding Virgil's
+eclogues refined and elegant, Rapin, with a suggestion from Donatus
+(p. 10 and p. 14), concludes that the pastoral "belongs properly to
+the _Golden Age_" (p. 37)--"that blessed time, when Sincerity and
+Innocence, Peace, Ease, and Plenty inhabited the Plains" (p. 5).
+Here, then, is the immediate source of the Golden Age eclogue, which,
+being transferred to England and popularised by Pope, flourished
+until the time of Dr. Johnson and Joseph Warton.
+
+In France the most prominent opponent to the theory formulated by
+Rapin is Fontenelle. In his "Discours sur la Nature de l'Eglogue"
+(1688) Fontenelle, with studied and impertinent disregard for the
+Ancients and for "ceux qui professent cette espèce de religion que
+l'on s'est faite d'adorer l'antiquité," expressly states that the
+basic criterion by which he worked was "les lumières naturelles de
+la raison" (_OEuvres_, Paris, 1790, V, 36). It is careless and
+incorrect to imply that Rapin's and Fontenelle's theories of
+pastoral poetry are similar, as Pope, Joseph Warton, and many other
+critics and scholars have done. Judged by basic critical principles,
+method, or content there is a distinct difference between Rapin and
+Fontenelle. Rapin is primarily a neoclassicist in his "Treatise";
+Fontenelle, a rationalist in his "Discours." It is this opposition,
+then, of neoclassicism and rationalism, that constitutes the basic
+issue of pastoral criticism in England during the Restoration and the
+early part of the eighteenth century.
+
+When Fontenelle's "Discours" was translated in 1695, the first phrase
+of it quoted above was translated as "those Pedants who profess a
+kind of Religion which consists of worshipping the Ancients" (p.294).
+Fontenelle's phrase more nearly than that of the English translator
+describes Rapin. Though Rapin's erudition was great, he escaped the
+quagmire of pedantry. He refers most frequently to the scholiasts and
+editors in "_The First Part_" (which is so trivial that one wonders
+why he ever troubled to accumulate so much insignificant material),
+but after quoting them he does not hesitate to call their ideas
+"pedantial" (p. 24) and to refer to their statements as grammarian's
+"prattle" (p. 11). And, though at times it seems that his curiosity
+and industry impaired his judgment, Rapin does draw significant ideas
+from such scholars and critics as Quintilian, Vives, Scaliger,
+Donatus, Vossius, Servius, Minturno, Heinsius, and Salmasius.
+
+Rapin's most prominent disciple in England is Pope. Actually, Pope
+presents no significant idea on this subject that is foreign to
+Rapin, and much of the language--terminology and set phrases--of
+Pope's "Discourse" comes directly from Rapin's "Treatise" and from
+the section on the pastoral in the _Reflections_. Contrary to his own
+statement that he "reconciled" some points on which the critics
+disagree and in spite of the fact that he quotes Fontenelle, Pope in
+his "Discourse" is a neoclassicist almost as thoroughgoing as Rapin.
+The ideas which he says he took from Fontenelle are either
+unimportant or may be found in Rapin. Pope ends his "Discourse" by
+drawing a general conclusion concerning his _Pastorals_: "But after
+all, if they have any merit, it is to be attributed to some good old
+authors, whose works as I had leisure to study, so I have not wanted
+care to imitate." This statement is diametrically opposed to the
+basic ideas and methods of Fontenelle, but in full accord with and no
+doubt directly indebted to those of Rapin.
+
+The same year, 1717, that Pope 'imitated' Rapin's "Treatise," Thomas
+Purney made a direct attack on Rapin's neoclassic procedure. In the
+"Preface" to his own _Pastorals_ he expresses his disapproval of
+Rapin's method, evidently with the second passage from Rapin quoted
+above in mind:
+  _Rapine's_ Discourse is counted the best on this Poem, for 'tis
+  the longest. You will easily excuse my not mentioning all his
+  Defects and Errors in this Preface. I shall only say then, that
+  instead of looking into the true Nature of the Pastoral Poem,
+  and then judging whether _Theocritus_ or any of his Followers
+  have brought it to it's utmost Perfection or not. _Rapine_
+  takes it for granted that _Theocritus_ and _Virgil_ are
+  infallible; and aim's at nothing beyond showing the Rules which
+  he thinks they observ'd. Facetious Head! (_Works_, Oxford,
+  1933, pp. 51-52. The Peroy Reprints, No. XII)
+
+The influence of Rapin on the development of the pastoral,
+nevertheless, was salutary. Finding the genre vitiated with wit,
+extravagance, and artificiality, he attempted to strip it of these
+Renaissance excrescencies and restore it to its pristine purity by
+direct reference to the Ancients--Virgil, in particular. Though Rapin
+does not have the psychological insight into the esthetic principles
+of the genre equal to that recently exhibited by William Empson or
+even to that expressed by Fontenelle, he does understand the
+intrinsic appeal of the pastoral which has enabled it to survive, and
+often to flourish, through the centuries in painting, music, and
+poetry. Perhaps his most explicit expression of this appreciation is
+made while he is discussing Horace's statement that the muses love
+the country:
+  And to speak from the very bottome of my heart... methinks he
+  is much more happy in a Wood, that at ease contemplates this
+  universe, as his own, and in it, the Sun and Stars, the
+  pleasing Meadows, shady Groves, green Banks, stately Trees,
+  flowing Springs, and the wanton windings of a River, fit
+  objects for quiet innocence, than he that with Fire and Sword
+  disturbs the World, and measures his possessions by the wast
+  that lys about him (p. 4).
+
+René Rapin (1621-1687), in spite of his duties as a Jesuit priest and
+disputes with the Jansenists, became one of the most widely read men
+of his time and carried on the celebrated discussions about the
+Ancients with Maimbourg and Vavasseur. His _chef-d'oeuvre_ without
+contradiction is _Hortorum libri IV_. Like Virgil, Spenser, Pope, and
+many aspiring lesser poets, he began his literary career by writing
+pastorals, _Eclogae Sacrae_ (1659), to which is prefixed in Latin the
+original of "A Treatise de Carmine Pastorali."
+
+ J.E. Congleton
+   University of Florida
+
+Reprinted here from the copy owned by the Boston Athenaeum by
+permission.
+
+   *       *       *       *       *
+       *       *       *       *
+   *       *       *       *       *
+
+
+
+
+                   A
+
+               TREATISE
+
+
+          de CARMINE PASTORALI
+
+            Written by RAPIN.
+
+
+
+
+_The First Part_.
+
+To be as short as possible in my discourse upon the present Subject,
+I shall not touch upon the Excellency of _Poetry_ in general; nor
+repeat those high _Encomiums_, (as that tis the most divine of all
+human Arts, and the like) which _Plato_ in his _Jone_, _Aristotele_ in
+his _Poetica_, and other Learned men have copiously insisted on: And
+this I do that I might more closely and briefly pursue my present
+design, which, no doubt will not please every man; for since I treat
+of that part of _Poetry_, which (to use _Quintilian's_ words,) by
+reason of its Clownishness, is affraid of the Court and City; some may
+imagine that I follow _Nichocaris_ his humor, who would paint only the
+most ugly and deform'd, and those too in the meanest and most
+frightful dress, that real, or fancy'd Poverty could put them in.
+
+{2} For some think that to be a Sheapard is in it self mean, base, and
+sordid; And this I think is the first thing that the graver and
+soberer sort will be ready to object.
+
+But if we consider how honorable that employment is, our Objectors
+from that Topick will be easily answer'd, for as _Heroick_ Poems owe
+their dignity to the Quality of _Heroes_, so _Pastorals_ to that of
+_Sheapards_.
+
+Now to manifest this, I shall not rely on the authority of the
+_Fabulous_, and _Heroick_ Ages, tho, in the former, a God fed Sheep in
+_Thessaly_, and in the latter, _Hercules_ the Prince of _Heroes_, (as
+_Paterculus_ stiles him) graz'd on mount _Aventine_: These Examples,
+tis true, are not convinceing, yet they sufficiently shew that the
+employment of a Sheapard was sometime look'd upon to be such, as in
+those Fabulous times was not alltogether unbecomeing the _Dignity_ of
+a _Heroe_, or the _Divinity_ of a _God_: which consideration if it
+cannot be of force enough to procure excellence, yet certainly it may
+secure it from the imputation of baseness, since it was sometime lookt
+upon as fit for the greatest in Earth or Heaven.
+
+But not to insist on the authority of _Poets_, _Sacred Writt_ tells
+us that _Jacob_ and _Esau_, two great men, were Sheapards; And _Amos_,
+one of the Royal Family, asserts the same of himself, for _He was_
+among _the Sheapards of Tecua_, following that employment: The like by
+Gods own appointment {3} prepared _Moses_ for a Scepter, as _Philo_
+intimates in his life, when He tells us, _that a Sheapards Art is a
+suitable preparation to a Kingdome_; the same He mentions in the Life
+of _Joseph_, affirming that the care a Sheapard hath over his Cattle,
+very much resembles that which a King hath over his Subjects: The same
+_Basil_ in his Homily de _S. Mamm. Martyre_ hath concerning _David_,
+who was taken from following the Ews great with young ones to feed
+_Israel_, for He says that the Art of feeding and governing are very
+near akin, and even Sisters: And upon this account I suppose twas,
+that Kings amongst the _Greeks_ reckoned the name of Sheapard one of
+their greatest titles, for, if we believe _Varro_, amongst the
+Antients, the best and bravest was still a Sheapard: Every body knows
+that the _Romans_ the worthiest and greatest Nation in the World
+sprang from _Sheapards_: The Augury of the Twelve Vulturs plac't a
+Scepter in _Romulus's_ hand which held a Crook before; and at that
+time, as _Ovid_ says,
+
+  His own small Flock each Senator did keep.
+
+_Lucretius_ mentions an extraordinary happiness, and as it were
+Divinity in a _Sheaperd's_ life,
+
+  Thro Sheapards ease, and their Divine retreats.
+
+And this is the reason, I suppose, why the solitude of the Country,
+the shady Groves, and security of that happy Quiet was so grateful to
+the Muses, for thus _Horace_ represents them,
+
+ {4} The Muses that the Country Love.
+
+Which Observation was first made by _Mnasalce_ the _Sicyonian_ in his
+Epigram upon _Venus_
+
+  The Rural Muse upon the Mountains feeds.
+
+For sometimes the Country is so raveshing and delightful, that twill
+raise Wit and Spirit even in the dullest Clod, And in truth, amongst
+so many heats of Lust and Ambition which usually fire our Citys, I
+cannot see what retreat, what comfort is left for a chast and sober
+Muse.
+
+And to speak from the very bottome of my heart, (not to mention the
+integrity and innocence of Sheapards upon which so many have
+insisted, and so copiously declaimed) methinks he is much more happy
+in a Wood, that at ease contemplates this universe, as his own, and
+in it, the Sun and Stars, the pleasing Meadows, shady Groves, green
+Banks, stately Trees, flowing Springs, and the wanton windings of a
+River, fit objects for quiet innocence, than he that with Fire and
+Sword disturbs the World, and measures his possessions by the wast
+that lys about him: _Augustus_ in the remotest East fights for peace,
+but how tedious were his Voyages? how troublesome his Marches? how
+great his disquiets? what fears and hopes distracted his designs?
+whilst _Tityrus_ contented with a little, happy in the enjoyment of
+his Love, and at ease under his spreading Beech.
+
+  Taught Trees to sound his _Amaryllis_ name.
+
+{5} On the one side _Meliboeus_ is forc't to leave his Country, and
+_Antony_ on the other; the one a Sheapard, the other a great man, in
+the Common-Wealth; how disagreeable was the Event? the Sheapard could
+endure himself; and sit down contentedly under his misfortunes, whilst
+lost _Antony_, unable to hold out, and quitting all hopes both for
+himself and his Queen, became his own barbarous Executioner: Than
+which sad and deplorable fall I cannot imagine what could be worse,
+for certainly nothing is so miserable as a Wretch made so from a
+flowrishing & happy man; by which tis evident how much we ought to
+prefer before the gaity of a great and shining State, that Idol of the
+Crowd, the lowly simplicity of a Sheapards Life: for what is that but
+a perfect image of the state of Innocence, of that golden Age, that
+blessed time, when Sincerity and Innocence, Peace, Ease, and Plenty
+inhabited the Plains?
+
+Take the Poets description
+
+  Here Lowly Innocence makes a sure retreat,
+  A harmless Life, and ignorant of deceit,
+  and free from fears with various sweet's encrease,
+  And all's or'e spread with the soft wings of Peace:
+  Here Oxen low, here Grots, and purling Streams,
+  And Spreading shades invite to easy dreams.
+
+And thus Horace,
+
+  Happy the man beyond pretence
+  Such was the state of Innocence, &c.
+
+{6} And from this head I think the dignity of _Bucolicks_ is
+sufficiently cleared, for as much as the Golden Age is to be preferred
+before the _Heroick_, so much _Pastorals_ must excell _Heroick_ Poems:
+yet this is so to be understood, that if we look upon the majesty and
+loftiness of _Heroick_ Poems, it must be confest that they justly
+claim the preheminence; but if the unaffected neatness, elegant,
+graceful smartness of the expression, or the polite dress of a Poem be
+considered, then they fall short of _Pastorals_: for this sort flows
+with Sweet, Elegant, neat and pleasing fancies; as is too evident to
+every one that hath tasted the sweeter muses, to need a farther
+explication: for tis not probable that _Asinius Pollio_, _Cinna_,
+_Varius_, _Cornelius Gallus_, men of the neatest Wit, and that lived
+in the most polite Age, or that _Augustus Cæsar_ the Prince of the
+_Roman_ elegance, as well as of the common Wealth, should be so
+extreamly taken with _Virgils Bucolicks_, or that _Virgil_ himself a
+man of such singular prudence, and so correct a judgment, should
+dedicate his Eclogues to those great Persons; unless he had known that
+there is somewhat more then ordinary Elegance in those sort of
+Composures, which the wise perceive, tho far above the understanding
+of the Crowd: nay if _Ludovicus Vives_, a very learned man, and
+admired for politer studies may be believed, there is somewhat more
+sublime and excellent in those _Pastorals_, than the Common {7} sort
+of Grammarians imagine: This I shall discourse of in an other place,
+and now inquire into the Antiquity of Pastorals.
+
+Since _Linus_, _Orpheus_, and _Eumolpus_ were famous for their Poems,
+before the _Trojan_ wars; those are certainly mistaken, who date
+Poetry from that time; I rather incline to their opinion who make it
+as old as the World it self; which Assertion as it ought to be
+understood of Poetry in general, so especially of _Pastoral_, which,
+as _Scaliger_ delivers, was the most antient kind of Poetry, and
+resulting from the most _antient_ way of Liveing: _Singing first began
+amongst Sheapards as they fed their Flocks, either by the impulse of
+nature, or in imitation of the notes of Birds, or the whispering of
+Trees._
+
+For since the first men were either _Sheapards_ or _Ploughmen_, and
+_Sheapards_, as may be gathered out of _Thucydides_ and _Varro_, were
+before the others, they were the first that either invited by their
+leisure, or (which _Lucretius_ thinks more probable) in imitation of
+Birds, began a tune.
+
+  Thro all the Woods they heard the pleasing noise
+  Of chirping Birds, and try'd to frame their voice,
+  And Imitate, thus Birds instructed man,
+  And taught them Songs before their Art began.
+
+In short, tis so certain that Verses first began in the Country that
+the thing is in it self evident, and this _Tibullus_ very plainly
+signifies,
+
+  {8} First weary at his Plough the labouring Hind
+  In certain feet his rustick words did bind:
+  His dry reed first he tun'd at sacred feasts
+  To thanks the bounteous Gods, and cheer his Guests.
+
+_In certain feet_ according to _Bern Cylenius_ of _Verona_ his
+interpretation _in set measures_: for _Censorinus_ tells us, that the
+antient Songs were loose and not ty'd up to any strict numbers, and
+afterwards by certain laws and acknowledged rules were confin'd to
+such and such measures: for this is the method of Nature in all her
+works, from imperfect and rude beginnings things take their first
+rise, and afterwards by fit and apposite additions are polish't, and
+brought to perfection: such were the Verses which heretofore the
+_Italian_ Sheapards and Plough-men, as _Virgil_ says, sported amongst
+themselves.
+
+  Italian Plough-men sprung from antient _Troy_
+  Did sport unpolish't Rhymes--
+
+_Lucretius_ in his Fifth Book _de Natura Rerum_, says, that Sheapards
+were first taught by the rushing of soft Breezes amongst the Canes to
+blow their Reeds, and so by degrees to put their Songs in tune.
+
+  For Whilst soft Evening Gales blew or'e the Plains
+  And shook the sounding Reeds, they taught the Swains,
+  And thus the Pipe was fram'd, and tuneful Reed,
+  And whilst the Flocks did then securely feed,
+  The harmless Sheapards tun'd their Pipes to Love,
+  {9} And Amaryllis name fill'd every Grove.
+
+From all which tis very plain that _Poetry_ began in those days, when
+Sheapards took up their employment: to this agrees _Donatus_ in his
+Life of _Virgil_, and _Pontanus_ in his Fifth Book of Stars, as
+appears by these Verses.
+
+  Here underneath a shade by purling Springs
+  The Sheapards Dance, whilst sweet _Amyntas_ sings;
+  Thus first the new found Pipe was tun'd to Love,
+  And Plough-men taught their Sweet hearts to the Grove,
+
+Thus the _Fescennine_ jests when they sang harvest-home, and then too
+the Grape gatherers and Reapers Songs began, an elegant example of
+which we have in the Tenth _Idyllium_ of _Theocritus_.
+
+From this birth, as it were, of _Poetry_, Verse began to grow up to
+greater matters; For from the common discourse of _Plough-men_ and
+_Sheapards_, first _Comedy_, that Mistress of a private Life, next
+_Tragedy_, and then _Epick Poetry_ which is lofty and _Heroical_
+arrose, This _Maximus Tyrius_ confirms in his Twenty first
+dissetation, where he tells us that Plough-men just comeing from their
+work, and scarce cleansed from the filth of their employment, did use
+to flurt out some sudden and _extempore_ Catches; and from this
+beginning Plays were produc'd and the Stage erected: Thus {10} much
+concerning the _Antiquity_, next of the _Original_ of this sort.
+
+About this Learned men cannot agree, for who was the first Author, is
+not sufficiently understood; _Donatus_, tis true, tells us tis proper
+to the Golden Age, and therefore must needs be the product of that
+happy time: but who was the Author, where, what time it was first
+invented hath been a great Controversy, and not yet sufficiently
+determined: _Epicharmus_ one of _Pythagoras_ his School, in his
+*alkyoni* mentions one _Diomus_ a _Sicilian_, who, if we believe
+_Athænæus_ was the first that wrote _Pastorals: those that fed Cattle
+had a peculiar kind of Poetry, call'd Bucolicks, of which Dotimus a
+Sicilian was inventer:_
+
+_Diodorus Siculus_ *en tois mythologoumenois*, seems to make
+_Daphnis_ the son of _Mercury_ and a certain _Nymph_, to be the
+Author; and agreeable to this, _Theon_ an old _scholiast_ on
+_Theocritus_, in his notes upon the first _Idyllium_ mentioning
+_Daphnis_, adds, _he was the author of Bucolicks_, and _Theocritus
+himself_ calls him _the Muses Darling_: and to this Opinion of
+_Diodorus Siculus Polydore Virgil_ readily assents.
+
+But _Mnaseas_ of _Patara_ in a discourse of his concerning _Europa_,
+speaks thus of a Son of _Pan_ the God of Sheapards: _Panis Filium
+Bubulcum à quo & Bucolice canere:_ Now Whether _Mnaseas_ by that
+_Bubulcum_, means only a _Herds-man_, or one skilled in _Bucolicks_,
+is uncertain; but if _Valla's_ {11} judgment be good, tis to be taken
+of the latter: yet _Ælian_ was of another mind, for he boldly affirms
+that _Stesichorus_ called _Himeræus_ was the first, and in the same
+place adds, that _Daphnis_ the Son of _Mercury_ was the first Subject
+of _Bucolicks_.
+
+Some ascribe the Honor to _Bacchus_ the President of the _Nymphs,
+Satyrs_, and the other Country Gods, perhaps because he delighted in
+the Country; and others attribute it to _Apollo_ called _Nomius_ the
+God of Sheapards, and that he invented it then when he served
+_Admetus_ in _Thessaly_, and fed his Herds: For, tis likely, he to
+recreate himself, and pass away his time, applied his mind to such
+Songs as were best suitable to his present condition: Many think we
+owe it to _Pan_ the God of Sheapards, not a few to _Diana_ that
+extreamly delighted in solitude and Woods; and some say _Mercury_
+himself: of all which whilst _Grammarians_ prattle, according to their
+usual custome they egregiously trifle; they suffer themselves to be
+put upon by Fables, and resign their judgment up to foolish
+pretentions, but things and solid truth is that we seek after.
+
+As about the Author, so concerning the place of its Birth there is a
+great dispute, some say _Sparta_, others _Peloponesus_, but most are
+for _Sicily_.
+
+_Valla the Placentine_, a curious searcher into Antiquity, thinks
+this sort of Poetry first appear'd amongst the _Lacedemonians_, for
+when the _Persians_ had wasted allmost all _Greece_, the _Spartans_
+say {12} that they for fear of the _Barbarians_ fled into Caves and
+lurking holes; and that the Country Youth then began to apply
+themselves in Songs to _Diana Caryatis_, together with the Maids, who
+midst their Songs offerd Flowers to the Goddess: which custome
+containing somewhat of Religion was in those places a long time very
+scrupulously observed.
+
+_Diomedes_ the Grammarian, in his treatise of _Measures_, declares
+_Sicily_ to be the Place: for thus he says, the _Sicilian_ Sheapards
+in time of a great _Pestilence_, began to invent new Ceremonies to
+appease incensed _Diana_, whom afterward, for affording her help, and
+stopping the Plague they called *Lyên*: _i.e._ the _Freer_ from their
+Miserys. This grew into custom, and the Sheapards used to meet in
+Companies, to sing their deliverer _Diana's_ praise, and these
+afterwards passing into _Italy_ were there named _Bucoliastæ_.
+
+_Pomponius Sabinus_ tells the story thus: When the Hymns the Virgins
+us'd to sing in the Country to _Diana_ were left off, because, by
+reason of the present Wars, the Maidens were forc't to keep close
+within the Towns; the Shepherds met, and sang these kind of Songs,
+which are now call'd _Bucolicks_, to _Diana_; to whom they could not
+give the usual worship by reason of the Wars: But _Donatus_ says, that
+this kind of Verses was first sung to _Diana_ by _Orestes_, when he
+wandred about _Italy_; after he fled from _Scythia Taurica_, and had
+{13} taken away the Image of the Goddess and hid it in a bundle of
+sticks, whence she receiv'd the name of _Fascelina_, or _Phacelide_
+*apo tou phakelou* At whose Altar, the very same _Orestes_ was
+afterward expiated by his Sister _Iphigenia_: But how can any one
+rely on such Fables, when the inconsiderable Authors that propose them
+disagree so much amongst themselves?
+
+Some are of Opinion that the Shepherds, were wont in solem and set
+Songs about the Fields and Towns to celebrate the Goddess _Pales_; and
+beg her to bless their flocks and fields with a plenteous encrease and
+that from hence the name, and composure of _Bucolicks_ continued.
+
+Other prying ingenious Men make other conjectures, as to this mazing
+Controversy thus _Vossius_ delivers himself; _The Antients cannot be
+reconcil'd, but I rather incline to their opinion who think_ Bucolicks
+_were invented either by the_ Sicilians _or_ Peloponesians, _for both
+those use the_ Dorick _dialect, and all the_ Greek Bucolicks _are writ
+in that_: As for my self I think, that what _Horace_ says of _Elegies_
+may be apply'd to the present Subject.
+
+  But who soft Elegies was the first that wrote
+  Grammarians doubt, and cannot end the doubt:
+
+For I find nothing certain about this matter, since neither _Valla_ a
+diligent inquirer after, and a good judge in such things, nor any of
+the late writers produce any thing upon which I can safely rely; yet
+what beginning this kind of Poetry {14} had, I think I can pretty well
+conjecture: for tis likely that first Shepherds us'd Songs to recreate
+themselves in their leisure hours whilst they fed their Sheep; and
+that each man, as his wit served, accommodated his Songs to his
+present Circumstances: to this Solitude invited, and the extream
+leisure that attends that employment absolutely requir'd it: For as
+their retirement gave them leisure, and Solitude a fit place for
+Meditation, Meditation and Invention produc'd a Verse; which is
+nothing else but a Speech fit to be sung, and so Songs began: Thus
+_Hesiod_ was made a Poet, for he acknowledges himself that he receiv'd
+his inspiration;
+
+  Whilst under _Helicon_ he fed his Lambs.
+
+for either the leisure or fancy of Shepherds seems to have a natural
+aptitude to Verse.
+
+And indeed I cannot but agree with _Lucretius_ that accurate Searcher
+into Nature, who delivers that from that state of Innocence the Golden
+Age, Pastorals continued down to his time, for after he had in his
+fifth book describ'd that most happy age, he adds,
+
+  For then the Rural Muses reign'd.
+
+From whence 'tis very plain, that as _Donatus_ himself observ'd,
+Pastorals were the invention of the simplicity and innocence of that
+Golden age, if there was ever any such, or certainly of that time
+which succeeded the beginning of the World: For tho the Golden Age
+must be acknowledged {15} to be only in the fabulous times, yet 'tis
+certain that the Manners of the first Men were so plain and simple,
+that we may easily derive both the innocent imployment of Shepherds,
+and Pastorals from them.
+
+
+{16} _The Second_ PART.
+
+Now let us inquire into the nature of _Pastoral_, in what its
+excellencies consist, and how it must be made to be exact: And this
+must needs be a hard Task, since I have no guide, neither _Aristotle_
+nor _Horace_ to direct me; for both they, whatever was the matter,
+speak not one word of this sort of Verse. And I am of opinion that
+none can treat well and clearly of any kind of _Poetry_ if he hath no
+helps from these two: But since they lay down some general Notions of
+_Poetry_ which may be useful in the present case, I shall follow their
+steps as close as possible I can.
+
+Not only _Aristotle_ but _Horace_ too hath defin'd that _Poetry_ in
+general is Imitation; I mention only these two, for tho _Plato_ in his
+Second Book _de Rep._ and in his _Timæus_ delivers the same thing, I
+shall not make use of his Authority at all: Now as _Comedy_ according
+to _Aristotle_ is the _Image and Representation of a gentiel and City
+Life_, so is _Pastoral Poetry_ of a County and _Sheapards_ Life; for
+since _Poetry_ in general is Imitation; its several _Species_ must
+likewise Imitate, take _Aristotles_ own words _Cap._ 1. *pasai
+tynchanousin ousa mimêseis*; And these _Species_ are {17} differenc't
+either by the subject matter, when the things to be imitated are quite
+different, or when the manner in which you imitate, or the mode of
+imitation is so: *en trisi dê tautais diaphorais hê mimêsis estin, en
+hois kai ha, kai hôs*: Thus tho of _Epick_ Poetry and _Tragedy_ the
+Subject is the same, and some great illustrious Action is to be
+_imitated_ by both, yet since one by representation, and the other by
+plain narration imitates, each makes a different _Species_ of
+imitation. And _Comedy_ and _Tragedy_, tho they agree in this, that
+both represent, yet because the Matter is different, and _Tragedy_
+must represent some brave action, and _Comedy_ a humor; these Two
+sorts of imitation are _Specifically different_. And upon the same
+account, since _Pastoral_ chooses the mannes of Sheapards for its
+imitation, it takes from its matter a peculiar difference, by which it
+is distinguish'd frõ all others.
+
+But here _Benius_ in his comments upon _Aristotle_ hath started a
+considerable query: which is this; Whether _Aristotle_, when he
+reckons up the different _Species_ of Poetry _Cap_ 1. doth include
+_Pastoral,_ or no? And about this I find learn'd men cannot at all
+agree: which certainly _Benius_ should have determin'd, or not rais'd:
+some refer it to that sort which _was sung to Pipes_, for that
+_Pastorals_ were so _Apuleius_ intimates, when at the marriage Feast
+of _Phyche_ He brings in _Paniscus_ singing _Bucolicks_ to his Pipe;
+But since they did not seriously enough consider, what _Aristotle_
+{18} meant by that which he calls *aulêtikên* they trifle, talk idly,
+and are not to be heeded in this matter; For suppose some _Musitian_
+should sing _Virgils Ænæis_ to the Harp, (and _Ant. Lullus_ says it
+hath been done,) should we therefore reckon that divine and
+incomparable Master of _Heroick_ Poetry amongst the _Lyricks_?
+
+Others with _Cæsius Bassus_ and _Isacius Tzetzes_ hold that that
+distribution of _Poetry_, which _Aristotle_ and _Tully_ hath left us,
+is deficient and imperfect; and that only the chief Species are
+reckoned, but the more inconsiderable not mention'd: I shall not here
+interest my self in that quarrel of the _Criticks_, whether we have
+all _Aristotles_ books of Poetry or no; this is a considerable
+difficulty I confess, for _Laertius_ who accurately weighs this
+matter, says that he wrote two books of _Poetry_, the one lost, and
+the other we have, tho _Mutinensis_ is of an other mind: but to end
+this dispute, I must agree with _Vossius_, who says the Philosopher
+comprehended these Species not expressly mentioned, under a higher and
+more noble head: and that therefore _Pastoral_ was contain'd in
+_Epick_. for these are his own words, _besides there are Epicks of an
+inferior rank, such as the Writers of Bucolicks_. _Sincerus_, as
+_Minturnus_ quotes him, is of the same mind, for thus he delivers his
+opinion concerning _Epick Verse_: _The matters about which these
+numbers may be employed is various; either mean and low, as in
+Pastorals, great and lofty, as when {19} the Subject is Divine Things,
+or Heroick Actions, or of a middle rank, as when we use them to
+deliver precepts in:_ And this likewise he signifys before, where he
+sets down three sorts of _Epicks_: _one of which, says he, is divine,
+and the most excellent by much in all Poetry_; the _other the lowest
+but most pure, in which Theocritus excelled, which indeed shews
+nothing of Poetry beside the bare numbers_: These points being thus
+settled, the remaining difficultys will be more easily dispatched.
+
+For as in _Dramatick_ Poetry the Dignity and meanness of the
+_Persons_ represented make two different _Species of imitation_ the
+one _Tragick_, which agrees to none but great and Illustrious persons,
+the other _Comick_, which suits with common and gentile humors: so in
+_Epick_ too, there may be reckoned two sorts of _Imitation_, one of
+which belongs to _Heroes_, and that makes the _Heroick_; the other to
+_Rusticks_ and _Sheapards_ and that constitutes the _Pastoral_, now as
+a _Picture_ imitates the Features of the face, so _Poetry_ doth
+action, and tis not a representation of the Person but the Action.
+
+From all which we may gather this definition of Pastoral: _It is the
+imitation of the Action of a Sheapard, or of one taken under that
+Character_: Thus _Virgil's Gallus_, tho not really a _Sheapard_, for
+he was a man of great quality in _Rome_, yet belongs to _Pastoral_,
+because he is represented like a Sheapard: hence the Poet:
+
+  {20} The Goatherd and the heavy Heardsmen came,
+  And ask't what rais'd the deadly Flame.
+
+The _Scene_ lys amongst Sheapards, the _Swains_ are brought in, the
+_Herdsmen_ come to see his misery, and the fiction is suited to the
+real condition of a _Sheapard_; the same is to be said for his
+_Silenus_, who tho he seems lofty, and to sound to loud for an oaten
+reed, yet since what he sings he sings to _Sheapards_, and suits his
+Subject to their apprehensions, his is to be acknowledged _Pastoral_.
+This rule we must stick to, that we might infallibly discern what is
+stricktly _Pastoral_ in _Virgil_ and _Theocritus_, and what not: for
+in _Theocritus_ there are some more lofty thoughts which not having
+any thing belonging to Sheapards for their Subject, must by no means
+be accounted _Pastoral_, But of this more in its proper place.
+
+My present inquiry must be what is the _Subject Matter_ of a
+_Pastoral_, about which it is not easy to resolve; since neither from
+_Aristotle_, nor any of the _Greeks_ who have written _Pastorals_, we
+can receive certain direction. For sometimes they treat of high and
+sublime things, like _Epick Poets_; what can be loftier than the whole
+_Seaventh Idyllium of Bias_ in which _Myrsan_ urges _Lycidas_ the
+Sheapard to sing the Loves of _Deidamia_ and _Achilles_. For he
+begins from _Helen's_ rape, and goes on to the revengful fury of the
+_Atrides_, and shuts up in one _Pastoral_, all that is great and
+sounding in _Homers Iliad_.
+
+  {21} Sparta was fir'd with Rage
+  And gather'd Greece to prosecute Revenge.
+
+And _Theocritus_ his verses are sometimes as sounding and his
+thoughts as high: for upon serious consideration I cannot mind what
+part of all the _Heroicks_ is so strong and sounding as that
+_Idyllium_ on _Hercules_ *leontophonô* in which _Hercules_ himself
+tells _Phyleus_ how he kill'd the Lyon whose Skin he wore: for, not to
+mention many, what can be greater than this expression.
+
+  And gaping Hell received his mighty Soul:
+
+Why should I instance in the *dioskouroi*, which hath not one line
+below Heroick; the greatness of this is almost inexpressible.
+
+  *anêr hyperoplos enêmeros, endiaaske
+    deinos idein*
+
+And some other pieces are as strong as these, such is the _Panegyrick
+on Ptolemy_, _Helen's Epithalamium_, and the Fight of young _Hercules_
+and the Snakes: now how is it likely that such Subjects should be fit
+for _Pastorals_, of which in my opinion, the same may be said which
+_Ovid_ doth of his _Cydippe_.
+
+  Cydippe, Homer, doth not fit thy Muse.
+
+For certainly _Pastorals_ ought not to rise to the Majesty of
+_Heroicks_: but who on the other side {22} dares reprehend such great
+and judicious Authors, whose very doing it is Authority enough? What
+shall I say of _Virgil_? who in his Sixth _Eclogue_ hath put together
+allmost all the particulars of the fabulous Age; what is so high to
+which _Silenus_ that Master of Mysterys doth not soar?
+
+  For lo! he sung the Worlds stupendious birth,
+  How scatter'd seeds of sea, of Air, and Earth,
+  And purer Fire thro universal night
+  And empty space did fruitfully unite:
+  From whence th' innumerable race of things
+  By circular successive order springs:
+
+And afterward
+
+  How Pyrra's Stony race rose from the ground,
+  And Saturn reign'd with Golden plenty crown'd,
+  How bold _Prometheus_ (whose untam'd desire,
+  Rival'd the Sun with his own Heavenly Fire)
+  Now doom'd the _Scythian_ Vulturs endless prey
+  Severely pays for Animating Clay:
+
+So true, so certain 'tis, that nothing is so high and lofty to which
+_Bucolicks_ may not successfully aspire. But if this be so, what will
+become of _Macrobius, Georgius Valla, Julius Scaliger, Vossius,_ and
+the whole company of Grammarians? who all affirm that simplicity and
+meanness is so essential to _Pastorals_, that it ought to be confin'd
+to the State, Manners, Apprehension and even common phrases of
+Sheapards: for nothing can {23} be said to be _Pastoral_, which is not
+accommodated to their condition; and for this Reason _Nannius
+Alcmaritanus_ in my opinion is a trifler, who, in his comments on
+_Virgils Eclogues_, thinks that those sorts of Composures may now and
+then be lofty, and treat of great subjects: where he likewise divides
+the matter of _Bucolicks_, into _Low_, _Middle_, and _High_: and makes
+_Virgil_ the Author of this Division, who in his Fourth _Eclogue_, (as
+he imagines) divides the matter of _Bucolicks_ into Three sorts, and
+intimates this division by these three words: _Bushes_, _Shrubs_ and
+_Woods_.
+
+  Sicilian Muse begin a loftier strain,
+  The Bushes and the Shrubs that shade the Plain
+  Delight not all; if I to Woods repair
+  My Song shall make them worth a Consuls Care.
+
+By Woods, as he fancys, as _Virgil_ means high and stately Trees, so
+He would have a great and lofty Subject to to be implyed, such as he
+designed for the _Consul_: by Bushes, which are almost even with the
+ground, the meanest and lowest argument; and by Shrubs a Subject not
+so high as the one, nor so low as the other, as the thing it-self is,
+And therefore these lines
+
+       If I to Woods repair
+  My Song shall make them worth a _Consuls_ care.
+
+{24} are thus to be understood, That if we choose high and sublime
+arguments, our work will be fit for the Patronage of a _Consul_, This
+is _Nanniu's_ interpretation of that place; too pedantial and subtle
+I'me affraid, for tis not credible that ever _Virgil_ thought of
+reckoning great and lofty things amongst the Subjects of _Bucolicks_
+especially since
+
+  When his _Thalia_ rais'd her bolder voice
+  And Kings and Battles were her lofty choice,
+  _Phoebus_ did twitch his Ear, mean thoughts infuse,
+  And with this whisper check't th' inspiring Muse.
+  A Sheapard, Tityrus, his Sheep should feed,
+  And choose a subject suited to his reed,
+
+This certainly was a serious admonition, implyed by the twitching of
+his Ear, and I believe if he had continued in this former humor and
+not obey'd the smarting admonition. He had still felt it: so far was
+he from thinking Kings and Battels fit Themes for a _Sheapards_ song:
+and this evidently shows that in _Virgils_ opinion, contrary to
+_Nanniu's_ fancy, great things cannot in the least be comprehended
+within the subject matter of _Pastorals;_ no, it must be low and
+humble, which _Theocritus_ very happily expresseth by this word
+*Boukoliasdên* _i.e._ as the interpreters explain it, sing humble
+Strains.
+
+Theefore let _Pastoral_ never venture upon a {25} lofty subject, let
+it not recede one jot from its proper matter, but be employ'd about
+Rustick affairs: such as are mean and humble in themselves; and such
+are the affairs of Shepherds, especially their Loves, but those must
+be pure and innocent; not disturb'd by vain suspitious jealousy, nor
+polluted by Rapes; The Rivals must not fight, and their emulations
+must be without quarrellings: such as _Vida_ meant.
+
+  Whilst on his Reed he Shepherd's stifes conveys,
+  And soft complaints in smooth Sicilian lays.
+
+To these may be added _sports_, _Jests_, _Gifts_, and _Presents_; but
+not _costly_, such are yellow Apples, young stock-Doves, Milk,
+Flowers, and the like; all things must appear delightful and easy,
+nothing vitious and rough: A perfidious Pimp, a designing Jilt, a
+gripeing Usurer, a crafty factious Servant must have no room there,
+but every part must be full of the simplicity of the _Golden-Age_, and
+of that Candor which was then eminent: for as _Juvenal affirms_
+
+  Baseness was a great wonder in that Age;
+
+Sometimes _Funeral-Rites_ are the subject of an _Eclogue_, where the
+Shepherds scatter flowers on the Tomb, and sing Rustick Songs in honor
+of the Dead: Examples of this kind are left us by _Virgil_ in his
+_Daphnis_, and _Bion_ in his _Adonis_, and this hath nothing
+disagreeable to a Shepherd: In {26} short whatever, the decorum being
+still preserv'd, can be done by a _Sheapard_, may be the Subject of a
+_Pastoral_.
+
+Now there may be more kinds of Subjects than _Servius_ or _Donatus_
+allow, for they confine us to that Number which _Virgil_ hath made use
+of, tho _Minturnus_ in his second Book _de Poetâ_ declares against
+this opinion: But as a glorious _Heroick_ action must be the Subject
+of an _Heroick_ Poem, so a _Pastoral_ action of a _Pastoral_; at least
+it must be so turn'd and wrought, that it might appear to be the
+action of a _Shepherd_; which caution is very necessary to be
+observ'd, to clear a great many difficulties in this matter: for tho
+as the Interpreters assure us; most of _Virgils_ Eclogues are about
+the Civil war, planting Colonys, the murder of the Emperor, and the
+like, which in themselves are too great and too lofty for humble
+_Pastoral_ to reach, yet because they are accomodated to the Genius of
+Shepherds, may be the Subject of an _Eclogue_, for that sometimes will
+admit of Gods and Heroes so they appear like, and are shrouded under
+the Persons of Shepherds: But as for these matters which neither
+really are, nor are so wrought as to seem the actions of Shepherds,
+such are in _Moschus's_ _Europa_, _Theocritus's_ _Epithalamium of
+Helen_, and _Virgil's_ _Pollio_, to declare my opinion freely, I
+cannot think them to be fit Subjects for _Bucolicks_: And upon this
+account I suppose 'tis that _Servius_ in his {27} Comments on
+_Virgil's_ _Bucoliks_ reckons only seven of _Virgil's_ ten Eclogues,
+and onely ten of _Theocritus's_ thirty, to be pure Pastorals, and
+_Salmasius_ upon _Solinus_ says, that _amongst Theocritus's_ _Poems
+there are some which you may call what you please Beside Pastorals_:
+and _Heinsius_ in his _Scholia_ upon _Theocritus_ will allow but Ten
+of his _Idylliums_ to be _Bucoliks_, 1. 2. 3. 4. 5. 6. 7. 8. 9. 11.
+for all the rest are deficient either in matter or form, and from this
+number of pure pastoral _Idylliums_ I am apt to think, that
+_Theocritus_ seems to have made that Pipe, on which he tun'd his
+_Pastorals_ and which he consecrated to _Pan_ of ten Reeds, as
+_Salmasius_ in his notes on _Theocritus's_ Pipe hath learnedly
+observed: _in which two Verses always make one Reed of the Pipe,
+therefore all are so unequal, like the unequal Reeds of a Pipe, that
+if you put two equals together which make one Reed, the whole
+inequality consists in ten pairs_; when in the common Pipes there were
+usually no more then seven Reeds, and this the less curious observers
+have heedlessly past by.
+
+Some are of opinion that whatever is done in the Country, and in one
+word, every thing that hath nought of the City in it may be treated of
+in _Pastorals_; and that the discourse of Fishers, Plow-men, Reapers,
+Hunters, and the like, belong to this kind of Poetry: which according
+to the Rule that I have laid down cannot be true for, as I before
+hinted nothing but the action of a {28} Shepherd can be the Subject of
+a Pastoral.
+
+I shall not here enquire, tho it may seem proper, whether we can
+decently bring into an Eclogue Reapers, Vine-dressers, Gardners,
+Fowlers, Hunters, Fishers, or the like, whose lives for the most part
+are taken up with too much business and employment to have any vacant
+time for Songs, and idle Chat, which are more agreeable to the leisure
+of a Sheapards Life: for in a great many Rustick affairs, either the
+hardship and painful Labor will not admit a song, as in Plowing, or
+the solitude as in hunting, Fishing, Fowling, and the like; but of
+this I shall discourse more largely in another place.
+
+Now 'tis not sufficient to make a Poem a true _Pastoral_, that the
+Subject of it is the action of a Shepherd, for in _Hesiods_ *erga* and
+_Virqils Georgicks_ there are a great many things that belong to the
+employment of a Shepherd, yet none fancy they are Pastorals; from
+whence 'tis evident, that beside the _matter_, which we have defin'd
+to be the action of a Sheapard, there is a peculiar _Form_ proper to
+this kind of _Poetry_ by which 'tis distinguish'd from all others.
+
+Of Poetry in General _Socrates_, as _Plato_ tells us, would have
+_Fable_ to be the _Form_: _Aristotle_ Imitation: I shall not dispute
+what difference there is between these two, but only inquire whether
+Imitation be the _Form_ of _Pastoral_: 'Tis certain that _Epick_
+Poetry is differenc't from _Tragick_ only by {29} the manner of
+imitation, for the latter imitates by _action_, and the former by bare
+_narration_: But _Pastoral_ is the imitation of a _Pastoral_ action
+either by bare narration, as in _Virgil's_ _Alexis_, and
+_Theocritus's_ 7th _Idyllium_, in which the Poet speaks all along in
+his own Person: or by action as in _Virgil's_ _Tityrus_, and the first
+of _Theocritus_, or by both mixt, as in the Second and Eleventh
+_Idylliums_, in which the Poet partly speaks in his own Person, and
+partly makes others speak, and I think the old _Scholiast_ on
+_Theocritus_ took an hint from these when he says, that Pastoral is a
+mixture made up of all sorts, for 'tis Narrative, Dramatick, and mixt,
+and _Aristotle_, tho obscurely, seems to hint in those words, _In
+every one of the mentioned Arts there is Imitation, in some simple, in
+some mixt_; now this latter being peculiar to _Bucolicks_ makes its
+very form and Essence: and therefore _Scaliger_, in the 4th Chapter of
+his first Book of Poetry, reckons up three Species of _Pastorals_, the
+first hath but one Person, the second several, which sing alternately;
+the third is mixt of both the other: And the same observation is made
+by _Heinsius_ in his Notes on _Theocritus_, for thus he very plainly
+to our purpose, _the Character of_ Bucolicks _is a mixture of all
+sorts of Characters, Dramatick, Narrative, or mixt_: from all which
+'tis very manifest that the manner of _Imitation_ which is proper to
+_Pastorals_ is the mixt: for in other kinds of Poetry 'tis one and
+simple, at least {30} not so manifold; as in _Tragedy Action_: in
+_Epick_ Poetry _Narration_.
+
+Now I shall explain what sort of _Fable_; _Manners_, _Thought_,
+_Expression_, which four are necessary to constitute every kind of
+Poetry, are proper to this sort.
+
+
+Concerning the Fable which _Aristotle_ calls, *synthesin tôn
+pragmatôn*, I have but one thing to say: this, as the Philosopher
+hints, as of all other sorts of Poetry, so of Pastoral is the very
+Soul. and therfore _Socrates_ in _Plato_ says, that in those Verses
+which he had made there was nothing wanting but the _Fable_: therefore
+Pastorals as other kinds of Poetry must have their Fable, if they will
+be Poetry: Thus in _Virgil's_ _Silenus_ which contains the Stories of
+allmost the whole Fabulous Age, two Shepherds whom _Silenus_ had often
+promis'd a Song, and as often deceived, seize upon him being drunk and
+asleep, and bind him with wreath'd Flowers; _Ægle_ comes in and
+incourages the timorous youths, and stains his jolly red Face with
+Blackberries, _Silenus_ laughs at their innocent contrivance, and
+desires to be unbound, and then with a premeditated Song satisfies the
+Nymph's and Boys Curiosity; The incomparable Poet sings wonders, the
+Rocks rejoyce, the Vales eccho, and happy _Eurotas_ as if _Phoebus_
+himself sang, hears all, and bids the Laurels that grow upon his Banks
+listen to, and learn the Song.
+
+  {31} Happy _Eurotas_ as he flow'd along
+  Heard all, and bad the Laurels learn the Song.
+
+Thus every Eclogue or Idyllium must have its Fable, which must be the
+groundwork of the whole design, but it must not be perplext with
+sudden and unlookt for changes, as in _Marinus's_ _Adonis_: for that,
+tho the _Fable_ be of a Shepherd, yet by reason of the strange Bombast
+under Plots, and wonderful occurences, cannot be accounted _Pastoral_;
+for that it might be agreeable to the Person it treats of, it must be
+plain and simple, such as _Sophocles's_ _Ajax_, in which there is not
+so much as one change of Fortune. As for the Manners, let that
+precept, which _Horace_ lays down in his Epistle to the _Pisones_, be
+principally observed.
+
+  Let each be grac't with that which suits him best.
+
+For this, as 'tis a rule relateing to _Poetry_ in general, so it
+respects this kind also of which we are treating; and against this
+_Tasso_ in his _Amyntas_, _Bonarellus_ in his _Phyllis_, _Guarinus_ in
+his _Pastor Fido_, _Marinus_ in his _Idylliums_, and most of the
+_Italians_ grievously offend, for they make their _Shepherds_ too
+polite, and elegant, and cloth them with all the neatness of the Town,
+and Complement of the Court, which tho it may seem very pretty, yet
+amongst good _Critics_, let _Veratus_ {32} say what he will in their
+excuse, it cannot be allowed: For 'tis against _Minturnus's_ Opinion,
+who in his second Book _de Poetâ_ says thus: _Mean Persons are brought
+in, those in Comedy indeed more polite, those in Pastorals more
+unelegant, as suppos'd to lead a rude life in Solitude_; and _Jason
+Denor_ a Doctor of _Padua_ takes notice of the same as a very absurd
+Error: _Aristotle_ heretofore for a like fault reprehended the
+_Megarensians_, who observ'd no _Decorum_ in their _Theater_, but
+brought in mean persons with a Train fit for a _King_ and cloath'd a
+Cobler or Tinker in a Purple Robe: In vain doth _Veratus_ in his
+Dispute against _Jason Denor_, to defend those elaborately exquisite
+discourses, and notable sublime sentences of his _Pastor Fido_, bring
+some lofty _Idylliums_ of _Theocritus_, for those are not acknowledged
+to be Pastoral; _Theocritus_ and _Virgil_ must be consulted in this
+matter, the former designdly makes his Shepherds discourse in the
+_Dorick_ i. e. the Rustick Dialect, sometimes scarce true Grammar; &
+the other studiously affects ignorance in the persons of his
+Shepherds, as _Servius_ hath observ'd, and is evident in _Melibæus_,
+who makes _Oaxes_ to be a River in _Crete_ when 'tis in
+_Mesopotamia_: and both of them take this way that the Manners may
+the more exactly suit with the Persons they represent, who of
+themselves are rude and unpolisht: And this proves that they
+scandalously err, who make their Shepherds appear polite and elegant;
+nor can I imagine what _Veratus_ {33} who makes so much ado about the
+polite manners of the _Arcadian_ Shepherds, would say to _Polybius_
+who tells us that _Arcadians_ by reason of the Mountainousness of the
+Country and hardness of the weather, are very unsociable and austere.
+
+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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+PUBLICATIONS FOR THE FIRST YEAR (1946-1947)
+
+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)
+
+SEPT., 1946: Series III, No. 1--Anon., _Letter to A.H. Esq.;
+concerning the Stage_ (1698), and Richard Willis' _Occasional Paper_
+No. IX (1698).
+
+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.
+
+JAN., 1947: Series II, No. 2--Samuel Wesley's _Epistle to a Friend
+Concerning Poetry_ (1700) and _Essay on Heroic Poetry_ (1693).
+
+MARCH, 1947: Series III, No. 2--Anon., _Representation of the Impiety
+and Immorality of the Stage_ (1704) and anon., _Some Thoughts
+Concerning the Stage_ (1704).
+
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+PUBLICATIONS FOR THE SECOND YEAR (1947-1948)
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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.
+
+SEPT., 1947: Series III, No. 3--T. Hanmer's (?) _Some Remarks on the
+Tragedy of Hamlet_. With an Introduction by Clarence D. Thorpe.
+
+NOV., 1947: Series I, No. 4--Corbyn Morris' _Essay towards Fixing the
+True Standards of Wit_, etc. With an Introduction by James L.
+Clifford.
+
+JAN., 1948: Series II, No. 4--Thomas Purney's _Discourse on the
+Pastoral_. With an Introduction by Earl Wasserman.
+
+MARCH, 1948: Series III, No. 4--Essays on the Stage, selected, with
+an Introduction by Joseph Wood Krutch.
+
+
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+*** END OF THE PROJECT GUTENBERG EBOOK 14495 ***
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+<div>*** START OF THE PROJECT GUTENBERG EBOOK 14495 ***</div>
+
+<p align = "center"><font size = "+2">Series Two:<br>
+<i>Essays on Poetry</i></font><br>
+<br>
+<br>
+<font size = "+1">No. 3</font><br>
+<br>
+<br>
+<font size = "+3">Rapin’s <i>De Carmine Pastorali</i>,</font><br>
+<font size = "+1">prefixed to Thomas Creech’s translation<br>
+of the <i>Idylliums</i> of Theocritus (1684)</font><br>
+<br>
+<br>
+With an Introduction by<br>
+<font size = "+1">J. E. Congleton</font><br>
+and<br>
+a Bibliographical Note<br>
+<br>
+<br>
+<br>
+<br>
+The Augustan Reprint Society<br>
+<font size = "-1">July, 1947<br>
+<i>Price</i>: 75c</font></p>
+<hr>
+<br>
+<p align = "center"><i>GENERAL EDITORS</i><br>
+<br>
+<span class = "smallcaps">Richard C. Boys</span>, <i>University of Michigan</i><br>
+<span class = "smallcaps">Edward Niles Hooker</span>, <i>University of California, Los Angeles</i><br>
+<span class = "smallcaps">H. T. Swedenberg, Jr.</span>, <i>University of California, Los Angeles</i><br>
+<br>
+<br>
+<i>ADVISORY EDITORS</i><br>
+<br>
+<span class = "smallcaps">Emmett L. Avery</span>, <i>State College of Washington</i><br>
+<span class = "smallcaps">Louis I. Bredvold</span>, <i>University of Michigan</i><br>
+<span class = "smallcaps">Benjamin Boyce</span>, <i>University of Nebraska</i><br>
+<span class = "smallcaps">Cleanth Brooks</span>, <i>Louisiana State University</i><br>
+<span class = "smallcaps">James L. Clifford</span>, <i>Columbia University</i><br>
+<span class = "smallcaps">Arthur Friedman</span>, <i>University of Chicago</i><br>
+<span class = "smallcaps">Samuel H. Monk</span>, <i>University of Minnesota</i><br>
+<span class = "smallcaps">James Sutherland</span>, <i>Queen Mary College, London</i><br>
+<br>
+<br>
+<br>
+<br>
+<font size = "-1">Lithoprinted from copy supplied by author<br>
+by<br>
+Edwards Brothers, Inc.<br>
+Ann Arbor, Michigan, U.S.A.<br>
+1947</font><br>
+<hr>
+<br>
+<p align = "center"><a href="#intro">Introduction</a><br>
+<br>
+<a href="#first">de Carmine Pastorali: the first Part</a><br>
+<br>
+<a href="#second">de Carmine Pastorali: the second Part</a><br>
+<br>
+<a href="#third">de Carmine Pastorali: the third Part</a><br>
+<br>
+<a href="#errata">Errata</a><br>
+<br>
+<a href="#biblio">Bibliographic Note</a></p>
+<br>
+<hr>
+<span class = "pagenum">i</span>
+<br>
+<br>
+<p><tt><a name="intro">INTRODUCTION</a><br>
+<br>
+Recent students of criticism have usually placed Rapin in the
+School of Sense. In fact Rapin clearly denominates himself a member
+of that school. In the introduction to his major critical work,
+<u>Reflexions sur la Poetique d'Aristote</u> (1674), he states that
+his essay "is nothing else, but Nature put in Method, and good
+<u>Sense</u> reduced to Principles" (<u>Reflections on Aristotle's
+Treatise of Poesie</u>, London, 1731, II, 131). And in a few
+passages as early as "A Treatise de Carmine Pastorali" (1659), he
+seems to imply that he is being guided in part at least by the
+criterion of "good <u>Sense</u>." For example, after citing several
+writers to prove that "brevity" is one of the "graces" of pastoral
+poetry, he concludes, "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" (p.41).<br>
+<br>
+The basic criterion, nevertheless, which Rapin uses in the
+"Treatise" is the authority of the Ancients—the poems of Theocritus
+and Virgil and the criticism of Aristotle and Horace. Because of his
+constant references to the Ancients, one is likely to conclude that
+he (like Boileau and Pope) must have thought they and Nature (good
+sense) were the same. In a number of passages, however, Rapin
+depends solely on the Ancients. Two examples will suffice to
+illustrate his absolutism. At the beginning of "<u>The Second</u>
+Part," when he is inquiring "into the nature of <u>Pastoral,</u>"
+he admits:</tt>
+
+<blockquote><tt>And this must needs be a hard Task, since I have no
+guide, neither <u>Aristotle</u> nor <u>Horace</u> to direct me....
+And I am of opinion that none can treat well and clearly of any
+kind of <u>Poetry</u> if he hath no helps from these two (p. 16).</tt>
+</blockquote>
+
+<tt>In "<u>The Third</u> Part," when he begins to "lay down" his
+<u>Rules for writing</u> Pastorals," he declares:</tt>
+
+<blockquote><tt><span class = "pagenum">ii</span>Yet in this difficulty
+I will follow <u>Aristotle</u>'s Example, who being to lay down
+Rules concerning <u>Epicks</u>, propos'd <u>Homer</u> as a Pattern,
+from whom he deduc'd the whole Art; So I will gather from
+<u>Theocritus</u> and <u>Virgil</u>, those Fathers of
+<u>Pastoral</u>, what I shall deliver on this account (p.
+52).</tt></blockquote>
+
+<tt>These passages represent the apogee of the neoclassical criticism of
+pastoral poetry. No other critic who wrote on the pastoral depends
+so completely on the authority of the classical critics and poets.
+As a matter of fact, Rapin himself is not so absolute later. In the
+section of the <u>Réflexions</u> on the pastoral, he merely states
+that the best models are Theocritus and Virgil. In short, one may
+say that in the "Treatise" the influence of the Ancients is
+dominant; in the <u>Réflexions</u>, "good <u>Sense</u>."<br>
+<br>
+Reduced to its simplest terms, Rapin's theory is Virgilian. When
+deducing his theory from the works of Theocritus and Virgil, his
+preference is almost without exception for Virgil. Finding Virgil's
+eclogues refined and elegant, Rapin, with a suggestion from Donatus
+(p. 10 and p. 14), concludes that the pastoral "belongs properly to
+the <u>Golden Age</u>" (p. 37)—"that blessed time, when Sincerity
+and Innocence, Peace, Ease, and Plenty inhabited the Plains" (p. 5).
+Here, then, is the immediate source of the Golden Age eclogue,
+which, being transferred to England and popularised by Pope,
+flourished until the time of Dr. Johnson and Joseph Warton.<br>
+<br>
+In France the most prominent opponent to the theory formulated by
+Rapin is Fontenelle. In his "Discours sur la Nature de l'Eglogue"
+(1688) Fontenelle, with studied and impertinent disregard for the
+Ancients and for "ceux qui professent cette espèce de religion que
+l'on s'est faite d'adorer l'antiquité," expressly states that the
+basic criterion by which he worked was "les lumières naturelles de
+la raison" (<u>OEuvres</u>, Paris, 1790, V, 36). It is careless and
+incorrect to imply that Rapin's and Fontenelle's theories of
+pastoral poetry are similar, as Pope, Joseph Warton, and many other
+critics and scholars have<span class = "pagenum">iii</span> done.
+Judged by basic critical principles, method, or content there is a
+distinct difference between Rapin and Fontenelle. Rapin is primarily
+a neoclassicist in his "Treatise"; Fontenelle, a rationalist in his
+"Discours." It is this opposition, then, of neoclassicism and
+rationalism, that constitutes the basic issue of pastoral criticism
+in England during the Restoration and the early part of the
+eighteenth century.<br>
+<br>
+When Fontenelle's "Discours" was translated in 1695, the first
+phrase of it quoted above was translated as "those Pedants who
+profess a kind of Religion which consists of worshipping the
+Ancients" (p. 294). Fontenelle's phrase more nearly than that of the
+English translator describes Rapin. Though Rapin's erudition was
+great, he escaped the quagmire of pedantry. He refers most
+frequently to the scholiasts and editors in "<u>The First Part</u>"
+(which is so trivial that one wonders why he ever troubled to
+accumulate so much insignificant material), but after quoting them
+he does not hesitate to call their ideas "pedantial" (p. 24) and to
+refer to their statements as grammarian's "prattle" (p. 11). And,
+though at times it seems that his curiosity and industry impaired
+his judgment, Rapin does draw significant ideas from such scholars
+and critics as Quintilian, Vives, Scaliger, Donatus, Vossius,
+Servius, Minturno, Heinsius, and Salmasius.<br>
+<br>
+Rapin's most prominent disciple in England is Pope. Actually, Pope
+presents no significant idea on this subject that is foreign to
+Rapin, and much of the language—terminology and set phrases—of
+Pope's "Discourse" comes directly from Rapin's "Treatise" and from
+the section on the pastoral in the <u>Reflections</u>. Contrary to
+his own statement that he "reconciled" some points on which the
+critics disagree and in spite of the fact that he quotes Fontenelle,
+Pope in his "Discourse" is a neoclassicist almost as thoroughgoing
+as Rapin. <span class = "pagenum">iv</span>The ideas which he says
+he took from Fontenelle are either unimportant or may be found in
+Rapin. Pope ends his "Discourse" by drawing a general conclusion
+concerning his <u>Pastorals</u>: "But after all, if they have any
+merit, it is to be attributed to some good old authors, whose works
+as I had leisure to study, so I have not wanted care to imitate."
+This statement is diametrically opposed to the basic ideas and
+methods of Fontenelle, but in full accord with and no doubt directly
+indebted to those of Rapin.<br>
+<br>
+The same year, 1717, that Pope 'imitated' Rapin's "Treatise," Thomas
+Purney made a direct attack on Rapin's neoclassic procedure. In the
+"Preface" to his own <u>Pastorals</u> he expresses his disapproval
+of Rapin's method, evidently with the second passage from Rapin
+quoted above in mind:</tt>
+
+<blockquote><tt><u>Rapine's</u> Discourse is counted the best on this
+Poem, for 'tis the longest. You will easily excuse my not mentioning
+all his Defects and Errors in this Preface. I shall only say then,
+that instead of looking into the true Nature of the Pastoral Poem,
+and then judging whether <u>Theocritus</u> or any of his Followers
+have brought it to it's utmost Perfection or not. <u>Rapine</u>
+takes it for granted that <u>Theocritus</u> and <u>Virgil</u> are
+infallible; and aim's at nothing beyond showing the Rules which he
+thinks they observ'd. Facetious Head! (<u>Works</u>, Oxford, 1933,
+pp. 51-52. The Peroy Reprints, No. XII)</tt></blockquote>
+
+<tt>The influence of Rapin on the development of the pastoral,
+nevertheless, was salutary. Finding the genre vitiated with wit,
+extravagance, and artificiality, he attempted to strip it of these
+Renaissance excrescencies and restore it to its pristine purity by
+direct reference to the Ancients—Virgil, in particular. Though
+Rapin does not have the psychological insight into the esthetic
+principles of the genre equal to that recently exhibited by William
+Empson or even to that expressed by Fontenelle, he does understand
+the intrinsic appeal of the pastoral which has enabled it to
+survive, and often to flourish, through the centuries in painting,
+music, and<span class = "pagenum">v</span> poetry. Perhaps his most
+explicit expression of this appreciation is made while he is
+discussing Horace's statement that the muses love the country:</tt>
+<blockquote>
+<tt>And to speak from the very bottome of my heart... methinks he is
+much more happy in a Wood, that at ease contemplates this universe,
+as his own, and in it, the Sun and Stars, the pleasing Meadows,
+shady Groves, green Banks, stately Trees, flowing Springs, and the
+wanton windings of a River, fit objects for quiet innocence, than he
+that with Fire and Sword disturbs the World, and measures his
+possessions by the wast that lys about him (p. 4).</tt></blockquote>
+<br>
+<tt>René Rapin (1621-1687), in spite of his duties as a Jesuit priest
+and disputes with the Jansenists, became one of the most widely read
+men of his time and carried on the celebrated discussions about the
+Ancients with Maimbourg and Vavasseur. His <u>chef-d'oeuvre</u>
+without contradiction is <u>Hortorum libri IV</u>. Like Virgil,
+Spenser, Pope, and many aspiring lesser poets, he began his literary
+career by writing pastorals, <u>Eclogae Sacrae</u> (1659), to which
+is prefixed in Latin the original of "A Treatise de Carmine
+Pastorali."<br>
+<br>
+&nbsp; &nbsp; J.E. Congleton<br>
+&nbsp; &nbsp; &nbsp; &nbsp; University of Florida<br>
+<br>
+Reprinted here from the copy owned by the Boston Athenaeum by
+permission.</tt><br>
+<br>
+<hr>
+<span class = "pagenum">1</span>
+<hr>
+<br>
+<br>
+<p align = "center">A<br>
+<br>
+<font size = "+2"><span class = "extended">TREATISE</span></font><br>
+<br>
+<font size = "+1">de <span class = "smallcaps">Carmine Pastorali</span><br>
+<br>
+Written by <span class = "smallcaps">Rapin</span>.</font><br>
+<br>
+<hr>
+<br>
+<br>
+<p align = "center"><a name="first"><font size = "+1"><i>The First Part</i>.</font></a></p>
+
+<p><span class = "firstletter">T</span>O be as short as possible in
+my discourse upon the present Subject, I shall not touch upon the
+Excellency of <i>Poetry</i> in general; nor repeat those high
+<i>Encomiums</i>, (as that tis the most divine of all human Arts,
+and the like) which <i>Plato</i> in his <i>Jone</i>,
+<i>Aristotele</i>
+in his <i>Poetica</i>, and other Learned men have copiously insisted
+on: And this I do that I might more closely and briefly pursue my
+present design, which, no doubt will not please every man; for since
+I treat of that part of <i>Poetry</i>, which (to use
+<i>Quintilian’s</i> words,) by reason of its Clownishness, is
+affraid of the Court and City; some may imagine that I follow
+<i>Nichocaris</i> his humor, who would paint only the most ugly and
+deform’d, and those too in the meanest and most frightful dress,
+that real, or fancy’d Poverty could put them in.</p>
+
+<p><span class = "pagenum">2</span>For some think that to be a
+Sheapard is in it self mean, base, and sordid; And this I think is
+the first thing that the graver and soberer sort will be ready to
+object.</p>
+
+<p>But if we consider how honorable that employment is, our
+Objectors from that Topick will be easily answer’d, for as
+<i>Heroick</i> Poems owe their dignity to the Quality of
+<i>Heroes</i>, so <i>Pastorals</i> to that of <i>Sheapards</i>.</p>
+
+<p>Now to manifest this, I shall not rely on the authority of the
+<i>Fabulous</i>, and <i>Heroick</i> Ages, tho, in the former, a God
+fed Sheep in <i>Thessaly</i>, and in the latter, <i>Hercules</i>
+the Prince of <i>Heroes</i>, (as <i>Paterculus</i> stiles him)
+graz’d on mount <i>Aventine</i>: These Examples, tis true, are not
+convinceing, yet they sufficiently shew that the employment of a
+Sheapard was sometime look’d upon to be such, as in those Fabulous
+times was not alltogether unbecomeing the <i>Dignity</i> of a
+<i>Heroe</i>, or the <i>Divinity</i> of a <i>God</i>: which
+consideration if it cannot be of force enough to procure excellence,
+yet certainly it may secure it from the imputation of baseness,
+since it was sometime lookt upon as fit for the greatest in Earth
+or Heaven.</p>
+
+<p>But not to insist on the authority of <i>Poets</i>, <i>Sacred
+Writt</i> tells us that <i>Jacob</i> and <i>Esau</i>, two great men,
+were Sheapards; And <i>Amos</i>, one of the Royal Family, asserts
+the same of himself, for <i>He was</i> among <i>the Sheapards of
+Tecua</i>, following that employment: The like by Gods own
+appoint<span class = "pagenum">3</span>ment prepared <i>Moses</i>
+for a Scepter, as <i>Philo</i> intimates in his life, when He tells
+us, <i>that a Sheapards Art is a suitable preparation to a
+Kingdome</i>; the same He mentions in the Life of <i>Joseph</i>,
+affirming that the care a Sheapard hath over his Cattle, very much
+resembles that which a King hath over his Subjects: The same
+<i>Basil</i> in his Homily de <i>S. Mamm. Martyre</i> hath
+concerning <i>David</i>, who was taken from following the Ews great
+with young ones to feed <i>Israel</i>, for He says that the Art of
+feeding and governing are very near akin, and even Sisters: And
+upon this account I suppose twas, that Kings amongst the
+<i>Greeks</i> reckoned the name of Sheapard one of their greatest
+titles, for, if we believe <i>Varro</i>, amongst the Antients, the
+best and bravest was still a Sheapard: Every body knows that the
+<i>Romans</i> the worthiest and greatest Nation in the World sprang
+from <i>Sheapards</i>: The Augury of the Twelve Vulturs plac’t a
+Scepter in <i>Romulus</i>’s hand which held a Crook before; and at
+that time, as <i>Ovid</i> says,</p>
+
+<div class = "verse"><i>His own small Flock each Senator did keep.</i></div>
+
+<p><i>Lucretius</i> mentions an extraordinary happiness, and as it
+were Divinity in a <i>Sheaperd’s</i> life,</p>
+
+<div class = "verse"><i>Thro Sheapards ease, and their Divine retreats.</i></div>
+
+<p>And this is the reason, I suppose, why the solitude of the
+Country, the shady Groves, and security of that happy Quiet was so
+grateful to the Muses, for thus <i>Horace</i> represents them,
+</p>
+<span class = "pagenum">4</span>
+<div class = "verse"><i>The Muses that the Country Love</i>.</div>
+
+<p>Which Observation was first made by <i>Mnasalce</i> the <i>Sicyonian</i> in his Epigram upon <i>Venus</i></p>
+
+<div class = "verse"><i>The Rural Muse upon the Mountains feeds</i>.</div>
+
+<p>For sometimes the Country is so raveshing and delightful, that
+twill raise Wit and Spirit even in the dullest Clod, And in truth,
+amongst so many heats of Lust and Ambition which usually fire our
+Citys, I cannot see what retreat, what comfort is left for a chast
+and sober Muse.</p>
+
+<p>And to speak from the very bottome of my heart, (not to mention
+the integrity and innocence of Sheapards upon which so many have
+insisted, and so copiously declaimed) methinks he is much more happy
+in a Wood, that at ease contemplates this universe, as his own, and
+in it, the Sun and Stars, the pleasing Meadows, shady Groves, green
+Banks, stately Trees, flowing Springs, and the wanton windings of a
+River, fit objects for quiet innocence, than he that with Fire and
+Sword disturbs the World, and measures his possessions by the wast
+that lys about him: <i>Augustus</i> in the remotest East fights for
+peace, but how tedious were his Voyages? how troublesome his
+Marches? how great his disquiets? what fears and hopes distracted
+his designs? whilst <i>Tityrus</i> contented with a little, happy
+in the enjoyment of his Love, and at ease under his spreading
+Beech.</p>
+
+<div class = "verse"><i>Taught Trees to sound his</i> Amaryllis <i>name</i>.</div>
+
+<p><span class = "pagenum">5</span>
+On the one side <i>Melibœus</i> is forc’t to leave his Country, and
+<i>Antony</i> on the other; the one a Sheapard, the other a great
+man, in the Common-Wealth; how disagreeable was the Event? the
+Sheapard could endure himself; and sit down contentedly under his
+misfortunes, whilst lost <i>Antony</i>,unable to hold out, and
+quitting all hopes both for himself and his Queen, became his own
+barbarous Executioner: Than which sad and deplorable fall I cannot
+imagine what could be worse, for certainly nothing is so miserable
+as a Wretch made so from a flowrishing &amp; happy man; by which tis
+evident how much we ought to prefer before the gaity of a great and
+shining State, that Idol of the Crowd, the lowly simplicity of a
+Sheapards Life: for what is that but a perfect image of the state
+of Innocence, of that golden Age, that blessed time, when Sincerity
+and Innocence, Peace, Ease, and Plenty inhabited the Plains?</p>
+
+<p>Take the Poets description</p>
+
+<div class = "verse"><i>Here Lowly Innocence makes a sure retreat,<br>
+A harmless Life, and ignorant of deceit,<br>
+and free from fears with various sweet’s encrease,<br>
+And all’s or’e spread with the soft wings of Peace:<br>
+Here Oxen low, here Grots, and purling Streams,<br>
+And Spreading shades invite to easy dreams.</i></div>
+
+<p>And thus <i>Horace</i>,</p>
+
+<div class = "verse"><i>Happy the man beyond pretence<br>
+Such was the state of Innocence, &amp;c.</i></div>
+
+<p><span class = "pagenum">6</span>
+And from this head I think the dignity of <i>Bucolicks</i> is
+sufficiently cleared, for as much as the Golden Age is to be
+preferred before the <i>Heroick</i>, so much <i>Pastorals</i> must
+excell <i>Heroick</i> Poems: yet this is so to be understood, that
+if we look upon the majesty and loftiness of <i>Heroick</i> Poems,
+it must be confest that they justly claim the preheminence; but if
+the unaffected neatness, elegant, graceful smartness of the
+expression, or the polite dress of a Poem be considered, then they
+fall short of <i>Pastorals</i>: for this sort flows with Sweet,
+Elegant, neat and pleasing fancies; as is too evident to every one
+that hath tasted the sweeter muses, to need a farther explication:
+for tis not probable that <i>Asinius Pollio</i>, <i>Cinna</i>,
+<i>Varius</i>, <i>Cornelius Gallus</i>, men of the neatest Wit, and
+that lived in the most polite Age, or that <i>Augustus Cæsar</i>
+the Prince of the <i>Roman</i> elegance, as well as of the common
+Wealth, should be so extreamly taken with <i>Virgils Bucolicks</i>,
+or that <i>Virgil</i> himself a man of such singular prudence, and
+so correct a judgment, should dedicate his Eclogues to those great
+Persons; unless he had known that there is somewhat more then
+ordinary Elegance in those sort of Composures, which the wise
+perceive, tho far above the understanding of the Crowd: nay if
+<i>Ludovicus Vives</i>, a very learned man, and admired for politer
+studies may be believed, there is somewhat more sublime and
+excellent in those <i>Pastorals</i>, than the Common
+<span class = "pagenum">7</span> sort of Grammarians imagine: This
+I shall discourse of in an other place, and now inquire into the
+Antiquity of Pastorals.</p>
+
+<div class = "sidenote"><i>The Antiquity of Pastorals</i>.</div>
+
+<p>Since <i>Linus</i>, <i>Orpheus</i>, and <i>Eumolpus</i> were
+famous for their Poems, before the <i>Trojan</i> wars; those are
+certainly mistaken, who date Poetry from that time; I rather incline
+to their opinion who make it as old as the World it self; which
+Assertion as it ought to be understood of Poetry in general, so
+especially of <i>Pastoral</i>, which, as <i>Scaliger</i> delivers,
+was the most antient kind of Poetry, and resulting from the most
+<i>antient</i> way of Liveing: <i>Singing first began amongst
+Sheapards as they fed their Flocks, either by the impulse of nature,
+or in imitation of the notes of Birds, or the whispering of
+Trees.</i></p>
+
+<p>For since the first men were either <i>Sheapards</i> or
+<i>Ploughmen</i>, and <i>Sheapards</i>, as may be gathered out of
+<i>Thucydides</i> and <i>Varro</i>, were before the others, they
+were the first that either invited by their leisure, or (which
+<i>Lucretius</i> thinks more probable) in imitation of Birds, began
+a tune.</p>
+
+<div class = "verse"><i>Thro all the Woods they heard the pleasing noise<br>
+Of chirping Birds, and try’d to frame their voice,<br>
+And Imitate, thus Birds instructed man,<br>
+And taught them Songs before their Art began.</i></div>
+
+<p>In short, tis so certain that Verses first began in the Country
+that the thing is in it self evident, and this <i>Tibullus</i> very
+plainly signifies,
+</p>
+<span class = "pagenum">8</span>
+<div class = "verse"><i>First weary at his Plough the labouring Hind<br>
+In certain feet his rustick words did bind:<br>
+His dry reed first he tun’d at sacred feasts<br>
+To thanks the bounteous Gods, and cheer his Guests.</i></div>
+
+<p><i>In certain feet</i> according to <i>Bern Cylenius</i> of
+<i>Verona</i> his interpretation <i>in set measures</i>: for
+<i>Censorinus</i> tells us, that the antient Songs were loose and
+not ty’d up to any strict numbers, and afterwards by certain laws
+and acknowledged rules were confin’d to such and such measures: for
+this is the method of Nature in all her works, from imperfect and
+rude beginnings things take their first rise, and afterwards by fit
+and apposite additions are polish’t, and brought to perfection: such
+were the Verses which heretofore the <i>Italian</i> Sheapards and
+Plough-men, as <i>Virgil</i> says, sported amongst themselves.</p>
+
+<div class = "verse"><i>Italian Plough-men sprung from antient</i> Troy<br>
+<i>Did sport unpolish’t Rhymes——</i></div>
+
+<p><i>Lucretius</i> in his Fifth Book <i>de Natura Rerum</i>, says,
+that Sheapards were first taught by the rushing of soft Breezes
+amongst the Canes to blow their Reeds, and so by degrees to put
+their Songs in tune. </p>
+
+<div class = "verse"><i>For Whilst soft Evening Gales blew or’e the Plains<br>
+And shook the sounding Reeds, they taught the Swains,<br>
+And thus the Pipe was fram’d, and tuneful Reed,<br>
+And whilst the Flocks did then securely feed,<br>
+The harmless Sheapards tun’d their Pipes to Love,<br>
+And Amaryllis name fill’d every Grove.</i></div>
+<span class = "pagenum">9</span>
+
+<p>From all which tis very plain that <i>Poetry</i> began in those
+days, when Sheapards took up their employment: to this agrees
+<i>Donatus</i> in his Life of <i>Virgil</i>, and <i>Pontanus</i> in
+his Fifth Book of Stars, as appears by these Verses.</p>
+
+<div class = "verse"><i>Here underneath a shade by purling Springs<br>
+The Sheapards Dance, whilst sweet</i> Amyntas <i>sings;<br>
+Thus first the new found Pipe was tun’d to Love,<br>
+And Plough-men taught their Sweet hearts to the Grove,</i></div>
+
+<p>Thus the <i>Fescennine</i> jests when they sang harvest-home,
+and then too the Grape gatherers and Reapers Songs began, an elegant
+example of which we have in the Tenth <i>Idyllium</i> of
+<i>Theocritus</i>.</p>
+
+<p>From this birth, as it were, of <i>Poetry</i>, Verse began to
+grow up to greater matters; For from the common discourse of
+<i>Plough-men</i> and <i>Sheapards</i>, first <i>Comedy</i>, that
+Mistress of a private Life, next <i>Tragedy</i>, and then <i>Epick
+Poetry</i> which is lofty and <i>Heroical</i> arrose, This
+<i>Maximus Tyrius</i> confirms in his Twenty first
+<ins class = "correction" title = "text reads
+’dissetation'">dissertation</ins>,
+where he tells us that Plough-men just comeing from their work, and
+scarce cleansed from the filth of their employment, did use to flurt
+out some sudden and <i>extempore</i> Catches; and from this
+beginning Plays were produc’d and the Stage erected: Thus
+<span class = "pagenum">10</span> much concerning the
+<i>Antiquity</i>, next of the <i>Original</i> of this sort.</p>
+
+<p>About this Learned men cannot agree, for who was the first
+Author, is not sufficiently understood; <i>Donatus</i>, tis true,
+tells us tis proper to the Golden Age, and therefore must needs be
+the product of that happy time: but who was the Author, where, what
+time it was first invented hath been a great Controversy, and not
+yet sufficiently determined: <i>Epicharmus</i> one of
+<i>Pythagoras</i> his School, in his <span class = "greek">ἀλκύονι</span>
+mentions one <i>Diomus</i> a <i>Sicilian</i>, who, if we believe
+<i>Athænæus</i> was the first that wrote <i>Pastorals: those that
+fed Cattle had a peculiar kind of Poetry, call’d Bucolicks,
+of which Dotimus a Sicilian was inventer:</i></p>
+
+<p><i>Diodorus Siculus</i> <span class = "greek">ἐν τοῖς
+μυθολογουμένοις</span>, seems to make <i>Daphnis</i> the son of
+<i>Mercury</i> and a certain <i>Nymph</i>, to be the Author; and
+agreeable to this, <i>Theon</i> an old <i>scholiast</i> on
+<i>Theocritus</i>, in his notes upon the first <i>Idyllium</i>
+mentioning <i>Daphnis</i>, adds, <i>he was the author of
+Bucolicks</i>, and <i>Theocritus himself</i> calls him <i>the Muses
+Darling</i>: and to this Opinion of <i>Diodorus Siculus Polydore
+Virgil</i> readily assents.</p>
+
+<p>But <i>Mnaseas</i> of <i>Patara</i> in a discourse of his
+concerning <i>Europa</i>, speaks thus of a Son of <i>Pan</i> the God
+of Sheapards: <i>Panis Filium Bubulcum à quo &amp; Bucolice canere:</i>
+Now Whether <i>Mnaseas</i> by that <i>Bubulcum</i>, means only a
+<i>Herds-man</i>, or one skilled in <i>Bucolicks</i>, is uncertain;
+but if <i>Valla’s</i> <span class = "pagenum">11</span> judgment be
+good, tis to be taken of the latter: yet <i>Ælian</i> was of another
+mind, for he boldly affirms that <i>Stesichorus</i> called
+<i>Himeræus</i> was the first, and in the same place adds, that
+<i>Daphnis</i> the Son of <i>Mercury</i> was the first Subject of
+<i>Bucolicks</i>.</p>
+
+<p>Some ascribe the Honor to <i>Bacchus</i> the President of the
+<i>Nymphs, Satyrs</i>, and the other Country Gods, perhaps because
+he delighted in the Country; and others attribute it to
+<i>Apollo</i> called <i>Nomius</i> the God of Sheapards, and that he
+invented it then when he served <i>Admetus</i> in <i>Thessaly</i>,
+and fed his Herds: For, tis likely, he to recreate himself, and pass
+away his time, applied his mind to such Songs as were best suitable
+to his present condition: Many think we owe it to <i>Pan</i> the God
+of Sheapards, not a few to <i>Diana</i> that extreamly delighted in
+solitude and Woods; and some say <i>Mercury</i> himself: of all
+which whilst <i>Grammarians</i> prattle, according to their usual
+custome they egregiously trifle; they suffer themselves to be put
+upon by Fables, and resign their judgment up to foolish pretentions,
+but things and solid truth is that we seek after.</p>
+
+<p>As about the Author, so concerning the place of its Birth there
+is a great dispute, some say <i>Sparta</i>, others <i>Peloponesus</i>,
+but most are for <i>Sicily</i>.</p>
+
+<p><i>Valla the Placentine</i>, a curious searcher into Antiquity,
+thinks this sort of Poetry first appear’d amongst the
+<i>Lacedemonians</i>, for when the <i>Persians</i> had wasted
+allmost all <i>Greece</i>, the <i>Spartans</i> say <span class = "pagenum">12</span>
+that they for fear of the <i>Barbarians</i> fled into Caves and
+lurking holes; and that the Country Youth then began to apply
+themselves in Songs to <i>Diana Caryatis</i>, together with the
+Maids, who midst their Songs offerd Flowers to the Goddess: which
+custome containing somewhat of Religion was in those places a long
+time very scrupulously observed.</p>
+
+<p><i>Diomedes</i> the Grammarian, in his treatise of
+<i>Measures</i>, declares <i>Sicily</i> to be the Place: for thus
+he says, the <i>Sicilian</i> Sheapards in time of a great
+<i>Pestilence</i>, began to invent new Ceremonies to appease
+incensed <i>Diana</i>, whom afterward, for affording her help, and
+stopping the Plague they called <span class = "greek">Λύην</span>:
+<i>i.e.</i> the <i>Freer</i> from their Miserys. This grew into
+custom, and the Sheapards used to meet in Companies, to sing their
+deliverer <i>Diana’s</i> praise, and these afterwards passing into
+<i>Italy</i> were there named <i>Bucoliastæ</i>.</p>
+
+<p><i>Pomponius Sabinus</i> tells the story thus: When the Hymns the
+Virgins us’d to sing in the Country to <i>Diana</i> were left off,
+because, by reason of the present Wars, the Maidens were forc’t to
+keep close within the Towns; the Shepherds met, and sang these kind
+of Songs, which are now call’d <i>Bucolicks</i>, to <i>Diana</i>;
+to whom they could not give the usual worship by reason of the Wars:
+But <i>Donatus</i> says, that this kind of Verses was first sung to
+<i>Diana</i> by <i>Orestes</i>, when he wandred about <i>Italy</i>;
+after he fled from <i>Scythia Taurica</i>, and had <span class = "pagenum">13</span>
+taken away the Image of the Goddess and hid it in a bundle of
+sticks, whence she receiv’d the name of <i>Fascelina</i>, or
+<i>Phacelide</i> <span class = "greek">ἀπὸ τοῦ φακέλου</span> At
+whose Altar, the very same <i>Orestes</i> was afterward expiated by
+his Sister <i>Iphigenia</i>: But how can any one rely on such
+Fables, when the inconsiderable Authors that propose them disagree
+so much amongst themselves?</p>
+
+<p>Some are of Opinion that the Shepherds, were wont in solem and
+set Songs about the Fields and Towns to celebrate the Goddess
+<i>Pales</i>; and beg her to bless their flocks and fields with a
+plenteous encrease and that from hence the name, and composure of
+<i>Bucolicks</i> continued.</p>
+
+<p>Other prying ingenious Men make other conjectures, as to this
+mazing Controversy thus <i>Vossius</i> delivers himself; <i>The
+Antients cannot be reconcil’d, but I rather incline to their opinion
+who think</i> Bucolicks <i>were invented either by the</i> Sicilians
+<i>or</i> Peloponesians, <i>for both those use the</i> Dorick
+<i>dialect, and all the</i> Greek Bucolicks <i>are writ in that</i>:
+As for my self I think, that what <i>Horace</i> says of <i>Elegies</i>
+may be apply’d to the present Subject.</p>
+
+<div class = "verse"><i>But who soft Elegies was the first that wrote<br>
+Grammarians doubt, and cannot end the doubt:</i></div>
+
+<p>For I find nothing certain about this matter, since neither
+<i>Valla</i> a diligent inquirer after, and a good judge in such
+things, nor any of the late writers produce any thing upon which I can
+safely rely; yet what beginning this kind of Poetry <span class = "pagenum">14</span>
+had, I think I can pretty well conjecture: for tis
+likely that first Shepherds us’d Songs to recreate themselves in their
+leisure hours whilst they fed their Sheep; and that each man, as his
+wit served, accommodated his Songs to his present Circumstances: to
+this Solitude invited, and the extream leisure that attends that
+employment absolutely requir’d it: For as their retirement gave them
+leisure, and Solitude a fit place for Meditation, Meditation and
+Invention produc’d a Verse; which is nothing else but a Speech fit to
+be sung, and so Songs began: Thus <i>Hesiod</i> was made a Poet, for
+he acknowledges himself that he receiv’d his inspiration;</p>
+
+<div class = "verse"><i>Whilst under </i>Helicon <i>he fed his Lambs</i>.</div>
+
+<p>for either the leisure or fancy of Shepherds seems to have a
+natural aptitude to Verse.</p>
+
+<p>And indeed I cannot but agree with <i>Lucretius</i> that accurate
+Searcher into Nature, who delivers that from that state of Innocence
+the Golden Age, Pastorals continued down to his time, for after he had
+in his fifth book describ’d that most happy age, he adds,</p>
+
+<div class = "verse"><i>For then the Rural Muses reign’d</i>.</div>
+
+<p>From whence ’tis very plain, that as <i>Donatus</i> himself
+observ’d, Pastorals were the invention of the simplicity and innocence
+of that Golden age, if there was ever any such, or certainly of that
+time which succeeded the beginning of the World: For tho the Golden
+Age must be ac<span class = "pagenum">15</span>knowledged to be only
+in the fabulous times, yet ’tis certain that the Manners of the first
+Men were so plain and simple, that we may easily derive both the
+innocent imployment of Shepherds, and Pastorals from them.</p>
+<hr>
+<span class = "pagenum">16</span>
+<br>
+<br>
+<p align = "center"><a name="second"><font size = "+1"><i>The Second</i><span class = "extended"> PAR</span>T.</font></a></p>
+
+<p><span class = "firstletter">N</span>OW let us inquire into the
+nature of <i>Pastoral</i>, in what its excellencies consist, and how
+it must be made to be exact: And this must needs be a hard Task, since
+I have no guide, neither <i>Aristotle</i> nor <i>Horace</i> to direct
+me; for both they, whatever was the matter, speak not one word of this
+sort of Verse. And I am of opinion that none can treat well and
+clearly of any kind of <i>Poetry</i> if he hath no helps from these
+two: But since they lay down some general Notions of <i>Poetry</i>
+which may be useful in the present case, I shall follow their steps as
+close as possible I can.</p>
+
+<p>Not only <i>Aristotle</i> but <i>Horace</i> too hath defin’d that
+<i>Poetry</i> in general is Imitation; I mention only these two, for
+tho <i>Plato</i> in his Second Book <i>de Rep.</i> and in his
+<i>Timæus</i> delivers the same thing, I shall not make use of his
+Authority at all: Now as <i>Comedy</i> according to <i>Aristotle</i>
+is the <i>Image and Representation of a gentiel and City Life</i>, so
+is <i>Pastoral Poetry</i> of a County and <i>Sheapards</i> Life; for
+since <i>Poetry</i> in general is Imitation; its several
+<i>Species</i> must likewise Imitate, take <i>Aristotles</i> own words
+<i>Cap.</i> 1. <span class = "greek">πᾶσαι τυγχάνουσιν οὖσαι
+μιμήσεις</span>; And these <i>Species</i> are <span class = "pagenum">17</span>
+differenc’t either by the subject matter, when the things to be
+imitated are quite different, or when the manner in which you
+imitate, or the mode of imitation is so: <span class = "greek">ἐν
+τρισὶ δὲ ταύταισ διαφοραῖς ἡ μιμησίς ἐστιν, ἐν οἷς καὶ ἅ, καὶ ὥς</span>:
+Thus tho of <i>Epick</i> Poetry and <i>Tragedy</i> the
+Subject is the same, and some great illustrious Action is to be
+<i>imitated</i> by both, yet since one by representation, and the
+other by plain narration imitates, each makes a different
+<i>Species</i> of imitation. And <i>Comedy</i> and <i>Tragedy</i>, tho
+they agree in this, that both represent, yet because the Matter is
+different, and <i>Tragedy</i> must represent some brave action, and
+<i>Comedy</i> a humor; these Two sorts of imitation are
+<i>Specifically different</i>. And upon the same account, since
+<i>Pastoral</i> chooses the
+<ins class = "correction" title = "text reads 'mannes'">manners</ins>
+of Sheapards for its imitation, it takes
+from its matter a peculiar difference, by which it is distinguish’d
+frõ all others.</p>
+
+<p>But here <i>Benius</i> in his comments upon <i>Aristotle</i> hath
+started a considerable query: which is this; Whether <i>Aristotle</i>,
+when he reckons up the different <i>Species</i> of Poetry <i>Cap</i>
+1. doth include <i>Pastoral,</i> or no? And about this I find learn’d
+men cannot at all agree: which certainly <i>Benius</i> should have
+determin’d, or not rais’d: some refer it to that sort which <i>was
+sung to Pipes</i>, for that <i>Pastorals</i> were so <i>Apuleius</i>
+intimates, when at the marriage Feast of <i>Phyche</i> He brings in
+<i>Paniscus</i> singing <i>Bucolicks</i> to his Pipe; But since they
+did not seriously enough consider, what <i>Aristotle</i> <span class = "pagenum">18</span>
+meant by that which he calls <span class = "greek">αυλητικὴν</span>
+they trifle, talk idly, and are not to be
+heeded in this matter; For suppose some <i>Musitian</i> should sing
+<i>Virgils Ænæis</i> to the Harp, (and <i>Ant. Lullus</i> says it hath
+been done,) should we therefore reckon that divine and incomparable
+Master of <i>Heroick</i> Poetry amongst the <i>Lyricks</i>?</p>
+
+<p>Others with <i>Cæsius Bassus</i> and <i>Isacius Tzetzes</i> hold
+that that distribution of <i>Poetry</i>, which <i>Aristotle</i> and
+<i>Tully</i> hath left us, is deficient and imperfect; and that only
+the chief Species are reckoned, but the more inconsiderable not
+mention’d: I shall not here interest my self in that quarrel of the
+<i>Criticks</i>, whether we have all <i>Aristotles</i> books of Poetry
+or no; this is a considerable difficulty I confess, for
+<i>Laertius</i> who accurately weighs this matter, says that he wrote
+two books of <i>Poetry</i>, the one lost, and the other we have, tho
+<i>Mutinensis</i> is of an other mind: but to end this dispute, I must
+agree with <i>Vossius</i>, who says the Philosopher comprehended these
+Species not expressly mentioned, under a higher and more noble head:
+and that therefore <i>Pastoral</i> was contain’d in <i>Epick</i>. for
+these are his own words, <i>besides there are Epicks of an inferior
+rank, such as the Writers of Bucolicks</i>. <i>Sincerus</i>, as
+<i>Minturnus</i> quotes him, is of the same mind, for thus he delivers
+his opinion concerning <i>Epick Verse</i>: <i>The matters about which
+these numbers may be employed is various; either mean and low, as in
+Pastorals, great and lofty, as when <span class = "pagenum">19</span>
+the Subject is Divine Things, or Heroick Actions, or of a middle rank,
+as when we use them to deliver precepts in:</i> And this likewise he
+signifys before, where he sets down three sorts of <i>Epicks</i>:
+<i>one of which, says he, is divine, and the most excellent by much in
+all Poetry</i>; the <i>other the lowest but most pure, in which
+Theocritus excelled, which indeed shews nothing of Poetry beside the
+bare numbers</i>: These points being thus settled, the remaining
+difficultys will be more easily dispatched.</p>
+
+<p>For as in <i>Dramatick</i> Poetry the Dignity and meanness of the
+<i>Persons</i> represented make two different <i>Species of
+imitation</i> the one <i>Tragick</i>, which agrees to none but great
+and Illustrious persons, the other <i>Comick</i>, which suits with
+common and gentile humors: so in <i>Epick</i> too, there may be
+reckoned two sorts of <i>Imitation</i>, one of which belongs to
+<i>Heroes</i>, and that makes the <i>Heroick</i>; the other to
+<i>Rusticks</i> and <i>Sheapards</i> and that constitutes the
+<i>Pastoral</i>, now as a <i>Picture</i> imitates the Features of the
+face, so <i>Poetry</i> doth action, and tis not a representation of
+the Person but the Action.
+<span class = "sidenote"><i>The Definition of Pastoral</i>.</span>
+From all which we may gather this definition of Pastoral: <i>It is the
+imitation of the Action of a Sheapard, or of one taken under that
+Character</i>: Thus <i>Virgil’s Gallus</i>, tho not really a
+<i>Sheapard</i>, for he was a man of great quality in <i>Rome</i>, yet
+belongs to <i>Pastoral</i>, because he is represented like a Sheapard:
+hence the Poet:
+</p>
+<span class = "pagenum">20</span>
+<div class = "verse"><i>The Goatherd and the heavy Heardsmen came,<br>
+And ask’t what rais’d the deadly Flame.</i></div>
+
+<p>The <i>Scene</i> lys amongst Sheapards, the <i>Swains</i> are
+brought in, the <i>Herdsmen</i> come to see his misery, and the
+fiction is suited to the real condition of a <i>Sheapard</i>; the same
+is to be said for his <i>Silenus</i>, who tho he seems lofty, and to
+sound to loud for an oaten reed, yet since what he sings he sings to
+<i>Sheapards</i>, and suits his Subject to their apprehensions, his is
+to be acknowledged <i>Pastoral</i>. This rule we must stick to, that
+we might infallibly discern what is stricktly <i>Pastoral</i> in
+<i>Virgil</i> and <i>Theocritus</i>, and what not: for in
+<i>Theocritus</i> there are some more lofty thoughts which not having
+any thing belonging to Sheapards for their Subject, must by no means
+be accounted <i>Pastoral</i>, But of this more in its proper
+place.</p>
+
+<p>My present inquiry must be what is the <i>Subject Matter</i> of a
+<i>Pastoral</i>, about which it is not easy to resolve; since neither
+from <i>Aristotle</i>, nor any of the <i>Greeks</i> who have written
+<i>Pastorals</i>, we can receive certain direction. For sometimes they
+treat of high and sublime things, like <i>Epick Poets</i>; what can be
+loftier than the whole <i>Seaventh Idyllium of Bias</i> in which
+<i>Myrsan</i> urges <i>Lycidas</i> the Sheapard to sing the Loves of
+<i>Deidamia</i> and <i>Achilles</i>. For he begins from <i>Helen’s</i>
+rape, and goes on to the revengful fury of the <i>Atrides</i>, and
+shuts up in one <i>Pastoral</i>, all that is great and sounding in
+<i>Homers Iliad</i>.
+</p>
+<span class = "pagenum">21</span>
+<div class = "verse"><i>Sparta was fir’d with Rage<br>
+And gather’d Greece to prosecute Revenge.</i></div>
+
+<p>And <i>Theocritus</i> his verses are sometimes as sounding and
+his thoughts as high: for upon serious consideration I cannot mind
+what part of all the <i>Heroicks</i> is so strong and sounding as
+that <i>Idyllium</i> on <i>Hercules</i>
+<span class = "greek">λεοντοφονω</span> in which <i>Hercules</i>
+himself tells <i>Phyleus</i> how he kill’d the Lyon whose Skin he
+wore: for, not to mention many, what can be greater than this
+expression.</p>
+
+<div class = "verse"><i>And gaping Hell received his mighty Soul</i>:</div>
+
+<p>Why should I instance in the <span class = "greek">διόσκουροι</span>,
+which hath not one line below Heroick; the greatness of this is
+almost inexpressible.</p>
+
+<div class = "verse"><span class = "greek">ἀνὴρ ὑπέροπλος ἐνήμερος, ἐνδιάασκε<br>
+ δεινὸς ἰδεῖν</span></div>
+
+<p>And some other pieces are as strong as these, such is the
+<i>Panegyrick on Ptolemy</i>, <i>Helen’s Epithalamium</i>, and the
+Fight of young <i>Hercules</i> and the Snakes: now how is it likely
+that such Subjects should be fit for <i>Pastorals</i>, of which in my
+opinion, the same may be said which <i>Ovid</i> doth of his
+<i>Cydippe</i>.</p>
+
+<div class = "verse"><i>Cydippe, Homer, doth not fit thy Muse.</i></div>
+
+<p>For certainly <i>Pastorals</i> ought not to rise to the Majesty of
+<i>Heroicks</i>: but who on the other side <span class = "pagenum">22</span>
+dares reprehend such great and judicious Authors,
+whose very doing it is Authority enough? What shall I say of
+<i>Virgil</i>? who in his Sixth <i>Eclogue</i> hath put together
+allmost all the particulars of the fabulous Age; what is so high to
+which <i>Silenus</i> that Master of Mysterys doth not soar?</p>
+
+<div class = "verse"><i>For lo! he sung the Worlds stupendious birth,<br>
+How scatter’d seeds of sea, of Air, and Earth,<br>
+And purer Fire thro universal night<br>
+And empty space did fruitfully unite:<br>
+From whence th’ innumerable race of things<br>
+By circular successive order springs:</i></div>
+
+<p>And afterward</p>
+
+<div class = "verse"><i>How Pyrra’s Stony race rose from the ground,<br>
+And Saturn reign’d with Golden plenty crown’d,<br>
+How bold</i> Prometheus <i>(whose untam’d desire,<br>
+Rival’d the Sun with his own Heavenly Fire)<br>
+Now doom’d the</i> Scythian <i>Vulturs endless prey<br>
+Severely pays for Animating Clay:</i></div>
+
+<p>So true, so certain ’tis, that nothing is so high and lofty to
+which <i>Bucolicks</i> may not successfully aspire. But if this be so,
+what will become of <i>Macrobius, Georgius Valla, Julius Scaliger,
+Vossius,</i> and the whole company of Grammarians? who all affirm that
+simplicity and meanness is so essential to <i>Pastorals</i>, that it
+ought to be confin’d to the State, Manners, Apprehension and even
+common phrases of Sheapards: for nothing can <span class = "pagenum">23</span>
+be said to be <i>Pastoral</i>, which is not
+accommodated to their condition; and for this Reason <i>Nannius
+Alcmaritanus</i> in my opinion is a trifler, who, in his comments on
+<i>Virgils Eclogues</i>, thinks that those sorts of Composures may now
+and then be lofty, and treat of great subjects: where he likewise
+divides the matter of <i>Bucolicks</i>, into <i>Low</i>,
+<i>Middle</i>, and <i>High</i>: and makes <i>Virgil</i> the Author of
+this Division, who in his Fourth <i>Eclogue</i>, (as he imagines)
+divides the matter of <i>Bucolicks</i> into Three sorts, and intimates
+this division by these three words: <i>Bushes</i>, <i>Shrubs</i> and
+<i>Woods</i>.</p>
+
+<div class = "verse"><i>Sicilian Muse begin a loftier strain,<br>
+The Bushes and the Shrubs that shade the Plain<br>
+Delight not all; if I to Woods repair<br>
+My Song shall make them worth a Consuls Care</i>.</div>
+
+<p>By Woods, as he fancys, as <i>Virgil</i> means high and stately
+Trees, so He would have a great and lofty Subject to to be
+implyed,such as he designed for the <i>Consul</i>: by Bushes, which
+are almost even with the ground, the meanest and lowest argument; and
+by Shrubs a Subject not so high as the one, nor so low as the other,
+as the thing it-self is, And therefore these lines</p>
+
+<div class = "verse">&nbsp;&nbsp;&nbsp;&nbsp;<i>If I to Woods repair<br>
+My Song shall make them worth a</i> Consuls <i>care</i>.</div>
+
+<p><span class = "pagenum">24</span>
+are thus to be understood, That if we choose high and sublime
+arguments, our work will be fit for the Patronage of a <i>Consul</i>,
+This is <i>Nanniu’s</i> interpretation of that place; too pedantial
+and subtle I’me affraid, for tis not credible that ever <i>Virgil</i>
+thought of reckoning great and lofty things amongst the Subjects of
+<i>Bucolicks</i> especially since</p>
+
+<div class = "verse"><i>When his</i> Thalia <i>rais’d her bolder voice<br>
+And Kings and Battles were her lofty choice</i>,<br>
+Phæbus <i>did twitch his Ear, mean thoughts infuse,<br>
+And with this whisper check’t th’ inspiring Muse.<br>
+A Sheapard, Tityrus, his Sheep should feed,<br>
+And choose a subject suited to his reed</i>,</div>
+
+<p>This certainly was a serious admonition, implyed by the twitching
+of his Ear, and I believe if he had continued in this former humor and
+not obey’d the smarting admonition. He had still felt it: so far was
+he from thinking Kings and Battels fit Themes for a <i>Sheapards</i>
+song: and this evidently shows that in <i>Virgils</i> opinion,
+contrary to <i>Nanniu’s</i> fancy, great things cannot in the least be
+comprehended within the subject matter of <i>Pastorals;</i> no, it
+must be low and humble, which <i>Theocritus</i> very happily
+expresseth by this word <span class = "greek">Βουκολιάσδην</span>
+<i>i. e.</i> as the interpreters explain it, sing humble Strains.</p>
+
+<p><ins class = "correction" title = "text reads 'theefore'">Therefore</ins>
+let <i>Pastoral</i> never venture upon a <span class = "pagenum">25</span>
+lofty subject, let it not recede one
+jot from its proper matter, but be employ’d about Rustick affairs:
+such as are mean and humble in themselves; and such are the affairs of
+Shepherds, especially their Loves, but those must be pure and
+innocent; not disturb’d by vain suspitious jealousy, nor polluted by
+Rapes; The Rivals must not fight, and their emulations must be without
+quarrellings: such as <i>Vida</i> meant.</p>
+
+<div class = "verse"><i>Whilst on his Reed he Shepherd’s <ins class = "correction" title = "text reads 'stifes'">strifes</ins> conveys,<br>
+And soft complaints in smooth Sicilian lays</i>.</div>
+
+<p>To these may be added <i>sports, Jests, Gifts</i>, and
+<i>Presents</i>; but not <i>costly</i>, such are yellow Apples, young
+stock-Doves, Milk, Flowers, and the like; all things must appear
+delightful and easy, nothing vitious and rough: A perfidious Pimp, a
+designing Jilt, a gripeing Usurer, a crafty factious Servant must have
+no room there, but every part must be full of the simplicity of the
+<i>Golden-Age</i>, and of that Candor which was then eminent: for as
+<i>Juvenal affirms</i></p>
+
+<div class = "verse"><i>Baseness was a great wonder in that Age</i>;</div>
+
+<p>Sometimes <i>Funeral-Rites</i> are the subject of an
+<i>Eclogue</i>, where the Shepherds scatter flowers on the Tomb, and
+sing Rustick Songs in honor of the Dead: Examples of this kind are
+left us by <i>Virgil</i> in his <i>Daphnis</i>, and <i>Bion</i> in his
+<i>Adonis</i>, and this hath nothing disagreeable to a Shepherd: In
+<span class = "pagenum">26</span> short whatever, the decorum being
+still preserv’d, can be done by a <i>Sheapard</i>, may be the Subject
+of a <i>Pastoral</i>.</p>
+
+<p>Now there may be more kinds of Subjects than <i>Servius</i> or
+<i>Donatus</i> allow, for they confine us to that Number which
+<i>Virgil</i> hath made use of, tho <i>Minturnus</i> in his second
+Book <i>de Poetâ</i> declares against this opinion: But as a glorious
+<i>Heroick</i> action must be the Subject of an <i>Heroick</i> Poem,
+so a <i>Pastoral</i> action of a <i>Pastoral</i>; at least it must be
+so turn’d and wrought, that it might appear to be the action of a
+<i>Shepherd</i>; which caution is very necessary to be observ’d, to
+clear a great many difficulties in this matter: for tho as the
+Interpreters assure us; most of <i>Virgils</i> Eclogues are about the
+Civil war, planting Colonys, the murder of the Emperor, and the like,
+which in themselves are too great and too lofty for humble
+<i>Pastoral</i> to reach, yet because they are accomodated to the
+Genius of Shepherds, may be the Subject of an <i>Eclogue</i>, for that
+sometimes will admit of Gods and Heroes so they appear like, and are
+shrouded under the Persons of Shepherds: But as for these matters
+which neither really are, nor are so wrought as to seem the actions of
+Shepherds, such are in <i>Moschus</i>’s <i>Europa</i>,
+<i>Theocritus</i>’s <i>Epithalamium of Helen</i>, and <i>Virgil</i>’s
+<i>Pollio</i>, to declare my opinion freely, I cannot think them to be
+fit Subjects for <i>Bucolicks</i>: And upon this account I suppose
+’tis that <i>Servius</i> in his <span class = "pagenum">27</span>
+Comments on <i>Virgil</i>’s <i>Bucoliks</i> reckons only seven of
+<i>Virgil</i>’s ten Eclogues, and onely ten of <i>Theocritus</i>’s
+thirty, to be pure Pastorals, and <i>Salmasius</i> upon <i>Solinus</i>
+says, that <i>amongst Theocritus</i>’s <i>Poems there are some which
+you may call what you please Beside Pastorals</i>: and <i>Heinsius</i>
+in his <i>Scholia</i> upon <i>Theocritus</i> will allow but Ten of his
+<i>Idylliums</i> to be <i>Bucoliks</i>, 1. 2. 3. 4. 5. 6. 7. 8. 9. 11.
+for all the rest are deficient either in matter or form, and from this
+number of pure pastoral <i>Idylliums</i> I am apt to think, that
+<i>Theocritus</i> seems to have made that Pipe, on which he tun’d his
+<i>Pastorals</i> and which he consecrated to <i>Pan</i> of ten Reeds,
+as <i>Salmasius</i> in his notes on <i>Theocritus</i>’s Pipe hath
+learnedly observed: <i>in which two Verses always make one Reed of the
+Pipe, therefore all are so unequal, like the unequal Reeds of a Pipe,
+that if you put two equals together which make one Reed, the whole
+inequality consists in ten pairs</i>; when in the common Pipes there
+were usually no more then seven Reeds, and this the less curious
+observers have heedlessly past by.</p>
+
+<p>Some are of opinion that whatever is done in the Country, and in
+one word, every thing that hath nought of the City in it may be
+treated of in <i>Pastorals</i>; and that the discourse of Fishers,
+Plow-men, Reapers, Hunters, and the like, belong to this kind of
+Poetry: which according to the Rule that I have laid down cannot be
+true for, as I before hinted nothing but the action of a <span class = "pagenum">28</span>
+Shepherd can be the Subject of a Pastoral.</p>
+
+<p>I shall not here enquire, tho it may seem proper, whether we can
+decently bring into an Eclogue Reapers, Vine-dressers, Gardners,
+Fowlers, Hunters, Fishers, or the like, whose lives for the most part
+are taken up with too much business and employment to have any vacant
+time for Songs, and idle Chat, which are more agreeable to the leisure
+of a Sheapards Life: for in a great many Rustick affairs, either the
+hardship and painful Labor will not admit a song, as in Plowing, or
+the solitude as in hunting, Fishing, Fowling, and the like; but of
+this I shall discourse more largely in another place.</p>
+
+<p>Now ’tis not sufficient to make a Poem a true <i>Pastoral</i>,
+that the Subject of it is the action of a Shepherd, for in
+<i>Hesiods</i> <span class = "greek">ἔργα</span> and <i>Virgils
+Georgicks</i> there are a great many things that belong to the
+employment of a Shepherd, yet none fancy they are Pastorals; from
+whence ’tis evident, that beside the <i>matter</i>, which we have
+defin’d to be the action of a Sheapard, there is a peculiar
+<i>Form</i> proper to this kind of <i>Poetry</i> by which ’tis
+distinguish’d from all others.</p>
+
+<p>Of Poetry in General <i>Socrates</i>, as <i>Plato</i> tells us,
+would have <i>Fable</i> to be the <i>Form</i>: <i>Aristotle</i>
+Imitation: I shall not dispute what difference there is between these
+two, but only inquire whether Imitation be the <i>Form</i> of
+<i>Pastoral</i>: ’tis certain that <i>Epick</i> Poetry is differenc’t
+from <i>Tragick</i> on<span class = "pagenum">29</span>ly by the
+manner of imitation, for the latter imitates by <i>action</i>, and the
+former by bare <i>narration</i>: But <i>Pastoral</i> is the imitation
+of a <i>Pastoral</i> action either by bare narration, as in
+<i>Virgil</i>’s <i>Alexis</i>, and <i>Theocritus</i>’s 7<i>th
+Idyllium</i>, in which the Poet speaks all along in his own Person: or
+by action as in <i>Virgil</i>’s <i>Tityrus</i>, and the first of
+<i>Theocritus</i>, or by both mixt, as in the Second and Eleventh
+<i>Idylliums</i>, in which the Poet partly speaks in his own Person,
+and partly makes others speak, and I think the old <i>Scholiast</i> on
+<i>Theocritus</i> took an hint from these when he says, that Pastoral
+is a mixture made up of all sorts, for ’tis Narrative, Dramatick, and
+mixt, and <i>Aristotle</i>, tho obscurely, seems to hint in those
+words, <i>In every one of the mentioned Arts there is Imitation, in
+some simple, in some mixt</i>; now this latter being peculiar to
+<i>Bucolicks</i> makes its very form and Essence: and therefore
+<i>Scaliger</i>, in the 4<i>th</i> Chapter of his first Book of
+Poetry, reckons up three Species of <i>Pastorals</i>, the first hath
+but one Person, the second several, which sing alternately; the third
+is mixt of both the other: And the same observation is made by
+<i>Heinsius</i> in his Notes on <i>Theocritus</i>, for thus he very
+plainly to our purpose, <i>the Character of</i> Bucolicks <i>is a
+mixture of all sorts of Characters, Dramatick, Narrative, or mixt</i>:
+from all which ’tis very manifest that the manner of <i>Imitation</i>
+which is proper to <i>Pastorals</i> is the mixt: for in other kinds of
+Poetry ’tis one and simple, at least <span class = "pagenum">30</span>
+not so manifold; as in <i>Tragedy Action</i>: in <i>Epick</i> Poetry
+<i>Narration</i>.</p>
+
+<p>Now I shall explain what sort of <i>Fable</i>; <i>Manners</i>,
+<i>Thought</i>, <i>Expression</i>, which four are necessary to
+constitute every kind of Poetry, are proper to this sort.</p>
+<br>
+<p><i>Concerning the Fable which</i> Aristotle <i>calls,</i>
+<span class = "greek">σύνθεσιν τῶν πραγμάτων</span>,</p>
+
+<p>I have but one thing to say: this, as the Philosopher hints, as of
+all other sorts of Poetry, so of Pastoral is the very Soul. and
+therfore <i>Socrates</i> in <i>Plato</i> says, that in those Verses
+which he had made there was nothing wanting but the <i>Fable</i>:
+therefore Pastorals as other kinds of Poetry must have their Fable, if
+they will be Poetry: Thus in <i>Virgil</i>’s <i>Silenus</i> which
+contains the Stories of allmost the whole Fabulous Age, two Shepherds
+whom <i>Silenus</i> had often promis’d a Song, and as often deceived,
+seize upon him being drunk and asleep, and bind him with wreath’d
+Flowers; <i>Ægle</i> comes in and incourages the timorous youths, and
+stains his jolly red Face with Blackberries, <i>Silenus</i> laughs at
+their innocent contrivance, and desires to be unbound, and then with a
+premeditated Song satisfies the Nymph’s and Boys Curiosity; The
+incomparable Poet sings wonders, the Rocks rejoyce, the Vales eccho,
+and happy <i>Eurotas</i> as if <i>Phœbus</i> himself sang, hears all,
+and bids the Laurels that grow upon his Banks listen to, and learn
+the Song.
+</p>
+<span class = "pagenum">31</span>
+<div class = "verse"><i>Happy</i> Eurotas <i>as he flow’d along<br>
+Heard all, and bad the Laurels learn the Song.</i></div>
+
+<p>Thus every Eclogue or Idyllium must have its Fable, which must be
+the groundwork of the whole design, but it must not be perplext with
+sudden and unlookt for changes, as in <i>Marinus</i>’s <i>Adonis</i>:
+for that, tho the <i>Fable</i> be of a Shepherd, yet by reason of the
+strange Bombast under Plots, and wonderful occurences, cannot be
+accounted <i>Pastoral</i>; for that it might be agreeable to the
+Person it treats of, it must be plain and simple, such as
+<i>Sophocles</i>’s <i>Ajax</i>, in which there is not so much as one
+change of Fortune. As for the Manners, let that precept, which
+<i>Horace</i> lays down in his Epistle to the <i>Pisones</i>, be
+principally observed.</p>
+
+<div class = "verse"><i>Let each be grac’t with that which suits him best</i>.</div>
+
+<p>For this, as ’tis a rule relateing to <i>Poetry</i> in general, so
+it respects this kind also of which we are treating; and against this
+<i>Tasso</i> in his <i>Amyntas</i>, <i>Bonarellus</i> in his
+<i>Phyllis</i>, <i>Guarinus</i> in his <i>Pastor Fido</i>,
+<i>Marinus</i> in his <i>Idylliums</i>, and most of the
+<i>Italians</i> grievously offend, for they make their
+<i>Shepherds</i> too polite, and elegant, and cloth them with all the
+neatness of the Town, and Complement of the Court, which tho it may
+seem very pretty, yet amongst good <i>Critics</i>, let <i>Veratus</i>
+<span class = "pagenum">32</span> say what he will in their excuse, it
+cannot be allowed: For ’tis against <i>Minturnus</i>’s Opinion, who in
+his second Book <i>de Poetâ</i> says thus: <i>Mean Persons are brought
+in, those in Comedy indeed more polite, those in Pastorals more
+unelegant, as suppos’d to lead a rude life in Solitude</i>; and
+<i>Jason Denor</i> a Doctor of <i>Padua</i> takes notice of the same
+as a very absurd Error: <i>Aristotle</i> heretofore for a like fault
+reprehended the <i>Megarensians</i>, who observ’d no <i>Decorum</i> in
+their <i>Theater</i>, but brought in mean persons with a Train fit for
+a <i>King</i> and cloath’d a Cobler or Tinker in a Purple Robe: In
+vain doth <i>Veratus</i> in his Dispute against <i>Jason Denor</i>, to
+defend those elaborately exquisite discourses, and notable sublime
+sentences of his <i>Pastor Fido</i>, bring some lofty <i>Idylliums</i>
+of <i>Theocritus</i>, for those are not acknowledged to be Pastoral;
+<i>Theocritus</i> and <i>Virgil</i> must be consulted in this matter,
+the former designdly makes his Shepherds discourse in the
+<i>Dorick</i> i. e. the Rustick Dialect, sometimes scarce true
+Grammar; &amp; the other studiously affects ignorance in the persons of
+his Shepherds, as <i>Servius</i> hath observ’d, and is evident in
+<i>Melibæus</i>, who makes <i>Oaxes</i> to be a River in <i>Crete</i>
+when ’tis in <i>Mesopotamia</i>: and both of them take this way that
+the Manners may the more exactly suit with the Persons they represent,
+who of themselves are rude and unpolisht: And this proves that they
+scandalously err, who make their Shepherds appear polite and elegant;
+nor can I imagine what <i>Veratus</i> <span class =
+"pagenum">33</span> who makes so much ado about the polite manners of
+the <i>Arcadian</i> Shepherds, would say to <i>Polybius</i> who tells
+us that <i>Arcadians</i> by reason of the Mountainousness of the
+Country and hardness of the weather, are very unsociable and
+austere.</p>
+
+<p>Now as too much neatness in <i>Pastoral</i> is not to be allow’d,
+so rusticity (I do not mean that which <i>Plato</i>, in his Third Book
+of a Commonwealth, mentions which is but a part of a down right
+honesty) but Clownish stupidity, such as <i>Theophrastus</i>, in his
+Character of a <i>Rustick</i>, describes; or that disagreeable
+unfashionable roughness which <i>Horace</i> mentions in his Epistle to
+<i>Lollius</i>, must not in my opinion be endur’d: On this side
+<i>Mantuan</i> errs extreamly, and is intolerably absur’d, who makes
+Shepherds blockishly sottish, and insufferably rude: And a certain
+Interpreter blames <i>Theocritus</i> for the same thing, who in some
+mens opinion sometimes keeps too close to the <i>Clown</i>, 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.</p>
+
+<p>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 <i>Genius</i>
+of the <i>golden Age</i>, in which, if <i>Guarinus</i> may be be<span
+class = "pagenum">34</span>liev’d, every man follow’d that employment:
+And <i>Nannius</i> in the Preface to his Comments on <i>Virgil</i>’s
+<i>Bucolicks</i> is of the same opinion, for he requires that the
+manners might represent the Golden Age: and this was the reason that
+<i>Virgil</i> himself in his <i>Pollio</i> describes that Age, which
+he knew very well was proper to <i>Bucolicks</i>: 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.</p>
+
+<p>That the Thought may be commendable, it must be suitable to the
+<i>manners</i>; 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 <i>Italians</i> 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? <i>Pontanus</i> in this matter hath said very
+well, <i>The Thought must not be to exquisite and witty, the
+Comparisons obvious and common, such as the State of Persons and
+Things require</i>: Yet tho too scrupulous a Curiosity in Ornament
+ought to be re<span class = "pagenum">35</span>jected, yet lest the
+Thought be cold and flat, it must have some quickness of Passion, as
+in these.</p>
+
+<div class = "verse"><i>Cruel</i> Alexis <i>can’t my Verses move?<br>
+Hast thou no Pitty? I must dye for Love</i>.</div>
+
+<p>And again, </p>
+
+<div class = "verse"><i>He neither Gods, nor yet my Verse regards</i>.</div>
+
+<p>The Sense must not be long, copious, and continued,
+For<i>Pastoral</i> 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 <i>Comedy</i> in its common way of discourse, yet it must not
+chose <i>old Comedy</i> 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.</p>
+
+<p>Let the Expression be plain and easy, but elegant and neat, and the
+purest which the language will afford; <i>Pontanus</i> upon
+<i>Virgils</i> Bucolicks gives the very same rule, <i>In Bucolicks the
+Expression must be humble, nearer common discourse than otherwise, not
+very Spirituous and vivid, yet such as shows life and strength</i>:
+Tis certain that <i>Virgil</i> in his <i>Bucolicks</i> useth the same
+words which <i>Tully</i> did in the <i>Forum</i> or the <i>Senate</i>;
+and <i>Tityrus</i> beneath his shady Beech speaks as pure and good
+<i>Latin</i> as <i>Augustus</i> in his Palace, as <i>Modicius</i> in
+his <i>Apology</i> for <i>Virgil</i> hath excellently observ’d: <span
+class = "pagenum">36</span> This rule, ’tis true; <i>Theocritus</i>
+hath not so strictly follow’d, whose Rustick and Pastoral Muse, as
+<i>Quintilian</i> phraseth it, <i>not only is affraid to appear in
+the</i> Forum, <i>but the City</i>, and for the very same thing an
+<i>Alexandrian</i> flouts the <i>Syracucusian Weomen</i> in the
+Fifteenth <i>Idyllium</i> of <i>Theocritus</i>, for when they, being
+then in the City, spoke the <i>Dorick</i> Dialect, the delicate
+Citizen could not endure it, and found fault with their distastful, as
+he thought, pronunciation: and his reflection was very smart.</p>
+
+<div class = "verse"><i>Like Pidgeons you have mouths from Ear to Ear</i>.</div>
+
+<p>So intolerable did that broad way of pronunciation, tho exactly fit
+for a Clowns discourse, seem to a Citizen: and hence <i>Probus</i>
+observes that ’twas much harder for the <i>Latines</i> to write
+<i>Pastorals</i> than for the <i>Greeks</i>; because the
+<i>Latines</i> had not some <i>Dialects</i> peculiar to the Country,
+and others to the City, as the <i>Greeks</i> had; Besides the
+<i>Latine</i> Language, as <i>Quintilian</i> hath observ’d, is not
+capable of the neatness which is necessary to Bucolicks, no, that is
+the peculiar priviledge of the <i>Greeks</i>: <i>We cannot</i>, says
+he, <i>be so low, they exceed us in subtlety, and in propriety they
+are at more certainty than We</i>: and again, <i>in pat and close
+Expressions we cannot reach the Greeks</i>: And, if we believe
+<i>Tully</i>, <i>Greek is much more fit for Ornament than Latin</i>
+for it hath much more of that neatness, <span class =
+"pagenum">37</span> and ravishing delightfulness, which
+<i>Bucolicks</i> necessarily require.</p>
+
+<p>Yet of Pastoral, with whose Nature we are not very well acquainted,
+what that <i>Form</i> is which the <i>Greeks</i> call the
+<i>Character</i>, is not very easy to determine; yet that we may come
+to some certainty, we must stick to our former observation,
+<i>viz.</i> that <i>Pastoral</i> belongs properly to the <i>Golden
+Age</i>: For as <i>Tully</i> in his Treatise <i>de Oratore</i> says,
+<i>in all our disputes the Subject is to be measur’d by the most
+perfect of that kind</i>, and <i>Synesius</i> in his <i>Encomium</i>
+on <i>Baldness</i> 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:
+<span class = "greek">πρὸς δόξαν, οὐ πρὸς ἀλήθειαν</span>: 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 <i>Character</i> of <i>Bucolicks</i>:
+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 <i>Epicks</i>, Sweetness to <i>Lyricks</i>, Humor to
+<i>Comedy</i>, softness to <i>Elegies</i> and smartness to
+<i>Epigrams</i>, so simplicity to <i>Pastorals</i> is proper; and one
+upon <i>Theocritus</i> says, <i>that the Idea of his Bucolicks is in
+every part pure, and in all <span class = "pagenum">38</span> that
+belongs to simplicity very happy</i>: Such is this of <i>Virgil</i>,
+<i>unwholsome to us Singers is the shade</i></p>
+
+<div class = "verse"><i>Of Juniper, ’tis an unwholsome shade</i>:</div>
+
+<p>Than which in my opinion nothing can be more simply; nothing more
+rustically said; and this is the reason I suppose why <i>Macrobius</i>
+says that this kind of Poetry is creeping and upon mean subjects; and
+why too <i>Virgils Tityrus</i> 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,
+<i>Ridiculous</i>: <i>Theocritus</i> excells <i>Virgil</i> in this, of
+whom <i>Modicius</i> says, <i>Theocritus deserves the greatest
+commendation for his happy imitation of the simplicity of his
+Shepherds</i>, Virgil <i>hath mixt Allegories, and some other things
+which contain too much learning, and deepness of Thought for Persons
+of so mean a Quality</i>: Yet here I must obviate their mistake who
+fancy that this sort of <i>Poetry</i>, because in it self low and
+simple, is the proper work of <i>mean</i> Wits, and not the most
+<i>sublime</i> and <i>excellent</i> 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 <i>Pastoral</i>,
+and comes of with Honor. For there is no part of <i>Poetry</i> that
+requires more spirit, for if any part is not close and well compacted
+the whole Fabrick will be ruin’d, and the <span class = "pagenum">39</span>
+matter, in it self humble, must creep; unless it
+is held up by the strength and vigor of the <i>Expression</i>.</p>
+
+<p>Another qualification and excellence of <i>Pastoral</i> is to
+imitate <i>Timanthes</i>’s Art, of whom <i>Pliny</i> writes thus;
+<i>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</i>: In this <i>Virgil</i> 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
+<i>Virgil</i>;</p>
+
+<div class = "verse"><i>These Fields and Corn shall a Barbarian share?<br>
+See the Effects of all our Civil War</i>.</div>
+
+<p>How short is that? how concise? and yet how full of sense in the same <i>Eclogue</i>.</p>
+
+<div class = "verse"><i>I wonder’d why all thy complaints were made,<br>
+Absent was</i> Tityrus:</div>
+
+<p>And the like you may every where meet with, as</p>
+
+<div class = "verse">Mopsus <i>weds</i> Nisa, <i>what may’nt Lovers hope</i>?</div>
+
+<p>and in the second <i>Eclogue</i>,</p>
+
+<span class = "pagenum">40</span><div class = "verse">
+<i>Whom dost thou fly ah frantick! oft the Woods<br>
+Hold Gods, and</i> Paris <i>equal to the Gods</i>.</div>
+
+<p>This Grace <i>Virgil</i> learn’d from <i>Theocritus</i>, allmost
+most all whose Periods; especially in the third <i>Idyllium</i>,
+have no conjunction to connect them, that the sense might be more
+close, and the Affection vehement and strong: as in this</p>
+
+<div class = "verse"><i>Let all things change, let Pears the Firs adorn<br>
+Now</i> Daphnis <i>dyes</i>.</div>
+
+<p>And in the third <i>Eclogue</i>.</p>
+
+<div class = "verse"><i>But when she saw, how great was the surprize</i>! &amp;c.</div>
+
+<p>And any one may find a great many of the like in <i>Theocritus</i>
+and <i>Virgil</i>, if with a leisurely delight he nicely examines
+their delicate Composures: And this I account the greatest grace in
+<i>Pastorals</i>, which in my opinion those that write
+<i>Pastorals</i> do not sufficiently observe: ’tis true Ours (the
+<i>French</i>) and the <i>Italian</i> language is to babling to endure
+it; This is the Rock on which those that write <i>Pastorals</i> in
+their <i>Mother</i> tongue are usually split, But the <i>Italians</i>
+are inevitably lost; who having store of <i>Wit</i>, 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 <i>Marinus</i>’s <i>Idylliums</i>,
+and a great many of that nation who have ventur’d on such composures;
+For unless there are many <span class = "pagenum">41</span> stops and
+breakings off in the series of a <i>Pastoral</i>, it can neither be
+pleasing nor artificial: And in my Opinion <i>Virgil</i> excells
+<i>Theocritus</i> in this, for <i>Virgil</i> is neither so continued,
+nor so long as <i>Theocritus</i>; who indulges too much the garrulity
+of his <i>Greek</i>; 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 <i>Tully</i> in his Epistle to <i>Atticus</i> says,
+<i>’tis rare to speak Eloquently, but more rare to be eloquently
+silent</i>: And this unskillful <i>Criticks</i> 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.</p>
+
+<p>Now why <i>Bucolicks</i> should require such Brevity, and be so
+essentially sparing in <i>Expression</i>, I see no other reason but
+this: It loves <i>Simplicity</i> so much that it must be averse to
+that Pomp and Ostentation which <i>Epick</i> Poetry must show, for
+that must be copious and flowing, in every part smooth, and equal to
+it self: But <i>Pastoral</i> must dissemble, and hide even that which
+it would <span class = "pagenum">42</span> show, like <i>Damon</i>’s
+<i>Galatea</i>, who flies then when she most desires to be
+discovered.</p>
+
+<div class = "verse"><i>And to the Bushes flys, yet would be seen</i>.</div>
+
+<p>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 <i>Simplicity: Tis very
+rare</i>, says Pliny, <i>to find a man so exquisitely skillful, as to
+be able to show those Features in a Picture which he hides</i>, 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.</p>
+
+<p>The third Grace of <i>Bucolicks</i> is <i>Neatness</i>, which
+contains all the taking prettiness and sweetness of Expression, and
+whatsoever is call’d the Delicacies of the more delightful and
+pleasing <i>Muses</i>: This the Rural <i>Muses</i> bestow’d on
+<i>Virgil</i>, as <i>Horace</i> in the tenth <i>Satyr</i> of his first
+Book says,</p>
+
+<div class = "verse"><i>And</i> Virgils <i>happy Muse in Eclogues plays,<br>
+soft and facetious</i>;</div>
+
+<p>Which <i>Fabius</i> takes to signify the most taking neatness and
+most exquisite Elegance imaginable: For thus he explains this place,
+in which he agrees with <i>Tully</i>, who in his <i>Third Book de
+Oratore</i>, says, the <i>Atticks</i> are Facetious <i>i.e.</i>
+elegant: Tho the common Interpreters of these words are not of the
+same mind: But if by <i>Facetious Horace</i> had meant <i>jesting</i>,
+and such as is design’d to make men laugh, and apply’d that to
+<i>Virgil</i>, nothing <span class = "pagenum">43</span> could have
+been more ridiculous; ’tis the design of <i>Comedy</i> to raise
+laughter, but <i>Eclogue</i> should only delight, and charm by its
+takeing <i>prettiness</i>: All ravishing <i>Delicacies</i> of Thought,
+all sweetness of Expression, all that Salt from which <i>Venus</i>, as
+the Poets Fable, rose; are so essential to this kind of <i>Poetry</i>,
+that it cannot endure any thing that is scurillous, malitiously
+biteing, or ridiculous: There must be nothing in it but <i>Hony, Milk,
+Roses, Violets</i>, and the like sweetness, so that when you read you
+might think that you are in <i>Adonis</i>’s Gardens, as the
+<i>Greeks</i> speak, <i>i.e.</i> in the most pleasant place
+imaginable: For since the subject of <i>Eclogue</i> must be mean and
+unsurprizing, unless it maintains purity and neatness of Expression,
+it cannot please.</p>
+
+<p>Therefore it must do as <i>Tully</i> says his friend <i>Atticus</i>
+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 <i>Eclogue</i> 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) <span
+class = "pagenum">44</span> you must take the greatest care that no
+scrupulous trimness, or artificial
+<ins class = "correction" title = "text reads 'finessess'">fineness</ins> appear:
+For, as <i>Quintilian</i> teaches, <i>in some cases diligence and care most
+most troublesomly perverse</i>; 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 <i>Pastoral</i>,
+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, <i>Nature</i> 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.</p>
+
+<p>Then there are three things in which, as in its parts, the whole
+<i>Character</i> of a <i>Pastoral</i> is contain’d: <i>Simplicity</i>
+of Thought and expression: <i>Shortness</i> of Periods full of sense
+and spirit: and the <i>Delicacy</i> of a most elegant ravishing
+unaffected neatness.</p>
+
+<p>Next I will enquire in to the <i>Efficient</i>, and then into
+the <i>Final</i> Cause of <i>Pastorals</i>.</p>
+
+<p><span class = "pagenum">45</span>
+<i>Aristotle</i> assigns two efficient Causes of <i>Poetry</i>, The
+natural desire of Imitation in Man whom he calls the most imitative
+Creature; and Pleasure consequent to that Imitation: Which indeed are
+the <i>Remote</i> Causes, but the <i>Immediate</i> are <i>Art</i> and
+<i>Nature</i>; Now according to the differences of <i>Genius</i>’s
+several <i>Species</i> of Poetry have been introduced. For as the
+<i>Philosopher</i> hath observ’d, <span class = "greek">διεσπάθη
+κατὰ τὰ οἰκεῖα ἤθη ἡ ποίησις</span> 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 <i>Nature</i>, follow’d this or that sort of
+<i>Poetry</i>: This the <i>Philosopher</i> expresly affirms, And
+<i>Dio Chrysostomus</i> says of <i>Homer</i> 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. </p>
+
+<p>Not to mention other kinds of <i>Poetry</i>, what particular Genius
+is requir’d to <i>Pastoral</i> 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 <i>Genius</i> that hath a sprightfulness of Nature, and is well
+instructed <span class = "pagenum">46</span> by the rules of Art, is
+fit to attempt <i>Pastorals</i>.</p>
+
+<p>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 <i>profit</i> perchance, but
+have no regard for <i>Honesty</i> and <i>Goodness</i>; who do not know
+that all excellent <i>Arts</i> sprang from <i>Poetry</i> at first.</p>
+
+<div class = "verse"><i>Which what is honest, base, or just, or good,<br>
+Better than</i> Crantor, <i>or</i> Chrysippus <i>show’d</i>.</div>
+
+<p>For tis <i>Poetry</i> 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 <i>Philosophy</i>. For
+every body knows, that the <i>Epick</i> sets before us the highest
+example of the Bravest man; the <i>Tragedian</i> regulates the
+Affections of the Mind; the <i>Lyrick</i> reforms Manners, or sings
+the Praises of Gods, and Heroes; so that there’s no part of
+<i>Poetry</i> but hath it’s proper end, and profits.</p>
+
+<p>But grant all this true, <i>Pastoral</i> can make no such pretence:
+if you sing a <i>Hero</i>, you excite mens minds to imitate his
+Actions, and notable Exploits; but how can <i>Bucolicks</i> apply
+these or the like advantages to its self? <i>He that reads <span class
+= "pagenum">47</span> 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:</i> And a
+great deal more to this purpose you may see in <i>Modicius</i>, as
+<i>Pontanus</i> cites him in his Notes on <i>Virgil</i>’s
+<i>Eclogues</i>.</p>
+
+<p>But when tis the end of <i>Comedy</i>, as <i>Jerom</i> in his
+Epistle to <i>Furia</i> says, to know the Humors of Men, and to
+describe them; and <i>Demea</i> in <i>Terence</i> intimates the same
+thing,</p>
+
+<div class = "verse"><i>To look on all mens lives as in a Glass,<br>
+And take from those Examples for our Own</i>,</div>
+
+<p>so that our Humors and Conversations may be better’d, and improv’d;
+why may not <i>Pastoral</i> be allow’d the same Priviledge, and be
+admitted to regulate and improve a <i>Shepherd</i>’s life by its
+<i>Bucolicks</i>? 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 <i>private</i> men; as <i>Epicks</i> teach the
+highest Fortitude, and Prudence, and Conduct, which are the vertues of
+<i>Generals</i>, and <i>Kings</i>. And tis ne<span class = "pagenum">48</span>cessary
+to Government, that as there is one kind of
+<i>Poetry</i> to instruct the <i>Citizens</i>, there should be another
+to fashion the manners of the <i>Rusticks</i>: which if
+<i>Pastoral</i>, 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 <i>Roman</i> Common-wealth, in which
+<i>Virgil</i> wrote, grew better and brisker by the use of
+<i>Pastoral</i>: with it were <i>Augustus</i>, <i>Mecænas</i>,
+<i>Asinius Pollio</i>, <i>Alphenus Varus</i>, <i>Cornelius Gallus</i>,
+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
+<i>profit</i> is to be hop’d, all pleasures of the Eye and Ear are
+presently to be laid aside; and those excellent Arts, <i>Musick</i>,
+and <i>Painting</i>, 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 <i>Philosophy</i>, and her harsh, deform’d impropriety of
+Expressions. But the judgments of such men are the most contemptible
+in the world; for when by <i>Poetry</i> mens minds are fashioned to
+generous <span class = "pagenum">49</span> Humors, Kindness, and the
+like: those must needs be strangers to all those good qualites, who
+hate, or proclaim <i>Poetry</i> to be frivolous, and useless.</p>
+<hr>
+<span class = "pagenum">50</span>
+<br>
+<br>
+<p align = "center"><a name="third"><font size = "+1"><i>The Third</i><span class = "extended"> PAR</span>T.</font></a><br>
+<br>
+<i>Rules for writing</i> Pastorals.</p>
+
+<p><span class = "firstletter">I</span>N delivering Rules for writing
+<i>Pastorals</i>, I shall not point to the <i>streams</i>, which to
+look after argues a small creeping <i>Genius</i>, but lead you to the
+<i>fountains</i>. But first I must tell you, how difficult it is to
+write <i>Pastorals</i>, 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 <i>Horace</i> says of <i>Comedy</i>, "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 <span class = "pagenum">51</span>
+luscious, and, as <i>Lucretius</i> phraseth
+it,</p>
+
+<div class = "verse"><i>E’en in the midst and fury of the Joys,<br>
+Some thing that’s better riseth, and destroys</i>.</div>
+
+<p>Beside, since <i>Pastoral</i> 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 <i>Petronius</i>
+allows <i>Horace</i>, lest too much <i>Art</i> should take off the
+Beauty of the <i>Simplicity</i>. And therefore I would not have any
+one undertake this task, that is not very polite by <i>Nature</i>, and
+very much at leisure. For what is more hard than to be always in the
+<i>Country</i>, and yet never to be <i>Clownish</i>? to sing of
+<i>mean</i>, and <i>trivial</i> mat<span class = "pagenum">52</span>ters,
+yet not <i>trivially</i>, and <i>meanly</i>?
+to pipe on a <i>slender</i> Reed, and yet keep the sound from being
+<i>harsh</i>, and <i>squeaking</i>? to make every thing <i>sweet</i>,
+yet never <i>satiate</i>? And this I thought necessary to premise, in
+order to the better laying down of such Rules as I design. For the
+naked <i>simplicity</i> both of the Matter and Expression of a
+<i>Pastoral</i>, 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 <i>Ignorance</i> 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 <i>Nature</i>, (for Art
+unassisted by that, is vain, and ineffectual,) so there is no
+<i>Nature</i> so excellent, and happy, which by its own strength, and
+without <i>Art</i> and <i>Use</i> can make any thing excellent, and
+great.</p>
+
+<p>But tis hard to give <i>Rules</i> 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 <i>Aristotle</i>’s Example, who being to
+lay down Rules concerning <i>Epicks</i>, propos’d <i>Homer</i> as a
+Pattern, from whom he deduc’d the whole Art: So I will gather from
+<i>Theocritus</i> and <i>Virgil</i>, those Fathers of <i>Pastoral</i>,
+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
+<span class = "pagenum">53</span> therefore ought to be taken from
+them in whom it is so.</p>
+
+<p>The first Rule shall be about the <i>Matter</i>, which is either
+the <i>Action</i> of a <i>Shepherd</i>, or contriv’d and fitted to the
+<i>Genius</i> of a Shepherd; for tho <i>Pastoral</i> 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 <i>Theocritus</i> hath never done, but kept close to
+<i>pastoral</i> simplicity, yet <i>Virgil</i> hath happily attempted;
+of whom almost the same <i>Character</i> might be given, which
+<i>Quintilian</i> bestow’d on <i>Stesichorus</i>, who <i>with his Harp
+bore up the most weighty subjects of</i> Epick <i>Poetry</i>; for
+<i>Virgil</i> 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 <i>Pastoral</i>: of its own nature
+it cannot treat of lofty and great matters.</p>
+
+<p>Therefore let <i>Pastoral</i> 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 <i>Italian</i> 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 <i>Pastorals</i>: 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 <span class = "pagenum">54</span>
+impertinent Adviser, but rather of a very excellent Master in this
+<i>Art</i>; for <i>Phoebus</i> twitcht <i>Virgil</i> 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 <i>Invocations</i>, and, as
+<i>Epicks</i> do, modestly implore the assistance of a Muse. This
+<i>Virgil</i> doth in his <i>Pollio</i>, which is a Composure of an
+unusual loftiness:</p>
+
+<div class = "verse">Sicilian <i>Muse begin a loftier strain</i>.</div>
+
+<p>So he invocates <i>Arethusa</i>, when <i>Cornelius Gallus
+Proconsul of Ægypt</i> and his <i>Amours</i>, matters above the
+common reach of <i>Pastoral</i>, are his Subject.</p>
+
+<div class = "verse"><i>One Labor more O</i> Arethusa <i>yield.</i></div>
+
+<p>Why he makes his application to <i>Aretheusa</i> is easy to
+conjecture, for she was a <i>Nymph</i> of <i>Sicily</i>, and so he
+might hope that she could inspire him with a <i>Genius</i> fit for
+<i>Pastorals</i> which first began in that <i>Island</i>, Thus in the
+seventh and eighth <i>Eclogue</i>, as the matter would bear, he
+invocates the Nymphs and Muses: And <i>Theocritus</i> does the
+same,</p>
+
+<div class = "verse"><i>Tell Goddess, you can tell</i>.</div>
+
+<p>From whence ’tis evident that in <i>Pastoral</i>, tho it never
+pretends to any greatness, <i>Invocations</i> <span class = "pagenum">55</span>
+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 <i>Imitation</i>, I shall not repeat
+what I have already said, <i>viz.</i> that this is in it self
+<i>mixt</i>; for <i>Pastoral</i> is either <i>Alternate</i>, or hath
+but <i>one Person</i>, or is <i>mixt</i> of both: yet ’tis properly
+and chiefly <i>Alternate</i>. as is evident from that of
+<i>Theocritus</i>.</p>
+
+<div class = "verse"><i>Sing</i> Rural <i>strains, for as we march along<br>
+We may delight each other with a Song</i>.</div>
+
+<p>In which the <i>Poet</i> shows that <i>alternate</i> singing is
+proper to a <i>Pastoral</i>: But as for the <i>Fable</i>, ’tis
+requisite that it should be simple, lest in stead of <i>Pastoral</i>
+it put on the form of a <i>Comedy</i>, or <i>Tragedy</i> if the
+<i>Fable</i> be great, or intricate: It must be <i>One</i>; this
+<i>Aristotle</i> thinks necessary in every <i>Poem</i>, and
+<i>Horace</i> lays down this general Rule,</p>
+
+<div class = "verse"><i>Be every</i> Fable <i>simple, and but one</i>:</div>
+
+<p>For every Poem, that is not <i>One</i>, is imperfect, and this
+<i>Unity</i> is to be taken from the <i>Action</i>: for if that is
+<i>One</i>, the Poem will be so too. Such is the Passion of
+<i>Corydon</i> in <i>Virgil</i>’s second Eclogue, <i>Melibœus’s</i>
+Expostulation with <i>Tityrus</i> about his Fortune;
+<i>Theocritus</i>’s <i>Thyrsis, Cyclops</i>, and <i>Amaryllis</i>, of
+which perhaps in its proper place I may treat more largely.
+
+<span class = "pagenum">56</span>
+Let the third Rule be concerning the <i>Expression</i>, which cannot
+be in this kind excellent unless borrow’d from <i>Theocritus</i>’s
+<i>Idylliums</i>, or <i>Virgil</i>’s <i>Eclogues</i>, let it be
+chiefly simple, and ingenuous: such is that of <i>Theocritus</i>,</p>
+
+<div class = "verse"><i>A Kid belongs to thee, and Kids are good</i>,</div>
+
+<p>Or that in <i>Virgil</i>’s seventh Eclogue,</p>
+
+<div class = "verse"><i>This Pail of Milk, these Cakes</i> (Priapus) <i>every year<br>
+Expect; a little Garden is thy care:<br>
+Thou’rt Marble now, but if more Land I hold,<br>
+If my Flock thrive, thou shalt be made of Gold</i>,</div>
+
+<p>than which I cannot imagine more simple, and more ingenuous
+expressions. To which may be added that out of his <i>Palemon</i>,</p>
+
+<div class = "verse"><i>And I love</i> Phyllis, <i>for her Charms excell;<br>
+At my departure O what tears there fell!<br>
+She sigh’d, Farewell Dear Youth, a long Farewell</i>.</div>
+
+<p>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 <span class =
+"pagenum">57</span> be gotten, and ready at hand, not such as requires
+Care, Labor, and Cost to be obtain’d: as <i>Hermogenes</i> on
+<i>Theocritus</i> observes; <i>See how easie and unaffected this
+sounds</i>,</p>
+
+<div class = "verse"><i>Pines murmurings, Goatherd, are a pleasing sound</i>,</div>
+
+<p><i>and most of his expressions, not to say all, are of the same
+nature</i>: for the ingenuous simplicity both of Thought and
+Expression is the natural <i>Characteristick</i> of <i>Pastoral</i>.
+In this <i>Theocritus</i> and <i>Virgil</i> 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.
+<i>Virgil</i> keeps himself up by his choice and curious words, and
+tho his matter for the most part (and <i>Pastoral</i> requires it) is
+mean, yet his expressions never flag, as is evident from these lines
+in his <i>Alexis</i>:</p>
+
+<div class = "verse"><i>The glossy Plums I’le bring, and juicy Pear,<br>
+Such as were once delightful to my Dear:<br>
+I’le crop the Laurel, and the Myrtle tree,<br>
+Confus’dly set, because their Sweets agree</i>.</div>
+
+<p>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. <span class = "pagenum">58</span>
+The words of such a <i>Stile</i> 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 <i>Pastorals</i>, corrupt himself with foreign
+manners; for if he hath once vitiated the healthful habit, as I may
+say, of Expression, which <i>Bucolicks</i> necessarily require, ’tis
+impossible he should be fit for that task. Yet let him not affect
+pompous or dazling Expressions, for such belong to <i>Epicks</i>, or
+<i>Tragedians</i>. Let his words sometimes tast of the Country, not
+that I mean, of which <i>Volusius</i>’s Annals, upon which
+<i>Catullus</i> hath made that biting <i>Epigram</i>, 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
+<i>Corydon</i>, when he makes mention of his Goats.</p>
+
+<div class = "verse"><i>Young sportive Creatures, and of spotted hue,<br>
+Which suckled twice a day, I keep for you:<br>
+These</i> Thestilis <i>hath beg’d, and beg’d in vain,<br>
+But now they’re Hers, since You my Gifts disdain</i>.</div>
+
+<p>For what can be more Rustical, than to design those <i>Goats</i>
+for <i>Alexis</i>, at that very time when <span class = "pagenum">59</span>
+he believes <i>Thestylis’s</i> winning importunity
+will be able to prevail? yet there is nothing Clownish in the words.
+In short, <i>Bucolicks</i> should deserve that commendation which
+<i>Tully</i> gives <i>Crassus</i>, of whose Orations he would say,
+<i>that nothing could be more free from childish painting, and
+affected finery</i>. So let the Expression in <i>Pastoral</i> 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 ’t is drawn out to any length, if not close,
+short, and broken, as that in <i>Virgil</i>,</p>
+
+<div class = "verse"><i>He that loves</i> Bavius <i>Verses, hates not Thine</i>:</div>
+
+<p>And in the same <i>Eclogue</i>,</p>
+
+<div class = "verse">&nbsp; <i>—It is not safe to drive too nigh,<br>
+The Bank may fail, the Ram is hardly dry</i>:</div>
+
+<p>And in <i>Corydon</i>,</p>
+
+<div class = "verse"><i>To learn this Art what won’t</i> Amyntas <i>do</i>?</div>
+
+<p>
+And in <i>Theocritus</i> much of the same nature may be seen; as in
+his other <i>Pastoral Idylliums</i>, so chiefly in his fifth. Thus
+<i>Battus</i> in the fourth <i>Idyllium</i>, complaining for the
+loss of <i>Amaryllis</i>,
+<span class = "pagenum">60</span></p>
+
+<div class = "verse"><i>Dear Nymph, dear as my Goats, you dy’d</i>.</div>
+
+<p>And how soft and tender is that in the third <i>Idyllium</i>,</p>
+
+<div class = "verse"><i>And she may look on me, she may be won,<br>
+She may be kind, she is not perfect Stone</i>,</div>
+
+<p>And in this <i>concise</i>, close way of Expression lies the
+chiefest Grace of <i>Pastorals</i>: 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,</p>
+
+<div class = "verse"><i>—I see that I must die</i>:</div>
+
+<p>Or <i>Daphnis</i>’s despair, which <i>Thyrsis</i> sings in the
+first <i>Idyllium</i>,</p>
+
+<div class = "verse"><i>Ye Wolves, and Pards, and Mountain Bores adieu,<br>
+The Herdsmen now must walk no more with You</i>.</div>
+
+<p>How tender are the lines, and yet what passion they contain! And
+most of <i>Virgil</i>’s are of this nature, but there are likewise
+in him some touches of despairing Love, such as is this of
+<i>Alphesibœus</i>,</p>
+
+<div class = "verse"><i>Nor have I any mind to be reliev’d</i>:</div>
+
+<p><span class = "pagenum">61</span>Or that of <i>Damon</i>,</p>
+
+<div class = "verse"><i>I’le dy, yet tell my Love e’en whilst I dy</i>:</div>
+
+<p>Or that of <i>Corydon</i>,</p>
+
+<div class = "verse"><i>He lov’d, but could not hope for Love again</i>.</div>
+
+<p>For tho <i>Pastoral</i> 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 <i>grief to be pittied</i>,
+and a <i>pleasing madness</i>, than <i>rage</i> and <i>fury</i>,
+<i>Eclogue</i> is so far from refusing, that it rather loves, and
+passionately requires them. Therefore an unfortunate <i>Shepherd</i>
+may be brought in, complaining of his successless Love to the <i>Moon,
+Stars</i>, or <i>Rocks</i>, or to the Woods, and purling Streams,
+mourning the unsupportable anger, the frowns and coyness of his proud
+<i>Phyllis</i>; singing at his <i>Nymphs</i> door, (which
+<i>Plutarch</i> 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 <i>Polyphemus</i>’s, <i>Galateas’s</i> mad
+Lover, of whom <i>Theocritus</i> divinely thus, as almost of every
+thing else:</p>
+
+<div class = "verse"><i>His was no common flame, nor could he move<br>
+In the old Arts, and beaten paths of Love,<br>
+No Flowers nor Fruits sent to oblige the Fair,<br>
+His was all Rage, and Madness</i>:</div><span class = "pagenum">62</span>
+
+<p>For all violent Perturbations are to be diligently avoided by
+<i>Bucolicks</i>, whose nature it is to be <i>soft</i>, and
+<i>easie</i>: 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 <i>Hercules’s</i> Vizard and Buskins on an Infant,
+as <i>Quintilian</i> hath excellently observ’d. For since
+<i>Eclogue</i> is but weak, it seems not capable of those Commotions
+which belong to the <i>Theater</i>, and <i>Pulpit</i>; they must be
+soft, and gentle, and all its Passion must seem to flow only, and not
+break out: as in <i>Virgil’s Gallus</i>,</p>
+
+<div class = "verse"><i>Ah, far from home and me You wander o’re<br>
+The</i> Alpine <i>snows, the farthest Western shore,<br>
+And frozen</i> Rhine. <i>When are we like to meet?<br>
+Ah gently, gently, lest thy tender feet<br>
+Sharp Ice may wound</i>.</div>
+
+<p>To these he may sometimes joyn some short Interrogations made
+to <i>inanimate Beings</i>, for those spread a strange life and
+vigor thro the whole Composure. Thus in <i>Daphnis</i>,</p>
+
+<div class = "verse"><i>Did not You Streams, and Hazels, hear the Nymphs</i>?</div>
+
+<p>Or give the very Trees, and Fountains sense, as in <i>Tityrus</i>,</p>
+
+<div class = "verse"><i>Thee</i> (Tityrus) <i>the Pines, and every Vale,<br>
+The Fountains, Hills, and every shrub did call</i>:</div>
+
+<p>for by this the Concernment is express’d; and of the like nature
+is that of <i>Thyrsis</i>, in <i>Virgil</i>’s <i>Melibœus</i>,
+<span class = "pagenum">63</span></p>
+
+<div class = "verse"><i>When</i> Phyllis <i>comes, my wood will all be green</i>.</div>
+
+<p>And this sort of Expressions is frequent in <i>Theocritus</i>, and
+<i>Virgil</i>, and in these the delicacy of <i>Pastoral</i> is
+principally contain’d, as one of the old <i>Interpreters</i> of
+<i>Theocritus</i> hath observ’d on this line, in the eighth
+<i>Idyllium</i>,</p>
+
+<div class = "verse"><i>Ye Vales, and Streams, a race Divine</i>:</div>
+
+<p>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 <i>Bucolicks</i>, and in those Composures a
+constant care to be soft and easie should be chief: For
+<i>Pastoral</i> bears some resemblance to <i>Terence</i>, of whom
+<i>Tully</i>, in that Poem which he writes to <i>Libo</i>, gives this
+Character,</p>
+
+<div class = "verse"><i>His words are soft, and each expression sweet</i>.</div>
+
+<p>In mixing <i>Passion</i> in <i>Pastorals</i>, that rule of
+<i>Longinus</i>, in his golden Treatise <span class = "greek">περὶ ὕψους</span>,
+must be observ’d, <i>Never use it, but when the matter requires it,
+and then too very sparingly</i>.
+
+Concerning the <i>Numbers</i>, in which <i>Pastoral</i> should be
+written, this is my opinion; the <i>Heroick</i> Measure, but not so
+strong and sounding as in <i>Epicks</i>, is to be chosen.
+<i>Virgil</i> and <i>Theocritus</i> have given us examples; for tho
+<i>Theocritus</i> hath in one Idyllium mixt other Numbers, yet that
+can be of no force against all the rest; and <i>Virgil</i> useth no
+Numbers but <i>Heroick</i>, from whence it may be inferr’d, that those
+are the fittest.
+
+<span class = "pagenum">64</span>
+<i>Pastoral</i> may sometimes admit plain, but not long
+<i>Narrations</i> such as <i>Socrates</i> in <i>Plato</i> requires in
+a Poet; for he chiefly approves those who use a plain
+<i>Narration</i>, and commends that above all other which is short,
+and fitly expresseth the nature of the Thing. Some are of opinion that
+<i>Bucolicks</i> cannot endure Narrations, especially if they are very
+long, and imagine there are none in <i>Virgil</i>: but they have not
+been nice enough in their observations, for there are some, as that in
+<i>Silenus</i>.</p>
+
+<div class = "verse"><i>Young</i> Chromis <i>and</i> Mnasylus <i>chanct to stray,<br>
+Where (sleeping in a Cave)</i> Silenus <i>lay,<br>
+Whose constant Cups fly fuming to his brain,<br>
+And always boyl in each extended vein:<br>
+His trusty Flaggon, full of potent Juice,<br>
+Was hanging by, worn out with Age, and Use, &amp;c.</i></div>
+
+<p>But, because <i>Narrations</i> are so seldom to be found in
+<i>Theocritus</i>, and <i>Virgil</i>, I think they ought not to be
+often us’d; yet if the matter will bear it, I believe such as
+<i>Socrates</i> 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 <i>Pasiphae</i> in <i>Silenus</i>,
+although tis almost too long; but we may give
+<i><ins class = "correction" title = "text reads 'Viogil'">Virgil</ins></i>
+a little leave, who takes so little liberty himself.
+
+<span class = "pagenum">65</span>
+Concerning <i>Descriptions</i> I cannot tell what to lay down, for in
+this matter our Guides, <i>Virgil</i>, and <i>Theocritus</i>, do not
+very well agree. For he in his first <i>Idyllium</i> makes such a long
+immoderate description of his <i>Cup</i>, that <i>Criticks</i> find
+fault with him, but no such description appears in all <i>Virgil</i>;
+for how sparing is he in his description of <i>Melibœus</i>’s Beechen
+Pot, the work of Divine <i>Alcimedon</i>? He doth it in <i>five</i>
+verses, <i>Theocritus</i> runs out into <i>thirty</i>, which certainly
+is an argument of a wit that is very much at leisure, and unable to
+moderate his force. That <i>shortness</i> which <i>Virgil</i> 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 <i>Roncardus</i> hath done it, a man of
+most correct judgment, and, in imitation of <i>Theocritus</i>, hath,
+considering the then poverty of our language, admirably and largely
+describ’d <i>his</i> Cup; and <i>Marinus</i> 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 <i>Virgil</i>’s
+prudent moderation. Nor can the Others gain any advantage from
+<i>Moschus</i>’s <i>Europa</i>, in which the description of the
+<i>Basket</i> is very long, for that Idyllium is not <i>Pastoral</i>;
+yet I confess, that some <span class = "pagenum">66</span>
+descriptions of such trivial things, if not minutely accurate, may, if
+seldom us’d, be decently allow’d a place in the discourses of
+<i>Shepherds</i>.</p>
+
+<p>But tho you must be sparing in your <i>Descriptions</i>, yet your
+<i>Comparisons</i> 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 <i>Theocritus</i> but so proper to the
+Country, that none but a <i>Shepherd</i> dare use them. Thus
+<i>Menalcas</i> in the eighth Idyllium: </p>
+
+<div class = "verse"><i>Rough Storms to Trees, to Birds the treacherous Snare,<br>
+Are frightful Evils; Springes to the Hare,<br>
+Soft Virgins Love to Man, &amp;c.</i></div>
+
+<p>And <i>Damœtas</i> in <i>Virgil</i>’s <i>Palæmon</i>,</p>
+
+<div class = "verse"><i>Woolves sheep destroy, Winds Trees when newly blown,<br>
+Storms Corn, and me my</i> Amaryllis <i>frown</i>.</div>
+
+<p>And that in the eighth <i>Eclogue</i>,</p>
+
+<div class = "verse"><i>As Clay grows hard, Wax soft in the same fire,<br>
+So</i> Daphnis <i>does in one extream desire.</i></div>
+
+<p>And such <i>Comparisons</i> are very frequent in him, and very
+suitable to the Genius of a Shepherd; as likewise often
+<i>repetitions</i>, 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 <i>Virgil</i>’s <i>Melibœus</i>,</p>
+
+<div class = "verse">Phyllis <i>the Hazel loves; whilst</i> Phyllis <i>loves that Tree,<br>
+Myrtles than Hazels of less fame shall be</i>.</div><span class = "pagenum">67</span>
+
+<p>As for the <i>Manners</i> of your <i>Shepherds</i>, 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 <i>Theocritus</i> is
+faulty, <i>Virgil</i> 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
+<i>Innocence</i> of the <i>golden</i> Age. There is another thing in
+which <i>Theocritus</i> is faulty, and that is making his Shepherds
+too sharp, and abusive to one another; <i>Comatas</i> and <i>Lacon</i>
+are ready to fight, and the railing between those two is as bitter as
+<i>Billingsgate</i>: Now certainly such Raillery cannot be suitable to
+those sedate times of the Happy Age.</p>
+
+<p>As for <i>Sentences</i>, if weighty, and Philosophical, common
+Sense tells us they are not fit for a <i>Shepherd</i>’s mouth. Here
+<i>Theocritus</i> cannot be altogether excus’d, but <i>Virgil</i>
+deserves no reprehension. But <i>Proverbs</i> justly challenge
+admission into <i>Pastorals</i>, nothing being more common in <span
+class = "pagenum">68</span> the mouths of Countrymen than old
+Sayings.</p>
+
+<p>Thus much seem’d necessary to be premis’d out of <i>RAPIN</i>, for
+the direction and information of the Reader.</p>
+
+<hr>
+
+<p align = "center"><a name="errata"><span class = "extended">
+<i>ERRAT</i></span><i>A.</i></a></p>
+<br>
+<i>p. 13. l. 15. read</i> the wind.<br>
+<i>p. 15. l. 16. read</i> fight.<br>
+<i>p. 60. l. 4. read</i> Shoes.<br>
+<i>p. 95. l. 17. read</i> whilst all.<br>
+<i>p. 112. l. 9. read</i> of my Love.<br>
+<br>
+<p><font size = "-1"><i>Transcriber’s Note: The errata listed above
+appear to belong to the Creech translation of Theocritus, not
+included in this reprint. A few misprints in the Rapin text
+were corrected for this e-text. The corrections appear
+<ins class = "correction" title = "explanation will pop up">like
+this</ins>.</i></font></p>
+
+<hr>
+<hr>
+
+<p><tt><a name="biblio">Rapin's</a> <u>Discourse of Pastorals</u>
+was first published in Latin, with his eclogues, under
+the title: Eclogae, cum dissertatione de
+carmine pastorali. Parisiis, apud S. Cramoisy,
+1659.</tt></p>
+
+<p><tt>The English translation by Thomas Creech,
+prefixed to his translation of the <u>Idylliums</u>
+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.</tt></p>
+
+<blockquote><tt>Ella M. Hymans<br>
+<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Curator of Rare Books,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;General Library,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;University of Michigan</tt></blockquote>
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+<hr>
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+series: I. Essays on Wit; II. Essays on Poetry and Language; and III.
+Essays on the Stage.</p>
+
+<hr>
+<br>
+<br>
+
+
+<table>
+
+<tr align = "center"><td colspan = "2"><i><b>PUBLICATIONS FOR THE
+FIRST YEAR (1946-1947)</b></i><br>
+<br>
+</td></tr>
+
+<tr>
+<td>MAY, 1946:</td>
+<td>Series I, No. 1—Richard Blackmore’s <i>Essay upon Wit</i> (1716),
+and Addison’s <i>Freeholder</i> No. 45 (1716).</td>
+</tr>
+
+<tr>
+<td>JULY, 1946: </td>
+<td>Series II, No. 1—Samuel Cobb’s <i>Of Poetry</i> and <i>Discourse
+on Criticism</i> (1707)</td>
+</tr>
+
+<tr>
+<td>SEPT.,&nbsp;1946:</td>
+<td>Series III, No. 1—Anon., <i>Letter to A.H. Esq.; concerning the
+Stage</i> (1698), and Richard Willis’ <i>Occasional Paper</i> No. IX
+(1698).</td>
+</tr>
+
+<tr>
+<td>NOV., 1946:</td>
+<td>Series I, No. 2—Anon., <i>Essay on Wit</i> (1748), together with
+Characters by Flecknoe, and Joseph Warton’s <i>Adventurer</i> Nos. 127
+and 133.</td>
+</tr>
+
+<tr>
+<td>JAN., 1947:</td>
+<td>Series II, No. 2—Samuel Wesley’s <i>Epistle to a Friend
+Concerning Poetry</i> (1700) and <i>Essay on Heroic Poetry</i>
+(1693).</td>
+</tr>
+
+<tr>
+<td>MARCH,&nbsp;1947:</td>
+<td>Series III, No. 2—Anon., <i>Representation of the Impiety and
+Immorality of the Stage</i> (1704) and anon., <i>Some Thoughts
+Concerning the Stage</i> (1704).</td>
+</tr>
+
+<tr align = "center"><td colspan = "2">
+&nbsp;<br>
+&nbsp;<br>
+<i><b>PUBLICATIONS FOR THE SECOND YEAR (1947-1948)</b></i><br>
+<br>
+</td></tr>
+
+<tr>
+<td>MAY, 1947:</td>
+<td>Series I, No. 3—John Gay’s <i>The Present State of Wit</i>; and a
+section on Wit from <i>The English Theophrastus</i>. With an
+Introduction by Donald Bond.</td>
+</tr>
+
+<tr>
+<td>JULY, 1947:</td>
+<td>Series II, No. 3—Rapin’s <i>De Carmine Pastorali</i>, translated
+by Creech. With an Introduction by J. E. Congleton.</td>
+</tr>
+
+<tr>
+<td>SEPT., 1947:</td>
+<td>Series III, No. 3—T. Hanmer’s (?) <i>Some Remarks on the Tragedy
+of Hamlet</i>. With an Introduction by Clarence D. Thorpe.</td>
+</tr>
+
+<tr>
+<td>NOV., 1947:</td>
+<td>Series I, No. 4—Corbyn Morris’ <i>Essay towards Fixing the True
+Standards of Wit</i>, etc. With an Introduction by James L.
+Clifford.</td>
+</tr>
+
+<tr>
+<td>JAN., 1948:</td>
+<td>Series II, No. 4—Thomas Purney’s <i>Discourse on the
+Pastoral</i>. With an Introduction by Earl Wasserman.</td>
+</tr>
+
+<tr>
+<td>MARCH,&nbsp;1948:</td>
+<td>Series III, No. 4—Essays on the Stage, selected, with an
+Introduction by Joseph Wood Krutch.</td>
+</tr>
+</table>
+
+<br>
+<p>The list of publications is subject to modification in response
+to requests by members. From time to time Bibliographical Notes will
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+<div>*** END OF THE PROJECT GUTENBERG EBOOK 14495 ***</div>
+</body>
+</html>
+
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #14495 (https://www.gutenberg.org/ebooks/14495)
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+The Project Gutenberg eBook of De Carmine Pastorali, by Rene Rapin
+
+This eBook is for the use of anyone anywhere in the United States and
+most other parts of the world at no cost and with almost no restrictions
+whatsoever. You may copy it, give it away or re-use it under the terms
+of the Project Gutenberg License included with this eBook or online at
+www.gutenberg.org. If you are not located in the United States, you
+will have to check the laws of the country where you are located before
+using this eBook.
+
+Title: De Carmine Pastorali
+
+Author: Rene Rapin
+
+Release Date: December 28, 2004 [eBook #14495]
+[Most recently updated: April 10, 2021]
+
+Language: English
+
+Character set encoding: UTF-8
+
+Produced by: David Starner, Louise Hope and the PG Online Distributed Proofreading Team
+
+*** START OF THE PROJECT GUTENBERG EBOOK DE CARMINE PASTORALI  ***
+
+
+
+
+            Series Two:
+        _Essays on Poetry_
+
+              No. 3
+
+
+    Rapin's _De Carmine Pastorali_,
+prefixed to Thomas Creech's translation
+of the _Idylliums_ of Theocritus (1684)
+
+
+
+
+      With an Introduction by
+          J.E. Congleton
+                and
+       a Bibliographical Note
+
+
+
+
+The Augustan Reprint Society
+July, 1947
+Price: 75c
+
+  *       *       *       *       *
+
+
+GENERAL EDITORS
+
+RICHARD C. BOYS, University of Michigan
+EDWARD NILES HOOKER, University of California, Los Angeles
+H.T. SWEDENBERG, JR., University of California, Los Angeles
+
+
+ADVISORY EDITORS
+
+EMMETT L. AVERY, State College of Washington
+LOUIS I. BREDVOLD, University of Michigan
+BENJAMIN BOYCE, University of Nebraska
+CLEANTH BROOKS, Louisiana State University
+JAMES L. CLIFFORD, Columbia University
+ARTHUR FRIEDMAN, University of Chicago
+SAMUEL H. MONK, University of Minnesota
+JAMES SUTHERLAND, Queen Mary College, London
+
+
+
+
+Lithoprinted from copy supplied by author
+                 by
+        Edwards Brothers, Inc.
+      Ann Arbor, Michigan, U.S.A.
+                1947
+
+
+  *       *       *       *       *
+
+
+INTRODUCTION
+
+Recent students of criticism have usually placed Rapin in the School
+of Sense. In fact Rapin clearly denominates himself a member of that
+school. In the introduction to his major critical work, _Reflexions
+sur la Poetique d'Aristote_ (1674), he states that his essay "is
+nothing else, but Nature put in Method, and good _Sense_ reduced to
+Principles" (_Reflections on Aristotle's Treatise of Poesie_, London,
+1731, II, 131). And in a few passages as early as "A Treatise de
+Carmine Pastorali" (1659), he seems to imply that he is being guided
+in part at least by the criterion of "good _Sense_." For example,
+after citing several writers to prove that "brevity" is one of the
+"graces" of pastoral poetry, he concludes, "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" (p.41).
+
+The basic criterion, nevertheless, which Rapin uses in the "Treatise"
+is the authority of the Ancients--the poems of Theocritus and Virgil
+and the criticism of Aristotle and Horace. Because of his constant
+references to the Ancients, one is likely to conclude that he (like
+Boileau and Pope) must have thought they and Nature (good sense) were
+the same. In a number of passages, however, Rapin depends solely on
+the Ancients. Two examples will suffice to illustrate his absolutism.
+At the beginning of "_The Second_ Part," when he is inquiring "into
+the nature of _Pastoral,_" he admits:
+  And this must needs be a hard Task, since I have no guide,
+  neither _Aristotle_ nor _Horace_ to direct me.... And I am of
+  opinion that none can treat well and clearly of any kind of
+  _Poetry_ if he hath no helps from these two (p. 16).
+
+In "_The Third_ Part," when he begins to "lay down" his _Rules for
+writing_ Pastorals," he declares:
+  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 (p. 52).
+
+These passages represent the apogee of the neoclassical criticism of
+pastoral poetry. No other critic who wrote on the pastoral depends so
+completely on the authority of the classical critics and poets. As a
+matter of fact, Rapin himself is not so absolute later. In the
+section of the _Réflexions_ on the pastoral, he merely states that
+the best models are Theocritus and Virgil. In short, one may say
+that in the "Treatise" the influence of the Ancients is dominant; in
+the _Réflexions_, "good _Sense_."
+
+Reduced to its simplest terms, Rapin's theory is Virgilian. When
+deducing his theory from the works of Theocritus and Virgil, his
+preference is almost without exception for Virgil. Finding Virgil's
+eclogues refined and elegant, Rapin, with a suggestion from Donatus
+(p. 10 and p. 14), concludes that the pastoral "belongs properly to
+the _Golden Age_" (p. 37)--"that blessed time, when Sincerity and
+Innocence, Peace, Ease, and Plenty inhabited the Plains" (p. 5).
+Here, then, is the immediate source of the Golden Age eclogue, which,
+being transferred to England and popularised by Pope, flourished
+until the time of Dr. Johnson and Joseph Warton.
+
+In France the most prominent opponent to the theory formulated by
+Rapin is Fontenelle. In his "Discours sur la Nature de l'Eglogue"
+(1688) Fontenelle, with studied and impertinent disregard for the
+Ancients and for "ceux qui professent cette espèce de religion que
+l'on s'est faite d'adorer l'antiquité," expressly states that the
+basic criterion by which he worked was "les lumières naturelles de
+la raison" (_OEuvres_, Paris, 1790, V, 36). It is careless and
+incorrect to imply that Rapin's and Fontenelle's theories of
+pastoral poetry are similar, as Pope, Joseph Warton, and many other
+critics and scholars have done. Judged by basic critical principles,
+method, or content there is a distinct difference between Rapin and
+Fontenelle. Rapin is primarily a neoclassicist in his "Treatise";
+Fontenelle, a rationalist in his "Discours." It is this opposition,
+then, of neoclassicism and rationalism, that constitutes the basic
+issue of pastoral criticism in England during the Restoration and the
+early part of the eighteenth century.
+
+When Fontenelle's "Discours" was translated in 1695, the first phrase
+of it quoted above was translated as "those Pedants who profess a
+kind of Religion which consists of worshipping the Ancients" (p.294).
+Fontenelle's phrase more nearly than that of the English translator
+describes Rapin. Though Rapin's erudition was great, he escaped the
+quagmire of pedantry. He refers most frequently to the scholiasts and
+editors in "_The First Part_" (which is so trivial that one wonders
+why he ever troubled to accumulate so much insignificant material),
+but after quoting them he does not hesitate to call their ideas
+"pedantial" (p. 24) and to refer to their statements as grammarian's
+"prattle" (p. 11). And, though at times it seems that his curiosity
+and industry impaired his judgment, Rapin does draw significant ideas
+from such scholars and critics as Quintilian, Vives, Scaliger,
+Donatus, Vossius, Servius, Minturno, Heinsius, and Salmasius.
+
+Rapin's most prominent disciple in England is Pope. Actually, Pope
+presents no significant idea on this subject that is foreign to
+Rapin, and much of the language--terminology and set phrases--of
+Pope's "Discourse" comes directly from Rapin's "Treatise" and from
+the section on the pastoral in the _Reflections_. Contrary to his own
+statement that he "reconciled" some points on which the critics
+disagree and in spite of the fact that he quotes Fontenelle, Pope in
+his "Discourse" is a neoclassicist almost as thoroughgoing as Rapin.
+The ideas which he says he took from Fontenelle are either
+unimportant or may be found in Rapin. Pope ends his "Discourse" by
+drawing a general conclusion concerning his _Pastorals_: "But after
+all, if they have any merit, it is to be attributed to some good old
+authors, whose works as I had leisure to study, so I have not wanted
+care to imitate." This statement is diametrically opposed to the
+basic ideas and methods of Fontenelle, but in full accord with and no
+doubt directly indebted to those of Rapin.
+
+The same year, 1717, that Pope 'imitated' Rapin's "Treatise," Thomas
+Purney made a direct attack on Rapin's neoclassic procedure. In the
+"Preface" to his own _Pastorals_ he expresses his disapproval of
+Rapin's method, evidently with the second passage from Rapin quoted
+above in mind:
+  _Rapine's_ Discourse is counted the best on this Poem, for 'tis
+  the longest. You will easily excuse my not mentioning all his
+  Defects and Errors in this Preface. I shall only say then, that
+  instead of looking into the true Nature of the Pastoral Poem,
+  and then judging whether _Theocritus_ or any of his Followers
+  have brought it to it's utmost Perfection or not. _Rapine_
+  takes it for granted that _Theocritus_ and _Virgil_ are
+  infallible; and aim's at nothing beyond showing the Rules which
+  he thinks they observ'd. Facetious Head! (_Works_, Oxford,
+  1933, pp. 51-52. The Peroy Reprints, No. XII)
+
+The influence of Rapin on the development of the pastoral,
+nevertheless, was salutary. Finding the genre vitiated with wit,
+extravagance, and artificiality, he attempted to strip it of these
+Renaissance excrescencies and restore it to its pristine purity by
+direct reference to the Ancients--Virgil, in particular. Though Rapin
+does not have the psychological insight into the esthetic principles
+of the genre equal to that recently exhibited by William Empson or
+even to that expressed by Fontenelle, he does understand the
+intrinsic appeal of the pastoral which has enabled it to survive, and
+often to flourish, through the centuries in painting, music, and
+poetry. Perhaps his most explicit expression of this appreciation is
+made while he is discussing Horace's statement that the muses love
+the country:
+  And to speak from the very bottome of my heart... methinks he
+  is much more happy in a Wood, that at ease contemplates this
+  universe, as his own, and in it, the Sun and Stars, the
+  pleasing Meadows, shady Groves, green Banks, stately Trees,
+  flowing Springs, and the wanton windings of a River, fit
+  objects for quiet innocence, than he that with Fire and Sword
+  disturbs the World, and measures his possessions by the wast
+  that lys about him (p. 4).
+
+René Rapin (1621-1687), in spite of his duties as a Jesuit priest and
+disputes with the Jansenists, became one of the most widely read men
+of his time and carried on the celebrated discussions about the
+Ancients with Maimbourg and Vavasseur. His _chef-d'oeuvre_ without
+contradiction is _Hortorum libri IV_. Like Virgil, Spenser, Pope, and
+many aspiring lesser poets, he began his literary career by writing
+pastorals, _Eclogae Sacrae_ (1659), to which is prefixed in Latin the
+original of "A Treatise de Carmine Pastorali."
+
+ J.E. Congleton
+   University of Florida
+
+Reprinted here from the copy owned by the Boston Athenaeum by
+permission.
+
+   *       *       *       *       *
+       *       *       *       *
+   *       *       *       *       *
+
+
+
+
+                   A
+
+               TREATISE
+
+
+          de CARMINE PASTORALI
+
+            Written by RAPIN.
+
+
+
+
+_The First Part_.
+
+To be as short as possible in my discourse upon the present Subject,
+I shall not touch upon the Excellency of _Poetry_ in general; nor
+repeat those high _Encomiums_, (as that tis the most divine of all
+human Arts, and the like) which _Plato_ in his _Jone_, _Aristotele_ in
+his _Poetica_, and other Learned men have copiously insisted on: And
+this I do that I might more closely and briefly pursue my present
+design, which, no doubt will not please every man; for since I treat
+of that part of _Poetry_, which (to use _Quintilian's_ words,) by
+reason of its Clownishness, is affraid of the Court and City; some may
+imagine that I follow _Nichocaris_ his humor, who would paint only the
+most ugly and deform'd, and those too in the meanest and most
+frightful dress, that real, or fancy'd Poverty could put them in.
+
+{2} For some think that to be a Sheapard is in it self mean, base, and
+sordid; And this I think is the first thing that the graver and
+soberer sort will be ready to object.
+
+But if we consider how honorable that employment is, our Objectors
+from that Topick will be easily answer'd, for as _Heroick_ Poems owe
+their dignity to the Quality of _Heroes_, so _Pastorals_ to that of
+_Sheapards_.
+
+Now to manifest this, I shall not rely on the authority of the
+_Fabulous_, and _Heroick_ Ages, tho, in the former, a God fed Sheep in
+_Thessaly_, and in the latter, _Hercules_ the Prince of _Heroes_, (as
+_Paterculus_ stiles him) graz'd on mount _Aventine_: These Examples,
+tis true, are not convinceing, yet they sufficiently shew that the
+employment of a Sheapard was sometime look'd upon to be such, as in
+those Fabulous times was not alltogether unbecomeing the _Dignity_ of
+a _Heroe_, or the _Divinity_ of a _God_: which consideration if it
+cannot be of force enough to procure excellence, yet certainly it may
+secure it from the imputation of baseness, since it was sometime lookt
+upon as fit for the greatest in Earth or Heaven.
+
+But not to insist on the authority of _Poets_, _Sacred Writt_ tells
+us that _Jacob_ and _Esau_, two great men, were Sheapards; And _Amos_,
+one of the Royal Family, asserts the same of himself, for _He was_
+among _the Sheapards of Tecua_, following that employment: The like by
+Gods own appointment {3} prepared _Moses_ for a Scepter, as _Philo_
+intimates in his life, when He tells us, _that a Sheapards Art is a
+suitable preparation to a Kingdome_; the same He mentions in the Life
+of _Joseph_, affirming that the care a Sheapard hath over his Cattle,
+very much resembles that which a King hath over his Subjects: The same
+_Basil_ in his Homily de _S. Mamm. Martyre_ hath concerning _David_,
+who was taken from following the Ews great with young ones to feed
+_Israel_, for He says that the Art of feeding and governing are very
+near akin, and even Sisters: And upon this account I suppose twas,
+that Kings amongst the _Greeks_ reckoned the name of Sheapard one of
+their greatest titles, for, if we believe _Varro_, amongst the
+Antients, the best and bravest was still a Sheapard: Every body knows
+that the _Romans_ the worthiest and greatest Nation in the World
+sprang from _Sheapards_: The Augury of the Twelve Vulturs plac't a
+Scepter in _Romulus's_ hand which held a Crook before; and at that
+time, as _Ovid_ says,
+
+  His own small Flock each Senator did keep.
+
+_Lucretius_ mentions an extraordinary happiness, and as it were
+Divinity in a _Sheaperd's_ life,
+
+  Thro Sheapards ease, and their Divine retreats.
+
+And this is the reason, I suppose, why the solitude of the Country,
+the shady Groves, and security of that happy Quiet was so grateful to
+the Muses, for thus _Horace_ represents them,
+
+ {4} The Muses that the Country Love.
+
+Which Observation was first made by _Mnasalce_ the _Sicyonian_ in his
+Epigram upon _Venus_
+
+  The Rural Muse upon the Mountains feeds.
+
+For sometimes the Country is so raveshing and delightful, that twill
+raise Wit and Spirit even in the dullest Clod, And in truth, amongst
+so many heats of Lust and Ambition which usually fire our Citys, I
+cannot see what retreat, what comfort is left for a chast and sober
+Muse.
+
+And to speak from the very bottome of my heart, (not to mention the
+integrity and innocence of Sheapards upon which so many have
+insisted, and so copiously declaimed) methinks he is much more happy
+in a Wood, that at ease contemplates this universe, as his own, and
+in it, the Sun and Stars, the pleasing Meadows, shady Groves, green
+Banks, stately Trees, flowing Springs, and the wanton windings of a
+River, fit objects for quiet innocence, than he that with Fire and
+Sword disturbs the World, and measures his possessions by the wast
+that lys about him: _Augustus_ in the remotest East fights for peace,
+but how tedious were his Voyages? how troublesome his Marches? how
+great his disquiets? what fears and hopes distracted his designs?
+whilst _Tityrus_ contented with a little, happy in the enjoyment of
+his Love, and at ease under his spreading Beech.
+
+  Taught Trees to sound his _Amaryllis_ name.
+
+{5} On the one side _Meliboeus_ is forc't to leave his Country, and
+_Antony_ on the other; the one a Sheapard, the other a great man, in
+the Common-Wealth; how disagreeable was the Event? the Sheapard could
+endure himself; and sit down contentedly under his misfortunes, whilst
+lost _Antony_, unable to hold out, and quitting all hopes both for
+himself and his Queen, became his own barbarous Executioner: Than
+which sad and deplorable fall I cannot imagine what could be worse,
+for certainly nothing is so miserable as a Wretch made so from a
+flowrishing & happy man; by which tis evident how much we ought to
+prefer before the gaity of a great and shining State, that Idol of the
+Crowd, the lowly simplicity of a Sheapards Life: for what is that but
+a perfect image of the state of Innocence, of that golden Age, that
+blessed time, when Sincerity and Innocence, Peace, Ease, and Plenty
+inhabited the Plains?
+
+Take the Poets description
+
+  Here Lowly Innocence makes a sure retreat,
+  A harmless Life, and ignorant of deceit,
+  and free from fears with various sweet's encrease,
+  And all's or'e spread with the soft wings of Peace:
+  Here Oxen low, here Grots, and purling Streams,
+  And Spreading shades invite to easy dreams.
+
+And thus Horace,
+
+  Happy the man beyond pretence
+  Such was the state of Innocence, &c.
+
+{6} And from this head I think the dignity of _Bucolicks_ is
+sufficiently cleared, for as much as the Golden Age is to be preferred
+before the _Heroick_, so much _Pastorals_ must excell _Heroick_ Poems:
+yet this is so to be understood, that if we look upon the majesty and
+loftiness of _Heroick_ Poems, it must be confest that they justly
+claim the preheminence; but if the unaffected neatness, elegant,
+graceful smartness of the expression, or the polite dress of a Poem be
+considered, then they fall short of _Pastorals_: for this sort flows
+with Sweet, Elegant, neat and pleasing fancies; as is too evident to
+every one that hath tasted the sweeter muses, to need a farther
+explication: for tis not probable that _Asinius Pollio_, _Cinna_,
+_Varius_, _Cornelius Gallus_, men of the neatest Wit, and that lived
+in the most polite Age, or that _Augustus Cæsar_ the Prince of the
+_Roman_ elegance, as well as of the common Wealth, should be so
+extreamly taken with _Virgils Bucolicks_, or that _Virgil_ himself a
+man of such singular prudence, and so correct a judgment, should
+dedicate his Eclogues to those great Persons; unless he had known that
+there is somewhat more then ordinary Elegance in those sort of
+Composures, which the wise perceive, tho far above the understanding
+of the Crowd: nay if _Ludovicus Vives_, a very learned man, and
+admired for politer studies may be believed, there is somewhat more
+sublime and excellent in those _Pastorals_, than the Common {7} sort
+of Grammarians imagine: This I shall discourse of in an other place,
+and now inquire into the Antiquity of Pastorals.
+
+Since _Linus_, _Orpheus_, and _Eumolpus_ were famous for their Poems,
+before the _Trojan_ wars; those are certainly mistaken, who date
+Poetry from that time; I rather incline to their opinion who make it
+as old as the World it self; which Assertion as it ought to be
+understood of Poetry in general, so especially of _Pastoral_, which,
+as _Scaliger_ delivers, was the most antient kind of Poetry, and
+resulting from the most _antient_ way of Liveing: _Singing first began
+amongst Sheapards as they fed their Flocks, either by the impulse of
+nature, or in imitation of the notes of Birds, or the whispering of
+Trees._
+
+For since the first men were either _Sheapards_ or _Ploughmen_, and
+_Sheapards_, as may be gathered out of _Thucydides_ and _Varro_, were
+before the others, they were the first that either invited by their
+leisure, or (which _Lucretius_ thinks more probable) in imitation of
+Birds, began a tune.
+
+  Thro all the Woods they heard the pleasing noise
+  Of chirping Birds, and try'd to frame their voice,
+  And Imitate, thus Birds instructed man,
+  And taught them Songs before their Art began.
+
+In short, tis so certain that Verses first began in the Country that
+the thing is in it self evident, and this _Tibullus_ very plainly
+signifies,
+
+  {8} First weary at his Plough the labouring Hind
+  In certain feet his rustick words did bind:
+  His dry reed first he tun'd at sacred feasts
+  To thanks the bounteous Gods, and cheer his Guests.
+
+_In certain feet_ according to _Bern Cylenius_ of _Verona_ his
+interpretation _in set measures_: for _Censorinus_ tells us, that the
+antient Songs were loose and not ty'd up to any strict numbers, and
+afterwards by certain laws and acknowledged rules were confin'd to
+such and such measures: for this is the method of Nature in all her
+works, from imperfect and rude beginnings things take their first
+rise, and afterwards by fit and apposite additions are polish't, and
+brought to perfection: such were the Verses which heretofore the
+_Italian_ Sheapards and Plough-men, as _Virgil_ says, sported amongst
+themselves.
+
+  Italian Plough-men sprung from antient _Troy_
+  Did sport unpolish't Rhymes--
+
+_Lucretius_ in his Fifth Book _de Natura Rerum_, says, that Sheapards
+were first taught by the rushing of soft Breezes amongst the Canes to
+blow their Reeds, and so by degrees to put their Songs in tune.
+
+  For Whilst soft Evening Gales blew or'e the Plains
+  And shook the sounding Reeds, they taught the Swains,
+  And thus the Pipe was fram'd, and tuneful Reed,
+  And whilst the Flocks did then securely feed,
+  The harmless Sheapards tun'd their Pipes to Love,
+  {9} And Amaryllis name fill'd every Grove.
+
+From all which tis very plain that _Poetry_ began in those days, when
+Sheapards took up their employment: to this agrees _Donatus_ in his
+Life of _Virgil_, and _Pontanus_ in his Fifth Book of Stars, as
+appears by these Verses.
+
+  Here underneath a shade by purling Springs
+  The Sheapards Dance, whilst sweet _Amyntas_ sings;
+  Thus first the new found Pipe was tun'd to Love,
+  And Plough-men taught their Sweet hearts to the Grove,
+
+Thus the _Fescennine_ jests when they sang harvest-home, and then too
+the Grape gatherers and Reapers Songs began, an elegant example of
+which we have in the Tenth _Idyllium_ of _Theocritus_.
+
+From this birth, as it were, of _Poetry_, Verse began to grow up to
+greater matters; For from the common discourse of _Plough-men_ and
+_Sheapards_, first _Comedy_, that Mistress of a private Life, next
+_Tragedy_, and then _Epick Poetry_ which is lofty and _Heroical_
+arrose, This _Maximus Tyrius_ confirms in his Twenty first
+dissetation, where he tells us that Plough-men just comeing from their
+work, and scarce cleansed from the filth of their employment, did use
+to flurt out some sudden and _extempore_ Catches; and from this
+beginning Plays were produc'd and the Stage erected: Thus {10} much
+concerning the _Antiquity_, next of the _Original_ of this sort.
+
+About this Learned men cannot agree, for who was the first Author, is
+not sufficiently understood; _Donatus_, tis true, tells us tis proper
+to the Golden Age, and therefore must needs be the product of that
+happy time: but who was the Author, where, what time it was first
+invented hath been a great Controversy, and not yet sufficiently
+determined: _Epicharmus_ one of _Pythagoras_ his School, in his
+*alkyoni* mentions one _Diomus_ a _Sicilian_, who, if we believe
+_Athænæus_ was the first that wrote _Pastorals: those that fed Cattle
+had a peculiar kind of Poetry, call'd Bucolicks, of which Dotimus a
+Sicilian was inventer:_
+
+_Diodorus Siculus_ *en tois mythologoumenois*, seems to make
+_Daphnis_ the son of _Mercury_ and a certain _Nymph_, to be the
+Author; and agreeable to this, _Theon_ an old _scholiast_ on
+_Theocritus_, in his notes upon the first _Idyllium_ mentioning
+_Daphnis_, adds, _he was the author of Bucolicks_, and _Theocritus
+himself_ calls him _the Muses Darling_: and to this Opinion of
+_Diodorus Siculus Polydore Virgil_ readily assents.
+
+But _Mnaseas_ of _Patara_ in a discourse of his concerning _Europa_,
+speaks thus of a Son of _Pan_ the God of Sheapards: _Panis Filium
+Bubulcum à quo & Bucolice canere:_ Now Whether _Mnaseas_ by that
+_Bubulcum_, means only a _Herds-man_, or one skilled in _Bucolicks_,
+is uncertain; but if _Valla's_ {11} judgment be good, tis to be taken
+of the latter: yet _Ælian_ was of another mind, for he boldly affirms
+that _Stesichorus_ called _Himeræus_ was the first, and in the same
+place adds, that _Daphnis_ the Son of _Mercury_ was the first Subject
+of _Bucolicks_.
+
+Some ascribe the Honor to _Bacchus_ the President of the _Nymphs,
+Satyrs_, and the other Country Gods, perhaps because he delighted in
+the Country; and others attribute it to _Apollo_ called _Nomius_ the
+God of Sheapards, and that he invented it then when he served
+_Admetus_ in _Thessaly_, and fed his Herds: For, tis likely, he to
+recreate himself, and pass away his time, applied his mind to such
+Songs as were best suitable to his present condition: Many think we
+owe it to _Pan_ the God of Sheapards, not a few to _Diana_ that
+extreamly delighted in solitude and Woods; and some say _Mercury_
+himself: of all which whilst _Grammarians_ prattle, according to their
+usual custome they egregiously trifle; they suffer themselves to be
+put upon by Fables, and resign their judgment up to foolish
+pretentions, but things and solid truth is that we seek after.
+
+As about the Author, so concerning the place of its Birth there is a
+great dispute, some say _Sparta_, others _Peloponesus_, but most are
+for _Sicily_.
+
+_Valla the Placentine_, a curious searcher into Antiquity, thinks
+this sort of Poetry first appear'd amongst the _Lacedemonians_, for
+when the _Persians_ had wasted allmost all _Greece_, the _Spartans_
+say {12} that they for fear of the _Barbarians_ fled into Caves and
+lurking holes; and that the Country Youth then began to apply
+themselves in Songs to _Diana Caryatis_, together with the Maids, who
+midst their Songs offerd Flowers to the Goddess: which custome
+containing somewhat of Religion was in those places a long time very
+scrupulously observed.
+
+_Diomedes_ the Grammarian, in his treatise of _Measures_, declares
+_Sicily_ to be the Place: for thus he says, the _Sicilian_ Sheapards
+in time of a great _Pestilence_, began to invent new Ceremonies to
+appease incensed _Diana_, whom afterward, for affording her help, and
+stopping the Plague they called *Lyên*: _i.e._ the _Freer_ from their
+Miserys. This grew into custom, and the Sheapards used to meet in
+Companies, to sing their deliverer _Diana's_ praise, and these
+afterwards passing into _Italy_ were there named _Bucoliastæ_.
+
+_Pomponius Sabinus_ tells the story thus: When the Hymns the Virgins
+us'd to sing in the Country to _Diana_ were left off, because, by
+reason of the present Wars, the Maidens were forc't to keep close
+within the Towns; the Shepherds met, and sang these kind of Songs,
+which are now call'd _Bucolicks_, to _Diana_; to whom they could not
+give the usual worship by reason of the Wars: But _Donatus_ says, that
+this kind of Verses was first sung to _Diana_ by _Orestes_, when he
+wandred about _Italy_; after he fled from _Scythia Taurica_, and had
+{13} taken away the Image of the Goddess and hid it in a bundle of
+sticks, whence she receiv'd the name of _Fascelina_, or _Phacelide_
+*apo tou phakelou* At whose Altar, the very same _Orestes_ was
+afterward expiated by his Sister _Iphigenia_: But how can any one
+rely on such Fables, when the inconsiderable Authors that propose them
+disagree so much amongst themselves?
+
+Some are of Opinion that the Shepherds, were wont in solem and set
+Songs about the Fields and Towns to celebrate the Goddess _Pales_; and
+beg her to bless their flocks and fields with a plenteous encrease and
+that from hence the name, and composure of _Bucolicks_ continued.
+
+Other prying ingenious Men make other conjectures, as to this mazing
+Controversy thus _Vossius_ delivers himself; _The Antients cannot be
+reconcil'd, but I rather incline to their opinion who think_ Bucolicks
+_were invented either by the_ Sicilians _or_ Peloponesians, _for both
+those use the_ Dorick _dialect, and all the_ Greek Bucolicks _are writ
+in that_: As for my self I think, that what _Horace_ says of _Elegies_
+may be apply'd to the present Subject.
+
+  But who soft Elegies was the first that wrote
+  Grammarians doubt, and cannot end the doubt:
+
+For I find nothing certain about this matter, since neither _Valla_ a
+diligent inquirer after, and a good judge in such things, nor any of
+the late writers produce any thing upon which I can safely rely; yet
+what beginning this kind of Poetry {14} had, I think I can pretty well
+conjecture: for tis likely that first Shepherds us'd Songs to recreate
+themselves in their leisure hours whilst they fed their Sheep; and
+that each man, as his wit served, accommodated his Songs to his
+present Circumstances: to this Solitude invited, and the extream
+leisure that attends that employment absolutely requir'd it: For as
+their retirement gave them leisure, and Solitude a fit place for
+Meditation, Meditation and Invention produc'd a Verse; which is
+nothing else but a Speech fit to be sung, and so Songs began: Thus
+_Hesiod_ was made a Poet, for he acknowledges himself that he receiv'd
+his inspiration;
+
+  Whilst under _Helicon_ he fed his Lambs.
+
+for either the leisure or fancy of Shepherds seems to have a natural
+aptitude to Verse.
+
+And indeed I cannot but agree with _Lucretius_ that accurate Searcher
+into Nature, who delivers that from that state of Innocence the Golden
+Age, Pastorals continued down to his time, for after he had in his
+fifth book describ'd that most happy age, he adds,
+
+  For then the Rural Muses reign'd.
+
+From whence 'tis very plain, that as _Donatus_ himself observ'd,
+Pastorals were the invention of the simplicity and innocence of that
+Golden age, if there was ever any such, or certainly of that time
+which succeeded the beginning of the World: For tho the Golden Age
+must be acknowledged {15} to be only in the fabulous times, yet 'tis
+certain that the Manners of the first Men were so plain and simple,
+that we may easily derive both the innocent imployment of Shepherds,
+and Pastorals from them.
+
+
+{16} _The Second_ PART.
+
+Now let us inquire into the nature of _Pastoral_, in what its
+excellencies consist, and how it must be made to be exact: And this
+must needs be a hard Task, since I have no guide, neither _Aristotle_
+nor _Horace_ to direct me; for both they, whatever was the matter,
+speak not one word of this sort of Verse. And I am of opinion that
+none can treat well and clearly of any kind of _Poetry_ if he hath no
+helps from these two: But since they lay down some general Notions of
+_Poetry_ which may be useful in the present case, I shall follow their
+steps as close as possible I can.
+
+Not only _Aristotle_ but _Horace_ too hath defin'd that _Poetry_ in
+general is Imitation; I mention only these two, for tho _Plato_ in his
+Second Book _de Rep._ and in his _Timæus_ delivers the same thing, I
+shall not make use of his Authority at all: Now as _Comedy_ according
+to _Aristotle_ is the _Image and Representation of a gentiel and City
+Life_, so is _Pastoral Poetry_ of a County and _Sheapards_ Life; for
+since _Poetry_ in general is Imitation; its several _Species_ must
+likewise Imitate, take _Aristotles_ own words _Cap._ 1. *pasai
+tynchanousin ousa mimêseis*; And these _Species_ are {17} differenc't
+either by the subject matter, when the things to be imitated are quite
+different, or when the manner in which you imitate, or the mode of
+imitation is so: *en trisi dê tautais diaphorais hê mimêsis estin, en
+hois kai ha, kai hôs*: Thus tho of _Epick_ Poetry and _Tragedy_ the
+Subject is the same, and some great illustrious Action is to be
+_imitated_ by both, yet since one by representation, and the other by
+plain narration imitates, each makes a different _Species_ of
+imitation. And _Comedy_ and _Tragedy_, tho they agree in this, that
+both represent, yet because the Matter is different, and _Tragedy_
+must represent some brave action, and _Comedy_ a humor; these Two
+sorts of imitation are _Specifically different_. And upon the same
+account, since _Pastoral_ chooses the mannes of Sheapards for its
+imitation, it takes from its matter a peculiar difference, by which it
+is distinguish'd frõ all others.
+
+But here _Benius_ in his comments upon _Aristotle_ hath started a
+considerable query: which is this; Whether _Aristotle_, when he
+reckons up the different _Species_ of Poetry _Cap_ 1. doth include
+_Pastoral,_ or no? And about this I find learn'd men cannot at all
+agree: which certainly _Benius_ should have determin'd, or not rais'd:
+some refer it to that sort which _was sung to Pipes_, for that
+_Pastorals_ were so _Apuleius_ intimates, when at the marriage Feast
+of _Phyche_ He brings in _Paniscus_ singing _Bucolicks_ to his Pipe;
+But since they did not seriously enough consider, what _Aristotle_
+{18} meant by that which he calls *aulêtikên* they trifle, talk idly,
+and are not to be heeded in this matter; For suppose some _Musitian_
+should sing _Virgils Ænæis_ to the Harp, (and _Ant. Lullus_ says it
+hath been done,) should we therefore reckon that divine and
+incomparable Master of _Heroick_ Poetry amongst the _Lyricks_?
+
+Others with _Cæsius Bassus_ and _Isacius Tzetzes_ hold that that
+distribution of _Poetry_, which _Aristotle_ and _Tully_ hath left us,
+is deficient and imperfect; and that only the chief Species are
+reckoned, but the more inconsiderable not mention'd: I shall not here
+interest my self in that quarrel of the _Criticks_, whether we have
+all _Aristotles_ books of Poetry or no; this is a considerable
+difficulty I confess, for _Laertius_ who accurately weighs this
+matter, says that he wrote two books of _Poetry_, the one lost, and
+the other we have, tho _Mutinensis_ is of an other mind: but to end
+this dispute, I must agree with _Vossius_, who says the Philosopher
+comprehended these Species not expressly mentioned, under a higher and
+more noble head: and that therefore _Pastoral_ was contain'd in
+_Epick_. for these are his own words, _besides there are Epicks of an
+inferior rank, such as the Writers of Bucolicks_. _Sincerus_, as
+_Minturnus_ quotes him, is of the same mind, for thus he delivers his
+opinion concerning _Epick Verse_: _The matters about which these
+numbers may be employed is various; either mean and low, as in
+Pastorals, great and lofty, as when {19} the Subject is Divine Things,
+or Heroick Actions, or of a middle rank, as when we use them to
+deliver precepts in:_ And this likewise he signifys before, where he
+sets down three sorts of _Epicks_: _one of which, says he, is divine,
+and the most excellent by much in all Poetry_; the _other the lowest
+but most pure, in which Theocritus excelled, which indeed shews
+nothing of Poetry beside the bare numbers_: These points being thus
+settled, the remaining difficultys will be more easily dispatched.
+
+For as in _Dramatick_ Poetry the Dignity and meanness of the
+_Persons_ represented make two different _Species of imitation_ the
+one _Tragick_, which agrees to none but great and Illustrious persons,
+the other _Comick_, which suits with common and gentile humors: so in
+_Epick_ too, there may be reckoned two sorts of _Imitation_, one of
+which belongs to _Heroes_, and that makes the _Heroick_; the other to
+_Rusticks_ and _Sheapards_ and that constitutes the _Pastoral_, now as
+a _Picture_ imitates the Features of the face, so _Poetry_ doth
+action, and tis not a representation of the Person but the Action.
+
+From all which we may gather this definition of Pastoral: _It is the
+imitation of the Action of a Sheapard, or of one taken under that
+Character_: Thus _Virgil's Gallus_, tho not really a _Sheapard_, for
+he was a man of great quality in _Rome_, yet belongs to _Pastoral_,
+because he is represented like a Sheapard: hence the Poet:
+
+  {20} The Goatherd and the heavy Heardsmen came,
+  And ask't what rais'd the deadly Flame.
+
+The _Scene_ lys amongst Sheapards, the _Swains_ are brought in, the
+_Herdsmen_ come to see his misery, and the fiction is suited to the
+real condition of a _Sheapard_; the same is to be said for his
+_Silenus_, who tho he seems lofty, and to sound to loud for an oaten
+reed, yet since what he sings he sings to _Sheapards_, and suits his
+Subject to their apprehensions, his is to be acknowledged _Pastoral_.
+This rule we must stick to, that we might infallibly discern what is
+stricktly _Pastoral_ in _Virgil_ and _Theocritus_, and what not: for
+in _Theocritus_ there are some more lofty thoughts which not having
+any thing belonging to Sheapards for their Subject, must by no means
+be accounted _Pastoral_, But of this more in its proper place.
+
+My present inquiry must be what is the _Subject Matter_ of a
+_Pastoral_, about which it is not easy to resolve; since neither from
+_Aristotle_, nor any of the _Greeks_ who have written _Pastorals_, we
+can receive certain direction. For sometimes they treat of high and
+sublime things, like _Epick Poets_; what can be loftier than the whole
+_Seaventh Idyllium of Bias_ in which _Myrsan_ urges _Lycidas_ the
+Sheapard to sing the Loves of _Deidamia_ and _Achilles_. For he
+begins from _Helen's_ rape, and goes on to the revengful fury of the
+_Atrides_, and shuts up in one _Pastoral_, all that is great and
+sounding in _Homers Iliad_.
+
+  {21} Sparta was fir'd with Rage
+  And gather'd Greece to prosecute Revenge.
+
+And _Theocritus_ his verses are sometimes as sounding and his
+thoughts as high: for upon serious consideration I cannot mind what
+part of all the _Heroicks_ is so strong and sounding as that
+_Idyllium_ on _Hercules_ *leontophonô* in which _Hercules_ himself
+tells _Phyleus_ how he kill'd the Lyon whose Skin he wore: for, not to
+mention many, what can be greater than this expression.
+
+  And gaping Hell received his mighty Soul:
+
+Why should I instance in the *dioskouroi*, which hath not one line
+below Heroick; the greatness of this is almost inexpressible.
+
+  *anêr hyperoplos enêmeros, endiaaske
+    deinos idein*
+
+And some other pieces are as strong as these, such is the _Panegyrick
+on Ptolemy_, _Helen's Epithalamium_, and the Fight of young _Hercules_
+and the Snakes: now how is it likely that such Subjects should be fit
+for _Pastorals_, of which in my opinion, the same may be said which
+_Ovid_ doth of his _Cydippe_.
+
+  Cydippe, Homer, doth not fit thy Muse.
+
+For certainly _Pastorals_ ought not to rise to the Majesty of
+_Heroicks_: but who on the other side {22} dares reprehend such great
+and judicious Authors, whose very doing it is Authority enough? What
+shall I say of _Virgil_? who in his Sixth _Eclogue_ hath put together
+allmost all the particulars of the fabulous Age; what is so high to
+which _Silenus_ that Master of Mysterys doth not soar?
+
+  For lo! he sung the Worlds stupendious birth,
+  How scatter'd seeds of sea, of Air, and Earth,
+  And purer Fire thro universal night
+  And empty space did fruitfully unite:
+  From whence th' innumerable race of things
+  By circular successive order springs:
+
+And afterward
+
+  How Pyrra's Stony race rose from the ground,
+  And Saturn reign'd with Golden plenty crown'd,
+  How bold _Prometheus_ (whose untam'd desire,
+  Rival'd the Sun with his own Heavenly Fire)
+  Now doom'd the _Scythian_ Vulturs endless prey
+  Severely pays for Animating Clay:
+
+So true, so certain 'tis, that nothing is so high and lofty to which
+_Bucolicks_ may not successfully aspire. But if this be so, what will
+become of _Macrobius, Georgius Valla, Julius Scaliger, Vossius,_ and
+the whole company of Grammarians? who all affirm that simplicity and
+meanness is so essential to _Pastorals_, that it ought to be confin'd
+to the State, Manners, Apprehension and even common phrases of
+Sheapards: for nothing can {23} be said to be _Pastoral_, which is not
+accommodated to their condition; and for this Reason _Nannius
+Alcmaritanus_ in my opinion is a trifler, who, in his comments on
+_Virgils Eclogues_, thinks that those sorts of Composures may now and
+then be lofty, and treat of great subjects: where he likewise divides
+the matter of _Bucolicks_, into _Low_, _Middle_, and _High_: and makes
+_Virgil_ the Author of this Division, who in his Fourth _Eclogue_, (as
+he imagines) divides the matter of _Bucolicks_ into Three sorts, and
+intimates this division by these three words: _Bushes_, _Shrubs_ and
+_Woods_.
+
+  Sicilian Muse begin a loftier strain,
+  The Bushes and the Shrubs that shade the Plain
+  Delight not all; if I to Woods repair
+  My Song shall make them worth a Consuls Care.
+
+By Woods, as he fancys, as _Virgil_ means high and stately Trees, so
+He would have a great and lofty Subject to to be implyed, such as he
+designed for the _Consul_: by Bushes, which are almost even with the
+ground, the meanest and lowest argument; and by Shrubs a Subject not
+so high as the one, nor so low as the other, as the thing it-self is,
+And therefore these lines
+
+       If I to Woods repair
+  My Song shall make them worth a _Consuls_ care.
+
+{24} are thus to be understood, That if we choose high and sublime
+arguments, our work will be fit for the Patronage of a _Consul_, This
+is _Nanniu's_ interpretation of that place; too pedantial and subtle
+I'me affraid, for tis not credible that ever _Virgil_ thought of
+reckoning great and lofty things amongst the Subjects of _Bucolicks_
+especially since
+
+  When his _Thalia_ rais'd her bolder voice
+  And Kings and Battles were her lofty choice,
+  _Phoebus_ did twitch his Ear, mean thoughts infuse,
+  And with this whisper check't th' inspiring Muse.
+  A Sheapard, Tityrus, his Sheep should feed,
+  And choose a subject suited to his reed,
+
+This certainly was a serious admonition, implyed by the twitching of
+his Ear, and I believe if he had continued in this former humor and
+not obey'd the smarting admonition. He had still felt it: so far was
+he from thinking Kings and Battels fit Themes for a _Sheapards_ song:
+and this evidently shows that in _Virgils_ opinion, contrary to
+_Nanniu's_ fancy, great things cannot in the least be comprehended
+within the subject matter of _Pastorals;_ no, it must be low and
+humble, which _Theocritus_ very happily expresseth by this word
+*Boukoliasdên* _i.e._ as the interpreters explain it, sing humble
+Strains.
+
+Theefore let _Pastoral_ never venture upon a {25} lofty subject, let
+it not recede one jot from its proper matter, but be employ'd about
+Rustick affairs: such as are mean and humble in themselves; and such
+are the affairs of Shepherds, especially their Loves, but those must
+be pure and innocent; not disturb'd by vain suspitious jealousy, nor
+polluted by Rapes; The Rivals must not fight, and their emulations
+must be without quarrellings: such as _Vida_ meant.
+
+  Whilst on his Reed he Shepherd's stifes conveys,
+  And soft complaints in smooth Sicilian lays.
+
+To these may be added _sports_, _Jests_, _Gifts_, and _Presents_; but
+not _costly_, such are yellow Apples, young stock-Doves, Milk,
+Flowers, and the like; all things must appear delightful and easy,
+nothing vitious and rough: A perfidious Pimp, a designing Jilt, a
+gripeing Usurer, a crafty factious Servant must have no room there,
+but every part must be full of the simplicity of the _Golden-Age_, and
+of that Candor which was then eminent: for as _Juvenal affirms_
+
+  Baseness was a great wonder in that Age;
+
+Sometimes _Funeral-Rites_ are the subject of an _Eclogue_, where the
+Shepherds scatter flowers on the Tomb, and sing Rustick Songs in honor
+of the Dead: Examples of this kind are left us by _Virgil_ in his
+_Daphnis_, and _Bion_ in his _Adonis_, and this hath nothing
+disagreeable to a Shepherd: In {26} short whatever, the decorum being
+still preserv'd, can be done by a _Sheapard_, may be the Subject of a
+_Pastoral_.
+
+Now there may be more kinds of Subjects than _Servius_ or _Donatus_
+allow, for they confine us to that Number which _Virgil_ hath made use
+of, tho _Minturnus_ in his second Book _de Poetâ_ declares against
+this opinion: But as a glorious _Heroick_ action must be the Subject
+of an _Heroick_ Poem, so a _Pastoral_ action of a _Pastoral_; at least
+it must be so turn'd and wrought, that it might appear to be the
+action of a _Shepherd_; which caution is very necessary to be
+observ'd, to clear a great many difficulties in this matter: for tho
+as the Interpreters assure us; most of _Virgils_ Eclogues are about
+the Civil war, planting Colonys, the murder of the Emperor, and the
+like, which in themselves are too great and too lofty for humble
+_Pastoral_ to reach, yet because they are accomodated to the Genius of
+Shepherds, may be the Subject of an _Eclogue_, for that sometimes will
+admit of Gods and Heroes so they appear like, and are shrouded under
+the Persons of Shepherds: But as for these matters which neither
+really are, nor are so wrought as to seem the actions of Shepherds,
+such are in _Moschus's_ _Europa_, _Theocritus's_ _Epithalamium of
+Helen_, and _Virgil's_ _Pollio_, to declare my opinion freely, I
+cannot think them to be fit Subjects for _Bucolicks_: And upon this
+account I suppose 'tis that _Servius_ in his {27} Comments on
+_Virgil's_ _Bucoliks_ reckons only seven of _Virgil's_ ten Eclogues,
+and onely ten of _Theocritus's_ thirty, to be pure Pastorals, and
+_Salmasius_ upon _Solinus_ says, that _amongst Theocritus's_ _Poems
+there are some which you may call what you please Beside Pastorals_:
+and _Heinsius_ in his _Scholia_ upon _Theocritus_ will allow but Ten
+of his _Idylliums_ to be _Bucoliks_, 1. 2. 3. 4. 5. 6. 7. 8. 9. 11.
+for all the rest are deficient either in matter or form, and from this
+number of pure pastoral _Idylliums_ I am apt to think, that
+_Theocritus_ seems to have made that Pipe, on which he tun'd his
+_Pastorals_ and which he consecrated to _Pan_ of ten Reeds, as
+_Salmasius_ in his notes on _Theocritus's_ Pipe hath learnedly
+observed: _in which two Verses always make one Reed of the Pipe,
+therefore all are so unequal, like the unequal Reeds of a Pipe, that
+if you put two equals together which make one Reed, the whole
+inequality consists in ten pairs_; when in the common Pipes there were
+usually no more then seven Reeds, and this the less curious observers
+have heedlessly past by.
+
+Some are of opinion that whatever is done in the Country, and in one
+word, every thing that hath nought of the City in it may be treated of
+in _Pastorals_; and that the discourse of Fishers, Plow-men, Reapers,
+Hunters, and the like, belong to this kind of Poetry: which according
+to the Rule that I have laid down cannot be true for, as I before
+hinted nothing but the action of a {28} Shepherd can be the Subject of
+a Pastoral.
+
+I shall not here enquire, tho it may seem proper, whether we can
+decently bring into an Eclogue Reapers, Vine-dressers, Gardners,
+Fowlers, Hunters, Fishers, or the like, whose lives for the most part
+are taken up with too much business and employment to have any vacant
+time for Songs, and idle Chat, which are more agreeable to the leisure
+of a Sheapards Life: for in a great many Rustick affairs, either the
+hardship and painful Labor will not admit a song, as in Plowing, or
+the solitude as in hunting, Fishing, Fowling, and the like; but of
+this I shall discourse more largely in another place.
+
+Now 'tis not sufficient to make a Poem a true _Pastoral_, that the
+Subject of it is the action of a Shepherd, for in _Hesiods_ *erga* and
+_Virqils Georgicks_ there are a great many things that belong to the
+employment of a Shepherd, yet none fancy they are Pastorals; from
+whence 'tis evident, that beside the _matter_, which we have defin'd
+to be the action of a Sheapard, there is a peculiar _Form_ proper to
+this kind of _Poetry_ by which 'tis distinguish'd from all others.
+
+Of Poetry in General _Socrates_, as _Plato_ tells us, would have
+_Fable_ to be the _Form_: _Aristotle_ Imitation: I shall not dispute
+what difference there is between these two, but only inquire whether
+Imitation be the _Form_ of _Pastoral_: 'Tis certain that _Epick_
+Poetry is differenc't from _Tragick_ only by {29} the manner of
+imitation, for the latter imitates by _action_, and the former by bare
+_narration_: But _Pastoral_ is the imitation of a _Pastoral_ action
+either by bare narration, as in _Virgil's_ _Alexis_, and
+_Theocritus's_ 7th _Idyllium_, in which the Poet speaks all along in
+his own Person: or by action as in _Virgil's_ _Tityrus_, and the first
+of _Theocritus_, or by both mixt, as in the Second and Eleventh
+_Idylliums_, in which the Poet partly speaks in his own Person, and
+partly makes others speak, and I think the old _Scholiast_ on
+_Theocritus_ took an hint from these when he says, that Pastoral is a
+mixture made up of all sorts, for 'tis Narrative, Dramatick, and mixt,
+and _Aristotle_, tho obscurely, seems to hint in those words, _In
+every one of the mentioned Arts there is Imitation, in some simple, in
+some mixt_; now this latter being peculiar to _Bucolicks_ makes its
+very form and Essence: and therefore _Scaliger_, in the 4th Chapter of
+his first Book of Poetry, reckons up three Species of _Pastorals_, the
+first hath but one Person, the second several, which sing alternately;
+the third is mixt of both the other: And the same observation is made
+by _Heinsius_ in his Notes on _Theocritus_, for thus he very plainly
+to our purpose, _the Character of_ Bucolicks _is a mixture of all
+sorts of Characters, Dramatick, Narrative, or mixt_: from all which
+'tis very manifest that the manner of _Imitation_ which is proper to
+_Pastorals_ is the mixt: for in other kinds of Poetry 'tis one and
+simple, at least {30} not so manifold; as in _Tragedy Action_: in
+_Epick_ Poetry _Narration_.
+
+Now I shall explain what sort of _Fable_; _Manners_, _Thought_,
+_Expression_, which four are necessary to constitute every kind of
+Poetry, are proper to this sort.
+
+
+Concerning the Fable which _Aristotle_ calls, *synthesin tôn
+pragmatôn*, I have but one thing to say: this, as the Philosopher
+hints, as of all other sorts of Poetry, so of Pastoral is the very
+Soul. and therfore _Socrates_ in _Plato_ says, that in those Verses
+which he had made there was nothing wanting but the _Fable_: therefore
+Pastorals as other kinds of Poetry must have their Fable, if they will
+be Poetry: Thus in _Virgil's_ _Silenus_ which contains the Stories of
+allmost the whole Fabulous Age, two Shepherds whom _Silenus_ had often
+promis'd a Song, and as often deceived, seize upon him being drunk and
+asleep, and bind him with wreath'd Flowers; _Ægle_ comes in and
+incourages the timorous youths, and stains his jolly red Face with
+Blackberries, _Silenus_ laughs at their innocent contrivance, and
+desires to be unbound, and then with a premeditated Song satisfies the
+Nymph's and Boys Curiosity; The incomparable Poet sings wonders, the
+Rocks rejoyce, the Vales eccho, and happy _Eurotas_ as if _Phoebus_
+himself sang, hears all, and bids the Laurels that grow upon his Banks
+listen to, and learn the Song.
+
+  {31} Happy _Eurotas_ as he flow'd along
+  Heard all, and bad the Laurels learn the Song.
+
+Thus every Eclogue or Idyllium must have its Fable, which must be the
+groundwork of the whole design, but it must not be perplext with
+sudden and unlookt for changes, as in _Marinus's_ _Adonis_: for that,
+tho the _Fable_ be of a Shepherd, yet by reason of the strange Bombast
+under Plots, and wonderful occurences, cannot be accounted _Pastoral_;
+for that it might be agreeable to the Person it treats of, it must be
+plain and simple, such as _Sophocles's_ _Ajax_, in which there is not
+so much as one change of Fortune. As for the Manners, let that
+precept, which _Horace_ lays down in his Epistle to the _Pisones_, be
+principally observed.
+
+  Let each be grac't with that which suits him best.
+
+For this, as 'tis a rule relateing to _Poetry_ in general, so it
+respects this kind also of which we are treating; and against this
+_Tasso_ in his _Amyntas_, _Bonarellus_ in his _Phyllis_, _Guarinus_ in
+his _Pastor Fido_, _Marinus_ in his _Idylliums_, and most of the
+_Italians_ grievously offend, for they make their _Shepherds_ too
+polite, and elegant, and cloth them with all the neatness of the Town,
+and Complement of the Court, which tho it may seem very pretty, yet
+amongst good _Critics_, let _Veratus_ {32} say what he will in their
+excuse, it cannot be allowed: For 'tis against _Minturnus's_ Opinion,
+who in his second Book _de Poetâ_ says thus: _Mean Persons are brought
+in, those in Comedy indeed more polite, those in Pastorals more
+unelegant, as suppos'd to lead a rude life in Solitude_; and _Jason
+Denor_ a Doctor of _Padua_ takes notice of the same as a very absurd
+Error: _Aristotle_ heretofore for a like fault reprehended the
+_Megarensians_, who observ'd no _Decorum_ in their _Theater_, but
+brought in mean persons with a Train fit for a _King_ and cloath'd a
+Cobler or Tinker in a Purple Robe: In vain doth _Veratus_ in his
+Dispute against _Jason Denor_, to defend those elaborately exquisite
+discourses, and notable sublime sentences of his _Pastor Fido_, bring
+some lofty _Idylliums_ of _Theocritus_, for those are not acknowledged
+to be Pastoral; _Theocritus_ and _Virgil_ must be consulted in this
+matter, the former designdly makes his Shepherds discourse in the
+_Dorick_ i. e. the Rustick Dialect, sometimes scarce true Grammar; &
+the other studiously affects ignorance in the persons of his
+Shepherds, as _Servius_ hath observ'd, and is evident in _Melibæus_,
+who makes _Oaxes_ to be a River in _Crete_ when 'tis in
+_Mesopotamia_: and both of them take this way that the Manners may
+the more exactly suit with the Persons they represent, who of
+themselves are rude and unpolisht: And this proves that they
+scandalously err, who make their Shepherds appear polite and elegant;
+nor can I imagine what _Veratus_ {33} who makes so much ado about the
+polite manners of the _Arcadian_ Shepherds, would say to _Polybius_
+who tells us that _Arcadians_ by reason of the Mountainousness of the
+Country and hardness of the weather, are very unsociable and austere.
+
+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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+
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+(1716), and Addison's _Freeholder_ No. 45 (1716).
+
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+_Discourse on Criticism_ (1707)
+
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+concerning the Stage_ (1698), and Richard Willis' _Occasional Paper_
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+with Characters by Flecknoe, and Joseph Warton's _Adventurer_ Nos. 127
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+
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+translated by Creech. With an Introduction by J. E. Congleton.
+
+SEPT., 1947: Series III, No. 3--T. Hanmer's (?) _Some Remarks on the
+Tragedy of Hamlet_. With an Introduction by Clarence D. Thorpe.
+
+NOV., 1947: Series I, No. 4--Corbyn Morris' _Essay towards Fixing the
+True Standards of Wit_, etc. With an Introduction by James L.
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+
+JAN., 1948: Series II, No. 4--Thomas Purney's _Discourse on the
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+
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+<title>The Project Gutenberg eBook of De Carmine Pastorali, by Rene Rapin</title>
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+<div style='text-align:center; font-size:1.2em; font-weight:bold;'>The Project Gutenberg eBook of De Carmine Pastorali, by Rene Rapin</div>
+<div style='display:block; margin:1em 0'>
+This eBook is for the use of anyone anywhere in the United States and
+most other parts of the world at no cost and with almost no restrictions
+whatsoever. You may copy it, give it away or re-use it under the terms
+of the Project Gutenberg License included with this eBook or online
+at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you
+are not located in the United States, you will have to check the laws of the
+country where you are located before using this eBook.
+</div>
+<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: De Carmine Pastorali</div>
+<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: Rene Rapin</div>
+<div style='display:block;margin:1em 0'>Release Date: December 28, 2004 [eBook #14495]<br>
+[Most recently updated: April 10, 2021]</div>
+<div style='display:block;margin:1em 0'>Language: English</div>
+<div style='display:block;margin:1em 0'>Character set encoding: UTF-8</div>
+<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: David Starner, Louise Hope and the PG Online Distributed Proofreading Team</div>
+<div style='margin-top:2em;margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK DE CARMINE PASTORALI ***</div>
+
+<p align = "center"><font size = "+2">Series Two:<br>
+<i>Essays on Poetry</i></font><br>
+<br>
+<br>
+<font size = "+1">No. 3</font><br>
+<br>
+<br>
+<font size = "+3">Rapin’s <i>De Carmine Pastorali</i>,</font><br>
+<font size = "+1">prefixed to Thomas Creech’s translation<br>
+of the <i>Idylliums</i> of Theocritus (1684)</font><br>
+<br>
+<br>
+With an Introduction by<br>
+<font size = "+1">J. E. Congleton</font><br>
+and<br>
+a Bibliographical Note<br>
+<br>
+<br>
+<br>
+<br>
+The Augustan Reprint Society<br>
+<font size = "-1">July, 1947<br>
+<i>Price</i>: 75c</font></p>
+<hr>
+<br>
+<p align = "center"><i>GENERAL EDITORS</i><br>
+<br>
+<span class = "smallcaps">Richard C. Boys</span>, <i>University of Michigan</i><br>
+<span class = "smallcaps">Edward Niles Hooker</span>, <i>University of California, Los Angeles</i><br>
+<span class = "smallcaps">H. T. Swedenberg, Jr.</span>, <i>University of California, Los Angeles</i><br>
+<br>
+<br>
+<i>ADVISORY EDITORS</i><br>
+<br>
+<span class = "smallcaps">Emmett L. Avery</span>, <i>State College of Washington</i><br>
+<span class = "smallcaps">Louis I. Bredvold</span>, <i>University of Michigan</i><br>
+<span class = "smallcaps">Benjamin Boyce</span>, <i>University of Nebraska</i><br>
+<span class = "smallcaps">Cleanth Brooks</span>, <i>Louisiana State University</i><br>
+<span class = "smallcaps">James L. Clifford</span>, <i>Columbia University</i><br>
+<span class = "smallcaps">Arthur Friedman</span>, <i>University of Chicago</i><br>
+<span class = "smallcaps">Samuel H. Monk</span>, <i>University of Minnesota</i><br>
+<span class = "smallcaps">James Sutherland</span>, <i>Queen Mary College, London</i><br>
+<br>
+<br>
+<br>
+<br>
+<font size = "-1">Lithoprinted from copy supplied by author<br>
+by<br>
+Edwards Brothers, Inc.<br>
+Ann Arbor, Michigan, U.S.A.<br>
+1947</font><br>
+<hr>
+<br>
+<p align = "center"><a href="#intro">Introduction</a><br>
+<br>
+<a href="#first">de Carmine Pastorali: the first Part</a><br>
+<br>
+<a href="#second">de Carmine Pastorali: the second Part</a><br>
+<br>
+<a href="#third">de Carmine Pastorali: the third Part</a><br>
+<br>
+<a href="#errata">Errata</a><br>
+<br>
+<a href="#biblio">Bibliographic Note</a></p>
+<br>
+<hr>
+<span class = "pagenum">i</span>
+<br>
+<br>
+<p><tt><a name="intro">INTRODUCTION</a><br>
+<br>
+Recent students of criticism have usually placed Rapin in the
+School of Sense. In fact Rapin clearly denominates himself a member
+of that school. In the introduction to his major critical work,
+<u>Reflexions sur la Poetique d'Aristote</u> (1674), he states that
+his essay "is nothing else, but Nature put in Method, and good
+<u>Sense</u> reduced to Principles" (<u>Reflections on Aristotle's
+Treatise of Poesie</u>, London, 1731, II, 131). And in a few
+passages as early as "A Treatise de Carmine Pastorali" (1659), he
+seems to imply that he is being guided in part at least by the
+criterion of "good <u>Sense</u>." For example, after citing several
+writers to prove that "brevity" is one of the "graces" of pastoral
+poetry, he concludes, "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" (p.41).<br>
+<br>
+The basic criterion, nevertheless, which Rapin uses in the
+"Treatise" is the authority of the Ancients—the poems of Theocritus
+and Virgil and the criticism of Aristotle and Horace. Because of his
+constant references to the Ancients, one is likely to conclude that
+he (like Boileau and Pope) must have thought they and Nature (good
+sense) were the same. In a number of passages, however, Rapin
+depends solely on the Ancients. Two examples will suffice to
+illustrate his absolutism. At the beginning of "<u>The Second</u>
+Part," when he is inquiring "into the nature of <u>Pastoral,</u>"
+he admits:</tt>
+
+<blockquote><tt>And this must needs be a hard Task, since I have no
+guide, neither <u>Aristotle</u> nor <u>Horace</u> to direct me....
+And I am of opinion that none can treat well and clearly of any
+kind of <u>Poetry</u> if he hath no helps from these two (p. 16).</tt>
+</blockquote>
+
+<tt>In "<u>The Third</u> Part," when he begins to "lay down" his
+<u>Rules for writing</u> Pastorals," he declares:</tt>
+
+<blockquote><tt><span class = "pagenum">ii</span>Yet in this difficulty
+I will follow <u>Aristotle</u>'s Example, who being to lay down
+Rules concerning <u>Epicks</u>, propos'd <u>Homer</u> as a Pattern,
+from whom he deduc'd the whole Art; So I will gather from
+<u>Theocritus</u> and <u>Virgil</u>, those Fathers of
+<u>Pastoral</u>, what I shall deliver on this account (p.
+52).</tt></blockquote>
+
+<tt>These passages represent the apogee of the neoclassical criticism of
+pastoral poetry. No other critic who wrote on the pastoral depends
+so completely on the authority of the classical critics and poets.
+As a matter of fact, Rapin himself is not so absolute later. In the
+section of the <u>Réflexions</u> on the pastoral, he merely states
+that the best models are Theocritus and Virgil. In short, one may
+say that in the "Treatise" the influence of the Ancients is
+dominant; in the <u>Réflexions</u>, "good <u>Sense</u>."<br>
+<br>
+Reduced to its simplest terms, Rapin's theory is Virgilian. When
+deducing his theory from the works of Theocritus and Virgil, his
+preference is almost without exception for Virgil. Finding Virgil's
+eclogues refined and elegant, Rapin, with a suggestion from Donatus
+(p. 10 and p. 14), concludes that the pastoral "belongs properly to
+the <u>Golden Age</u>" (p. 37)—"that blessed time, when Sincerity
+and Innocence, Peace, Ease, and Plenty inhabited the Plains" (p. 5).
+Here, then, is the immediate source of the Golden Age eclogue,
+which, being transferred to England and popularised by Pope,
+flourished until the time of Dr. Johnson and Joseph Warton.<br>
+<br>
+In France the most prominent opponent to the theory formulated by
+Rapin is Fontenelle. In his "Discours sur la Nature de l'Eglogue"
+(1688) Fontenelle, with studied and impertinent disregard for the
+Ancients and for "ceux qui professent cette espèce de religion que
+l'on s'est faite d'adorer l'antiquité," expressly states that the
+basic criterion by which he worked was "les lumières naturelles de
+la raison" (<u>OEuvres</u>, Paris, 1790, V, 36). It is careless and
+incorrect to imply that Rapin's and Fontenelle's theories of
+pastoral poetry are similar, as Pope, Joseph Warton, and many other
+critics and scholars have<span class = "pagenum">iii</span> done.
+Judged by basic critical principles, method, or content there is a
+distinct difference between Rapin and Fontenelle. Rapin is primarily
+a neoclassicist in his "Treatise"; Fontenelle, a rationalist in his
+"Discours." It is this opposition, then, of neoclassicism and
+rationalism, that constitutes the basic issue of pastoral criticism
+in England during the Restoration and the early part of the
+eighteenth century.<br>
+<br>
+When Fontenelle's "Discours" was translated in 1695, the first
+phrase of it quoted above was translated as "those Pedants who
+profess a kind of Religion which consists of worshipping the
+Ancients" (p. 294). Fontenelle's phrase more nearly than that of the
+English translator describes Rapin. Though Rapin's erudition was
+great, he escaped the quagmire of pedantry. He refers most
+frequently to the scholiasts and editors in "<u>The First Part</u>"
+(which is so trivial that one wonders why he ever troubled to
+accumulate so much insignificant material), but after quoting them
+he does not hesitate to call their ideas "pedantial" (p. 24) and to
+refer to their statements as grammarian's "prattle" (p. 11). And,
+though at times it seems that his curiosity and industry impaired
+his judgment, Rapin does draw significant ideas from such scholars
+and critics as Quintilian, Vives, Scaliger, Donatus, Vossius,
+Servius, Minturno, Heinsius, and Salmasius.<br>
+<br>
+Rapin's most prominent disciple in England is Pope. Actually, Pope
+presents no significant idea on this subject that is foreign to
+Rapin, and much of the language—terminology and set phrases—of
+Pope's "Discourse" comes directly from Rapin's "Treatise" and from
+the section on the pastoral in the <u>Reflections</u>. Contrary to
+his own statement that he "reconciled" some points on which the
+critics disagree and in spite of the fact that he quotes Fontenelle,
+Pope in his "Discourse" is a neoclassicist almost as thoroughgoing
+as Rapin. <span class = "pagenum">iv</span>The ideas which he says
+he took from Fontenelle are either unimportant or may be found in
+Rapin. Pope ends his "Discourse" by drawing a general conclusion
+concerning his <u>Pastorals</u>: "But after all, if they have any
+merit, it is to be attributed to some good old authors, whose works
+as I had leisure to study, so I have not wanted care to imitate."
+This statement is diametrically opposed to the basic ideas and
+methods of Fontenelle, but in full accord with and no doubt directly
+indebted to those of Rapin.<br>
+<br>
+The same year, 1717, that Pope 'imitated' Rapin's "Treatise," Thomas
+Purney made a direct attack on Rapin's neoclassic procedure. In the
+"Preface" to his own <u>Pastorals</u> he expresses his disapproval
+of Rapin's method, evidently with the second passage from Rapin
+quoted above in mind:</tt>
+
+<blockquote><tt><u>Rapine's</u> Discourse is counted the best on this
+Poem, for 'tis the longest. You will easily excuse my not mentioning
+all his Defects and Errors in this Preface. I shall only say then,
+that instead of looking into the true Nature of the Pastoral Poem,
+and then judging whether <u>Theocritus</u> or any of his Followers
+have brought it to it's utmost Perfection or not. <u>Rapine</u>
+takes it for granted that <u>Theocritus</u> and <u>Virgil</u> are
+infallible; and aim's at nothing beyond showing the Rules which he
+thinks they observ'd. Facetious Head! (<u>Works</u>, Oxford, 1933,
+pp. 51-52. The Peroy Reprints, No. XII)</tt></blockquote>
+
+<tt>The influence of Rapin on the development of the pastoral,
+nevertheless, was salutary. Finding the genre vitiated with wit,
+extravagance, and artificiality, he attempted to strip it of these
+Renaissance excrescencies and restore it to its pristine purity by
+direct reference to the Ancients—Virgil, in particular. Though
+Rapin does not have the psychological insight into the esthetic
+principles of the genre equal to that recently exhibited by William
+Empson or even to that expressed by Fontenelle, he does understand
+the intrinsic appeal of the pastoral which has enabled it to
+survive, and often to flourish, through the centuries in painting,
+music, and<span class = "pagenum">v</span> poetry. Perhaps his most
+explicit expression of this appreciation is made while he is
+discussing Horace's statement that the muses love the country:</tt>
+<blockquote>
+<tt>And to speak from the very bottome of my heart... methinks he is
+much more happy in a Wood, that at ease contemplates this universe,
+as his own, and in it, the Sun and Stars, the pleasing Meadows,
+shady Groves, green Banks, stately Trees, flowing Springs, and the
+wanton windings of a River, fit objects for quiet innocence, than he
+that with Fire and Sword disturbs the World, and measures his
+possessions by the wast that lys about him (p. 4).</tt></blockquote>
+<br>
+<tt>René Rapin (1621-1687), in spite of his duties as a Jesuit priest
+and disputes with the Jansenists, became one of the most widely read
+men of his time and carried on the celebrated discussions about the
+Ancients with Maimbourg and Vavasseur. His <u>chef-d'oeuvre</u>
+without contradiction is <u>Hortorum libri IV</u>. Like Virgil,
+Spenser, Pope, and many aspiring lesser poets, he began his literary
+career by writing pastorals, <u>Eclogae Sacrae</u> (1659), to which
+is prefixed in Latin the original of "A Treatise de Carmine
+Pastorali."<br>
+<br>
+&nbsp; &nbsp; J.E. Congleton<br>
+&nbsp; &nbsp; &nbsp; &nbsp; University of Florida<br>
+<br>
+Reprinted here from the copy owned by the Boston Athenaeum by
+permission.</tt><br>
+<br>
+<hr>
+<span class = "pagenum">1</span>
+<hr>
+<br>
+<br>
+<p align = "center">A<br>
+<br>
+<font size = "+2"><span class = "extended">TREATISE</span></font><br>
+<br>
+<font size = "+1">de <span class = "smallcaps">Carmine Pastorali</span><br>
+<br>
+Written by <span class = "smallcaps">Rapin</span>.</font><br>
+<br>
+<hr>
+<br>
+<br>
+<p align = "center"><a name="first"><font size = "+1"><i>The First Part</i>.</font></a></p>
+
+<p><span class = "firstletter">T</span>O be as short as possible in
+my discourse upon the present Subject, I shall not touch upon the
+Excellency of <i>Poetry</i> in general; nor repeat those high
+<i>Encomiums</i>, (as that tis the most divine of all human Arts,
+and the like) which <i>Plato</i> in his <i>Jone</i>,
+<i>Aristotele</i>
+in his <i>Poetica</i>, and other Learned men have copiously insisted
+on: And this I do that I might more closely and briefly pursue my
+present design, which, no doubt will not please every man; for since
+I treat of that part of <i>Poetry</i>, which (to use
+<i>Quintilian’s</i> words,) by reason of its Clownishness, is
+affraid of the Court and City; some may imagine that I follow
+<i>Nichocaris</i> his humor, who would paint only the most ugly and
+deform’d, and those too in the meanest and most frightful dress,
+that real, or fancy’d Poverty could put them in.</p>
+
+<p><span class = "pagenum">2</span>For some think that to be a
+Sheapard is in it self mean, base, and sordid; And this I think is
+the first thing that the graver and soberer sort will be ready to
+object.</p>
+
+<p>But if we consider how honorable that employment is, our
+Objectors from that Topick will be easily answer’d, for as
+<i>Heroick</i> Poems owe their dignity to the Quality of
+<i>Heroes</i>, so <i>Pastorals</i> to that of <i>Sheapards</i>.</p>
+
+<p>Now to manifest this, I shall not rely on the authority of the
+<i>Fabulous</i>, and <i>Heroick</i> Ages, tho, in the former, a God
+fed Sheep in <i>Thessaly</i>, and in the latter, <i>Hercules</i>
+the Prince of <i>Heroes</i>, (as <i>Paterculus</i> stiles him)
+graz’d on mount <i>Aventine</i>: These Examples, tis true, are not
+convinceing, yet they sufficiently shew that the employment of a
+Sheapard was sometime look’d upon to be such, as in those Fabulous
+times was not alltogether unbecomeing the <i>Dignity</i> of a
+<i>Heroe</i>, or the <i>Divinity</i> of a <i>God</i>: which
+consideration if it cannot be of force enough to procure excellence,
+yet certainly it may secure it from the imputation of baseness,
+since it was sometime lookt upon as fit for the greatest in Earth
+or Heaven.</p>
+
+<p>But not to insist on the authority of <i>Poets</i>, <i>Sacred
+Writt</i> tells us that <i>Jacob</i> and <i>Esau</i>, two great men,
+were Sheapards; And <i>Amos</i>, one of the Royal Family, asserts
+the same of himself, for <i>He was</i> among <i>the Sheapards of
+Tecua</i>, following that employment: The like by Gods own
+appoint<span class = "pagenum">3</span>ment prepared <i>Moses</i>
+for a Scepter, as <i>Philo</i> intimates in his life, when He tells
+us, <i>that a Sheapards Art is a suitable preparation to a
+Kingdome</i>; the same He mentions in the Life of <i>Joseph</i>,
+affirming that the care a Sheapard hath over his Cattle, very much
+resembles that which a King hath over his Subjects: The same
+<i>Basil</i> in his Homily de <i>S. Mamm. Martyre</i> hath
+concerning <i>David</i>, who was taken from following the Ews great
+with young ones to feed <i>Israel</i>, for He says that the Art of
+feeding and governing are very near akin, and even Sisters: And
+upon this account I suppose twas, that Kings amongst the
+<i>Greeks</i> reckoned the name of Sheapard one of their greatest
+titles, for, if we believe <i>Varro</i>, amongst the Antients, the
+best and bravest was still a Sheapard: Every body knows that the
+<i>Romans</i> the worthiest and greatest Nation in the World sprang
+from <i>Sheapards</i>: The Augury of the Twelve Vulturs plac’t a
+Scepter in <i>Romulus</i>’s hand which held a Crook before; and at
+that time, as <i>Ovid</i> says,</p>
+
+<div class = "verse"><i>His own small Flock each Senator did keep.</i></div>
+
+<p><i>Lucretius</i> mentions an extraordinary happiness, and as it
+were Divinity in a <i>Sheaperd’s</i> life,</p>
+
+<div class = "verse"><i>Thro Sheapards ease, and their Divine retreats.</i></div>
+
+<p>And this is the reason, I suppose, why the solitude of the
+Country, the shady Groves, and security of that happy Quiet was so
+grateful to the Muses, for thus <i>Horace</i> represents them,
+</p>
+<span class = "pagenum">4</span>
+<div class = "verse"><i>The Muses that the Country Love</i>.</div>
+
+<p>Which Observation was first made by <i>Mnasalce</i> the <i>Sicyonian</i> in his Epigram upon <i>Venus</i></p>
+
+<div class = "verse"><i>The Rural Muse upon the Mountains feeds</i>.</div>
+
+<p>For sometimes the Country is so raveshing and delightful, that
+twill raise Wit and Spirit even in the dullest Clod, And in truth,
+amongst so many heats of Lust and Ambition which usually fire our
+Citys, I cannot see what retreat, what comfort is left for a chast
+and sober Muse.</p>
+
+<p>And to speak from the very bottome of my heart, (not to mention
+the integrity and innocence of Sheapards upon which so many have
+insisted, and so copiously declaimed) methinks he is much more happy
+in a Wood, that at ease contemplates this universe, as his own, and
+in it, the Sun and Stars, the pleasing Meadows, shady Groves, green
+Banks, stately Trees, flowing Springs, and the wanton windings of a
+River, fit objects for quiet innocence, than he that with Fire and
+Sword disturbs the World, and measures his possessions by the wast
+that lys about him: <i>Augustus</i> in the remotest East fights for
+peace, but how tedious were his Voyages? how troublesome his
+Marches? how great his disquiets? what fears and hopes distracted
+his designs? whilst <i>Tityrus</i> contented with a little, happy
+in the enjoyment of his Love, and at ease under his spreading
+Beech.</p>
+
+<div class = "verse"><i>Taught Trees to sound his</i> Amaryllis <i>name</i>.</div>
+
+<p><span class = "pagenum">5</span>
+On the one side <i>Melibœus</i> is forc’t to leave his Country, and
+<i>Antony</i> on the other; the one a Sheapard, the other a great
+man, in the Common-Wealth; how disagreeable was the Event? the
+Sheapard could endure himself; and sit down contentedly under his
+misfortunes, whilst lost <i>Antony</i>,unable to hold out, and
+quitting all hopes both for himself and his Queen, became his own
+barbarous Executioner: Than which sad and deplorable fall I cannot
+imagine what could be worse, for certainly nothing is so miserable
+as a Wretch made so from a flowrishing &amp; happy man; by which tis
+evident how much we ought to prefer before the gaity of a great and
+shining State, that Idol of the Crowd, the lowly simplicity of a
+Sheapards Life: for what is that but a perfect image of the state
+of Innocence, of that golden Age, that blessed time, when Sincerity
+and Innocence, Peace, Ease, and Plenty inhabited the Plains?</p>
+
+<p>Take the Poets description</p>
+
+<div class = "verse"><i>Here Lowly Innocence makes a sure retreat,<br>
+A harmless Life, and ignorant of deceit,<br>
+and free from fears with various sweet’s encrease,<br>
+And all’s or’e spread with the soft wings of Peace:<br>
+Here Oxen low, here Grots, and purling Streams,<br>
+And Spreading shades invite to easy dreams.</i></div>
+
+<p>And thus <i>Horace</i>,</p>
+
+<div class = "verse"><i>Happy the man beyond pretence<br>
+Such was the state of Innocence, &amp;c.</i></div>
+
+<p><span class = "pagenum">6</span>
+And from this head I think the dignity of <i>Bucolicks</i> is
+sufficiently cleared, for as much as the Golden Age is to be
+preferred before the <i>Heroick</i>, so much <i>Pastorals</i> must
+excell <i>Heroick</i> Poems: yet this is so to be understood, that
+if we look upon the majesty and loftiness of <i>Heroick</i> Poems,
+it must be confest that they justly claim the preheminence; but if
+the unaffected neatness, elegant, graceful smartness of the
+expression, or the polite dress of a Poem be considered, then they
+fall short of <i>Pastorals</i>: for this sort flows with Sweet,
+Elegant, neat and pleasing fancies; as is too evident to every one
+that hath tasted the sweeter muses, to need a farther explication:
+for tis not probable that <i>Asinius Pollio</i>, <i>Cinna</i>,
+<i>Varius</i>, <i>Cornelius Gallus</i>, men of the neatest Wit, and
+that lived in the most polite Age, or that <i>Augustus Cæsar</i>
+the Prince of the <i>Roman</i> elegance, as well as of the common
+Wealth, should be so extreamly taken with <i>Virgils Bucolicks</i>,
+or that <i>Virgil</i> himself a man of such singular prudence, and
+so correct a judgment, should dedicate his Eclogues to those great
+Persons; unless he had known that there is somewhat more then
+ordinary Elegance in those sort of Composures, which the wise
+perceive, tho far above the understanding of the Crowd: nay if
+<i>Ludovicus Vives</i>, a very learned man, and admired for politer
+studies may be believed, there is somewhat more sublime and
+excellent in those <i>Pastorals</i>, than the Common
+<span class = "pagenum">7</span> sort of Grammarians imagine: This
+I shall discourse of in an other place, and now inquire into the
+Antiquity of Pastorals.</p>
+
+<div class = "sidenote"><i>The Antiquity of Pastorals</i>.</div>
+
+<p>Since <i>Linus</i>, <i>Orpheus</i>, and <i>Eumolpus</i> were
+famous for their Poems, before the <i>Trojan</i> wars; those are
+certainly mistaken, who date Poetry from that time; I rather incline
+to their opinion who make it as old as the World it self; which
+Assertion as it ought to be understood of Poetry in general, so
+especially of <i>Pastoral</i>, which, as <i>Scaliger</i> delivers,
+was the most antient kind of Poetry, and resulting from the most
+<i>antient</i> way of Liveing: <i>Singing first began amongst
+Sheapards as they fed their Flocks, either by the impulse of nature,
+or in imitation of the notes of Birds, or the whispering of
+Trees.</i></p>
+
+<p>For since the first men were either <i>Sheapards</i> or
+<i>Ploughmen</i>, and <i>Sheapards</i>, as may be gathered out of
+<i>Thucydides</i> and <i>Varro</i>, were before the others, they
+were the first that either invited by their leisure, or (which
+<i>Lucretius</i> thinks more probable) in imitation of Birds, began
+a tune.</p>
+
+<div class = "verse"><i>Thro all the Woods they heard the pleasing noise<br>
+Of chirping Birds, and try’d to frame their voice,<br>
+And Imitate, thus Birds instructed man,<br>
+And taught them Songs before their Art began.</i></div>
+
+<p>In short, tis so certain that Verses first began in the Country
+that the thing is in it self evident, and this <i>Tibullus</i> very
+plainly signifies,
+</p>
+<span class = "pagenum">8</span>
+<div class = "verse"><i>First weary at his Plough the labouring Hind<br>
+In certain feet his rustick words did bind:<br>
+His dry reed first he tun’d at sacred feasts<br>
+To thanks the bounteous Gods, and cheer his Guests.</i></div>
+
+<p><i>In certain feet</i> according to <i>Bern Cylenius</i> of
+<i>Verona</i> his interpretation <i>in set measures</i>: for
+<i>Censorinus</i> tells us, that the antient Songs were loose and
+not ty’d up to any strict numbers, and afterwards by certain laws
+and acknowledged rules were confin’d to such and such measures: for
+this is the method of Nature in all her works, from imperfect and
+rude beginnings things take their first rise, and afterwards by fit
+and apposite additions are polish’t, and brought to perfection: such
+were the Verses which heretofore the <i>Italian</i> Sheapards and
+Plough-men, as <i>Virgil</i> says, sported amongst themselves.</p>
+
+<div class = "verse"><i>Italian Plough-men sprung from antient</i> Troy<br>
+<i>Did sport unpolish’t Rhymes——</i></div>
+
+<p><i>Lucretius</i> in his Fifth Book <i>de Natura Rerum</i>, says,
+that Sheapards were first taught by the rushing of soft Breezes
+amongst the Canes to blow their Reeds, and so by degrees to put
+their Songs in tune. </p>
+
+<div class = "verse"><i>For Whilst soft Evening Gales blew or’e the Plains<br>
+And shook the sounding Reeds, they taught the Swains,<br>
+And thus the Pipe was fram’d, and tuneful Reed,<br>
+And whilst the Flocks did then securely feed,<br>
+The harmless Sheapards tun’d their Pipes to Love,<br>
+And Amaryllis name fill’d every Grove.</i></div>
+<span class = "pagenum">9</span>
+
+<p>From all which tis very plain that <i>Poetry</i> began in those
+days, when Sheapards took up their employment: to this agrees
+<i>Donatus</i> in his Life of <i>Virgil</i>, and <i>Pontanus</i> in
+his Fifth Book of Stars, as appears by these Verses.</p>
+
+<div class = "verse"><i>Here underneath a shade by purling Springs<br>
+The Sheapards Dance, whilst sweet</i> Amyntas <i>sings;<br>
+Thus first the new found Pipe was tun’d to Love,<br>
+And Plough-men taught their Sweet hearts to the Grove,</i></div>
+
+<p>Thus the <i>Fescennine</i> jests when they sang harvest-home,
+and then too the Grape gatherers and Reapers Songs began, an elegant
+example of which we have in the Tenth <i>Idyllium</i> of
+<i>Theocritus</i>.</p>
+
+<p>From this birth, as it were, of <i>Poetry</i>, Verse began to
+grow up to greater matters; For from the common discourse of
+<i>Plough-men</i> and <i>Sheapards</i>, first <i>Comedy</i>, that
+Mistress of a private Life, next <i>Tragedy</i>, and then <i>Epick
+Poetry</i> which is lofty and <i>Heroical</i> arrose, This
+<i>Maximus Tyrius</i> confirms in his Twenty first
+<ins class = "correction" title = "text reads
+’dissetation'">dissertation</ins>,
+where he tells us that Plough-men just comeing from their work, and
+scarce cleansed from the filth of their employment, did use to flurt
+out some sudden and <i>extempore</i> Catches; and from this
+beginning Plays were produc’d and the Stage erected: Thus
+<span class = "pagenum">10</span> much concerning the
+<i>Antiquity</i>, next of the <i>Original</i> of this sort.</p>
+
+<p>About this Learned men cannot agree, for who was the first
+Author, is not sufficiently understood; <i>Donatus</i>, tis true,
+tells us tis proper to the Golden Age, and therefore must needs be
+the product of that happy time: but who was the Author, where, what
+time it was first invented hath been a great Controversy, and not
+yet sufficiently determined: <i>Epicharmus</i> one of
+<i>Pythagoras</i> his School, in his <span class = "greek">ἀλκύονι</span>
+mentions one <i>Diomus</i> a <i>Sicilian</i>, who, if we believe
+<i>Athænæus</i> was the first that wrote <i>Pastorals: those that
+fed Cattle had a peculiar kind of Poetry, call’d Bucolicks,
+of which Dotimus a Sicilian was inventer:</i></p>
+
+<p><i>Diodorus Siculus</i> <span class = "greek">ἐν τοῖς
+μυθολογουμένοις</span>, seems to make <i>Daphnis</i> the son of
+<i>Mercury</i> and a certain <i>Nymph</i>, to be the Author; and
+agreeable to this, <i>Theon</i> an old <i>scholiast</i> on
+<i>Theocritus</i>, in his notes upon the first <i>Idyllium</i>
+mentioning <i>Daphnis</i>, adds, <i>he was the author of
+Bucolicks</i>, and <i>Theocritus himself</i> calls him <i>the Muses
+Darling</i>: and to this Opinion of <i>Diodorus Siculus Polydore
+Virgil</i> readily assents.</p>
+
+<p>But <i>Mnaseas</i> of <i>Patara</i> in a discourse of his
+concerning <i>Europa</i>, speaks thus of a Son of <i>Pan</i> the God
+of Sheapards: <i>Panis Filium Bubulcum à quo &amp; Bucolice canere:</i>
+Now Whether <i>Mnaseas</i> by that <i>Bubulcum</i>, means only a
+<i>Herds-man</i>, or one skilled in <i>Bucolicks</i>, is uncertain;
+but if <i>Valla’s</i> <span class = "pagenum">11</span> judgment be
+good, tis to be taken of the latter: yet <i>Ælian</i> was of another
+mind, for he boldly affirms that <i>Stesichorus</i> called
+<i>Himeræus</i> was the first, and in the same place adds, that
+<i>Daphnis</i> the Son of <i>Mercury</i> was the first Subject of
+<i>Bucolicks</i>.</p>
+
+<p>Some ascribe the Honor to <i>Bacchus</i> the President of the
+<i>Nymphs, Satyrs</i>, and the other Country Gods, perhaps because
+he delighted in the Country; and others attribute it to
+<i>Apollo</i> called <i>Nomius</i> the God of Sheapards, and that he
+invented it then when he served <i>Admetus</i> in <i>Thessaly</i>,
+and fed his Herds: For, tis likely, he to recreate himself, and pass
+away his time, applied his mind to such Songs as were best suitable
+to his present condition: Many think we owe it to <i>Pan</i> the God
+of Sheapards, not a few to <i>Diana</i> that extreamly delighted in
+solitude and Woods; and some say <i>Mercury</i> himself: of all
+which whilst <i>Grammarians</i> prattle, according to their usual
+custome they egregiously trifle; they suffer themselves to be put
+upon by Fables, and resign their judgment up to foolish pretentions,
+but things and solid truth is that we seek after.</p>
+
+<p>As about the Author, so concerning the place of its Birth there
+is a great dispute, some say <i>Sparta</i>, others <i>Peloponesus</i>,
+but most are for <i>Sicily</i>.</p>
+
+<p><i>Valla the Placentine</i>, a curious searcher into Antiquity,
+thinks this sort of Poetry first appear’d amongst the
+<i>Lacedemonians</i>, for when the <i>Persians</i> had wasted
+allmost all <i>Greece</i>, the <i>Spartans</i> say <span class = "pagenum">12</span>
+that they for fear of the <i>Barbarians</i> fled into Caves and
+lurking holes; and that the Country Youth then began to apply
+themselves in Songs to <i>Diana Caryatis</i>, together with the
+Maids, who midst their Songs offerd Flowers to the Goddess: which
+custome containing somewhat of Religion was in those places a long
+time very scrupulously observed.</p>
+
+<p><i>Diomedes</i> the Grammarian, in his treatise of
+<i>Measures</i>, declares <i>Sicily</i> to be the Place: for thus
+he says, the <i>Sicilian</i> Sheapards in time of a great
+<i>Pestilence</i>, began to invent new Ceremonies to appease
+incensed <i>Diana</i>, whom afterward, for affording her help, and
+stopping the Plague they called <span class = "greek">Λύην</span>:
+<i>i.e.</i> the <i>Freer</i> from their Miserys. This grew into
+custom, and the Sheapards used to meet in Companies, to sing their
+deliverer <i>Diana’s</i> praise, and these afterwards passing into
+<i>Italy</i> were there named <i>Bucoliastæ</i>.</p>
+
+<p><i>Pomponius Sabinus</i> tells the story thus: When the Hymns the
+Virgins us’d to sing in the Country to <i>Diana</i> were left off,
+because, by reason of the present Wars, the Maidens were forc’t to
+keep close within the Towns; the Shepherds met, and sang these kind
+of Songs, which are now call’d <i>Bucolicks</i>, to <i>Diana</i>;
+to whom they could not give the usual worship by reason of the Wars:
+But <i>Donatus</i> says, that this kind of Verses was first sung to
+<i>Diana</i> by <i>Orestes</i>, when he wandred about <i>Italy</i>;
+after he fled from <i>Scythia Taurica</i>, and had <span class = "pagenum">13</span>
+taken away the Image of the Goddess and hid it in a bundle of
+sticks, whence she receiv’d the name of <i>Fascelina</i>, or
+<i>Phacelide</i> <span class = "greek">ἀπὸ τοῦ φακέλου</span> At
+whose Altar, the very same <i>Orestes</i> was afterward expiated by
+his Sister <i>Iphigenia</i>: But how can any one rely on such
+Fables, when the inconsiderable Authors that propose them disagree
+so much amongst themselves?</p>
+
+<p>Some are of Opinion that the Shepherds, were wont in solem and
+set Songs about the Fields and Towns to celebrate the Goddess
+<i>Pales</i>; and beg her to bless their flocks and fields with a
+plenteous encrease and that from hence the name, and composure of
+<i>Bucolicks</i> continued.</p>
+
+<p>Other prying ingenious Men make other conjectures, as to this
+mazing Controversy thus <i>Vossius</i> delivers himself; <i>The
+Antients cannot be reconcil’d, but I rather incline to their opinion
+who think</i> Bucolicks <i>were invented either by the</i> Sicilians
+<i>or</i> Peloponesians, <i>for both those use the</i> Dorick
+<i>dialect, and all the</i> Greek Bucolicks <i>are writ in that</i>:
+As for my self I think, that what <i>Horace</i> says of <i>Elegies</i>
+may be apply’d to the present Subject.</p>
+
+<div class = "verse"><i>But who soft Elegies was the first that wrote<br>
+Grammarians doubt, and cannot end the doubt:</i></div>
+
+<p>For I find nothing certain about this matter, since neither
+<i>Valla</i> a diligent inquirer after, and a good judge in such
+things, nor any of the late writers produce any thing upon which I can
+safely rely; yet what beginning this kind of Poetry <span class = "pagenum">14</span>
+had, I think I can pretty well conjecture: for tis
+likely that first Shepherds us’d Songs to recreate themselves in their
+leisure hours whilst they fed their Sheep; and that each man, as his
+wit served, accommodated his Songs to his present Circumstances: to
+this Solitude invited, and the extream leisure that attends that
+employment absolutely requir’d it: For as their retirement gave them
+leisure, and Solitude a fit place for Meditation, Meditation and
+Invention produc’d a Verse; which is nothing else but a Speech fit to
+be sung, and so Songs began: Thus <i>Hesiod</i> was made a Poet, for
+he acknowledges himself that he receiv’d his inspiration;</p>
+
+<div class = "verse"><i>Whilst under </i>Helicon <i>he fed his Lambs</i>.</div>
+
+<p>for either the leisure or fancy of Shepherds seems to have a
+natural aptitude to Verse.</p>
+
+<p>And indeed I cannot but agree with <i>Lucretius</i> that accurate
+Searcher into Nature, who delivers that from that state of Innocence
+the Golden Age, Pastorals continued down to his time, for after he had
+in his fifth book describ’d that most happy age, he adds,</p>
+
+<div class = "verse"><i>For then the Rural Muses reign’d</i>.</div>
+
+<p>From whence ’tis very plain, that as <i>Donatus</i> himself
+observ’d, Pastorals were the invention of the simplicity and innocence
+of that Golden age, if there was ever any such, or certainly of that
+time which succeeded the beginning of the World: For tho the Golden
+Age must be ac<span class = "pagenum">15</span>knowledged to be only
+in the fabulous times, yet ’tis certain that the Manners of the first
+Men were so plain and simple, that we may easily derive both the
+innocent imployment of Shepherds, and Pastorals from them.</p>
+<hr>
+<span class = "pagenum">16</span>
+<br>
+<br>
+<p align = "center"><a name="second"><font size = "+1"><i>The Second</i><span class = "extended"> PAR</span>T.</font></a></p>
+
+<p><span class = "firstletter">N</span>OW let us inquire into the
+nature of <i>Pastoral</i>, in what its excellencies consist, and how
+it must be made to be exact: And this must needs be a hard Task, since
+I have no guide, neither <i>Aristotle</i> nor <i>Horace</i> to direct
+me; for both they, whatever was the matter, speak not one word of this
+sort of Verse. And I am of opinion that none can treat well and
+clearly of any kind of <i>Poetry</i> if he hath no helps from these
+two: But since they lay down some general Notions of <i>Poetry</i>
+which may be useful in the present case, I shall follow their steps as
+close as possible I can.</p>
+
+<p>Not only <i>Aristotle</i> but <i>Horace</i> too hath defin’d that
+<i>Poetry</i> in general is Imitation; I mention only these two, for
+tho <i>Plato</i> in his Second Book <i>de Rep.</i> and in his
+<i>Timæus</i> delivers the same thing, I shall not make use of his
+Authority at all: Now as <i>Comedy</i> according to <i>Aristotle</i>
+is the <i>Image and Representation of a gentiel and City Life</i>, so
+is <i>Pastoral Poetry</i> of a County and <i>Sheapards</i> Life; for
+since <i>Poetry</i> in general is Imitation; its several
+<i>Species</i> must likewise Imitate, take <i>Aristotles</i> own words
+<i>Cap.</i> 1. <span class = "greek">πᾶσαι τυγχάνουσιν οὖσαι
+μιμήσεις</span>; And these <i>Species</i> are <span class = "pagenum">17</span>
+differenc’t either by the subject matter, when the things to be
+imitated are quite different, or when the manner in which you
+imitate, or the mode of imitation is so: <span class = "greek">ἐν
+τρισὶ δὲ ταύταισ διαφοραῖς ἡ μιμησίς ἐστιν, ἐν οἷς καὶ ἅ, καὶ ὥς</span>:
+Thus tho of <i>Epick</i> Poetry and <i>Tragedy</i> the
+Subject is the same, and some great illustrious Action is to be
+<i>imitated</i> by both, yet since one by representation, and the
+other by plain narration imitates, each makes a different
+<i>Species</i> of imitation. And <i>Comedy</i> and <i>Tragedy</i>, tho
+they agree in this, that both represent, yet because the Matter is
+different, and <i>Tragedy</i> must represent some brave action, and
+<i>Comedy</i> a humor; these Two sorts of imitation are
+<i>Specifically different</i>. And upon the same account, since
+<i>Pastoral</i> chooses the
+<ins class = "correction" title = "text reads 'mannes'">manners</ins>
+of Sheapards for its imitation, it takes
+from its matter a peculiar difference, by which it is distinguish’d
+frõ all others.</p>
+
+<p>But here <i>Benius</i> in his comments upon <i>Aristotle</i> hath
+started a considerable query: which is this; Whether <i>Aristotle</i>,
+when he reckons up the different <i>Species</i> of Poetry <i>Cap</i>
+1. doth include <i>Pastoral,</i> or no? And about this I find learn’d
+men cannot at all agree: which certainly <i>Benius</i> should have
+determin’d, or not rais’d: some refer it to that sort which <i>was
+sung to Pipes</i>, for that <i>Pastorals</i> were so <i>Apuleius</i>
+intimates, when at the marriage Feast of <i>Phyche</i> He brings in
+<i>Paniscus</i> singing <i>Bucolicks</i> to his Pipe; But since they
+did not seriously enough consider, what <i>Aristotle</i> <span class = "pagenum">18</span>
+meant by that which he calls <span class = "greek">αυλητικὴν</span>
+they trifle, talk idly, and are not to be
+heeded in this matter; For suppose some <i>Musitian</i> should sing
+<i>Virgils Ænæis</i> to the Harp, (and <i>Ant. Lullus</i> says it hath
+been done,) should we therefore reckon that divine and incomparable
+Master of <i>Heroick</i> Poetry amongst the <i>Lyricks</i>?</p>
+
+<p>Others with <i>Cæsius Bassus</i> and <i>Isacius Tzetzes</i> hold
+that that distribution of <i>Poetry</i>, which <i>Aristotle</i> and
+<i>Tully</i> hath left us, is deficient and imperfect; and that only
+the chief Species are reckoned, but the more inconsiderable not
+mention’d: I shall not here interest my self in that quarrel of the
+<i>Criticks</i>, whether we have all <i>Aristotles</i> books of Poetry
+or no; this is a considerable difficulty I confess, for
+<i>Laertius</i> who accurately weighs this matter, says that he wrote
+two books of <i>Poetry</i>, the one lost, and the other we have, tho
+<i>Mutinensis</i> is of an other mind: but to end this dispute, I must
+agree with <i>Vossius</i>, who says the Philosopher comprehended these
+Species not expressly mentioned, under a higher and more noble head:
+and that therefore <i>Pastoral</i> was contain’d in <i>Epick</i>. for
+these are his own words, <i>besides there are Epicks of an inferior
+rank, such as the Writers of Bucolicks</i>. <i>Sincerus</i>, as
+<i>Minturnus</i> quotes him, is of the same mind, for thus he delivers
+his opinion concerning <i>Epick Verse</i>: <i>The matters about which
+these numbers may be employed is various; either mean and low, as in
+Pastorals, great and lofty, as when <span class = "pagenum">19</span>
+the Subject is Divine Things, or Heroick Actions, or of a middle rank,
+as when we use them to deliver precepts in:</i> And this likewise he
+signifys before, where he sets down three sorts of <i>Epicks</i>:
+<i>one of which, says he, is divine, and the most excellent by much in
+all Poetry</i>; the <i>other the lowest but most pure, in which
+Theocritus excelled, which indeed shews nothing of Poetry beside the
+bare numbers</i>: These points being thus settled, the remaining
+difficultys will be more easily dispatched.</p>
+
+<p>For as in <i>Dramatick</i> Poetry the Dignity and meanness of the
+<i>Persons</i> represented make two different <i>Species of
+imitation</i> the one <i>Tragick</i>, which agrees to none but great
+and Illustrious persons, the other <i>Comick</i>, which suits with
+common and gentile humors: so in <i>Epick</i> too, there may be
+reckoned two sorts of <i>Imitation</i>, one of which belongs to
+<i>Heroes</i>, and that makes the <i>Heroick</i>; the other to
+<i>Rusticks</i> and <i>Sheapards</i> and that constitutes the
+<i>Pastoral</i>, now as a <i>Picture</i> imitates the Features of the
+face, so <i>Poetry</i> doth action, and tis not a representation of
+the Person but the Action.
+<span class = "sidenote"><i>The Definition of Pastoral</i>.</span>
+From all which we may gather this definition of Pastoral: <i>It is the
+imitation of the Action of a Sheapard, or of one taken under that
+Character</i>: Thus <i>Virgil’s Gallus</i>, tho not really a
+<i>Sheapard</i>, for he was a man of great quality in <i>Rome</i>, yet
+belongs to <i>Pastoral</i>, because he is represented like a Sheapard:
+hence the Poet:
+</p>
+<span class = "pagenum">20</span>
+<div class = "verse"><i>The Goatherd and the heavy Heardsmen came,<br>
+And ask’t what rais’d the deadly Flame.</i></div>
+
+<p>The <i>Scene</i> lys amongst Sheapards, the <i>Swains</i> are
+brought in, the <i>Herdsmen</i> come to see his misery, and the
+fiction is suited to the real condition of a <i>Sheapard</i>; the same
+is to be said for his <i>Silenus</i>, who tho he seems lofty, and to
+sound to loud for an oaten reed, yet since what he sings he sings to
+<i>Sheapards</i>, and suits his Subject to their apprehensions, his is
+to be acknowledged <i>Pastoral</i>. This rule we must stick to, that
+we might infallibly discern what is stricktly <i>Pastoral</i> in
+<i>Virgil</i> and <i>Theocritus</i>, and what not: for in
+<i>Theocritus</i> there are some more lofty thoughts which not having
+any thing belonging to Sheapards for their Subject, must by no means
+be accounted <i>Pastoral</i>, But of this more in its proper
+place.</p>
+
+<p>My present inquiry must be what is the <i>Subject Matter</i> of a
+<i>Pastoral</i>, about which it is not easy to resolve; since neither
+from <i>Aristotle</i>, nor any of the <i>Greeks</i> who have written
+<i>Pastorals</i>, we can receive certain direction. For sometimes they
+treat of high and sublime things, like <i>Epick Poets</i>; what can be
+loftier than the whole <i>Seaventh Idyllium of Bias</i> in which
+<i>Myrsan</i> urges <i>Lycidas</i> the Sheapard to sing the Loves of
+<i>Deidamia</i> and <i>Achilles</i>. For he begins from <i>Helen’s</i>
+rape, and goes on to the revengful fury of the <i>Atrides</i>, and
+shuts up in one <i>Pastoral</i>, all that is great and sounding in
+<i>Homers Iliad</i>.
+</p>
+<span class = "pagenum">21</span>
+<div class = "verse"><i>Sparta was fir’d with Rage<br>
+And gather’d Greece to prosecute Revenge.</i></div>
+
+<p>And <i>Theocritus</i> his verses are sometimes as sounding and
+his thoughts as high: for upon serious consideration I cannot mind
+what part of all the <i>Heroicks</i> is so strong and sounding as
+that <i>Idyllium</i> on <i>Hercules</i>
+<span class = "greek">λεοντοφονω</span> in which <i>Hercules</i>
+himself tells <i>Phyleus</i> how he kill’d the Lyon whose Skin he
+wore: for, not to mention many, what can be greater than this
+expression.</p>
+
+<div class = "verse"><i>And gaping Hell received his mighty Soul</i>:</div>
+
+<p>Why should I instance in the <span class = "greek">διόσκουροι</span>,
+which hath not one line below Heroick; the greatness of this is
+almost inexpressible.</p>
+
+<div class = "verse"><span class = "greek">ἀνὴρ ὑπέροπλος ἐνήμερος, ἐνδιάασκε<br>
+ δεινὸς ἰδεῖν</span></div>
+
+<p>And some other pieces are as strong as these, such is the
+<i>Panegyrick on Ptolemy</i>, <i>Helen’s Epithalamium</i>, and the
+Fight of young <i>Hercules</i> and the Snakes: now how is it likely
+that such Subjects should be fit for <i>Pastorals</i>, of which in my
+opinion, the same may be said which <i>Ovid</i> doth of his
+<i>Cydippe</i>.</p>
+
+<div class = "verse"><i>Cydippe, Homer, doth not fit thy Muse.</i></div>
+
+<p>For certainly <i>Pastorals</i> ought not to rise to the Majesty of
+<i>Heroicks</i>: but who on the other side <span class = "pagenum">22</span>
+dares reprehend such great and judicious Authors,
+whose very doing it is Authority enough? What shall I say of
+<i>Virgil</i>? who in his Sixth <i>Eclogue</i> hath put together
+allmost all the particulars of the fabulous Age; what is so high to
+which <i>Silenus</i> that Master of Mysterys doth not soar?</p>
+
+<div class = "verse"><i>For lo! he sung the Worlds stupendious birth,<br>
+How scatter’d seeds of sea, of Air, and Earth,<br>
+And purer Fire thro universal night<br>
+And empty space did fruitfully unite:<br>
+From whence th’ innumerable race of things<br>
+By circular successive order springs:</i></div>
+
+<p>And afterward</p>
+
+<div class = "verse"><i>How Pyrra’s Stony race rose from the ground,<br>
+And Saturn reign’d with Golden plenty crown’d,<br>
+How bold</i> Prometheus <i>(whose untam’d desire,<br>
+Rival’d the Sun with his own Heavenly Fire)<br>
+Now doom’d the</i> Scythian <i>Vulturs endless prey<br>
+Severely pays for Animating Clay:</i></div>
+
+<p>So true, so certain ’tis, that nothing is so high and lofty to
+which <i>Bucolicks</i> may not successfully aspire. But if this be so,
+what will become of <i>Macrobius, Georgius Valla, Julius Scaliger,
+Vossius,</i> and the whole company of Grammarians? who all affirm that
+simplicity and meanness is so essential to <i>Pastorals</i>, that it
+ought to be confin’d to the State, Manners, Apprehension and even
+common phrases of Sheapards: for nothing can <span class = "pagenum">23</span>
+be said to be <i>Pastoral</i>, which is not
+accommodated to their condition; and for this Reason <i>Nannius
+Alcmaritanus</i> in my opinion is a trifler, who, in his comments on
+<i>Virgils Eclogues</i>, thinks that those sorts of Composures may now
+and then be lofty, and treat of great subjects: where he likewise
+divides the matter of <i>Bucolicks</i>, into <i>Low</i>,
+<i>Middle</i>, and <i>High</i>: and makes <i>Virgil</i> the Author of
+this Division, who in his Fourth <i>Eclogue</i>, (as he imagines)
+divides the matter of <i>Bucolicks</i> into Three sorts, and intimates
+this division by these three words: <i>Bushes</i>, <i>Shrubs</i> and
+<i>Woods</i>.</p>
+
+<div class = "verse"><i>Sicilian Muse begin a loftier strain,<br>
+The Bushes and the Shrubs that shade the Plain<br>
+Delight not all; if I to Woods repair<br>
+My Song shall make them worth a Consuls Care</i>.</div>
+
+<p>By Woods, as he fancys, as <i>Virgil</i> means high and stately
+Trees, so He would have a great and lofty Subject to to be
+implyed,such as he designed for the <i>Consul</i>: by Bushes, which
+are almost even with the ground, the meanest and lowest argument; and
+by Shrubs a Subject not so high as the one, nor so low as the other,
+as the thing it-self is, And therefore these lines</p>
+
+<div class = "verse">&nbsp;&nbsp;&nbsp;&nbsp;<i>If I to Woods repair<br>
+My Song shall make them worth a</i> Consuls <i>care</i>.</div>
+
+<p><span class = "pagenum">24</span>
+are thus to be understood, That if we choose high and sublime
+arguments, our work will be fit for the Patronage of a <i>Consul</i>,
+This is <i>Nanniu’s</i> interpretation of that place; too pedantial
+and subtle I’me affraid, for tis not credible that ever <i>Virgil</i>
+thought of reckoning great and lofty things amongst the Subjects of
+<i>Bucolicks</i> especially since</p>
+
+<div class = "verse"><i>When his</i> Thalia <i>rais’d her bolder voice<br>
+And Kings and Battles were her lofty choice</i>,<br>
+Phæbus <i>did twitch his Ear, mean thoughts infuse,<br>
+And with this whisper check’t th’ inspiring Muse.<br>
+A Sheapard, Tityrus, his Sheep should feed,<br>
+And choose a subject suited to his reed</i>,</div>
+
+<p>This certainly was a serious admonition, implyed by the twitching
+of his Ear, and I believe if he had continued in this former humor and
+not obey’d the smarting admonition. He had still felt it: so far was
+he from thinking Kings and Battels fit Themes for a <i>Sheapards</i>
+song: and this evidently shows that in <i>Virgils</i> opinion,
+contrary to <i>Nanniu’s</i> fancy, great things cannot in the least be
+comprehended within the subject matter of <i>Pastorals;</i> no, it
+must be low and humble, which <i>Theocritus</i> very happily
+expresseth by this word <span class = "greek">Βουκολιάσδην</span>
+<i>i. e.</i> as the interpreters explain it, sing humble Strains.</p>
+
+<p><ins class = "correction" title = "text reads 'theefore'">Therefore</ins>
+let <i>Pastoral</i> never venture upon a <span class = "pagenum">25</span>
+lofty subject, let it not recede one
+jot from its proper matter, but be employ’d about Rustick affairs:
+such as are mean and humble in themselves; and such are the affairs of
+Shepherds, especially their Loves, but those must be pure and
+innocent; not disturb’d by vain suspitious jealousy, nor polluted by
+Rapes; The Rivals must not fight, and their emulations must be without
+quarrellings: such as <i>Vida</i> meant.</p>
+
+<div class = "verse"><i>Whilst on his Reed he Shepherd’s <ins class = "correction" title = "text reads 'stifes'">strifes</ins> conveys,<br>
+And soft complaints in smooth Sicilian lays</i>.</div>
+
+<p>To these may be added <i>sports, Jests, Gifts</i>, and
+<i>Presents</i>; but not <i>costly</i>, such are yellow Apples, young
+stock-Doves, Milk, Flowers, and the like; all things must appear
+delightful and easy, nothing vitious and rough: A perfidious Pimp, a
+designing Jilt, a gripeing Usurer, a crafty factious Servant must have
+no room there, but every part must be full of the simplicity of the
+<i>Golden-Age</i>, and of that Candor which was then eminent: for as
+<i>Juvenal affirms</i></p>
+
+<div class = "verse"><i>Baseness was a great wonder in that Age</i>;</div>
+
+<p>Sometimes <i>Funeral-Rites</i> are the subject of an
+<i>Eclogue</i>, where the Shepherds scatter flowers on the Tomb, and
+sing Rustick Songs in honor of the Dead: Examples of this kind are
+left us by <i>Virgil</i> in his <i>Daphnis</i>, and <i>Bion</i> in his
+<i>Adonis</i>, and this hath nothing disagreeable to a Shepherd: In
+<span class = "pagenum">26</span> short whatever, the decorum being
+still preserv’d, can be done by a <i>Sheapard</i>, may be the Subject
+of a <i>Pastoral</i>.</p>
+
+<p>Now there may be more kinds of Subjects than <i>Servius</i> or
+<i>Donatus</i> allow, for they confine us to that Number which
+<i>Virgil</i> hath made use of, tho <i>Minturnus</i> in his second
+Book <i>de Poetâ</i> declares against this opinion: But as a glorious
+<i>Heroick</i> action must be the Subject of an <i>Heroick</i> Poem,
+so a <i>Pastoral</i> action of a <i>Pastoral</i>; at least it must be
+so turn’d and wrought, that it might appear to be the action of a
+<i>Shepherd</i>; which caution is very necessary to be observ’d, to
+clear a great many difficulties in this matter: for tho as the
+Interpreters assure us; most of <i>Virgils</i> Eclogues are about the
+Civil war, planting Colonys, the murder of the Emperor, and the like,
+which in themselves are too great and too lofty for humble
+<i>Pastoral</i> to reach, yet because they are accomodated to the
+Genius of Shepherds, may be the Subject of an <i>Eclogue</i>, for that
+sometimes will admit of Gods and Heroes so they appear like, and are
+shrouded under the Persons of Shepherds: But as for these matters
+which neither really are, nor are so wrought as to seem the actions of
+Shepherds, such are in <i>Moschus</i>’s <i>Europa</i>,
+<i>Theocritus</i>’s <i>Epithalamium of Helen</i>, and <i>Virgil</i>’s
+<i>Pollio</i>, to declare my opinion freely, I cannot think them to be
+fit Subjects for <i>Bucolicks</i>: And upon this account I suppose
+’tis that <i>Servius</i> in his <span class = "pagenum">27</span>
+Comments on <i>Virgil</i>’s <i>Bucoliks</i> reckons only seven of
+<i>Virgil</i>’s ten Eclogues, and onely ten of <i>Theocritus</i>’s
+thirty, to be pure Pastorals, and <i>Salmasius</i> upon <i>Solinus</i>
+says, that <i>amongst Theocritus</i>’s <i>Poems there are some which
+you may call what you please Beside Pastorals</i>: and <i>Heinsius</i>
+in his <i>Scholia</i> upon <i>Theocritus</i> will allow but Ten of his
+<i>Idylliums</i> to be <i>Bucoliks</i>, 1. 2. 3. 4. 5. 6. 7. 8. 9. 11.
+for all the rest are deficient either in matter or form, and from this
+number of pure pastoral <i>Idylliums</i> I am apt to think, that
+<i>Theocritus</i> seems to have made that Pipe, on which he tun’d his
+<i>Pastorals</i> and which he consecrated to <i>Pan</i> of ten Reeds,
+as <i>Salmasius</i> in his notes on <i>Theocritus</i>’s Pipe hath
+learnedly observed: <i>in which two Verses always make one Reed of the
+Pipe, therefore all are so unequal, like the unequal Reeds of a Pipe,
+that if you put two equals together which make one Reed, the whole
+inequality consists in ten pairs</i>; when in the common Pipes there
+were usually no more then seven Reeds, and this the less curious
+observers have heedlessly past by.</p>
+
+<p>Some are of opinion that whatever is done in the Country, and in
+one word, every thing that hath nought of the City in it may be
+treated of in <i>Pastorals</i>; and that the discourse of Fishers,
+Plow-men, Reapers, Hunters, and the like, belong to this kind of
+Poetry: which according to the Rule that I have laid down cannot be
+true for, as I before hinted nothing but the action of a <span class = "pagenum">28</span>
+Shepherd can be the Subject of a Pastoral.</p>
+
+<p>I shall not here enquire, tho it may seem proper, whether we can
+decently bring into an Eclogue Reapers, Vine-dressers, Gardners,
+Fowlers, Hunters, Fishers, or the like, whose lives for the most part
+are taken up with too much business and employment to have any vacant
+time for Songs, and idle Chat, which are more agreeable to the leisure
+of a Sheapards Life: for in a great many Rustick affairs, either the
+hardship and painful Labor will not admit a song, as in Plowing, or
+the solitude as in hunting, Fishing, Fowling, and the like; but of
+this I shall discourse more largely in another place.</p>
+
+<p>Now ’tis not sufficient to make a Poem a true <i>Pastoral</i>,
+that the Subject of it is the action of a Shepherd, for in
+<i>Hesiods</i> <span class = "greek">ἔργα</span> and <i>Virgils
+Georgicks</i> there are a great many things that belong to the
+employment of a Shepherd, yet none fancy they are Pastorals; from
+whence ’tis evident, that beside the <i>matter</i>, which we have
+defin’d to be the action of a Sheapard, there is a peculiar
+<i>Form</i> proper to this kind of <i>Poetry</i> by which ’tis
+distinguish’d from all others.</p>
+
+<p>Of Poetry in General <i>Socrates</i>, as <i>Plato</i> tells us,
+would have <i>Fable</i> to be the <i>Form</i>: <i>Aristotle</i>
+Imitation: I shall not dispute what difference there is between these
+two, but only inquire whether Imitation be the <i>Form</i> of
+<i>Pastoral</i>: ’tis certain that <i>Epick</i> Poetry is differenc’t
+from <i>Tragick</i> on<span class = "pagenum">29</span>ly by the
+manner of imitation, for the latter imitates by <i>action</i>, and the
+former by bare <i>narration</i>: But <i>Pastoral</i> is the imitation
+of a <i>Pastoral</i> action either by bare narration, as in
+<i>Virgil</i>’s <i>Alexis</i>, and <i>Theocritus</i>’s 7<i>th
+Idyllium</i>, in which the Poet speaks all along in his own Person: or
+by action as in <i>Virgil</i>’s <i>Tityrus</i>, and the first of
+<i>Theocritus</i>, or by both mixt, as in the Second and Eleventh
+<i>Idylliums</i>, in which the Poet partly speaks in his own Person,
+and partly makes others speak, and I think the old <i>Scholiast</i> on
+<i>Theocritus</i> took an hint from these when he says, that Pastoral
+is a mixture made up of all sorts, for ’tis Narrative, Dramatick, and
+mixt, and <i>Aristotle</i>, tho obscurely, seems to hint in those
+words, <i>In every one of the mentioned Arts there is Imitation, in
+some simple, in some mixt</i>; now this latter being peculiar to
+<i>Bucolicks</i> makes its very form and Essence: and therefore
+<i>Scaliger</i>, in the 4<i>th</i> Chapter of his first Book of
+Poetry, reckons up three Species of <i>Pastorals</i>, the first hath
+but one Person, the second several, which sing alternately; the third
+is mixt of both the other: And the same observation is made by
+<i>Heinsius</i> in his Notes on <i>Theocritus</i>, for thus he very
+plainly to our purpose, <i>the Character of</i> Bucolicks <i>is a
+mixture of all sorts of Characters, Dramatick, Narrative, or mixt</i>:
+from all which ’tis very manifest that the manner of <i>Imitation</i>
+which is proper to <i>Pastorals</i> is the mixt: for in other kinds of
+Poetry ’tis one and simple, at least <span class = "pagenum">30</span>
+not so manifold; as in <i>Tragedy Action</i>: in <i>Epick</i> Poetry
+<i>Narration</i>.</p>
+
+<p>Now I shall explain what sort of <i>Fable</i>; <i>Manners</i>,
+<i>Thought</i>, <i>Expression</i>, which four are necessary to
+constitute every kind of Poetry, are proper to this sort.</p>
+<br>
+<p><i>Concerning the Fable which</i> Aristotle <i>calls,</i>
+<span class = "greek">σύνθεσιν τῶν πραγμάτων</span>,</p>
+
+<p>I have but one thing to say: this, as the Philosopher hints, as of
+all other sorts of Poetry, so of Pastoral is the very Soul. and
+therfore <i>Socrates</i> in <i>Plato</i> says, that in those Verses
+which he had made there was nothing wanting but the <i>Fable</i>:
+therefore Pastorals as other kinds of Poetry must have their Fable, if
+they will be Poetry: Thus in <i>Virgil</i>’s <i>Silenus</i> which
+contains the Stories of allmost the whole Fabulous Age, two Shepherds
+whom <i>Silenus</i> had often promis’d a Song, and as often deceived,
+seize upon him being drunk and asleep, and bind him with wreath’d
+Flowers; <i>Ægle</i> comes in and incourages the timorous youths, and
+stains his jolly red Face with Blackberries, <i>Silenus</i> laughs at
+their innocent contrivance, and desires to be unbound, and then with a
+premeditated Song satisfies the Nymph’s and Boys Curiosity; The
+incomparable Poet sings wonders, the Rocks rejoyce, the Vales eccho,
+and happy <i>Eurotas</i> as if <i>Phœbus</i> himself sang, hears all,
+and bids the Laurels that grow upon his Banks listen to, and learn
+the Song.
+</p>
+<span class = "pagenum">31</span>
+<div class = "verse"><i>Happy</i> Eurotas <i>as he flow’d along<br>
+Heard all, and bad the Laurels learn the Song.</i></div>
+
+<p>Thus every Eclogue or Idyllium must have its Fable, which must be
+the groundwork of the whole design, but it must not be perplext with
+sudden and unlookt for changes, as in <i>Marinus</i>’s <i>Adonis</i>:
+for that, tho the <i>Fable</i> be of a Shepherd, yet by reason of the
+strange Bombast under Plots, and wonderful occurences, cannot be
+accounted <i>Pastoral</i>; for that it might be agreeable to the
+Person it treats of, it must be plain and simple, such as
+<i>Sophocles</i>’s <i>Ajax</i>, in which there is not so much as one
+change of Fortune. As for the Manners, let that precept, which
+<i>Horace</i> lays down in his Epistle to the <i>Pisones</i>, be
+principally observed.</p>
+
+<div class = "verse"><i>Let each be grac’t with that which suits him best</i>.</div>
+
+<p>For this, as ’tis a rule relateing to <i>Poetry</i> in general, so
+it respects this kind also of which we are treating; and against this
+<i>Tasso</i> in his <i>Amyntas</i>, <i>Bonarellus</i> in his
+<i>Phyllis</i>, <i>Guarinus</i> in his <i>Pastor Fido</i>,
+<i>Marinus</i> in his <i>Idylliums</i>, and most of the
+<i>Italians</i> grievously offend, for they make their
+<i>Shepherds</i> too polite, and elegant, and cloth them with all the
+neatness of the Town, and Complement of the Court, which tho it may
+seem very pretty, yet amongst good <i>Critics</i>, let <i>Veratus</i>
+<span class = "pagenum">32</span> say what he will in their excuse, it
+cannot be allowed: For ’tis against <i>Minturnus</i>’s Opinion, who in
+his second Book <i>de Poetâ</i> says thus: <i>Mean Persons are brought
+in, those in Comedy indeed more polite, those in Pastorals more
+unelegant, as suppos’d to lead a rude life in Solitude</i>; and
+<i>Jason Denor</i> a Doctor of <i>Padua</i> takes notice of the same
+as a very absurd Error: <i>Aristotle</i> heretofore for a like fault
+reprehended the <i>Megarensians</i>, who observ’d no <i>Decorum</i> in
+their <i>Theater</i>, but brought in mean persons with a Train fit for
+a <i>King</i> and cloath’d a Cobler or Tinker in a Purple Robe: In
+vain doth <i>Veratus</i> in his Dispute against <i>Jason Denor</i>, to
+defend those elaborately exquisite discourses, and notable sublime
+sentences of his <i>Pastor Fido</i>, bring some lofty <i>Idylliums</i>
+of <i>Theocritus</i>, for those are not acknowledged to be Pastoral;
+<i>Theocritus</i> and <i>Virgil</i> must be consulted in this matter,
+the former designdly makes his Shepherds discourse in the
+<i>Dorick</i> i. e. the Rustick Dialect, sometimes scarce true
+Grammar; &amp; the other studiously affects ignorance in the persons of
+his Shepherds, as <i>Servius</i> hath observ’d, and is evident in
+<i>Melibæus</i>, who makes <i>Oaxes</i> to be a River in <i>Crete</i>
+when ’tis in <i>Mesopotamia</i>: and both of them take this way that
+the Manners may the more exactly suit with the Persons they represent,
+who of themselves are rude and unpolisht: And this proves that they
+scandalously err, who make their Shepherds appear polite and elegant;
+nor can I imagine what <i>Veratus</i> <span class =
+"pagenum">33</span> who makes so much ado about the polite manners of
+the <i>Arcadian</i> Shepherds, would say to <i>Polybius</i> who tells
+us that <i>Arcadians</i> by reason of the Mountainousness of the
+Country and hardness of the weather, are very unsociable and
+austere.</p>
+
+<p>Now as too much neatness in <i>Pastoral</i> is not to be allow’d,
+so rusticity (I do not mean that which <i>Plato</i>, in his Third Book
+of a Commonwealth, mentions which is but a part of a down right
+honesty) but Clownish stupidity, such as <i>Theophrastus</i>, in his
+Character of a <i>Rustick</i>, describes; or that disagreeable
+unfashionable roughness which <i>Horace</i> mentions in his Epistle to
+<i>Lollius</i>, must not in my opinion be endur’d: On this side
+<i>Mantuan</i> errs extreamly, and is intolerably absur’d, who makes
+Shepherds blockishly sottish, and insufferably rude: And a certain
+Interpreter blames <i>Theocritus</i> for the same thing, who in some
+mens opinion sometimes keeps too close to the <i>Clown</i>, 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.</p>
+
+<p>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 <i>Genius</i>
+of the <i>golden Age</i>, in which, if <i>Guarinus</i> may be be<span
+class = "pagenum">34</span>liev’d, every man follow’d that employment:
+And <i>Nannius</i> in the Preface to his Comments on <i>Virgil</i>’s
+<i>Bucolicks</i> is of the same opinion, for he requires that the
+manners might represent the Golden Age: and this was the reason that
+<i>Virgil</i> himself in his <i>Pollio</i> describes that Age, which
+he knew very well was proper to <i>Bucolicks</i>: 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.</p>
+
+<p>That the Thought may be commendable, it must be suitable to the
+<i>manners</i>; 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 <i>Italians</i> 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? <i>Pontanus</i> in this matter hath said very
+well, <i>The Thought must not be to exquisite and witty, the
+Comparisons obvious and common, such as the State of Persons and
+Things require</i>: Yet tho too scrupulous a Curiosity in Ornament
+ought to be re<span class = "pagenum">35</span>jected, yet lest the
+Thought be cold and flat, it must have some quickness of Passion, as
+in these.</p>
+
+<div class = "verse"><i>Cruel</i> Alexis <i>can’t my Verses move?<br>
+Hast thou no Pitty? I must dye for Love</i>.</div>
+
+<p>And again, </p>
+
+<div class = "verse"><i>He neither Gods, nor yet my Verse regards</i>.</div>
+
+<p>The Sense must not be long, copious, and continued,
+For<i>Pastoral</i> 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 <i>Comedy</i> in its common way of discourse, yet it must not
+chose <i>old Comedy</i> 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.</p>
+
+<p>Let the Expression be plain and easy, but elegant and neat, and the
+purest which the language will afford; <i>Pontanus</i> upon
+<i>Virgils</i> Bucolicks gives the very same rule, <i>In Bucolicks the
+Expression must be humble, nearer common discourse than otherwise, not
+very Spirituous and vivid, yet such as shows life and strength</i>:
+Tis certain that <i>Virgil</i> in his <i>Bucolicks</i> useth the same
+words which <i>Tully</i> did in the <i>Forum</i> or the <i>Senate</i>;
+and <i>Tityrus</i> beneath his shady Beech speaks as pure and good
+<i>Latin</i> as <i>Augustus</i> in his Palace, as <i>Modicius</i> in
+his <i>Apology</i> for <i>Virgil</i> hath excellently observ’d: <span
+class = "pagenum">36</span> This rule, ’tis true; <i>Theocritus</i>
+hath not so strictly follow’d, whose Rustick and Pastoral Muse, as
+<i>Quintilian</i> phraseth it, <i>not only is affraid to appear in
+the</i> Forum, <i>but the City</i>, and for the very same thing an
+<i>Alexandrian</i> flouts the <i>Syracucusian Weomen</i> in the
+Fifteenth <i>Idyllium</i> of <i>Theocritus</i>, for when they, being
+then in the City, spoke the <i>Dorick</i> Dialect, the delicate
+Citizen could not endure it, and found fault with their distastful, as
+he thought, pronunciation: and his reflection was very smart.</p>
+
+<div class = "verse"><i>Like Pidgeons you have mouths from Ear to Ear</i>.</div>
+
+<p>So intolerable did that broad way of pronunciation, tho exactly fit
+for a Clowns discourse, seem to a Citizen: and hence <i>Probus</i>
+observes that ’twas much harder for the <i>Latines</i> to write
+<i>Pastorals</i> than for the <i>Greeks</i>; because the
+<i>Latines</i> had not some <i>Dialects</i> peculiar to the Country,
+and others to the City, as the <i>Greeks</i> had; Besides the
+<i>Latine</i> Language, as <i>Quintilian</i> hath observ’d, is not
+capable of the neatness which is necessary to Bucolicks, no, that is
+the peculiar priviledge of the <i>Greeks</i>: <i>We cannot</i>, says
+he, <i>be so low, they exceed us in subtlety, and in propriety they
+are at more certainty than We</i>: and again, <i>in pat and close
+Expressions we cannot reach the Greeks</i>: And, if we believe
+<i>Tully</i>, <i>Greek is much more fit for Ornament than Latin</i>
+for it hath much more of that neatness, <span class =
+"pagenum">37</span> and ravishing delightfulness, which
+<i>Bucolicks</i> necessarily require.</p>
+
+<p>Yet of Pastoral, with whose Nature we are not very well acquainted,
+what that <i>Form</i> is which the <i>Greeks</i> call the
+<i>Character</i>, is not very easy to determine; yet that we may come
+to some certainty, we must stick to our former observation,
+<i>viz.</i> that <i>Pastoral</i> belongs properly to the <i>Golden
+Age</i>: For as <i>Tully</i> in his Treatise <i>de Oratore</i> says,
+<i>in all our disputes the Subject is to be measur’d by the most
+perfect of that kind</i>, and <i>Synesius</i> in his <i>Encomium</i>
+on <i>Baldness</i> 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:
+<span class = "greek">πρὸς δόξαν, οὐ πρὸς ἀλήθειαν</span>: 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 <i>Character</i> of <i>Bucolicks</i>:
+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 <i>Epicks</i>, Sweetness to <i>Lyricks</i>, Humor to
+<i>Comedy</i>, softness to <i>Elegies</i> and smartness to
+<i>Epigrams</i>, so simplicity to <i>Pastorals</i> is proper; and one
+upon <i>Theocritus</i> says, <i>that the Idea of his Bucolicks is in
+every part pure, and in all <span class = "pagenum">38</span> that
+belongs to simplicity very happy</i>: Such is this of <i>Virgil</i>,
+<i>unwholsome to us Singers is the shade</i></p>
+
+<div class = "verse"><i>Of Juniper, ’tis an unwholsome shade</i>:</div>
+
+<p>Than which in my opinion nothing can be more simply; nothing more
+rustically said; and this is the reason I suppose why <i>Macrobius</i>
+says that this kind of Poetry is creeping and upon mean subjects; and
+why too <i>Virgils Tityrus</i> 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,
+<i>Ridiculous</i>: <i>Theocritus</i> excells <i>Virgil</i> in this, of
+whom <i>Modicius</i> says, <i>Theocritus deserves the greatest
+commendation for his happy imitation of the simplicity of his
+Shepherds</i>, Virgil <i>hath mixt Allegories, and some other things
+which contain too much learning, and deepness of Thought for Persons
+of so mean a Quality</i>: Yet here I must obviate their mistake who
+fancy that this sort of <i>Poetry</i>, because in it self low and
+simple, is the proper work of <i>mean</i> Wits, and not the most
+<i>sublime</i> and <i>excellent</i> 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 <i>Pastoral</i>,
+and comes of with Honor. For there is no part of <i>Poetry</i> that
+requires more spirit, for if any part is not close and well compacted
+the whole Fabrick will be ruin’d, and the <span class = "pagenum">39</span>
+matter, in it self humble, must creep; unless it
+is held up by the strength and vigor of the <i>Expression</i>.</p>
+
+<p>Another qualification and excellence of <i>Pastoral</i> is to
+imitate <i>Timanthes</i>’s Art, of whom <i>Pliny</i> writes thus;
+<i>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</i>: In this <i>Virgil</i> 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
+<i>Virgil</i>;</p>
+
+<div class = "verse"><i>These Fields and Corn shall a Barbarian share?<br>
+See the Effects of all our Civil War</i>.</div>
+
+<p>How short is that? how concise? and yet how full of sense in the same <i>Eclogue</i>.</p>
+
+<div class = "verse"><i>I wonder’d why all thy complaints were made,<br>
+Absent was</i> Tityrus:</div>
+
+<p>And the like you may every where meet with, as</p>
+
+<div class = "verse">Mopsus <i>weds</i> Nisa, <i>what may’nt Lovers hope</i>?</div>
+
+<p>and in the second <i>Eclogue</i>,</p>
+
+<span class = "pagenum">40</span><div class = "verse">
+<i>Whom dost thou fly ah frantick! oft the Woods<br>
+Hold Gods, and</i> Paris <i>equal to the Gods</i>.</div>
+
+<p>This Grace <i>Virgil</i> learn’d from <i>Theocritus</i>, allmost
+most all whose Periods; especially in the third <i>Idyllium</i>,
+have no conjunction to connect them, that the sense might be more
+close, and the Affection vehement and strong: as in this</p>
+
+<div class = "verse"><i>Let all things change, let Pears the Firs adorn<br>
+Now</i> Daphnis <i>dyes</i>.</div>
+
+<p>And in the third <i>Eclogue</i>.</p>
+
+<div class = "verse"><i>But when she saw, how great was the surprize</i>! &amp;c.</div>
+
+<p>And any one may find a great many of the like in <i>Theocritus</i>
+and <i>Virgil</i>, if with a leisurely delight he nicely examines
+their delicate Composures: And this I account the greatest grace in
+<i>Pastorals</i>, which in my opinion those that write
+<i>Pastorals</i> do not sufficiently observe: ’tis true Ours (the
+<i>French</i>) and the <i>Italian</i> language is to babling to endure
+it; This is the Rock on which those that write <i>Pastorals</i> in
+their <i>Mother</i> tongue are usually split, But the <i>Italians</i>
+are inevitably lost; who having store of <i>Wit</i>, 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 <i>Marinus</i>’s <i>Idylliums</i>,
+and a great many of that nation who have ventur’d on such composures;
+For unless there are many <span class = "pagenum">41</span> stops and
+breakings off in the series of a <i>Pastoral</i>, it can neither be
+pleasing nor artificial: And in my Opinion <i>Virgil</i> excells
+<i>Theocritus</i> in this, for <i>Virgil</i> is neither so continued,
+nor so long as <i>Theocritus</i>; who indulges too much the garrulity
+of his <i>Greek</i>; 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 <i>Tully</i> in his Epistle to <i>Atticus</i> says,
+<i>’tis rare to speak Eloquently, but more rare to be eloquently
+silent</i>: And this unskillful <i>Criticks</i> 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.</p>
+
+<p>Now why <i>Bucolicks</i> should require such Brevity, and be so
+essentially sparing in <i>Expression</i>, I see no other reason but
+this: It loves <i>Simplicity</i> so much that it must be averse to
+that Pomp and Ostentation which <i>Epick</i> Poetry must show, for
+that must be copious and flowing, in every part smooth, and equal to
+it self: But <i>Pastoral</i> must dissemble, and hide even that which
+it would <span class = "pagenum">42</span> show, like <i>Damon</i>’s
+<i>Galatea</i>, who flies then when she most desires to be
+discovered.</p>
+
+<div class = "verse"><i>And to the Bushes flys, yet would be seen</i>.</div>
+
+<p>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 <i>Simplicity: Tis very
+rare</i>, says Pliny, <i>to find a man so exquisitely skillful, as to
+be able to show those Features in a Picture which he hides</i>, 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.</p>
+
+<p>The third Grace of <i>Bucolicks</i> is <i>Neatness</i>, which
+contains all the taking prettiness and sweetness of Expression, and
+whatsoever is call’d the Delicacies of the more delightful and
+pleasing <i>Muses</i>: This the Rural <i>Muses</i> bestow’d on
+<i>Virgil</i>, as <i>Horace</i> in the tenth <i>Satyr</i> of his first
+Book says,</p>
+
+<div class = "verse"><i>And</i> Virgils <i>happy Muse in Eclogues plays,<br>
+soft and facetious</i>;</div>
+
+<p>Which <i>Fabius</i> takes to signify the most taking neatness and
+most exquisite Elegance imaginable: For thus he explains this place,
+in which he agrees with <i>Tully</i>, who in his <i>Third Book de
+Oratore</i>, says, the <i>Atticks</i> are Facetious <i>i.e.</i>
+elegant: Tho the common Interpreters of these words are not of the
+same mind: But if by <i>Facetious Horace</i> had meant <i>jesting</i>,
+and such as is design’d to make men laugh, and apply’d that to
+<i>Virgil</i>, nothing <span class = "pagenum">43</span> could have
+been more ridiculous; ’tis the design of <i>Comedy</i> to raise
+laughter, but <i>Eclogue</i> should only delight, and charm by its
+takeing <i>prettiness</i>: All ravishing <i>Delicacies</i> of Thought,
+all sweetness of Expression, all that Salt from which <i>Venus</i>, as
+the Poets Fable, rose; are so essential to this kind of <i>Poetry</i>,
+that it cannot endure any thing that is scurillous, malitiously
+biteing, or ridiculous: There must be nothing in it but <i>Hony, Milk,
+Roses, Violets</i>, and the like sweetness, so that when you read you
+might think that you are in <i>Adonis</i>’s Gardens, as the
+<i>Greeks</i> speak, <i>i.e.</i> in the most pleasant place
+imaginable: For since the subject of <i>Eclogue</i> must be mean and
+unsurprizing, unless it maintains purity and neatness of Expression,
+it cannot please.</p>
+
+<p>Therefore it must do as <i>Tully</i> says his friend <i>Atticus</i>
+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 <i>Eclogue</i> 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) <span
+class = "pagenum">44</span> you must take the greatest care that no
+scrupulous trimness, or artificial
+<ins class = "correction" title = "text reads 'finessess'">fineness</ins> appear:
+For, as <i>Quintilian</i> teaches, <i>in some cases diligence and care most
+most troublesomly perverse</i>; 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 <i>Pastoral</i>,
+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, <i>Nature</i> 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.</p>
+
+<p>Then there are three things in which, as in its parts, the whole
+<i>Character</i> of a <i>Pastoral</i> is contain’d: <i>Simplicity</i>
+of Thought and expression: <i>Shortness</i> of Periods full of sense
+and spirit: and the <i>Delicacy</i> of a most elegant ravishing
+unaffected neatness.</p>
+
+<p>Next I will enquire in to the <i>Efficient</i>, and then into
+the <i>Final</i> Cause of <i>Pastorals</i>.</p>
+
+<p><span class = "pagenum">45</span>
+<i>Aristotle</i> assigns two efficient Causes of <i>Poetry</i>, The
+natural desire of Imitation in Man whom he calls the most imitative
+Creature; and Pleasure consequent to that Imitation: Which indeed are
+the <i>Remote</i> Causes, but the <i>Immediate</i> are <i>Art</i> and
+<i>Nature</i>; Now according to the differences of <i>Genius</i>’s
+several <i>Species</i> of Poetry have been introduced. For as the
+<i>Philosopher</i> hath observ’d, <span class = "greek">διεσπάθη
+κατὰ τὰ οἰκεῖα ἤθη ἡ ποίησις</span> 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 <i>Nature</i>, follow’d this or that sort of
+<i>Poetry</i>: This the <i>Philosopher</i> expresly affirms, And
+<i>Dio Chrysostomus</i> says of <i>Homer</i> 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. </p>
+
+<p>Not to mention other kinds of <i>Poetry</i>, what particular Genius
+is requir’d to <i>Pastoral</i> 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 <i>Genius</i> that hath a sprightfulness of Nature, and is well
+instructed <span class = "pagenum">46</span> by the rules of Art, is
+fit to attempt <i>Pastorals</i>.</p>
+
+<p>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 <i>profit</i> perchance, but
+have no regard for <i>Honesty</i> and <i>Goodness</i>; who do not know
+that all excellent <i>Arts</i> sprang from <i>Poetry</i> at first.</p>
+
+<div class = "verse"><i>Which what is honest, base, or just, or good,<br>
+Better than</i> Crantor, <i>or</i> Chrysippus <i>show’d</i>.</div>
+
+<p>For tis <i>Poetry</i> 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 <i>Philosophy</i>. For
+every body knows, that the <i>Epick</i> sets before us the highest
+example of the Bravest man; the <i>Tragedian</i> regulates the
+Affections of the Mind; the <i>Lyrick</i> reforms Manners, or sings
+the Praises of Gods, and Heroes; so that there’s no part of
+<i>Poetry</i> but hath it’s proper end, and profits.</p>
+
+<p>But grant all this true, <i>Pastoral</i> can make no such pretence:
+if you sing a <i>Hero</i>, you excite mens minds to imitate his
+Actions, and notable Exploits; but how can <i>Bucolicks</i> apply
+these or the like advantages to its self? <i>He that reads <span class
+= "pagenum">47</span> 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:</i> And a
+great deal more to this purpose you may see in <i>Modicius</i>, as
+<i>Pontanus</i> cites him in his Notes on <i>Virgil</i>’s
+<i>Eclogues</i>.</p>
+
+<p>But when tis the end of <i>Comedy</i>, as <i>Jerom</i> in his
+Epistle to <i>Furia</i> says, to know the Humors of Men, and to
+describe them; and <i>Demea</i> in <i>Terence</i> intimates the same
+thing,</p>
+
+<div class = "verse"><i>To look on all mens lives as in a Glass,<br>
+And take from those Examples for our Own</i>,</div>
+
+<p>so that our Humors and Conversations may be better’d, and improv’d;
+why may not <i>Pastoral</i> be allow’d the same Priviledge, and be
+admitted to regulate and improve a <i>Shepherd</i>’s life by its
+<i>Bucolicks</i>? 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 <i>private</i> men; as <i>Epicks</i> teach the
+highest Fortitude, and Prudence, and Conduct, which are the vertues of
+<i>Generals</i>, and <i>Kings</i>. And tis ne<span class = "pagenum">48</span>cessary
+to Government, that as there is one kind of
+<i>Poetry</i> to instruct the <i>Citizens</i>, there should be another
+to fashion the manners of the <i>Rusticks</i>: which if
+<i>Pastoral</i>, 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 <i>Roman</i> Common-wealth, in which
+<i>Virgil</i> wrote, grew better and brisker by the use of
+<i>Pastoral</i>: with it were <i>Augustus</i>, <i>Mecænas</i>,
+<i>Asinius Pollio</i>, <i>Alphenus Varus</i>, <i>Cornelius Gallus</i>,
+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
+<i>profit</i> is to be hop’d, all pleasures of the Eye and Ear are
+presently to be laid aside; and those excellent Arts, <i>Musick</i>,
+and <i>Painting</i>, 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 <i>Philosophy</i>, and her harsh, deform’d impropriety of
+Expressions. But the judgments of such men are the most contemptible
+in the world; for when by <i>Poetry</i> mens minds are fashioned to
+generous <span class = "pagenum">49</span> Humors, Kindness, and the
+like: those must needs be strangers to all those good qualites, who
+hate, or proclaim <i>Poetry</i> to be frivolous, and useless.</p>
+<hr>
+<span class = "pagenum">50</span>
+<br>
+<br>
+<p align = "center"><a name="third"><font size = "+1"><i>The Third</i><span class = "extended"> PAR</span>T.</font></a><br>
+<br>
+<i>Rules for writing</i> Pastorals.</p>
+
+<p><span class = "firstletter">I</span>N delivering Rules for writing
+<i>Pastorals</i>, I shall not point to the <i>streams</i>, which to
+look after argues a small creeping <i>Genius</i>, but lead you to the
+<i>fountains</i>. But first I must tell you, how difficult it is to
+write <i>Pastorals</i>, 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 <i>Horace</i> says of <i>Comedy</i>, "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 <span class = "pagenum">51</span>
+luscious, and, as <i>Lucretius</i> phraseth
+it,</p>
+
+<div class = "verse"><i>E’en in the midst and fury of the Joys,<br>
+Some thing that’s better riseth, and destroys</i>.</div>
+
+<p>Beside, since <i>Pastoral</i> 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 <i>Petronius</i>
+allows <i>Horace</i>, lest too much <i>Art</i> should take off the
+Beauty of the <i>Simplicity</i>. And therefore I would not have any
+one undertake this task, that is not very polite by <i>Nature</i>, and
+very much at leisure. For what is more hard than to be always in the
+<i>Country</i>, and yet never to be <i>Clownish</i>? to sing of
+<i>mean</i>, and <i>trivial</i> mat<span class = "pagenum">52</span>ters,
+yet not <i>trivially</i>, and <i>meanly</i>?
+to pipe on a <i>slender</i> Reed, and yet keep the sound from being
+<i>harsh</i>, and <i>squeaking</i>? to make every thing <i>sweet</i>,
+yet never <i>satiate</i>? And this I thought necessary to premise, in
+order to the better laying down of such Rules as I design. For the
+naked <i>simplicity</i> both of the Matter and Expression of a
+<i>Pastoral</i>, 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 <i>Ignorance</i> 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 <i>Nature</i>, (for Art
+unassisted by that, is vain, and ineffectual,) so there is no
+<i>Nature</i> so excellent, and happy, which by its own strength, and
+without <i>Art</i> and <i>Use</i> can make any thing excellent, and
+great.</p>
+
+<p>But tis hard to give <i>Rules</i> 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 <i>Aristotle</i>’s Example, who being to
+lay down Rules concerning <i>Epicks</i>, propos’d <i>Homer</i> as a
+Pattern, from whom he deduc’d the whole Art: So I will gather from
+<i>Theocritus</i> and <i>Virgil</i>, those Fathers of <i>Pastoral</i>,
+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
+<span class = "pagenum">53</span> therefore ought to be taken from
+them in whom it is so.</p>
+
+<p>The first Rule shall be about the <i>Matter</i>, which is either
+the <i>Action</i> of a <i>Shepherd</i>, or contriv’d and fitted to the
+<i>Genius</i> of a Shepherd; for tho <i>Pastoral</i> 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 <i>Theocritus</i> hath never done, but kept close to
+<i>pastoral</i> simplicity, yet <i>Virgil</i> hath happily attempted;
+of whom almost the same <i>Character</i> might be given, which
+<i>Quintilian</i> bestow’d on <i>Stesichorus</i>, who <i>with his Harp
+bore up the most weighty subjects of</i> Epick <i>Poetry</i>; for
+<i>Virgil</i> 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 <i>Pastoral</i>: of its own nature
+it cannot treat of lofty and great matters.</p>
+
+<p>Therefore let <i>Pastoral</i> 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 <i>Italian</i> 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 <i>Pastorals</i>: 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 <span class = "pagenum">54</span>
+impertinent Adviser, but rather of a very excellent Master in this
+<i>Art</i>; for <i>Phoebus</i> twitcht <i>Virgil</i> 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 <i>Invocations</i>, and, as
+<i>Epicks</i> do, modestly implore the assistance of a Muse. This
+<i>Virgil</i> doth in his <i>Pollio</i>, which is a Composure of an
+unusual loftiness:</p>
+
+<div class = "verse">Sicilian <i>Muse begin a loftier strain</i>.</div>
+
+<p>So he invocates <i>Arethusa</i>, when <i>Cornelius Gallus
+Proconsul of Ægypt</i> and his <i>Amours</i>, matters above the
+common reach of <i>Pastoral</i>, are his Subject.</p>
+
+<div class = "verse"><i>One Labor more O</i> Arethusa <i>yield.</i></div>
+
+<p>Why he makes his application to <i>Aretheusa</i> is easy to
+conjecture, for she was a <i>Nymph</i> of <i>Sicily</i>, and so he
+might hope that she could inspire him with a <i>Genius</i> fit for
+<i>Pastorals</i> which first began in that <i>Island</i>, Thus in the
+seventh and eighth <i>Eclogue</i>, as the matter would bear, he
+invocates the Nymphs and Muses: And <i>Theocritus</i> does the
+same,</p>
+
+<div class = "verse"><i>Tell Goddess, you can tell</i>.</div>
+
+<p>From whence ’tis evident that in <i>Pastoral</i>, tho it never
+pretends to any greatness, <i>Invocations</i> <span class = "pagenum">55</span>
+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 <i>Imitation</i>, I shall not repeat
+what I have already said, <i>viz.</i> that this is in it self
+<i>mixt</i>; for <i>Pastoral</i> is either <i>Alternate</i>, or hath
+but <i>one Person</i>, or is <i>mixt</i> of both: yet ’tis properly
+and chiefly <i>Alternate</i>. as is evident from that of
+<i>Theocritus</i>.</p>
+
+<div class = "verse"><i>Sing</i> Rural <i>strains, for as we march along<br>
+We may delight each other with a Song</i>.</div>
+
+<p>In which the <i>Poet</i> shows that <i>alternate</i> singing is
+proper to a <i>Pastoral</i>: But as for the <i>Fable</i>, ’tis
+requisite that it should be simple, lest in stead of <i>Pastoral</i>
+it put on the form of a <i>Comedy</i>, or <i>Tragedy</i> if the
+<i>Fable</i> be great, or intricate: It must be <i>One</i>; this
+<i>Aristotle</i> thinks necessary in every <i>Poem</i>, and
+<i>Horace</i> lays down this general Rule,</p>
+
+<div class = "verse"><i>Be every</i> Fable <i>simple, and but one</i>:</div>
+
+<p>For every Poem, that is not <i>One</i>, is imperfect, and this
+<i>Unity</i> is to be taken from the <i>Action</i>: for if that is
+<i>One</i>, the Poem will be so too. Such is the Passion of
+<i>Corydon</i> in <i>Virgil</i>’s second Eclogue, <i>Melibœus’s</i>
+Expostulation with <i>Tityrus</i> about his Fortune;
+<i>Theocritus</i>’s <i>Thyrsis, Cyclops</i>, and <i>Amaryllis</i>, of
+which perhaps in its proper place I may treat more largely.
+
+<span class = "pagenum">56</span>
+Let the third Rule be concerning the <i>Expression</i>, which cannot
+be in this kind excellent unless borrow’d from <i>Theocritus</i>’s
+<i>Idylliums</i>, or <i>Virgil</i>’s <i>Eclogues</i>, let it be
+chiefly simple, and ingenuous: such is that of <i>Theocritus</i>,</p>
+
+<div class = "verse"><i>A Kid belongs to thee, and Kids are good</i>,</div>
+
+<p>Or that in <i>Virgil</i>’s seventh Eclogue,</p>
+
+<div class = "verse"><i>This Pail of Milk, these Cakes</i> (Priapus) <i>every year<br>
+Expect; a little Garden is thy care:<br>
+Thou’rt Marble now, but if more Land I hold,<br>
+If my Flock thrive, thou shalt be made of Gold</i>,</div>
+
+<p>than which I cannot imagine more simple, and more ingenuous
+expressions. To which may be added that out of his <i>Palemon</i>,</p>
+
+<div class = "verse"><i>And I love</i> Phyllis, <i>for her Charms excell;<br>
+At my departure O what tears there fell!<br>
+She sigh’d, Farewell Dear Youth, a long Farewell</i>.</div>
+
+<p>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 <span class =
+"pagenum">57</span> be gotten, and ready at hand, not such as requires
+Care, Labor, and Cost to be obtain’d: as <i>Hermogenes</i> on
+<i>Theocritus</i> observes; <i>See how easie and unaffected this
+sounds</i>,</p>
+
+<div class = "verse"><i>Pines murmurings, Goatherd, are a pleasing sound</i>,</div>
+
+<p><i>and most of his expressions, not to say all, are of the same
+nature</i>: for the ingenuous simplicity both of Thought and
+Expression is the natural <i>Characteristick</i> of <i>Pastoral</i>.
+In this <i>Theocritus</i> and <i>Virgil</i> 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.
+<i>Virgil</i> keeps himself up by his choice and curious words, and
+tho his matter for the most part (and <i>Pastoral</i> requires it) is
+mean, yet his expressions never flag, as is evident from these lines
+in his <i>Alexis</i>:</p>
+
+<div class = "verse"><i>The glossy Plums I’le bring, and juicy Pear,<br>
+Such as were once delightful to my Dear:<br>
+I’le crop the Laurel, and the Myrtle tree,<br>
+Confus’dly set, because their Sweets agree</i>.</div>
+
+<p>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. <span class = "pagenum">58</span>
+The words of such a <i>Stile</i> 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 <i>Pastorals</i>, corrupt himself with foreign
+manners; for if he hath once vitiated the healthful habit, as I may
+say, of Expression, which <i>Bucolicks</i> necessarily require, ’tis
+impossible he should be fit for that task. Yet let him not affect
+pompous or dazling Expressions, for such belong to <i>Epicks</i>, or
+<i>Tragedians</i>. Let his words sometimes tast of the Country, not
+that I mean, of which <i>Volusius</i>’s Annals, upon which
+<i>Catullus</i> hath made that biting <i>Epigram</i>, 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
+<i>Corydon</i>, when he makes mention of his Goats.</p>
+
+<div class = "verse"><i>Young sportive Creatures, and of spotted hue,<br>
+Which suckled twice a day, I keep for you:<br>
+These</i> Thestilis <i>hath beg’d, and beg’d in vain,<br>
+But now they’re Hers, since You my Gifts disdain</i>.</div>
+
+<p>For what can be more Rustical, than to design those <i>Goats</i>
+for <i>Alexis</i>, at that very time when <span class = "pagenum">59</span>
+he believes <i>Thestylis’s</i> winning importunity
+will be able to prevail? yet there is nothing Clownish in the words.
+In short, <i>Bucolicks</i> should deserve that commendation which
+<i>Tully</i> gives <i>Crassus</i>, of whose Orations he would say,
+<i>that nothing could be more free from childish painting, and
+affected finery</i>. So let the Expression in <i>Pastoral</i> 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 ’t is drawn out to any length, if not close,
+short, and broken, as that in <i>Virgil</i>,</p>
+
+<div class = "verse"><i>He that loves</i> Bavius <i>Verses, hates not Thine</i>:</div>
+
+<p>And in the same <i>Eclogue</i>,</p>
+
+<div class = "verse">&nbsp; <i>—It is not safe to drive too nigh,<br>
+The Bank may fail, the Ram is hardly dry</i>:</div>
+
+<p>And in <i>Corydon</i>,</p>
+
+<div class = "verse"><i>To learn this Art what won’t</i> Amyntas <i>do</i>?</div>
+
+<p>
+And in <i>Theocritus</i> much of the same nature may be seen; as in
+his other <i>Pastoral Idylliums</i>, so chiefly in his fifth. Thus
+<i>Battus</i> in the fourth <i>Idyllium</i>, complaining for the
+loss of <i>Amaryllis</i>,
+<span class = "pagenum">60</span></p>
+
+<div class = "verse"><i>Dear Nymph, dear as my Goats, you dy’d</i>.</div>
+
+<p>And how soft and tender is that in the third <i>Idyllium</i>,</p>
+
+<div class = "verse"><i>And she may look on me, she may be won,<br>
+She may be kind, she is not perfect Stone</i>,</div>
+
+<p>And in this <i>concise</i>, close way of Expression lies the
+chiefest Grace of <i>Pastorals</i>: 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,</p>
+
+<div class = "verse"><i>—I see that I must die</i>:</div>
+
+<p>Or <i>Daphnis</i>’s despair, which <i>Thyrsis</i> sings in the
+first <i>Idyllium</i>,</p>
+
+<div class = "verse"><i>Ye Wolves, and Pards, and Mountain Bores adieu,<br>
+The Herdsmen now must walk no more with You</i>.</div>
+
+<p>How tender are the lines, and yet what passion they contain! And
+most of <i>Virgil</i>’s are of this nature, but there are likewise
+in him some touches of despairing Love, such as is this of
+<i>Alphesibœus</i>,</p>
+
+<div class = "verse"><i>Nor have I any mind to be reliev’d</i>:</div>
+
+<p><span class = "pagenum">61</span>Or that of <i>Damon</i>,</p>
+
+<div class = "verse"><i>I’le dy, yet tell my Love e’en whilst I dy</i>:</div>
+
+<p>Or that of <i>Corydon</i>,</p>
+
+<div class = "verse"><i>He lov’d, but could not hope for Love again</i>.</div>
+
+<p>For tho <i>Pastoral</i> 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 <i>grief to be pittied</i>,
+and a <i>pleasing madness</i>, than <i>rage</i> and <i>fury</i>,
+<i>Eclogue</i> is so far from refusing, that it rather loves, and
+passionately requires them. Therefore an unfortunate <i>Shepherd</i>
+may be brought in, complaining of his successless Love to the <i>Moon,
+Stars</i>, or <i>Rocks</i>, or to the Woods, and purling Streams,
+mourning the unsupportable anger, the frowns and coyness of his proud
+<i>Phyllis</i>; singing at his <i>Nymphs</i> door, (which
+<i>Plutarch</i> 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 <i>Polyphemus</i>’s, <i>Galateas’s</i> mad
+Lover, of whom <i>Theocritus</i> divinely thus, as almost of every
+thing else:</p>
+
+<div class = "verse"><i>His was no common flame, nor could he move<br>
+In the old Arts, and beaten paths of Love,<br>
+No Flowers nor Fruits sent to oblige the Fair,<br>
+His was all Rage, and Madness</i>:</div><span class = "pagenum">62</span>
+
+<p>For all violent Perturbations are to be diligently avoided by
+<i>Bucolicks</i>, whose nature it is to be <i>soft</i>, and
+<i>easie</i>: 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 <i>Hercules’s</i> Vizard and Buskins on an Infant,
+as <i>Quintilian</i> hath excellently observ’d. For since
+<i>Eclogue</i> is but weak, it seems not capable of those Commotions
+which belong to the <i>Theater</i>, and <i>Pulpit</i>; they must be
+soft, and gentle, and all its Passion must seem to flow only, and not
+break out: as in <i>Virgil’s Gallus</i>,</p>
+
+<div class = "verse"><i>Ah, far from home and me You wander o’re<br>
+The</i> Alpine <i>snows, the farthest Western shore,<br>
+And frozen</i> Rhine. <i>When are we like to meet?<br>
+Ah gently, gently, lest thy tender feet<br>
+Sharp Ice may wound</i>.</div>
+
+<p>To these he may sometimes joyn some short Interrogations made
+to <i>inanimate Beings</i>, for those spread a strange life and
+vigor thro the whole Composure. Thus in <i>Daphnis</i>,</p>
+
+<div class = "verse"><i>Did not You Streams, and Hazels, hear the Nymphs</i>?</div>
+
+<p>Or give the very Trees, and Fountains sense, as in <i>Tityrus</i>,</p>
+
+<div class = "verse"><i>Thee</i> (Tityrus) <i>the Pines, and every Vale,<br>
+The Fountains, Hills, and every shrub did call</i>:</div>
+
+<p>for by this the Concernment is express’d; and of the like nature
+is that of <i>Thyrsis</i>, in <i>Virgil</i>’s <i>Melibœus</i>,
+<span class = "pagenum">63</span></p>
+
+<div class = "verse"><i>When</i> Phyllis <i>comes, my wood will all be green</i>.</div>
+
+<p>And this sort of Expressions is frequent in <i>Theocritus</i>, and
+<i>Virgil</i>, and in these the delicacy of <i>Pastoral</i> is
+principally contain’d, as one of the old <i>Interpreters</i> of
+<i>Theocritus</i> hath observ’d on this line, in the eighth
+<i>Idyllium</i>,</p>
+
+<div class = "verse"><i>Ye Vales, and Streams, a race Divine</i>:</div>
+
+<p>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 <i>Bucolicks</i>, and in those Composures a
+constant care to be soft and easie should be chief: For
+<i>Pastoral</i> bears some resemblance to <i>Terence</i>, of whom
+<i>Tully</i>, in that Poem which he writes to <i>Libo</i>, gives this
+Character,</p>
+
+<div class = "verse"><i>His words are soft, and each expression sweet</i>.</div>
+
+<p>In mixing <i>Passion</i> in <i>Pastorals</i>, that rule of
+<i>Longinus</i>, in his golden Treatise <span class = "greek">περὶ ὕψους</span>,
+must be observ’d, <i>Never use it, but when the matter requires it,
+and then too very sparingly</i>.
+
+Concerning the <i>Numbers</i>, in which <i>Pastoral</i> should be
+written, this is my opinion; the <i>Heroick</i> Measure, but not so
+strong and sounding as in <i>Epicks</i>, is to be chosen.
+<i>Virgil</i> and <i>Theocritus</i> have given us examples; for tho
+<i>Theocritus</i> hath in one Idyllium mixt other Numbers, yet that
+can be of no force against all the rest; and <i>Virgil</i> useth no
+Numbers but <i>Heroick</i>, from whence it may be inferr’d, that those
+are the fittest.
+
+<span class = "pagenum">64</span>
+<i>Pastoral</i> may sometimes admit plain, but not long
+<i>Narrations</i> such as <i>Socrates</i> in <i>Plato</i> requires in
+a Poet; for he chiefly approves those who use a plain
+<i>Narration</i>, and commends that above all other which is short,
+and fitly expresseth the nature of the Thing. Some are of opinion that
+<i>Bucolicks</i> cannot endure Narrations, especially if they are very
+long, and imagine there are none in <i>Virgil</i>: but they have not
+been nice enough in their observations, for there are some, as that in
+<i>Silenus</i>.</p>
+
+<div class = "verse"><i>Young</i> Chromis <i>and</i> Mnasylus <i>chanct to stray,<br>
+Where (sleeping in a Cave)</i> Silenus <i>lay,<br>
+Whose constant Cups fly fuming to his brain,<br>
+And always boyl in each extended vein:<br>
+His trusty Flaggon, full of potent Juice,<br>
+Was hanging by, worn out with Age, and Use, &amp;c.</i></div>
+
+<p>But, because <i>Narrations</i> are so seldom to be found in
+<i>Theocritus</i>, and <i>Virgil</i>, I think they ought not to be
+often us’d; yet if the matter will bear it, I believe such as
+<i>Socrates</i> 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 <i>Pasiphae</i> in <i>Silenus</i>,
+although tis almost too long; but we may give
+<i><ins class = "correction" title = "text reads 'Viogil'">Virgil</ins></i>
+a little leave, who takes so little liberty himself.
+
+<span class = "pagenum">65</span>
+Concerning <i>Descriptions</i> I cannot tell what to lay down, for in
+this matter our Guides, <i>Virgil</i>, and <i>Theocritus</i>, do not
+very well agree. For he in his first <i>Idyllium</i> makes such a long
+immoderate description of his <i>Cup</i>, that <i>Criticks</i> find
+fault with him, but no such description appears in all <i>Virgil</i>;
+for how sparing is he in his description of <i>Melibœus</i>’s Beechen
+Pot, the work of Divine <i>Alcimedon</i>? He doth it in <i>five</i>
+verses, <i>Theocritus</i> runs out into <i>thirty</i>, which certainly
+is an argument of a wit that is very much at leisure, and unable to
+moderate his force. That <i>shortness</i> which <i>Virgil</i> 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 <i>Roncardus</i> hath done it, a man of
+most correct judgment, and, in imitation of <i>Theocritus</i>, hath,
+considering the then poverty of our language, admirably and largely
+describ’d <i>his</i> Cup; and <i>Marinus</i> 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 <i>Virgil</i>’s
+prudent moderation. Nor can the Others gain any advantage from
+<i>Moschus</i>’s <i>Europa</i>, in which the description of the
+<i>Basket</i> is very long, for that Idyllium is not <i>Pastoral</i>;
+yet I confess, that some <span class = "pagenum">66</span>
+descriptions of such trivial things, if not minutely accurate, may, if
+seldom us’d, be decently allow’d a place in the discourses of
+<i>Shepherds</i>.</p>
+
+<p>But tho you must be sparing in your <i>Descriptions</i>, yet your
+<i>Comparisons</i> 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 <i>Theocritus</i> but so proper to the
+Country, that none but a <i>Shepherd</i> dare use them. Thus
+<i>Menalcas</i> in the eighth Idyllium: </p>
+
+<div class = "verse"><i>Rough Storms to Trees, to Birds the treacherous Snare,<br>
+Are frightful Evils; Springes to the Hare,<br>
+Soft Virgins Love to Man, &amp;c.</i></div>
+
+<p>And <i>Damœtas</i> in <i>Virgil</i>’s <i>Palæmon</i>,</p>
+
+<div class = "verse"><i>Woolves sheep destroy, Winds Trees when newly blown,<br>
+Storms Corn, and me my</i> Amaryllis <i>frown</i>.</div>
+
+<p>And that in the eighth <i>Eclogue</i>,</p>
+
+<div class = "verse"><i>As Clay grows hard, Wax soft in the same fire,<br>
+So</i> Daphnis <i>does in one extream desire.</i></div>
+
+<p>And such <i>Comparisons</i> are very frequent in him, and very
+suitable to the Genius of a Shepherd; as likewise often
+<i>repetitions</i>, 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 <i>Virgil</i>’s <i>Melibœus</i>,</p>
+
+<div class = "verse">Phyllis <i>the Hazel loves; whilst</i> Phyllis <i>loves that Tree,<br>
+Myrtles than Hazels of less fame shall be</i>.</div><span class = "pagenum">67</span>
+
+<p>As for the <i>Manners</i> of your <i>Shepherds</i>, 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 <i>Theocritus</i> is
+faulty, <i>Virgil</i> 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
+<i>Innocence</i> of the <i>golden</i> Age. There is another thing in
+which <i>Theocritus</i> is faulty, and that is making his Shepherds
+too sharp, and abusive to one another; <i>Comatas</i> and <i>Lacon</i>
+are ready to fight, and the railing between those two is as bitter as
+<i>Billingsgate</i>: Now certainly such Raillery cannot be suitable to
+those sedate times of the Happy Age.</p>
+
+<p>As for <i>Sentences</i>, if weighty, and Philosophical, common
+Sense tells us they are not fit for a <i>Shepherd</i>’s mouth. Here
+<i>Theocritus</i> cannot be altogether excus’d, but <i>Virgil</i>
+deserves no reprehension. But <i>Proverbs</i> justly challenge
+admission into <i>Pastorals</i>, nothing being more common in <span
+class = "pagenum">68</span> the mouths of Countrymen than old
+Sayings.</p>
+
+<p>Thus much seem’d necessary to be premis’d out of <i>RAPIN</i>, for
+the direction and information of the Reader.</p>
+
+<hr>
+
+<p align = "center"><a name="errata"><span class = "extended">
+<i>ERRAT</i></span><i>A.</i></a></p>
+<br>
+<i>p. 13. l. 15. read</i> the wind.<br>
+<i>p. 15. l. 16. read</i> fight.<br>
+<i>p. 60. l. 4. read</i> Shoes.<br>
+<i>p. 95. l. 17. read</i> whilst all.<br>
+<i>p. 112. l. 9. read</i> of my Love.<br>
+<br>
+<p><font size = "-1"><i>Transcriber’s Note: The errata listed above
+appear to belong to the Creech translation of Theocritus, not
+included in this reprint. A few misprints in the Rapin text
+were corrected for this e-text. The corrections appear
+<ins class = "correction" title = "explanation will pop up">like
+this</ins>.</i></font></p>
+
+<hr>
+<hr>
+
+<p><tt><a name="biblio">Rapin's</a> <u>Discourse of Pastorals</u>
+was first published in Latin, with his eclogues, under
+the title: Eclogae, cum dissertatione de
+carmine pastorali. Parisiis, apud S. Cramoisy,
+1659.</tt></p>
+
+<p><tt>The English translation by Thomas Creech,
+prefixed to his translation of the <u>Idylliums</u>
+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.</tt></p>
+
+<blockquote><tt>Ella M. Hymans<br>
+<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Curator of Rare Books,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;General Library,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;University of Michigan</tt></blockquote>
+<br>
+<hr>
+<br>
+<br>
+<p align = "center"><font size = "+1">ANNOUNCING</font><br>
+<br>
+THE<br>
+<br>
+<br>
+<i><font size = "+2"><span class = "extended">Publications</span></font></i><br>
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+OF<br>
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+REPRINT SOCIETY</font><br>
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+<br>
+<br>
+<br>
+<i>General Editors</i><br>
+<br>
+<span class = "smallcaps">Richard C. Boys<br>
+Edward Niles Hooker<br>
+H. T. Swedenberg, Jr.</span></p>
+<br>
+<hr>
+<br>
+<br>
+<p align = "center"><font size = "+1"><i>THE AUGUSTAN REPRINT SOCIETY</i></font><br>
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+<br>
+ENGLISH LITERATURE OF THE<br>
+<br>
+SEVENTEENTH AND EIGHTEENTH CENTURIES</p>
+<br>
+<p>Students, scholars, and bibliographers of literature, history, and
+philology will find the publications valuable. <i>The Johnsonian News
+Letter</i> has said of them: "Excellent facsimiles, and cheap in
+price, these represent the triumph of modern scientific reproduction.
+Be sure to become a subscriber; and take it upon yourself to see that
+your college library is on the mailing list."</p>
+
+<p>The Augustan Reprint Society is a non-profit, scholarly
+organization, run without overhead expense. By careful management it
+is able to offer at least six publications each year at the unusually
+low membership fee of $2.50 per year in the United States and Canada,
+and $2.75 in Great Britain and the continent.</p>
+
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+
+<p>New members may still obtain a complete run of the first year’s
+publications for $2.50, the annual membership fee.</p>
+
+<p>During the first two years the publications are issued in three
+series: I. Essays on Wit; II. Essays on Poetry and Language; and III.
+Essays on the Stage.</p>
+
+<hr>
+<br>
+<br>
+
+
+<table>
+
+<tr align = "center"><td colspan = "2"><i><b>PUBLICATIONS FOR THE
+FIRST YEAR (1946-1947)</b></i><br>
+<br>
+</td></tr>
+
+<tr>
+<td>MAY, 1946:</td>
+<td>Series I, No. 1—Richard Blackmore’s <i>Essay upon Wit</i> (1716),
+and Addison’s <i>Freeholder</i> No. 45 (1716).</td>
+</tr>
+
+<tr>
+<td>JULY, 1946: </td>
+<td>Series II, No. 1—Samuel Cobb’s <i>Of Poetry</i> and <i>Discourse
+on Criticism</i> (1707)</td>
+</tr>
+
+<tr>
+<td>SEPT.,&nbsp;1946:</td>
+<td>Series III, No. 1—Anon., <i>Letter to A.H. Esq.; concerning the
+Stage</i> (1698), and Richard Willis’ <i>Occasional Paper</i> No. IX
+(1698).</td>
+</tr>
+
+<tr>
+<td>NOV., 1946:</td>
+<td>Series I, No. 2—Anon., <i>Essay on Wit</i> (1748), together with
+Characters by Flecknoe, and Joseph Warton’s <i>Adventurer</i> Nos. 127
+and 133.</td>
+</tr>
+
+<tr>
+<td>JAN., 1947:</td>
+<td>Series II, No. 2—Samuel Wesley’s <i>Epistle to a Friend
+Concerning Poetry</i> (1700) and <i>Essay on Heroic Poetry</i>
+(1693).</td>
+</tr>
+
+<tr>
+<td>MARCH,&nbsp;1947:</td>
+<td>Series III, No. 2—Anon., <i>Representation of the Impiety and
+Immorality of the Stage</i> (1704) and anon., <i>Some Thoughts
+Concerning the Stage</i> (1704).</td>
+</tr>
+
+<tr align = "center"><td colspan = "2">
+&nbsp;<br>
+&nbsp;<br>
+<i><b>PUBLICATIONS FOR THE SECOND YEAR (1947-1948)</b></i><br>
+<br>
+</td></tr>
+
+<tr>
+<td>MAY, 1947:</td>
+<td>Series I, No. 3—John Gay’s <i>The Present State of Wit</i>; and a
+section on Wit from <i>The English Theophrastus</i>. With an
+Introduction by Donald Bond.</td>
+</tr>
+
+<tr>
+<td>JULY, 1947:</td>
+<td>Series II, No. 3—Rapin’s <i>De Carmine Pastorali</i>, translated
+by Creech. With an Introduction by J. E. Congleton.</td>
+</tr>
+
+<tr>
+<td>SEPT., 1947:</td>
+<td>Series III, No. 3—T. Hanmer’s (?) <i>Some Remarks on the Tragedy
+of Hamlet</i>. With an Introduction by Clarence D. Thorpe.</td>
+</tr>
+
+<tr>
+<td>NOV., 1947:</td>
+<td>Series I, No. 4—Corbyn Morris’ <i>Essay towards Fixing the True
+Standards of Wit</i>, etc. With an Introduction by James L.
+Clifford.</td>
+</tr>
+
+<tr>
+<td>JAN., 1948:</td>
+<td>Series II, No. 4—Thomas Purney’s <i>Discourse on the
+Pastoral</i>. With an Introduction by Earl Wasserman.</td>
+</tr>
+
+<tr>
+<td>MARCH,&nbsp;1948:</td>
+<td>Series III, No. 4—Essays on the Stage, selected, with an
+Introduction by Joseph Wood Krutch.</td>
+</tr>
+</table>
+
+<br>
+<p>The list of publications is subject to modification in response
+to requests by members. From time to time Bibliographical Notes will
+be included in the issues. Each issue contains an Introduction by a
+scholar of special competence in the field represented.</p>
+
+<p>The Augustan Reprints are available only to members. They will
+never be offered at “remainder” prices.</p>
+
+<div style='display:block;margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK DE CARMINE PASTORALI ***</div>
+<div style='display:block;margin:1em 0;'>This file should be named 14495-h.htm or 14495-h.zip</div>
+<div style='display:block;margin:1em 0;'>This and all associated files of various formats will be found in https://www.gutenberg.org/1/4/4/9/14495/</div>
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diff --git a/old/old/14495-8.txt b/old/old/14495-8.txt
new file mode 100644
index 0000000..7234d06
--- /dev/null
+++ b/old/old/14495-8.txt
@@ -0,0 +1,2463 @@
+The Project Gutenberg EBook of De Carmine Pastorali (1684), by Rene Rapin
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: De Carmine Pastorali (1684)
+
+Author: Rene Rapin
+
+Release Date: December 28, 2004 [EBook #14495]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK DE CARMINE PASTORALI (1684) ***
+
+
+
+
+Produced by David Starner, Louise Hope and the PG Online Distributed
+Proofreading Team
+
+
+
+
+
+
+            Series Two:
+        _Essays on Poetry_
+
+              No. 3
+
+
+    Rapin's _De Carmine Pastorali_,
+prefixed to Thomas Creech's translation
+of the _Idylliums_ of Theocritus (1684)
+
+
+
+
+      With an Introduction by
+          J.E. Congleton
+                and
+       a Bibliographical Note
+
+
+
+
+The Augustan Reprint Society
+July, 1947
+Price: 75c
+
+  *       *       *       *       *
+
+
+GENERAL EDITORS
+
+RICHARD C. BOYS, University of Michigan
+EDWARD NILES HOOKER, University of California, Los Angeles
+H.T. SWEDENBERG, JR., University of California, Los Angeles
+
+
+ADVISORY EDITORS
+
+EMMETT L. AVERY, State College of Washington
+LOUIS I. BREDVOLD, University of Michigan
+BENJAMIN BOYCE, University of Nebraska
+CLEANTH BROOKS, Louisiana State University
+JAMES L. CLIFFORD, Columbia University
+ARTHUR FRIEDMAN, University of Chicago
+SAMUEL H. MONK, University of Minnesota
+JAMES SUTHERLAND, Queen Mary College, London
+
+
+
+
+Lithoprinted from copy supplied by author
+                 by
+        Edwards Brothers, Inc.
+      Ann Arbor, Michigan, U.S.A.
+                1947
+
+
+  *       *       *       *       *
+
+
+INTRODUCTION
+
+Recent students of criticism have usually placed Rapin in the School
+of Sense. In fact Rapin clearly denominates himself a member of that
+school. In the introduction to his major critical work, _Reflexions
+sur la Poetique d'Aristote_ (1674), he states that his essay "is
+nothing else, but Nature put in Method, and good _Sense_ reduced to
+Principles" (_Reflections on Aristotle's Treatise of Poesie_, London,
+1731, II, 131). And in a few passages as early as "A Treatise de
+Carmine Pastorali" (1659), he seems to imply that he is being guided
+in part at least by the criterion of "good _Sense_." For example,
+after citing several writers to prove that "brevity" is one of the
+"graces" of pastoral poetry, he concludes, "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" (p.41).
+
+The basic criterion, nevertheless, which Rapin uses in the "Treatise"
+is the authority of the Ancients--the poems of Theocritus and Virgil
+and the criticism of Aristotle and Horace. Because of his constant
+references to the Ancients, one is likely to conclude that he (like
+Boileau and Pope) must have thought they and Nature (good sense) were
+the same. In a number of passages, however, Rapin depends solely on
+the Ancients. Two examples will suffice to illustrate his absolutism.
+At the beginning of "_The Second_ Part," when he is inquiring "into
+the nature of _Pastoral,_" he admits:
+  And this must needs be a hard Task, since I have no guide,
+  neither _Aristotle_ nor _Horace_ to direct me.... And I am of
+  opinion that none can treat well and clearly of any kind of
+  _Poetry_ if he hath no helps from these two (p. 16).
+
+In "_The Third_ Part," when he begins to "lay down" his _Rules for
+writing_ Pastorals," he declares:
+  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 (p. 52).
+
+These passages represent the apogee of the neoclassical criticism of
+pastoral poetry. No other critic who wrote on the pastoral depends so
+completely on the authority of the classical critics and poets. As a
+matter of fact, Rapin himself is not so absolute later. In the
+section of the _R�flexions_ on the pastoral, he merely states that
+the best models are Theocritus and Virgil. In short, one may say
+that in the "Treatise" the influence of the Ancients is dominant; in
+the _R�flexions_, "good _Sense_."
+
+Reduced to its simplest terms, Rapin's theory is Virgilian. When
+deducing his theory from the works of Theocritus and Virgil, his
+preference is almost without exception for Virgil. Finding Virgil's
+eclogues refined and elegant, Rapin, with a suggestion from Donatus
+(p. 10 and p. 14), concludes that the pastoral "belongs properly to
+the _Golden Age_" (p. 37)--"that blessed time, when Sincerity and
+Innocence, Peace, Ease, and Plenty inhabited the Plains" (p. 5).
+Here, then, is the immediate source of the Golden Age eclogue, which,
+being transferred to England and popularised by Pope, flourished
+until the time of Dr. Johnson and Joseph Warton.
+
+In France the most prominent opponent to the theory formulated by
+Rapin is Fontenelle. In his "Discours sur la Nature de l'Eglogue"
+(1688) Fontenelle, with studied and impertinent disregard for the
+Ancients and for "ceux qui professent cette esp�ce de religion que
+l'on s'est faite d'adorer l'antiquit�," expressly states that the
+basic criterion by which he worked was "les lumi�res naturelles de
+la raison" (_OEuvres_, Paris, 1790, V, 36). It is careless and
+incorrect to imply that Rapin's and Fontenelle's theories of
+pastoral poetry are similar, as Pope, Joseph Warton, and many other
+critics and scholars have done. Judged by basic critical principles,
+method, or content there is a distinct difference between Rapin and
+Fontenelle. Rapin is primarily a neoclassicist in his "Treatise";
+Fontenelle, a rationalist in his "Discours." It is this opposition,
+then, of neoclassicism and rationalism, that constitutes the basic
+issue of pastoral criticism in England during the Restoration and the
+early part of the eighteenth century.
+
+When Fontenelle's "Discours" was translated in 1695, the first phrase
+of it quoted above was translated as "those Pedants who profess a
+kind of Religion which consists of worshipping the Ancients" (p.294).
+Fontenelle's phrase more nearly than that of the English translator
+describes Rapin. Though Rapin's erudition was great, he escaped the
+quagmire of pedantry. He refers most frequently to the scholiasts and
+editors in "_The First Part_" (which is so trivial that one wonders
+why he ever troubled to accumulate so much insignificant material),
+but after quoting them he does not hesitate to call their ideas
+"pedantial" (p. 24) and to refer to their statements as grammarian's
+"prattle" (p. 11). And, though at times it seems that his curiosity
+and industry impaired his judgment, Rapin does draw significant ideas
+from such scholars and critics as Quintilian, Vives, Scaliger,
+Donatus, Vossius, Servius, Minturno, Heinsius, and Salmasius.
+
+Rapin's most prominent disciple in England is Pope. Actually, Pope
+presents no significant idea on this subject that is foreign to
+Rapin, and much of the language--terminology and set phrases--of
+Pope's "Discourse" comes directly from Rapin's "Treatise" and from
+the section on the pastoral in the _Reflections_. Contrary to his own
+statement that he "reconciled" some points on which the critics
+disagree and in spite of the fact that he quotes Fontenelle, Pope in
+his "Discourse" is a neoclassicist almost as thoroughgoing as Rapin.
+The ideas which he says he took from Fontenelle are either
+unimportant or may be found in Rapin. Pope ends his "Discourse" by
+drawing a general conclusion concerning his _Pastorals_: "But after
+all, if they have any merit, it is to be attributed to some good old
+authors, whose works as I had leisure to study, so I have not wanted
+care to imitate." This statement is diametrically opposed to the
+basic ideas and methods of Fontenelle, but in full accord with and no
+doubt directly indebted to those of Rapin.
+
+The same year, 1717, that Pope 'imitated' Rapin's "Treatise," Thomas
+Purney made a direct attack on Rapin's neoclassic procedure. In the
+"Preface" to his own _Pastorals_ he expresses his disapproval of
+Rapin's method, evidently with the second passage from Rapin quoted
+above in mind:
+  _Rapine's_ Discourse is counted the best on this Poem, for 'tis
+  the longest. You will easily excuse my not mentioning all his
+  Defects and Errors in this Preface. I shall only say then, that
+  instead of looking into the true Nature of the Pastoral Poem,
+  and then judging whether _Theocritus_ or any of his Followers
+  have brought it to it's utmost Perfection or not. _Rapine_
+  takes it for granted that _Theocritus_ and _Virgil_ are
+  infallible; and aim's at nothing beyond showing the Rules which
+  he thinks they observ'd. Facetious Head! (_Works_, Oxford,
+  1933, pp. 51-52. The Peroy Reprints, No. XII)
+
+The influence of Rapin on the development of the pastoral,
+nevertheless, was salutary. Finding the genre vitiated with wit,
+extravagance, and artificiality, he attempted to strip it of these
+Renaissance excrescencies and restore it to its pristine purity by
+direct reference to the Ancients--Virgil, in particular. Though Rapin
+does not have the psychological insight into the esthetic principles
+of the genre equal to that recently exhibited by William Empson or
+even to that expressed by Fontenelle, he does understand the
+intrinsic appeal of the pastoral which has enabled it to survive, and
+often to flourish, through the centuries in painting, music, and
+poetry. Perhaps his most explicit expression of this appreciation is
+made while he is discussing Horace's statement that the muses love
+the country:
+  And to speak from the very bottome of my heart... methinks he
+  is much more happy in a Wood, that at ease contemplates this
+  universe, as his own, and in it, the Sun and Stars, the
+  pleasing Meadows, shady Groves, green Banks, stately Trees,
+  flowing Springs, and the wanton windings of a River, fit
+  objects for quiet innocence, than he that with Fire and Sword
+  disturbs the World, and measures his possessions by the wast
+  that lys about him (p. 4).
+
+Ren� Rapin (1621-1687), in spite of his duties as a Jesuit priest and
+disputes with the Jansenists, became one of the most widely read men
+of his time and carried on the celebrated discussions about the
+Ancients with Maimbourg and Vavasseur. His _chef-d'oeuvre_ without
+contradiction is _Hortorum libri IV_. Like Virgil, Spenser, Pope, and
+many aspiring lesser poets, he began his literary career by writing
+pastorals, _Eclogae Sacrae_ (1659), to which is prefixed in Latin the
+original of "A Treatise de Carmine Pastorali."
+
+ J.E. Congleton
+   University of Florida
+
+Reprinted here from the copy owned by the Boston Athenaeum by
+permission.
+
+   *       *       *       *       *
+       *       *       *       *
+   *       *       *       *       *
+
+
+
+
+                   A
+
+               TREATISE
+
+
+          de CARMINE PASTORALI
+
+            Written by RAPIN.
+
+
+
+
+_The First Part_.
+
+To be as short as possible in my discourse upon the present Subject,
+I shall not touch upon the Excellency of _Poetry_ in general; nor
+repeat those high _Encomiums_, (as that tis the most divine of all
+human Arts, and the like) which _Plato_ in his _Jone_, _Aristotele_ in
+his _Poetica_, and other Learned men have copiously insisted on: And
+this I do that I might more closely and briefly pursue my present
+design, which, no doubt will not please every man; for since I treat
+of that part of _Poetry_, which (to use _Quintilian's_ words,) by
+reason of its Clownishness, is affraid of the Court and City; some may
+imagine that I follow _Nichocaris_ his humor, who would paint only the
+most ugly and deform'd, and those too in the meanest and most
+frightful dress, that real, or fancy'd Poverty could put them in.
+
+{2} For some think that to be a Sheapard is in it self mean, base, and
+sordid; And this I think is the first thing that the graver and
+soberer sort will be ready to object.
+
+But if we consider how honorable that employment is, our Objectors
+from that Topick will be easily answer'd, for as _Heroick_ Poems owe
+their dignity to the Quality of _Heroes_, so _Pastorals_ to that of
+_Sheapards_.
+
+Now to manifest this, I shall not rely on the authority of the
+_Fabulous_, and _Heroick_ Ages, tho, in the former, a God fed Sheep in
+_Thessaly_, and in the latter, _Hercules_ the Prince of _Heroes_, (as
+_Paterculus_ stiles him) graz'd on mount _Aventine_: These Examples,
+tis true, are not convinceing, yet they sufficiently shew that the
+employment of a Sheapard was sometime look'd upon to be such, as in
+those Fabulous times was not alltogether unbecomeing the _Dignity_ of
+a _Heroe_, or the _Divinity_ of a _God_: which consideration if it
+cannot be of force enough to procure excellence, yet certainly it may
+secure it from the imputation of baseness, since it was sometime lookt
+upon as fit for the greatest in Earth or Heaven.
+
+But not to insist on the authority of _Poets_, _Sacred Writt_ tells
+us that _Jacob_ and _Esau_, two great men, were Sheapards; And _Amos_,
+one of the Royal Family, asserts the same of himself, for _He was_
+among _the Sheapards of Tecua_, following that employment: The like by
+Gods own appointment {3} prepared _Moses_ for a Scepter, as _Philo_
+intimates in his life, when He tells us, _that a Sheapards Art is a
+suitable preparation to a Kingdome_; the same He mentions in the Life
+of _Joseph_, affirming that the care a Sheapard hath over his Cattle,
+very much resembles that which a King hath over his Subjects: The same
+_Basil_ in his Homily de _S. Mamm. Martyre_ hath concerning _David_,
+who was taken from following the Ews great with young ones to feed
+_Israel_, for He says that the Art of feeding and governing are very
+near akin, and even Sisters: And upon this account I suppose twas,
+that Kings amongst the _Greeks_ reckoned the name of Sheapard one of
+their greatest titles, for, if we believe _Varro_, amongst the
+Antients, the best and bravest was still a Sheapard: Every body knows
+that the _Romans_ the worthiest and greatest Nation in the World
+sprang from _Sheapards_: The Augury of the Twelve Vulturs plac't a
+Scepter in _Romulus's_ hand which held a Crook before; and at that
+time, as _Ovid_ says,
+
+  His own small Flock each Senator did keep.
+
+_Lucretius_ mentions an extraordinary happiness, and as it were
+Divinity in a _Sheaperd's_ life,
+
+  Thro Sheapards ease, and their Divine retreats.
+
+And this is the reason, I suppose, why the solitude of the Country,
+the shady Groves, and security of that happy Quiet was so grateful to
+the Muses, for thus _Horace_ represents them,
+
+ {4} The Muses that the Country Love.
+
+Which Observation was first made by _Mnasalce_ the _Sicyonian_ in his
+Epigram upon _Venus_
+
+  The Rural Muse upon the Mountains feeds.
+
+For sometimes the Country is so raveshing and delightful, that twill
+raise Wit and Spirit even in the dullest Clod, And in truth, amongst
+so many heats of Lust and Ambition which usually fire our Citys, I
+cannot see what retreat, what comfort is left for a chast and sober
+Muse.
+
+And to speak from the very bottome of my heart, (not to mention the
+integrity and innocence of Sheapards upon which so many have
+insisted, and so copiously declaimed) methinks he is much more happy
+in a Wood, that at ease contemplates this universe, as his own, and
+in it, the Sun and Stars, the pleasing Meadows, shady Groves, green
+Banks, stately Trees, flowing Springs, and the wanton windings of a
+River, fit objects for quiet innocence, than he that with Fire and
+Sword disturbs the World, and measures his possessions by the wast
+that lys about him: _Augustus_ in the remotest East fights for peace,
+but how tedious were his Voyages? how troublesome his Marches? how
+great his disquiets? what fears and hopes distracted his designs?
+whilst _Tityrus_ contented with a little, happy in the enjoyment of
+his Love, and at ease under his spreading Beech.
+
+  Taught Trees to sound his _Amaryllis_ name.
+
+{5} On the one side _Meliboeus_ is forc't to leave his Country, and
+_Antony_ on the other; the one a Sheapard, the other a great man, in
+the Common-Wealth; how disagreeable was the Event? the Sheapard could
+endure himself; and sit down contentedly under his misfortunes, whilst
+lost _Antony_, unable to hold out, and quitting all hopes both for
+himself and his Queen, became his own barbarous Executioner: Than
+which sad and deplorable fall I cannot imagine what could be worse,
+for certainly nothing is so miserable as a Wretch made so from a
+flowrishing & happy man; by which tis evident how much we ought to
+prefer before the gaity of a great and shining State, that Idol of the
+Crowd, the lowly simplicity of a Sheapards Life: for what is that but
+a perfect image of the state of Innocence, of that golden Age, that
+blessed time, when Sincerity and Innocence, Peace, Ease, and Plenty
+inhabited the Plains?
+
+Take the Poets description
+
+  Here Lowly Innocence makes a sure retreat,
+  A harmless Life, and ignorant of deceit,
+  and free from fears with various sweet's encrease,
+  And all's or'e spread with the soft wings of Peace:
+  Here Oxen low, here Grots, and purling Streams,
+  And Spreading shades invite to easy dreams.
+
+And thus Horace,
+
+  Happy the man beyond pretence
+  Such was the state of Innocence, &c.
+
+{6} And from this head I think the dignity of _Bucolicks_ is
+sufficiently cleared, for as much as the Golden Age is to be preferred
+before the _Heroick_, so much _Pastorals_ must excell _Heroick_ Poems:
+yet this is so to be understood, that if we look upon the majesty and
+loftiness of _Heroick_ Poems, it must be confest that they justly
+claim the preheminence; but if the unaffected neatness, elegant,
+graceful smartness of the expression, or the polite dress of a Poem be
+considered, then they fall short of _Pastorals_: for this sort flows
+with Sweet, Elegant, neat and pleasing fancies; as is too evident to
+every one that hath tasted the sweeter muses, to need a farther
+explication: for tis not probable that _Asinius Pollio_, _Cinna_,
+_Varius_, _Cornelius Gallus_, men of the neatest Wit, and that lived
+in the most polite Age, or that _Augustus C�sar_ the Prince of the
+_Roman_ elegance, as well as of the common Wealth, should be so
+extreamly taken with _Virgils Bucolicks_, or that _Virgil_ himself a
+man of such singular prudence, and so correct a judgment, should
+dedicate his Eclogues to those great Persons; unless he had known that
+there is somewhat more then ordinary Elegance in those sort of
+Composures, which the wise perceive, tho far above the understanding
+of the Crowd: nay if _Ludovicus Vives_, a very learned man, and
+admired for politer studies may be believed, there is somewhat more
+sublime and excellent in those _Pastorals_, than the Common {7} sort
+of Grammarians imagine: This I shall discourse of in an other place,
+and now inquire into the Antiquity of Pastorals.
+
+Since _Linus_, _Orpheus_, and _Eumolpus_ were famous for their Poems,
+before the _Trojan_ wars; those are certainly mistaken, who date
+Poetry from that time; I rather incline to their opinion who make it
+as old as the World it self; which Assertion as it ought to be
+understood of Poetry in general, so especially of _Pastoral_, which,
+as _Scaliger_ delivers, was the most antient kind of Poetry, and
+resulting from the most _antient_ way of Liveing: _Singing first began
+amongst Sheapards as they fed their Flocks, either by the impulse of
+nature, or in imitation of the notes of Birds, or the whispering of
+Trees._
+
+For since the first men were either _Sheapards_ or _Ploughmen_, and
+_Sheapards_, as may be gathered out of _Thucydides_ and _Varro_, were
+before the others, they were the first that either invited by their
+leisure, or (which _Lucretius_ thinks more probable) in imitation of
+Birds, began a tune.
+
+  Thro all the Woods they heard the pleasing noise
+  Of chirping Birds, and try'd to frame their voice,
+  And Imitate, thus Birds instructed man,
+  And taught them Songs before their Art began.
+
+In short, tis so certain that Verses first began in the Country that
+the thing is in it self evident, and this _Tibullus_ very plainly
+signifies,
+
+  {8} First weary at his Plough the labouring Hind
+  In certain feet his rustick words did bind:
+  His dry reed first he tun'd at sacred feasts
+  To thanks the bounteous Gods, and cheer his Guests.
+
+_In certain feet_ according to _Bern Cylenius_ of _Verona_ his
+interpretation _in set measures_: for _Censorinus_ tells us, that the
+antient Songs were loose and not ty'd up to any strict numbers, and
+afterwards by certain laws and acknowledged rules were confin'd to
+such and such measures: for this is the method of Nature in all her
+works, from imperfect and rude beginnings things take their first
+rise, and afterwards by fit and apposite additions are polish't, and
+brought to perfection: such were the Verses which heretofore the
+_Italian_ Sheapards and Plough-men, as _Virgil_ says, sported amongst
+themselves.
+
+  Italian Plough-men sprung from antient _Troy_
+  Did sport unpolish't Rhymes--
+
+_Lucretius_ in his Fifth Book _de Natura Rerum_, says, that Sheapards
+were first taught by the rushing of soft Breezes amongst the Canes to
+blow their Reeds, and so by degrees to put their Songs in tune.
+
+  For Whilst soft Evening Gales blew or'e the Plains
+  And shook the sounding Reeds, they taught the Swains,
+  And thus the Pipe was fram'd, and tuneful Reed,
+  And whilst the Flocks did then securely feed,
+  The harmless Sheapards tun'd their Pipes to Love,
+  {9} And Amaryllis name fill'd every Grove.
+
+From all which tis very plain that _Poetry_ began in those days, when
+Sheapards took up their employment: to this agrees _Donatus_ in his
+Life of _Virgil_, and _Pontanus_ in his Fifth Book of Stars, as
+appears by these Verses.
+
+  Here underneath a shade by purling Springs
+  The Sheapards Dance, whilst sweet _Amyntas_ sings;
+  Thus first the new found Pipe was tun'd to Love,
+  And Plough-men taught their Sweet hearts to the Grove,
+
+Thus the _Fescennine_ jests when they sang harvest-home, and then too
+the Grape gatherers and Reapers Songs began, an elegant example of
+which we have in the Tenth _Idyllium_ of _Theocritus_.
+
+From this birth, as it were, of _Poetry_, Verse began to grow up to
+greater matters; For from the common discourse of _Plough-men_ and
+_Sheapards_, first _Comedy_, that Mistress of a private Life, next
+_Tragedy_, and then _Epick Poetry_ which is lofty and _Heroical_
+arrose, This _Maximus Tyrius_ confirms in his Twenty first
+dissetation, where he tells us that Plough-men just comeing from their
+work, and scarce cleansed from the filth of their employment, did use
+to flurt out some sudden and _extempore_ Catches; and from this
+beginning Plays were produc'd and the Stage erected: Thus {10} much
+concerning the _Antiquity_, next of the _Original_ of this sort.
+
+About this Learned men cannot agree, for who was the first Author, is
+not sufficiently understood; _Donatus_, tis true, tells us tis proper
+to the Golden Age, and therefore must needs be the product of that
+happy time: but who was the Author, where, what time it was first
+invented hath been a great Controversy, and not yet sufficiently
+determined: _Epicharmus_ one of _Pythagoras_ his School, in his
+*alkyoni* mentions one _Diomus_ a _Sicilian_, who, if we believe
+_Ath�n�us_ was the first that wrote _Pastorals: those that fed Cattle
+had a peculiar kind of Poetry, call'd Bucolicks, of which Dotimus a
+Sicilian was inventer:_
+
+_Diodorus Siculus_ *en tois mythologoumenois*, seems to make
+_Daphnis_ the son of _Mercury_ and a certain _Nymph_, to be the
+Author; and agreeable to this, _Theon_ an old _scholiast_ on
+_Theocritus_, in his notes upon the first _Idyllium_ mentioning
+_Daphnis_, adds, _he was the author of Bucolicks_, and _Theocritus
+himself_ calls him _the Muses Darling_: and to this Opinion of
+_Diodorus Siculus Polydore Virgil_ readily assents.
+
+But _Mnaseas_ of _Patara_ in a discourse of his concerning _Europa_,
+speaks thus of a Son of _Pan_ the God of Sheapards: _Panis Filium
+Bubulcum � quo & Bucolice canere:_ Now Whether _Mnaseas_ by that
+_Bubulcum_, means only a _Herds-man_, or one skilled in _Bucolicks_,
+is uncertain; but if _Valla's_ {11} judgment be good, tis to be taken
+of the latter: yet _�lian_ was of another mind, for he boldly affirms
+that _Stesichorus_ called _Himer�us_ was the first, and in the same
+place adds, that _Daphnis_ the Son of _Mercury_ was the first Subject
+of _Bucolicks_.
+
+Some ascribe the Honor to _Bacchus_ the President of the _Nymphs,
+Satyrs_, and the other Country Gods, perhaps because he delighted in
+the Country; and others attribute it to _Apollo_ called _Nomius_ the
+God of Sheapards, and that he invented it then when he served
+_Admetus_ in _Thessaly_, and fed his Herds: For, tis likely, he to
+recreate himself, and pass away his time, applied his mind to such
+Songs as were best suitable to his present condition: Many think we
+owe it to _Pan_ the God of Sheapards, not a few to _Diana_ that
+extreamly delighted in solitude and Woods; and some say _Mercury_
+himself: of all which whilst _Grammarians_ prattle, according to their
+usual custome they egregiously trifle; they suffer themselves to be
+put upon by Fables, and resign their judgment up to foolish
+pretentions, but things and solid truth is that we seek after.
+
+As about the Author, so concerning the place of its Birth there is a
+great dispute, some say _Sparta_, others _Peloponesus_, but most are
+for _Sicily_.
+
+_Valla the Placentine_, a curious searcher into Antiquity, thinks
+this sort of Poetry first appear'd amongst the _Lacedemonians_, for
+when the _Persians_ had wasted allmost all _Greece_, the _Spartans_
+say {12} that they for fear of the _Barbarians_ fled into Caves and
+lurking holes; and that the Country Youth then began to apply
+themselves in Songs to _Diana Caryatis_, together with the Maids, who
+midst their Songs offerd Flowers to the Goddess: which custome
+containing somewhat of Religion was in those places a long time very
+scrupulously observed.
+
+_Diomedes_ the Grammarian, in his treatise of _Measures_, declares
+_Sicily_ to be the Place: for thus he says, the _Sicilian_ Sheapards
+in time of a great _Pestilence_, began to invent new Ceremonies to
+appease incensed _Diana_, whom afterward, for affording her help, and
+stopping the Plague they called *Ly�n*: _i.e._ the _Freer_ from their
+Miserys. This grew into custom, and the Sheapards used to meet in
+Companies, to sing their deliverer _Diana's_ praise, and these
+afterwards passing into _Italy_ were there named _Bucoliast�_.
+
+_Pomponius Sabinus_ tells the story thus: When the Hymns the Virgins
+us'd to sing in the Country to _Diana_ were left off, because, by
+reason of the present Wars, the Maidens were forc't to keep close
+within the Towns; the Shepherds met, and sang these kind of Songs,
+which are now call'd _Bucolicks_, to _Diana_; to whom they could not
+give the usual worship by reason of the Wars: But _Donatus_ says, that
+this kind of Verses was first sung to _Diana_ by _Orestes_, when he
+wandred about _Italy_; after he fled from _Scythia Taurica_, and had
+{13} taken away the Image of the Goddess and hid it in a bundle of
+sticks, whence she receiv'd the name of _Fascelina_, or _Phacelide_
+*apo tou phakelou* At whose Altar, the very same _Orestes_ was
+afterward expiated by his Sister _Iphigenia_: But how can any one
+rely on such Fables, when the inconsiderable Authors that propose them
+disagree so much amongst themselves?
+
+Some are of Opinion that the Shepherds, were wont in solem and set
+Songs about the Fields and Towns to celebrate the Goddess _Pales_; and
+beg her to bless their flocks and fields with a plenteous encrease and
+that from hence the name, and composure of _Bucolicks_ continued.
+
+Other prying ingenious Men make other conjectures, as to this mazing
+Controversy thus _Vossius_ delivers himself; _The Antients cannot be
+reconcil'd, but I rather incline to their opinion who think_ Bucolicks
+_were invented either by the_ Sicilians _or_ Peloponesians, _for both
+those use the_ Dorick _dialect, and all the_ Greek Bucolicks _are writ
+in that_: As for my self I think, that what _Horace_ says of _Elegies_
+may be apply'd to the present Subject.
+
+  But who soft Elegies was the first that wrote
+  Grammarians doubt, and cannot end the doubt:
+
+For I find nothing certain about this matter, since neither _Valla_ a
+diligent inquirer after, and a good judge in such things, nor any of
+the late writers produce any thing upon which I can safely rely; yet
+what beginning this kind of Poetry {14} had, I think I can pretty well
+conjecture: for tis likely that first Shepherds us'd Songs to recreate
+themselves in their leisure hours whilst they fed their Sheep; and
+that each man, as his wit served, accommodated his Songs to his
+present Circumstances: to this Solitude invited, and the extream
+leisure that attends that employment absolutely requir'd it: For as
+their retirement gave them leisure, and Solitude a fit place for
+Meditation, Meditation and Invention produc'd a Verse; which is
+nothing else but a Speech fit to be sung, and so Songs began: Thus
+_Hesiod_ was made a Poet, for he acknowledges himself that he receiv'd
+his inspiration;
+
+  Whilst under _Helicon_ he fed his Lambs.
+
+for either the leisure or fancy of Shepherds seems to have a natural
+aptitude to Verse.
+
+And indeed I cannot but agree with _Lucretius_ that accurate Searcher
+into Nature, who delivers that from that state of Innocence the Golden
+Age, Pastorals continued down to his time, for after he had in his
+fifth book describ'd that most happy age, he adds,
+
+  For then the Rural Muses reign'd.
+
+From whence 'tis very plain, that as _Donatus_ himself observ'd,
+Pastorals were the invention of the simplicity and innocence of that
+Golden age, if there was ever any such, or certainly of that time
+which succeeded the beginning of the World: For tho the Golden Age
+must be acknowledged {15} to be only in the fabulous times, yet 'tis
+certain that the Manners of the first Men were so plain and simple,
+that we may easily derive both the innocent imployment of Shepherds,
+and Pastorals from them.
+
+
+{16} _The Second_ PART.
+
+Now let us inquire into the nature of _Pastoral_, in what its
+excellencies consist, and how it must be made to be exact: And this
+must needs be a hard Task, since I have no guide, neither _Aristotle_
+nor _Horace_ to direct me; for both they, whatever was the matter,
+speak not one word of this sort of Verse. And I am of opinion that
+none can treat well and clearly of any kind of _Poetry_ if he hath no
+helps from these two: But since they lay down some general Notions of
+_Poetry_ which may be useful in the present case, I shall follow their
+steps as close as possible I can.
+
+Not only _Aristotle_ but _Horace_ too hath defin'd that _Poetry_ in
+general is Imitation; I mention only these two, for tho _Plato_ in his
+Second Book _de Rep._ and in his _Tim�us_ delivers the same thing, I
+shall not make use of his Authority at all: Now as _Comedy_ according
+to _Aristotle_ is the _Image and Representation of a gentiel and City
+Life_, so is _Pastoral Poetry_ of a County and _Sheapards_ Life; for
+since _Poetry_ in general is Imitation; its several _Species_ must
+likewise Imitate, take _Aristotles_ own words _Cap._ 1. *pasai
+tynchanousin ousa mim�seis*; And these _Species_ are {17} differenc't
+either by the subject matter, when the things to be imitated are quite
+different, or when the manner in which you imitate, or the mode of
+imitation is so: *en trisi d� tautais diaphorais h� mim�sis estin, en
+hois kai ha, kai h�s*: Thus tho of _Epick_ Poetry and _Tragedy_ the
+Subject is the same, and some great illustrious Action is to be
+_imitated_ by both, yet since one by representation, and the other by
+plain narration imitates, each makes a different _Species_ of
+imitation. And _Comedy_ and _Tragedy_, tho they agree in this, that
+both represent, yet because the Matter is different, and _Tragedy_
+must represent some brave action, and _Comedy_ a humor; these Two
+sorts of imitation are _Specifically different_. And upon the same
+account, since _Pastoral_ chooses the mannes of Sheapards for its
+imitation, it takes from its matter a peculiar difference, by which it
+is distinguish'd fr� all others.
+
+But here _Benius_ in his comments upon _Aristotle_ hath started a
+considerable query: which is this; Whether _Aristotle_, when he
+reckons up the different _Species_ of Poetry _Cap_ 1. doth include
+_Pastoral,_ or no? And about this I find learn'd men cannot at all
+agree: which certainly _Benius_ should have determin'd, or not rais'd:
+some refer it to that sort which _was sung to Pipes_, for that
+_Pastorals_ were so _Apuleius_ intimates, when at the marriage Feast
+of _Phyche_ He brings in _Paniscus_ singing _Bucolicks_ to his Pipe;
+But since they did not seriously enough consider, what _Aristotle_
+{18} meant by that which he calls *aul�tik�n* they trifle, talk idly,
+and are not to be heeded in this matter; For suppose some _Musitian_
+should sing _Virgils �n�is_ to the Harp, (and _Ant. Lullus_ says it
+hath been done,) should we therefore reckon that divine and
+incomparable Master of _Heroick_ Poetry amongst the _Lyricks_?
+
+Others with _C�sius Bassus_ and _Isacius Tzetzes_ hold that that
+distribution of _Poetry_, which _Aristotle_ and _Tully_ hath left us,
+is deficient and imperfect; and that only the chief Species are
+reckoned, but the more inconsiderable not mention'd: I shall not here
+interest my self in that quarrel of the _Criticks_, whether we have
+all _Aristotles_ books of Poetry or no; this is a considerable
+difficulty I confess, for _Laertius_ who accurately weighs this
+matter, says that he wrote two books of _Poetry_, the one lost, and
+the other we have, tho _Mutinensis_ is of an other mind: but to end
+this dispute, I must agree with _Vossius_, who says the Philosopher
+comprehended these Species not expressly mentioned, under a higher and
+more noble head: and that therefore _Pastoral_ was contain'd in
+_Epick_. for these are his own words, _besides there are Epicks of an
+inferior rank, such as the Writers of Bucolicks_. _Sincerus_, as
+_Minturnus_ quotes him, is of the same mind, for thus he delivers his
+opinion concerning _Epick Verse_: _The matters about which these
+numbers may be employed is various; either mean and low, as in
+Pastorals, great and lofty, as when {19} the Subject is Divine Things,
+or Heroick Actions, or of a middle rank, as when we use them to
+deliver precepts in:_ And this likewise he signifys before, where he
+sets down three sorts of _Epicks_: _one of which, says he, is divine,
+and the most excellent by much in all Poetry_; the _other the lowest
+but most pure, in which Theocritus excelled, which indeed shews
+nothing of Poetry beside the bare numbers_: These points being thus
+settled, the remaining difficultys will be more easily dispatched.
+
+For as in _Dramatick_ Poetry the Dignity and meanness of the
+_Persons_ represented make two different _Species of imitation_ the
+one _Tragick_, which agrees to none but great and Illustrious persons,
+the other _Comick_, which suits with common and gentile humors: so in
+_Epick_ too, there may be reckoned two sorts of _Imitation_, one of
+which belongs to _Heroes_, and that makes the _Heroick_; the other to
+_Rusticks_ and _Sheapards_ and that constitutes the _Pastoral_, now as
+a _Picture_ imitates the Features of the face, so _Poetry_ doth
+action, and tis not a representation of the Person but the Action.
+
+From all which we may gather this definition of Pastoral: _It is the
+imitation of the Action of a Sheapard, or of one taken under that
+Character_: Thus _Virgil's Gallus_, tho not really a _Sheapard_, for
+he was a man of great quality in _Rome_, yet belongs to _Pastoral_,
+because he is represented like a Sheapard: hence the Poet:
+
+  {20} The Goatherd and the heavy Heardsmen came,
+  And ask't what rais'd the deadly Flame.
+
+The _Scene_ lys amongst Sheapards, the _Swains_ are brought in, the
+_Herdsmen_ come to see his misery, and the fiction is suited to the
+real condition of a _Sheapard_; the same is to be said for his
+_Silenus_, who tho he seems lofty, and to sound to loud for an oaten
+reed, yet since what he sings he sings to _Sheapards_, and suits his
+Subject to their apprehensions, his is to be acknowledged _Pastoral_.
+This rule we must stick to, that we might infallibly discern what is
+stricktly _Pastoral_ in _Virgil_ and _Theocritus_, and what not: for
+in _Theocritus_ there are some more lofty thoughts which not having
+any thing belonging to Sheapards for their Subject, must by no means
+be accounted _Pastoral_, But of this more in its proper place.
+
+My present inquiry must be what is the _Subject Matter_ of a
+_Pastoral_, about which it is not easy to resolve; since neither from
+_Aristotle_, nor any of the _Greeks_ who have written _Pastorals_, we
+can receive certain direction. For sometimes they treat of high and
+sublime things, like _Epick Poets_; what can be loftier than the whole
+_Seaventh Idyllium of Bias_ in which _Myrsan_ urges _Lycidas_ the
+Sheapard to sing the Loves of _Deidamia_ and _Achilles_. For he
+begins from _Helen's_ rape, and goes on to the revengful fury of the
+_Atrides_, and shuts up in one _Pastoral_, all that is great and
+sounding in _Homers Iliad_.
+
+  {21} Sparta was fir'd with Rage
+  And gather'd Greece to prosecute Revenge.
+
+And _Theocritus_ his verses are sometimes as sounding and his
+thoughts as high: for upon serious consideration I cannot mind what
+part of all the _Heroicks_ is so strong and sounding as that
+_Idyllium_ on _Hercules_ *leontophon�* in which _Hercules_ himself
+tells _Phyleus_ how he kill'd the Lyon whose Skin he wore: for, not to
+mention many, what can be greater than this expression.
+
+  And gaping Hell received his mighty Soul:
+
+Why should I instance in the *dioskouroi*, which hath not one line
+below Heroick; the greatness of this is almost inexpressible.
+
+  *an�r hyperoplos en�meros, endiaaske
+    deinos idein*
+
+And some other pieces are as strong as these, such is the _Panegyrick
+on Ptolemy_, _Helen's Epithalamium_, and the Fight of young _Hercules_
+and the Snakes: now how is it likely that such Subjects should be fit
+for _Pastorals_, of which in my opinion, the same may be said which
+_Ovid_ doth of his _Cydippe_.
+
+  Cydippe, Homer, doth not fit thy Muse.
+
+For certainly _Pastorals_ ought not to rise to the Majesty of
+_Heroicks_: but who on the other side {22} dares reprehend such great
+and judicious Authors, whose very doing it is Authority enough? What
+shall I say of _Virgil_? who in his Sixth _Eclogue_ hath put together
+allmost all the particulars of the fabulous Age; what is so high to
+which _Silenus_ that Master of Mysterys doth not soar?
+
+  For lo! he sung the Worlds stupendious birth,
+  How scatter'd seeds of sea, of Air, and Earth,
+  And purer Fire thro universal night
+  And empty space did fruitfully unite:
+  From whence th' innumerable race of things
+  By circular successive order springs:
+
+And afterward
+
+  How Pyrra's Stony race rose from the ground,
+  And Saturn reign'd with Golden plenty crown'd,
+  How bold _Prometheus_ (whose untam'd desire,
+  Rival'd the Sun with his own Heavenly Fire)
+  Now doom'd the _Scythian_ Vulturs endless prey
+  Severely pays for Animating Clay:
+
+So true, so certain 'tis, that nothing is so high and lofty to which
+_Bucolicks_ may not successfully aspire. But if this be so, what will
+become of _Macrobius, Georgius Valla, Julius Scaliger, Vossius,_ and
+the whole company of Grammarians? who all affirm that simplicity and
+meanness is so essential to _Pastorals_, that it ought to be confin'd
+to the State, Manners, Apprehension and even common phrases of
+Sheapards: for nothing can {23} be said to be _Pastoral_, which is not
+accommodated to their condition; and for this Reason _Nannius
+Alcmaritanus_ in my opinion is a trifler, who, in his comments on
+_Virgils Eclogues_, thinks that those sorts of Composures may now and
+then be lofty, and treat of great subjects: where he likewise divides
+the matter of _Bucolicks_, into _Low_, _Middle_, and _High_: and makes
+_Virgil_ the Author of this Division, who in his Fourth _Eclogue_, (as
+he imagines) divides the matter of _Bucolicks_ into Three sorts, and
+intimates this division by these three words: _Bushes_, _Shrubs_ and
+_Woods_.
+
+  Sicilian Muse begin a loftier strain,
+  The Bushes and the Shrubs that shade the Plain
+  Delight not all; if I to Woods repair
+  My Song shall make them worth a Consuls Care.
+
+By Woods, as he fancys, as _Virgil_ means high and stately Trees, so
+He would have a great and lofty Subject to to be implyed, such as he
+designed for the _Consul_: by Bushes, which are almost even with the
+ground, the meanest and lowest argument; and by Shrubs a Subject not
+so high as the one, nor so low as the other, as the thing it-self is,
+And therefore these lines
+
+       If I to Woods repair
+  My Song shall make them worth a _Consuls_ care.
+
+{24} are thus to be understood, That if we choose high and sublime
+arguments, our work will be fit for the Patronage of a _Consul_, This
+is _Nanniu's_ interpretation of that place; too pedantial and subtle
+I'me affraid, for tis not credible that ever _Virgil_ thought of
+reckoning great and lofty things amongst the Subjects of _Bucolicks_
+especially since
+
+  When his _Thalia_ rais'd her bolder voice
+  And Kings and Battles were her lofty choice,
+  _Phoebus_ did twitch his Ear, mean thoughts infuse,
+  And with this whisper check't th' inspiring Muse.
+  A Sheapard, Tityrus, his Sheep should feed,
+  And choose a subject suited to his reed,
+
+This certainly was a serious admonition, implyed by the twitching of
+his Ear, and I believe if he had continued in this former humor and
+not obey'd the smarting admonition. He had still felt it: so far was
+he from thinking Kings and Battels fit Themes for a _Sheapards_ song:
+and this evidently shows that in _Virgils_ opinion, contrary to
+_Nanniu's_ fancy, great things cannot in the least be comprehended
+within the subject matter of _Pastorals;_ no, it must be low and
+humble, which _Theocritus_ very happily expresseth by this word
+*Boukoliasd�n* _i.e._ as the interpreters explain it, sing humble
+Strains.
+
+Theefore let _Pastoral_ never venture upon a {25} lofty subject, let
+it not recede one jot from its proper matter, but be employ'd about
+Rustick affairs: such as are mean and humble in themselves; and such
+are the affairs of Shepherds, especially their Loves, but those must
+be pure and innocent; not disturb'd by vain suspitious jealousy, nor
+polluted by Rapes; The Rivals must not fight, and their emulations
+must be without quarrellings: such as _Vida_ meant.
+
+  Whilst on his Reed he Shepherd's stifes conveys,
+  And soft complaints in smooth Sicilian lays.
+
+To these may be added _sports_, _Jests_, _Gifts_, and _Presents_; but
+not _costly_, such are yellow Apples, young stock-Doves, Milk,
+Flowers, and the like; all things must appear delightful and easy,
+nothing vitious and rough: A perfidious Pimp, a designing Jilt, a
+gripeing Usurer, a crafty factious Servant must have no room there,
+but every part must be full of the simplicity of the _Golden-Age_, and
+of that Candor which was then eminent: for as _Juvenal affirms_
+
+  Baseness was a great wonder in that Age;
+
+Sometimes _Funeral-Rites_ are the subject of an _Eclogue_, where the
+Shepherds scatter flowers on the Tomb, and sing Rustick Songs in honor
+of the Dead: Examples of this kind are left us by _Virgil_ in his
+_Daphnis_, and _Bion_ in his _Adonis_, and this hath nothing
+disagreeable to a Shepherd: In {26} short whatever, the decorum being
+still preserv'd, can be done by a _Sheapard_, may be the Subject of a
+_Pastoral_.
+
+Now there may be more kinds of Subjects than _Servius_ or _Donatus_
+allow, for they confine us to that Number which _Virgil_ hath made use
+of, tho _Minturnus_ in his second Book _de Poet�_ declares against
+this opinion: But as a glorious _Heroick_ action must be the Subject
+of an _Heroick_ Poem, so a _Pastoral_ action of a _Pastoral_; at least
+it must be so turn'd and wrought, that it might appear to be the
+action of a _Shepherd_; which caution is very necessary to be
+observ'd, to clear a great many difficulties in this matter: for tho
+as the Interpreters assure us; most of _Virgils_ Eclogues are about
+the Civil war, planting Colonys, the murder of the Emperor, and the
+like, which in themselves are too great and too lofty for humble
+_Pastoral_ to reach, yet because they are accomodated to the Genius of
+Shepherds, may be the Subject of an _Eclogue_, for that sometimes will
+admit of Gods and Heroes so they appear like, and are shrouded under
+the Persons of Shepherds: But as for these matters which neither
+really are, nor are so wrought as to seem the actions of Shepherds,
+such are in _Moschus's_ _Europa_, _Theocritus's_ _Epithalamium of
+Helen_, and _Virgil's_ _Pollio_, to declare my opinion freely, I
+cannot think them to be fit Subjects for _Bucolicks_: And upon this
+account I suppose 'tis that _Servius_ in his {27} Comments on
+_Virgil's_ _Bucoliks_ reckons only seven of _Virgil's_ ten Eclogues,
+and onely ten of _Theocritus's_ thirty, to be pure Pastorals, and
+_Salmasius_ upon _Solinus_ says, that _amongst Theocritus's_ _Poems
+there are some which you may call what you please Beside Pastorals_:
+and _Heinsius_ in his _Scholia_ upon _Theocritus_ will allow but Ten
+of his _Idylliums_ to be _Bucoliks_, 1. 2. 3. 4. 5. 6. 7. 8. 9. 11.
+for all the rest are deficient either in matter or form, and from this
+number of pure pastoral _Idylliums_ I am apt to think, that
+_Theocritus_ seems to have made that Pipe, on which he tun'd his
+_Pastorals_ and which he consecrated to _Pan_ of ten Reeds, as
+_Salmasius_ in his notes on _Theocritus's_ Pipe hath learnedly
+observed: _in which two Verses always make one Reed of the Pipe,
+therefore all are so unequal, like the unequal Reeds of a Pipe, that
+if you put two equals together which make one Reed, the whole
+inequality consists in ten pairs_; when in the common Pipes there were
+usually no more then seven Reeds, and this the less curious observers
+have heedlessly past by.
+
+Some are of opinion that whatever is done in the Country, and in one
+word, every thing that hath nought of the City in it may be treated of
+in _Pastorals_; and that the discourse of Fishers, Plow-men, Reapers,
+Hunters, and the like, belong to this kind of Poetry: which according
+to the Rule that I have laid down cannot be true for, as I before
+hinted nothing but the action of a {28} Shepherd can be the Subject of
+a Pastoral.
+
+I shall not here enquire, tho it may seem proper, whether we can
+decently bring into an Eclogue Reapers, Vine-dressers, Gardners,
+Fowlers, Hunters, Fishers, or the like, whose lives for the most part
+are taken up with too much business and employment to have any vacant
+time for Songs, and idle Chat, which are more agreeable to the leisure
+of a Sheapards Life: for in a great many Rustick affairs, either the
+hardship and painful Labor will not admit a song, as in Plowing, or
+the solitude as in hunting, Fishing, Fowling, and the like; but of
+this I shall discourse more largely in another place.
+
+Now 'tis not sufficient to make a Poem a true _Pastoral_, that the
+Subject of it is the action of a Shepherd, for in _Hesiods_ *erga* and
+_Virqils Georgicks_ there are a great many things that belong to the
+employment of a Shepherd, yet none fancy they are Pastorals; from
+whence 'tis evident, that beside the _matter_, which we have defin'd
+to be the action of a Sheapard, there is a peculiar _Form_ proper to
+this kind of _Poetry_ by which 'tis distinguish'd from all others.
+
+Of Poetry in General _Socrates_, as _Plato_ tells us, would have
+_Fable_ to be the _Form_: _Aristotle_ Imitation: I shall not dispute
+what difference there is between these two, but only inquire whether
+Imitation be the _Form_ of _Pastoral_: 'Tis certain that _Epick_
+Poetry is differenc't from _Tragick_ only by {29} the manner of
+imitation, for the latter imitates by _action_, and the former by bare
+_narration_: But _Pastoral_ is the imitation of a _Pastoral_ action
+either by bare narration, as in _Virgil's_ _Alexis_, and
+_Theocritus's_ 7th _Idyllium_, in which the Poet speaks all along in
+his own Person: or by action as in _Virgil's_ _Tityrus_, and the first
+of _Theocritus_, or by both mixt, as in the Second and Eleventh
+_Idylliums_, in which the Poet partly speaks in his own Person, and
+partly makes others speak, and I think the old _Scholiast_ on
+_Theocritus_ took an hint from these when he says, that Pastoral is a
+mixture made up of all sorts, for 'tis Narrative, Dramatick, and mixt,
+and _Aristotle_, tho obscurely, seems to hint in those words, _In
+every one of the mentioned Arts there is Imitation, in some simple, in
+some mixt_; now this latter being peculiar to _Bucolicks_ makes its
+very form and Essence: and therefore _Scaliger_, in the 4th Chapter of
+his first Book of Poetry, reckons up three Species of _Pastorals_, the
+first hath but one Person, the second several, which sing alternately;
+the third is mixt of both the other: And the same observation is made
+by _Heinsius_ in his Notes on _Theocritus_, for thus he very plainly
+to our purpose, _the Character of_ Bucolicks _is a mixture of all
+sorts of Characters, Dramatick, Narrative, or mixt_: from all which
+'tis very manifest that the manner of _Imitation_ which is proper to
+_Pastorals_ is the mixt: for in other kinds of Poetry 'tis one and
+simple, at least {30} not so manifold; as in _Tragedy Action_: in
+_Epick_ Poetry _Narration_.
+
+Now I shall explain what sort of _Fable_; _Manners_, _Thought_,
+_Expression_, which four are necessary to constitute every kind of
+Poetry, are proper to this sort.
+
+
+Concerning the Fable which _Aristotle_ calls, *synthesin t�n
+pragmat�n*, I have but one thing to say: this, as the Philosopher
+hints, as of all other sorts of Poetry, so of Pastoral is the very
+Soul. and therfore _Socrates_ in _Plato_ says, that in those Verses
+which he had made there was nothing wanting but the _Fable_: therefore
+Pastorals as other kinds of Poetry must have their Fable, if they will
+be Poetry: Thus in _Virgil's_ _Silenus_ which contains the Stories of
+allmost the whole Fabulous Age, two Shepherds whom _Silenus_ had often
+promis'd a Song, and as often deceived, seize upon him being drunk and
+asleep, and bind him with wreath'd Flowers; _�gle_ comes in and
+incourages the timorous youths, and stains his jolly red Face with
+Blackberries, _Silenus_ laughs at their innocent contrivance, and
+desires to be unbound, and then with a premeditated Song satisfies the
+Nymph's and Boys Curiosity; The incomparable Poet sings wonders, the
+Rocks rejoyce, the Vales eccho, and happy _Eurotas_ as if _Phoebus_
+himself sang, hears all, and bids the Laurels that grow upon his Banks
+listen to, and learn the Song.
+
+  {31} Happy _Eurotas_ as he flow'd along
+  Heard all, and bad the Laurels learn the Song.
+
+Thus every Eclogue or Idyllium must have its Fable, which must be the
+groundwork of the whole design, but it must not be perplext with
+sudden and unlookt for changes, as in _Marinus's_ _Adonis_: for that,
+tho the _Fable_ be of a Shepherd, yet by reason of the strange Bombast
+under Plots, and wonderful occurences, cannot be accounted _Pastoral_;
+for that it might be agreeable to the Person it treats of, it must be
+plain and simple, such as _Sophocles's_ _Ajax_, in which there is not
+so much as one change of Fortune. As for the Manners, let that
+precept, which _Horace_ lays down in his Epistle to the _Pisones_, be
+principally observed.
+
+  Let each be grac't with that which suits him best.
+
+For this, as 'tis a rule relateing to _Poetry_ in general, so it
+respects this kind also of which we are treating; and against this
+_Tasso_ in his _Amyntas_, _Bonarellus_ in his _Phyllis_, _Guarinus_ in
+his _Pastor Fido_, _Marinus_ in his _Idylliums_, and most of the
+_Italians_ grievously offend, for they make their _Shepherds_ too
+polite, and elegant, and cloth them with all the neatness of the Town,
+and Complement of the Court, which tho it may seem very pretty, yet
+amongst good _Critics_, let _Veratus_ {32} say what he will in their
+excuse, it cannot be allowed: For 'tis against _Minturnus's_ Opinion,
+who in his second Book _de Poet�_ says thus: _Mean Persons are brought
+in, those in Comedy indeed more polite, those in Pastorals more
+unelegant, as suppos'd to lead a rude life in Solitude_; and _Jason
+Denor_ a Doctor of _Padua_ takes notice of the same as a very absurd
+Error: _Aristotle_ heretofore for a like fault reprehended the
+_Megarensians_, who observ'd no _Decorum_ in their _Theater_, but
+brought in mean persons with a Train fit for a _King_ and cloath'd a
+Cobler or Tinker in a Purple Robe: In vain doth _Veratus_ in his
+Dispute against _Jason Denor_, to defend those elaborately exquisite
+discourses, and notable sublime sentences of his _Pastor Fido_, bring
+some lofty _Idylliums_ of _Theocritus_, for those are not acknowledged
+to be Pastoral; _Theocritus_ and _Virgil_ must be consulted in this
+matter, the former designdly makes his Shepherds discourse in the
+_Dorick_ i. e. the Rustick Dialect, sometimes scarce true Grammar; &
+the other studiously affects ignorance in the persons of his
+Shepherds, as _Servius_ hath observ'd, and is evident in _Melib�us_,
+who makes _Oaxes_ to be a River in _Crete_ when 'tis in
+_Mesopotamia_: and both of them take this way that the Manners may
+the more exactly suit with the Persons they represent, who of
+themselves are rude and unpolisht: And this proves that they
+scandalously err, who make their Shepherds appear polite and elegant;
+nor can I imagine what _Veratus_ {33} who makes so much ado about the
+polite manners of the _Arcadian_ Shepherds, would say to _Polybius_
+who tells us that _Arcadians_ by reason of the Mountainousness of the
+Country and hardness of the weather, are very unsociable and austere.
+
+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 al�theian*: 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,
+*diespath� kata ta oikeia �th� h� poi�sis* 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_, _Mec�nas_, _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
+�gypt_ 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_ _Pal�mon_,
+
+  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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+these represent the triumph of modern scientific reproduction. Be sure
+to become a subscriber; and take it upon yourself to see that your
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+
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+
+New members may still obtain a complete run of the first year's
+publications for $2.50, the annual membership fee.
+
+During the first two years the publications are issued in three
+series: I. Essays on Wit; II. Essays on Poetry and Language; and III.
+Essays on the Stage.
+
+      *       *       *       *       *
+
+
+PUBLICATIONS FOR THE FIRST YEAR (1946-1947)
+
+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)
+
+SEPT., 1946: Series III, No. 1--Anon., _Letter to A.H. Esq.;
+concerning the Stage_ (1698), and Richard Willis' _Occasional Paper_
+No. IX (1698).
+
+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.
+
+JAN., 1947: Series II, No. 2--Samuel Wesley's _Epistle to a Friend
+Concerning Poetry_ (1700) and _Essay on Heroic Poetry_ (1693).
+
+MARCH, 1947: Series III, No. 2--Anon., _Representation of the Impiety
+and Immorality of the Stage_ (1704) and anon., _Some Thoughts
+Concerning the Stage_ (1704).
+
+
+PUBLICATIONS FOR THE SECOND YEAR (1947-1948)
+
+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.
+
+SEPT., 1947: Series III, No. 3--T. Hanmer's (?) _Some Remarks on the
+Tragedy of Hamlet_. With an Introduction by Clarence D. Thorpe.
+
+NOV., 1947: Series I, No. 4--Corbyn Morris' _Essay towards Fixing the
+True Standards of Wit_, etc. With an Introduction by James L.
+Clifford.
+
+JAN., 1948: Series II, No. 4--Thomas Purney's _Discourse on the
+Pastoral_. With an Introduction by Earl Wasserman.
+
+MARCH, 1948: Series III, No. 4--Essays on the Stage, selected, with
+an Introduction by Joseph Wood Krutch.
+
+
+The list of publications is subject to modification in response to
+requests by members. From time to time Bibliographical Notes will be
+included in the issues. Each issue contains an Introduction by a
+scholar of special competence in the field represented.
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+The Project Gutenberg EBook of De Carmine Pastorali (1684), by Rene Rapin
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: De Carmine Pastorali (1684)
+
+Author: Rene Rapin
+
+Release Date: December 28, 2004 [EBook #14495]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK DE CARMINE PASTORALI (1684) ***
+
+
+
+
+Produced by David Starner, Louise Hope and the PG Online Distributed
+Proofreading Team
+
+
+
+
+
+
+            Series Two:
+        _Essays on Poetry_
+
+              No. 3
+
+
+    Rapin's _De Carmine Pastorali_,
+prefixed to Thomas Creech's translation
+of the _Idylliums_ of Theocritus (1684)
+
+
+
+
+      With an Introduction by
+          J.E. Congleton
+                and
+       a Bibliographical Note
+
+
+
+
+The Augustan Reprint Society
+July, 1947
+Price: 75c
+
+  *       *       *       *       *
+
+
+GENERAL EDITORS
+
+RICHARD C. BOYS, University of Michigan
+EDWARD NILES HOOKER, University of California, Los Angeles
+H.T. SWEDENBERG, JR., University of California, Los Angeles
+
+
+ADVISORY EDITORS
+
+EMMETT L. AVERY, State College of Washington
+LOUIS I. BREDVOLD, University of Michigan
+BENJAMIN BOYCE, University of Nebraska
+CLEANTH BROOKS, Louisiana State University
+JAMES L. CLIFFORD, Columbia University
+ARTHUR FRIEDMAN, University of Chicago
+SAMUEL H. MONK, University of Minnesota
+JAMES SUTHERLAND, Queen Mary College, London
+
+
+
+
+Lithoprinted from copy supplied by author
+                 by
+        Edwards Brothers, Inc.
+      Ann Arbor, Michigan, U.S.A.
+                1947
+
+
+  *       *       *       *       *
+
+
+INTRODUCTION
+
+Recent students of criticism have usually placed Rapin in the School
+of Sense. In fact Rapin clearly denominates himself a member of that
+school. In the introduction to his major critical work, _Reflexions
+sur la Poetique d'Aristote_ (1674), he states that his essay "is
+nothing else, but Nature put in Method, and good _Sense_ reduced to
+Principles" (_Reflections on Aristotle's Treatise of Poesie_, London,
+1731, II, 131). And in a few passages as early as "A Treatise de
+Carmine Pastorali" (1659), he seems to imply that he is being guided
+in part at least by the criterion of "good _Sense_." For example,
+after citing several writers to prove that "brevity" is one of the
+"graces" of pastoral poetry, he concludes, "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" (p.41).
+
+The basic criterion, nevertheless, which Rapin uses in the "Treatise"
+is the authority of the Ancients--the poems of Theocritus and Virgil
+and the criticism of Aristotle and Horace. Because of his constant
+references to the Ancients, one is likely to conclude that he (like
+Boileau and Pope) must have thought they and Nature (good sense) were
+the same. In a number of passages, however, Rapin depends solely on
+the Ancients. Two examples will suffice to illustrate his absolutism.
+At the beginning of "_The Second_ Part," when he is inquiring "into
+the nature of _Pastoral,_" he admits:
+  And this must needs be a hard Task, since I have no guide,
+  neither _Aristotle_ nor _Horace_ to direct me.... And I am of
+  opinion that none can treat well and clearly of any kind of
+  _Poetry_ if he hath no helps from these two (p. 16).
+
+In "_The Third_ Part," when he begins to "lay down" his _Rules for
+writing_ Pastorals," he declares:
+  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 (p. 52).
+
+These passages represent the apogee of the neoclassical criticism of
+pastoral poetry. No other critic who wrote on the pastoral depends so
+completely on the authority of the classical critics and poets. As a
+matter of fact, Rapin himself is not so absolute later. In the
+section of the _Reflexions_ on the pastoral, he merely states that
+the best models are Theocritus and Virgil. In short, one may say
+that in the "Treatise" the influence of the Ancients is dominant; in
+the _Reflexions_, "good _Sense_."
+
+Reduced to its simplest terms, Rapin's theory is Virgilian. When
+deducing his theory from the works of Theocritus and Virgil, his
+preference is almost without exception for Virgil. Finding Virgil's
+eclogues refined and elegant, Rapin, with a suggestion from Donatus
+(p. 10 and p. 14), concludes that the pastoral "belongs properly to
+the _Golden Age_" (p. 37)--"that blessed time, when Sincerity and
+Innocence, Peace, Ease, and Plenty inhabited the Plains" (p. 5).
+Here, then, is the immediate source of the Golden Age eclogue, which,
+being transferred to England and popularised by Pope, flourished
+until the time of Dr. Johnson and Joseph Warton.
+
+In France the most prominent opponent to the theory formulated by
+Rapin is Fontenelle. In his "Discours sur la Nature de l'Eglogue"
+(1688) Fontenelle, with studied and impertinent disregard for the
+Ancients and for "ceux qui professent cette espece de religion que
+l'on s'est faite d'adorer l'antiquite," expressly states that the
+basic criterion by which he worked was "les lumieres naturelles de
+la raison" (_OEuvres_, Paris, 1790, V, 36). It is careless and
+incorrect to imply that Rapin's and Fontenelle's theories of
+pastoral poetry are similar, as Pope, Joseph Warton, and many other
+critics and scholars have done. Judged by basic critical principles,
+method, or content there is a distinct difference between Rapin and
+Fontenelle. Rapin is primarily a neoclassicist in his "Treatise";
+Fontenelle, a rationalist in his "Discours." It is this opposition,
+then, of neoclassicism and rationalism, that constitutes the basic
+issue of pastoral criticism in England during the Restoration and the
+early part of the eighteenth century.
+
+When Fontenelle's "Discours" was translated in 1695, the first phrase
+of it quoted above was translated as "those Pedants who profess a
+kind of Religion which consists of worshipping the Ancients" (p.294).
+Fontenelle's phrase more nearly than that of the English translator
+describes Rapin. Though Rapin's erudition was great, he escaped the
+quagmire of pedantry. He refers most frequently to the scholiasts and
+editors in "_The First Part_" (which is so trivial that one wonders
+why he ever troubled to accumulate so much insignificant material),
+but after quoting them he does not hesitate to call their ideas
+"pedantial" (p. 24) and to refer to their statements as grammarian's
+"prattle" (p. 11). And, though at times it seems that his curiosity
+and industry impaired his judgment, Rapin does draw significant ideas
+from such scholars and critics as Quintilian, Vives, Scaliger,
+Donatus, Vossius, Servius, Minturno, Heinsius, and Salmasius.
+
+Rapin's most prominent disciple in England is Pope. Actually, Pope
+presents no significant idea on this subject that is foreign to
+Rapin, and much of the language--terminology and set phrases--of
+Pope's "Discourse" comes directly from Rapin's "Treatise" and from
+the section on the pastoral in the _Reflections_. Contrary to his own
+statement that he "reconciled" some points on which the critics
+disagree and in spite of the fact that he quotes Fontenelle, Pope in
+his "Discourse" is a neoclassicist almost as thoroughgoing as Rapin.
+The ideas which he says he took from Fontenelle are either
+unimportant or may be found in Rapin. Pope ends his "Discourse" by
+drawing a general conclusion concerning his _Pastorals_: "But after
+all, if they have any merit, it is to be attributed to some good old
+authors, whose works as I had leisure to study, so I have not wanted
+care to imitate." This statement is diametrically opposed to the
+basic ideas and methods of Fontenelle, but in full accord with and no
+doubt directly indebted to those of Rapin.
+
+The same year, 1717, that Pope 'imitated' Rapin's "Treatise," Thomas
+Purney made a direct attack on Rapin's neoclassic procedure. In the
+"Preface" to his own _Pastorals_ he expresses his disapproval of
+Rapin's method, evidently with the second passage from Rapin quoted
+above in mind:
+  _Rapine's_ Discourse is counted the best on this Poem, for 'tis
+  the longest. You will easily excuse my not mentioning all his
+  Defects and Errors in this Preface. I shall only say then, that
+  instead of looking into the true Nature of the Pastoral Poem,
+  and then judging whether _Theocritus_ or any of his Followers
+  have brought it to it's utmost Perfection or not. _Rapine_
+  takes it for granted that _Theocritus_ and _Virgil_ are
+  infallible; and aim's at nothing beyond showing the Rules which
+  he thinks they observ'd. Facetious Head! (_Works_, Oxford,
+  1933, pp. 51-52. The Peroy Reprints, No. XII)
+
+The influence of Rapin on the development of the pastoral,
+nevertheless, was salutary. Finding the genre vitiated with wit,
+extravagance, and artificiality, he attempted to strip it of these
+Renaissance excrescencies and restore it to its pristine purity by
+direct reference to the Ancients--Virgil, in particular. Though Rapin
+does not have the psychological insight into the esthetic principles
+of the genre equal to that recently exhibited by William Empson or
+even to that expressed by Fontenelle, he does understand the
+intrinsic appeal of the pastoral which has enabled it to survive, and
+often to flourish, through the centuries in painting, music, and
+poetry. Perhaps his most explicit expression of this appreciation is
+made while he is discussing Horace's statement that the muses love
+the country:
+  And to speak from the very bottome of my heart... methinks he
+  is much more happy in a Wood, that at ease contemplates this
+  universe, as his own, and in it, the Sun and Stars, the
+  pleasing Meadows, shady Groves, green Banks, stately Trees,
+  flowing Springs, and the wanton windings of a River, fit
+  objects for quiet innocence, than he that with Fire and Sword
+  disturbs the World, and measures his possessions by the wast
+  that lys about him (p. 4).
+
+Rene Rapin (1621-1687), in spite of his duties as a Jesuit priest and
+disputes with the Jansenists, became one of the most widely read men
+of his time and carried on the celebrated discussions about the
+Ancients with Maimbourg and Vavasseur. His _chef-d'oeuvre_ without
+contradiction is _Hortorum libri IV_. Like Virgil, Spenser, Pope, and
+many aspiring lesser poets, he began his literary career by writing
+pastorals, _Eclogae Sacrae_ (1659), to which is prefixed in Latin the
+original of "A Treatise de Carmine Pastorali."
+
+ J.E. Congleton
+   University of Florida
+
+Reprinted here from the copy owned by the Boston Athenaeum by
+permission.
+
+   *       *       *       *       *
+       *       *       *       *
+   *       *       *       *       *
+
+
+
+
+                   A
+
+               TREATISE
+
+
+          de CARMINE PASTORALI
+
+            Written by RAPIN.
+
+
+
+
+_The First Part_.
+
+To be as short as possible in my discourse upon the present Subject,
+I shall not touch upon the Excellency of _Poetry_ in general; nor
+repeat those high _Encomiums_, (as that tis the most divine of all
+human Arts, and the like) which _Plato_ in his _Jone_, _Aristotele_ in
+his _Poetica_, and other Learned men have copiously insisted on: And
+this I do that I might more closely and briefly pursue my present
+design, which, no doubt will not please every man; for since I treat
+of that part of _Poetry_, which (to use _Quintilian's_ words,) by
+reason of its Clownishness, is affraid of the Court and City; some may
+imagine that I follow _Nichocaris_ his humor, who would paint only the
+most ugly and deform'd, and those too in the meanest and most
+frightful dress, that real, or fancy'd Poverty could put them in.
+
+{2} For some think that to be a Sheapard is in it self mean, base, and
+sordid; And this I think is the first thing that the graver and
+soberer sort will be ready to object.
+
+But if we consider how honorable that employment is, our Objectors
+from that Topick will be easily answer'd, for as _Heroick_ Poems owe
+their dignity to the Quality of _Heroes_, so _Pastorals_ to that of
+_Sheapards_.
+
+Now to manifest this, I shall not rely on the authority of the
+_Fabulous_, and _Heroick_ Ages, tho, in the former, a God fed Sheep in
+_Thessaly_, and in the latter, _Hercules_ the Prince of _Heroes_, (as
+_Paterculus_ stiles him) graz'd on mount _Aventine_: These Examples,
+tis true, are not convinceing, yet they sufficiently shew that the
+employment of a Sheapard was sometime look'd upon to be such, as in
+those Fabulous times was not alltogether unbecomeing the _Dignity_ of
+a _Heroe_, or the _Divinity_ of a _God_: which consideration if it
+cannot be of force enough to procure excellence, yet certainly it may
+secure it from the imputation of baseness, since it was sometime lookt
+upon as fit for the greatest in Earth or Heaven.
+
+But not to insist on the authority of _Poets_, _Sacred Writt_ tells
+us that _Jacob_ and _Esau_, two great men, were Sheapards; And _Amos_,
+one of the Royal Family, asserts the same of himself, for _He was_
+among _the Sheapards of Tecua_, following that employment: The like by
+Gods own appointment {3} prepared _Moses_ for a Scepter, as _Philo_
+intimates in his life, when He tells us, _that a Sheapards Art is a
+suitable preparation to a Kingdome_; the same He mentions in the Life
+of _Joseph_, affirming that the care a Sheapard hath over his Cattle,
+very much resembles that which a King hath over his Subjects: The same
+_Basil_ in his Homily de _S. Mamm. Martyre_ hath concerning _David_,
+who was taken from following the Ews great with young ones to feed
+_Israel_, for He says that the Art of feeding and governing are very
+near akin, and even Sisters: And upon this account I suppose twas,
+that Kings amongst the _Greeks_ reckoned the name of Sheapard one of
+their greatest titles, for, if we believe _Varro_, amongst the
+Antients, the best and bravest was still a Sheapard: Every body knows
+that the _Romans_ the worthiest and greatest Nation in the World
+sprang from _Sheapards_: The Augury of the Twelve Vulturs plac't a
+Scepter in _Romulus's_ hand which held a Crook before; and at that
+time, as _Ovid_ says,
+
+  His own small Flock each Senator did keep.
+
+_Lucretius_ mentions an extraordinary happiness, and as it were
+Divinity in a _Sheaperd's_ life,
+
+  Thro Sheapards ease, and their Divine retreats.
+
+And this is the reason, I suppose, why the solitude of the Country,
+the shady Groves, and security of that happy Quiet was so grateful to
+the Muses, for thus _Horace_ represents them,
+
+ {4} The Muses that the Country Love.
+
+Which Observation was first made by _Mnasalce_ the _Sicyonian_ in his
+Epigram upon _Venus_
+
+  The Rural Muse upon the Mountains feeds.
+
+For sometimes the Country is so raveshing and delightful, that twill
+raise Wit and Spirit even in the dullest Clod, And in truth, amongst
+so many heats of Lust and Ambition which usually fire our Citys, I
+cannot see what retreat, what comfort is left for a chast and sober
+Muse.
+
+And to speak from the very bottome of my heart, (not to mention the
+integrity and innocence of Sheapards upon which so many have
+insisted, and so copiously declaimed) methinks he is much more happy
+in a Wood, that at ease contemplates this universe, as his own, and
+in it, the Sun and Stars, the pleasing Meadows, shady Groves, green
+Banks, stately Trees, flowing Springs, and the wanton windings of a
+River, fit objects for quiet innocence, than he that with Fire and
+Sword disturbs the World, and measures his possessions by the wast
+that lys about him: _Augustus_ in the remotest East fights for peace,
+but how tedious were his Voyages? how troublesome his Marches? how
+great his disquiets? what fears and hopes distracted his designs?
+whilst _Tityrus_ contented with a little, happy in the enjoyment of
+his Love, and at ease under his spreading Beech.
+
+  Taught Trees to sound his _Amaryllis_ name.
+
+{5} On the one side _Meliboeus_ is forc't to leave his Country, and
+_Antony_ on the other; the one a Sheapard, the other a great man, in
+the Common-Wealth; how disagreeable was the Event? the Sheapard could
+endure himself; and sit down contentedly under his misfortunes, whilst
+lost _Antony_, unable to hold out, and quitting all hopes both for
+himself and his Queen, became his own barbarous Executioner: Than
+which sad and deplorable fall I cannot imagine what could be worse,
+for certainly nothing is so miserable as a Wretch made so from a
+flowrishing & happy man; by which tis evident how much we ought to
+prefer before the gaity of a great and shining State, that Idol of the
+Crowd, the lowly simplicity of a Sheapards Life: for what is that but
+a perfect image of the state of Innocence, of that golden Age, that
+blessed time, when Sincerity and Innocence, Peace, Ease, and Plenty
+inhabited the Plains?
+
+Take the Poets description
+
+  Here Lowly Innocence makes a sure retreat,
+  A harmless Life, and ignorant of deceit,
+  and free from fears with various sweet's encrease,
+  And all's or'e spread with the soft wings of Peace:
+  Here Oxen low, here Grots, and purling Streams,
+  And Spreading shades invite to easy dreams.
+
+And thus Horace,
+
+  Happy the man beyond pretence
+  Such was the state of Innocence, &c.
+
+{6} And from this head I think the dignity of _Bucolicks_ is
+sufficiently cleared, for as much as the Golden Age is to be preferred
+before the _Heroick_, so much _Pastorals_ must excell _Heroick_ Poems:
+yet this is so to be understood, that if we look upon the majesty and
+loftiness of _Heroick_ Poems, it must be confest that they justly
+claim the preheminence; but if the unaffected neatness, elegant,
+graceful smartness of the expression, or the polite dress of a Poem be
+considered, then they fall short of _Pastorals_: for this sort flows
+with Sweet, Elegant, neat and pleasing fancies; as is too evident to
+every one that hath tasted the sweeter muses, to need a farther
+explication: for tis not probable that _Asinius Pollio_, _Cinna_,
+_Varius_, _Cornelius Gallus_, men of the neatest Wit, and that lived
+in the most polite Age, or that _Augustus Caesar_ the Prince of the
+_Roman_ elegance, as well as of the common Wealth, should be so
+extreamly taken with _Virgils Bucolicks_, or that _Virgil_ himself a
+man of such singular prudence, and so correct a judgment, should
+dedicate his Eclogues to those great Persons; unless he had known that
+there is somewhat more then ordinary Elegance in those sort of
+Composures, which the wise perceive, tho far above the understanding
+of the Crowd: nay if _Ludovicus Vives_, a very learned man, and
+admired for politer studies may be believed, there is somewhat more
+sublime and excellent in those _Pastorals_, than the Common {7} sort
+of Grammarians imagine: This I shall discourse of in an other place,
+and now inquire into the Antiquity of Pastorals.
+
+Since _Linus_, _Orpheus_, and _Eumolpus_ were famous for their Poems,
+before the _Trojan_ wars; those are certainly mistaken, who date
+Poetry from that time; I rather incline to their opinion who make it
+as old as the World it self; which Assertion as it ought to be
+understood of Poetry in general, so especially of _Pastoral_, which,
+as _Scaliger_ delivers, was the most antient kind of Poetry, and
+resulting from the most _antient_ way of Liveing: _Singing first began
+amongst Sheapards as they fed their Flocks, either by the impulse of
+nature, or in imitation of the notes of Birds, or the whispering of
+Trees._
+
+For since the first men were either _Sheapards_ or _Ploughmen_, and
+_Sheapards_, as may be gathered out of _Thucydides_ and _Varro_, were
+before the others, they were the first that either invited by their
+leisure, or (which _Lucretius_ thinks more probable) in imitation of
+Birds, began a tune.
+
+  Thro all the Woods they heard the pleasing noise
+  Of chirping Birds, and try'd to frame their voice,
+  And Imitate, thus Birds instructed man,
+  And taught them Songs before their Art began.
+
+In short, tis so certain that Verses first began in the Country that
+the thing is in it self evident, and this _Tibullus_ very plainly
+signifies,
+
+  {8} First weary at his Plough the labouring Hind
+  In certain feet his rustick words did bind:
+  His dry reed first he tun'd at sacred feasts
+  To thanks the bounteous Gods, and cheer his Guests.
+
+_In certain feet_ according to _Bern Cylenius_ of _Verona_ his
+interpretation _in set measures_: for _Censorinus_ tells us, that the
+antient Songs were loose and not ty'd up to any strict numbers, and
+afterwards by certain laws and acknowledged rules were confin'd to
+such and such measures: for this is the method of Nature in all her
+works, from imperfect and rude beginnings things take their first
+rise, and afterwards by fit and apposite additions are polish't, and
+brought to perfection: such were the Verses which heretofore the
+_Italian_ Sheapards and Plough-men, as _Virgil_ says, sported amongst
+themselves.
+
+  Italian Plough-men sprung from antient _Troy_
+  Did sport unpolish't Rhymes--
+
+_Lucretius_ in his Fifth Book _de Natura Rerum_, says, that Sheapards
+were first taught by the rushing of soft Breezes amongst the Canes to
+blow their Reeds, and so by degrees to put their Songs in tune.
+
+  For Whilst soft Evening Gales blew or'e the Plains
+  And shook the sounding Reeds, they taught the Swains,
+  And thus the Pipe was fram'd, and tuneful Reed,
+  And whilst the Flocks did then securely feed,
+  The harmless Sheapards tun'd their Pipes to Love,
+  {9} And Amaryllis name fill'd every Grove.
+
+From all which tis very plain that _Poetry_ began in those days, when
+Sheapards took up their employment: to this agrees _Donatus_ in his
+Life of _Virgil_, and _Pontanus_ in his Fifth Book of Stars, as
+appears by these Verses.
+
+  Here underneath a shade by purling Springs
+  The Sheapards Dance, whilst sweet _Amyntas_ sings;
+  Thus first the new found Pipe was tun'd to Love,
+  And Plough-men taught their Sweet hearts to the Grove,
+
+Thus the _Fescennine_ jests when they sang harvest-home, and then too
+the Grape gatherers and Reapers Songs began, an elegant example of
+which we have in the Tenth _Idyllium_ of _Theocritus_.
+
+From this birth, as it were, of _Poetry_, Verse began to grow up to
+greater matters; For from the common discourse of _Plough-men_ and
+_Sheapards_, first _Comedy_, that Mistress of a private Life, next
+_Tragedy_, and then _Epick Poetry_ which is lofty and _Heroical_
+arrose, This _Maximus Tyrius_ confirms in his Twenty first
+dissetation, where he tells us that Plough-men just comeing from their
+work, and scarce cleansed from the filth of their employment, did use
+to flurt out some sudden and _extempore_ Catches; and from this
+beginning Plays were produc'd and the Stage erected: Thus {10} much
+concerning the _Antiquity_, next of the _Original_ of this sort.
+
+About this Learned men cannot agree, for who was the first Author, is
+not sufficiently understood; _Donatus_, tis true, tells us tis proper
+to the Golden Age, and therefore must needs be the product of that
+happy time: but who was the Author, where, what time it was first
+invented hath been a great Controversy, and not yet sufficiently
+determined: _Epicharmus_ one of _Pythagoras_ his School, in his
+*alkyoni* mentions one _Diomus_ a _Sicilian_, who, if we believe
+_Athaenaeus_ was the first that wrote _Pastorals: those that fed Cattle
+had a peculiar kind of Poetry, call'd Bucolicks, of which Dotimus a
+Sicilian was inventer:_
+
+_Diodorus Siculus_ *en tois mythologoumenois*, seems to make
+_Daphnis_ the son of _Mercury_ and a certain _Nymph_, to be the
+Author; and agreeable to this, _Theon_ an old _scholiast_ on
+_Theocritus_, in his notes upon the first _Idyllium_ mentioning
+_Daphnis_, adds, _he was the author of Bucolicks_, and _Theocritus
+himself_ calls him _the Muses Darling_: and to this Opinion of
+_Diodorus Siculus Polydore Virgil_ readily assents.
+
+But _Mnaseas_ of _Patara_ in a discourse of his concerning _Europa_,
+speaks thus of a Son of _Pan_ the God of Sheapards: _Panis Filium
+Bubulcum a quo & Bucolice canere:_ Now Whether _Mnaseas_ by that
+_Bubulcum_, means only a _Herds-man_, or one skilled in _Bucolicks_,
+is uncertain; but if _Valla's_ {11} judgment be good, tis to be taken
+of the latter: yet _AElian_ was of another mind, for he boldly affirms
+that _Stesichorus_ called _Himeraeus_ was the first, and in the same
+place adds, that _Daphnis_ the Son of _Mercury_ was the first Subject
+of _Bucolicks_.
+
+Some ascribe the Honor to _Bacchus_ the President of the _Nymphs,
+Satyrs_, and the other Country Gods, perhaps because he delighted in
+the Country; and others attribute it to _Apollo_ called _Nomius_ the
+God of Sheapards, and that he invented it then when he served
+_Admetus_ in _Thessaly_, and fed his Herds: For, tis likely, he to
+recreate himself, and pass away his time, applied his mind to such
+Songs as were best suitable to his present condition: Many think we
+owe it to _Pan_ the God of Sheapards, not a few to _Diana_ that
+extreamly delighted in solitude and Woods; and some say _Mercury_
+himself: of all which whilst _Grammarians_ prattle, according to their
+usual custome they egregiously trifle; they suffer themselves to be
+put upon by Fables, and resign their judgment up to foolish
+pretentions, but things and solid truth is that we seek after.
+
+As about the Author, so concerning the place of its Birth there is a
+great dispute, some say _Sparta_, others _Peloponesus_, but most are
+for _Sicily_.
+
+_Valla the Placentine_, a curious searcher into Antiquity, thinks
+this sort of Poetry first appear'd amongst the _Lacedemonians_, for
+when the _Persians_ had wasted allmost all _Greece_, the _Spartans_
+say {12} that they for fear of the _Barbarians_ fled into Caves and
+lurking holes; and that the Country Youth then began to apply
+themselves in Songs to _Diana Caryatis_, together with the Maids, who
+midst their Songs offerd Flowers to the Goddess: which custome
+containing somewhat of Religion was in those places a long time very
+scrupulously observed.
+
+_Diomedes_ the Grammarian, in his treatise of _Measures_, declares
+_Sicily_ to be the Place: for thus he says, the _Sicilian_ Sheapards
+in time of a great _Pestilence_, began to invent new Ceremonies to
+appease incensed _Diana_, whom afterward, for affording her help, and
+stopping the Plague they called *Lyen*: _i.e._ the _Freer_ from their
+Miserys. This grew into custom, and the Sheapards used to meet in
+Companies, to sing their deliverer _Diana's_ praise, and these
+afterwards passing into _Italy_ were there named _Bucoliastae_.
+
+_Pomponius Sabinus_ tells the story thus: When the Hymns the Virgins
+us'd to sing in the Country to _Diana_ were left off, because, by
+reason of the present Wars, the Maidens were forc't to keep close
+within the Towns; the Shepherds met, and sang these kind of Songs,
+which are now call'd _Bucolicks_, to _Diana_; to whom they could not
+give the usual worship by reason of the Wars: But _Donatus_ says, that
+this kind of Verses was first sung to _Diana_ by _Orestes_, when he
+wandred about _Italy_; after he fled from _Scythia Taurica_, and had
+{13} taken away the Image of the Goddess and hid it in a bundle of
+sticks, whence she receiv'd the name of _Fascelina_, or _Phacelide_
+*apo tou phakelou* At whose Altar, the very same _Orestes_ was
+afterward expiated by his Sister _Iphigenia_: But how can any one
+rely on such Fables, when the inconsiderable Authors that propose them
+disagree so much amongst themselves?
+
+Some are of Opinion that the Shepherds, were wont in solem and set
+Songs about the Fields and Towns to celebrate the Goddess _Pales_; and
+beg her to bless their flocks and fields with a plenteous encrease and
+that from hence the name, and composure of _Bucolicks_ continued.
+
+Other prying ingenious Men make other conjectures, as to this mazing
+Controversy thus _Vossius_ delivers himself; _The Antients cannot be
+reconcil'd, but I rather incline to their opinion who think_ Bucolicks
+_were invented either by the_ Sicilians _or_ Peloponesians, _for both
+those use the_ Dorick _dialect, and all the_ Greek Bucolicks _are writ
+in that_: As for my self I think, that what _Horace_ says of _Elegies_
+may be apply'd to the present Subject.
+
+  But who soft Elegies was the first that wrote
+  Grammarians doubt, and cannot end the doubt:
+
+For I find nothing certain about this matter, since neither _Valla_ a
+diligent inquirer after, and a good judge in such things, nor any of
+the late writers produce any thing upon which I can safely rely; yet
+what beginning this kind of Poetry {14} had, I think I can pretty well
+conjecture: for tis likely that first Shepherds us'd Songs to recreate
+themselves in their leisure hours whilst they fed their Sheep; and
+that each man, as his wit served, accommodated his Songs to his
+present Circumstances: to this Solitude invited, and the extream
+leisure that attends that employment absolutely requir'd it: For as
+their retirement gave them leisure, and Solitude a fit place for
+Meditation, Meditation and Invention produc'd a Verse; which is
+nothing else but a Speech fit to be sung, and so Songs began: Thus
+_Hesiod_ was made a Poet, for he acknowledges himself that he receiv'd
+his inspiration;
+
+  Whilst under _Helicon_ he fed his Lambs.
+
+for either the leisure or fancy of Shepherds seems to have a natural
+aptitude to Verse.
+
+And indeed I cannot but agree with _Lucretius_ that accurate Searcher
+into Nature, who delivers that from that state of Innocence the Golden
+Age, Pastorals continued down to his time, for after he had in his
+fifth book describ'd that most happy age, he adds,
+
+  For then the Rural Muses reign'd.
+
+From whence 'tis very plain, that as _Donatus_ himself observ'd,
+Pastorals were the invention of the simplicity and innocence of that
+Golden age, if there was ever any such, or certainly of that time
+which succeeded the beginning of the World: For tho the Golden Age
+must be acknowledged {15} to be only in the fabulous times, yet 'tis
+certain that the Manners of the first Men were so plain and simple,
+that we may easily derive both the innocent imployment of Shepherds,
+and Pastorals from them.
+
+
+{16} _The Second_ PART.
+
+Now let us inquire into the nature of _Pastoral_, in what its
+excellencies consist, and how it must be made to be exact: And this
+must needs be a hard Task, since I have no guide, neither _Aristotle_
+nor _Horace_ to direct me; for both they, whatever was the matter,
+speak not one word of this sort of Verse. And I am of opinion that
+none can treat well and clearly of any kind of _Poetry_ if he hath no
+helps from these two: But since they lay down some general Notions of
+_Poetry_ which may be useful in the present case, I shall follow their
+steps as close as possible I can.
+
+Not only _Aristotle_ but _Horace_ too hath defin'd that _Poetry_ in
+general is Imitation; I mention only these two, for tho _Plato_ in his
+Second Book _de Rep._ and in his _Timaeus_ delivers the same thing, I
+shall not make use of his Authority at all: Now as _Comedy_ according
+to _Aristotle_ is the _Image and Representation of a gentiel and City
+Life_, so is _Pastoral Poetry_ of a County and _Sheapards_ Life; for
+since _Poetry_ in general is Imitation; its several _Species_ must
+likewise Imitate, take _Aristotles_ own words _Cap._ 1. *pasai
+tynchanousin ousa mimeseis*; And these _Species_ are {17} differenc't
+either by the subject matter, when the things to be imitated are quite
+different, or when the manner in which you imitate, or the mode of
+imitation is so: *en trisi de tautais diaphorais he mimesis estin, en
+hois kai ha, kai hos*: Thus tho of _Epick_ Poetry and _Tragedy_ the
+Subject is the same, and some great illustrious Action is to be
+_imitated_ by both, yet since one by representation, and the other by
+plain narration imitates, each makes a different _Species_ of
+imitation. And _Comedy_ and _Tragedy_, tho they agree in this, that
+both represent, yet because the Matter is different, and _Tragedy_
+must represent some brave action, and _Comedy_ a humor; these Two
+sorts of imitation are _Specifically different_. And upon the same
+account, since _Pastoral_ chooses the mannes of Sheapards for its
+imitation, it takes from its matter a peculiar difference, by which it
+is distinguish'd fro all others.
+
+But here _Benius_ in his comments upon _Aristotle_ hath started a
+considerable query: which is this; Whether _Aristotle_, when he
+reckons up the different _Species_ of Poetry _Cap_ 1. doth include
+_Pastoral,_ or no? And about this I find learn'd men cannot at all
+agree: which certainly _Benius_ should have determin'd, or not rais'd:
+some refer it to that sort which _was sung to Pipes_, for that
+_Pastorals_ were so _Apuleius_ intimates, when at the marriage Feast
+of _Phyche_ He brings in _Paniscus_ singing _Bucolicks_ to his Pipe;
+But since they did not seriously enough consider, what _Aristotle_
+{18} meant by that which he calls *auletiken* they trifle, talk idly,
+and are not to be heeded in this matter; For suppose some _Musitian_
+should sing _Virgils AEnaeis_ to the Harp, (and _Ant. Lullus_ says it
+hath been done,) should we therefore reckon that divine and
+incomparable Master of _Heroick_ Poetry amongst the _Lyricks_?
+
+Others with _Caesius Bassus_ and _Isacius Tzetzes_ hold that that
+distribution of _Poetry_, which _Aristotle_ and _Tully_ hath left us,
+is deficient and imperfect; and that only the chief Species are
+reckoned, but the more inconsiderable not mention'd: I shall not here
+interest my self in that quarrel of the _Criticks_, whether we have
+all _Aristotles_ books of Poetry or no; this is a considerable
+difficulty I confess, for _Laertius_ who accurately weighs this
+matter, says that he wrote two books of _Poetry_, the one lost, and
+the other we have, tho _Mutinensis_ is of an other mind: but to end
+this dispute, I must agree with _Vossius_, who says the Philosopher
+comprehended these Species not expressly mentioned, under a higher and
+more noble head: and that therefore _Pastoral_ was contain'd in
+_Epick_. for these are his own words, _besides there are Epicks of an
+inferior rank, such as the Writers of Bucolicks_. _Sincerus_, as
+_Minturnus_ quotes him, is of the same mind, for thus he delivers his
+opinion concerning _Epick Verse_: _The matters about which these
+numbers may be employed is various; either mean and low, as in
+Pastorals, great and lofty, as when {19} the Subject is Divine Things,
+or Heroick Actions, or of a middle rank, as when we use them to
+deliver precepts in:_ And this likewise he signifys before, where he
+sets down three sorts of _Epicks_: _one of which, says he, is divine,
+and the most excellent by much in all Poetry_; the _other the lowest
+but most pure, in which Theocritus excelled, which indeed shews
+nothing of Poetry beside the bare numbers_: These points being thus
+settled, the remaining difficultys will be more easily dispatched.
+
+For as in _Dramatick_ Poetry the Dignity and meanness of the
+_Persons_ represented make two different _Species of imitation_ the
+one _Tragick_, which agrees to none but great and Illustrious persons,
+the other _Comick_, which suits with common and gentile humors: so in
+_Epick_ too, there may be reckoned two sorts of _Imitation_, one of
+which belongs to _Heroes_, and that makes the _Heroick_; the other to
+_Rusticks_ and _Sheapards_ and that constitutes the _Pastoral_, now as
+a _Picture_ imitates the Features of the face, so _Poetry_ doth
+action, and tis not a representation of the Person but the Action.
+
+From all which we may gather this definition of Pastoral: _It is the
+imitation of the Action of a Sheapard, or of one taken under that
+Character_: Thus _Virgil's Gallus_, tho not really a _Sheapard_, for
+he was a man of great quality in _Rome_, yet belongs to _Pastoral_,
+because he is represented like a Sheapard: hence the Poet:
+
+  {20} The Goatherd and the heavy Heardsmen came,
+  And ask't what rais'd the deadly Flame.
+
+The _Scene_ lys amongst Sheapards, the _Swains_ are brought in, the
+_Herdsmen_ come to see his misery, and the fiction is suited to the
+real condition of a _Sheapard_; the same is to be said for his
+_Silenus_, who tho he seems lofty, and to sound to loud for an oaten
+reed, yet since what he sings he sings to _Sheapards_, and suits his
+Subject to their apprehensions, his is to be acknowledged _Pastoral_.
+This rule we must stick to, that we might infallibly discern what is
+stricktly _Pastoral_ in _Virgil_ and _Theocritus_, and what not: for
+in _Theocritus_ there are some more lofty thoughts which not having
+any thing belonging to Sheapards for their Subject, must by no means
+be accounted _Pastoral_, But of this more in its proper place.
+
+My present inquiry must be what is the _Subject Matter_ of a
+_Pastoral_, about which it is not easy to resolve; since neither from
+_Aristotle_, nor any of the _Greeks_ who have written _Pastorals_, we
+can receive certain direction. For sometimes they treat of high and
+sublime things, like _Epick Poets_; what can be loftier than the whole
+_Seaventh Idyllium of Bias_ in which _Myrsan_ urges _Lycidas_ the
+Sheapard to sing the Loves of _Deidamia_ and _Achilles_. For he
+begins from _Helen's_ rape, and goes on to the revengful fury of the
+_Atrides_, and shuts up in one _Pastoral_, all that is great and
+sounding in _Homers Iliad_.
+
+  {21} Sparta was fir'd with Rage
+  And gather'd Greece to prosecute Revenge.
+
+And _Theocritus_ his verses are sometimes as sounding and his
+thoughts as high: for upon serious consideration I cannot mind what
+part of all the _Heroicks_ is so strong and sounding as that
+_Idyllium_ on _Hercules_ *leontophono* in which _Hercules_ himself
+tells _Phyleus_ how he kill'd the Lyon whose Skin he wore: for, not to
+mention many, what can be greater than this expression.
+
+  And gaping Hell received his mighty Soul:
+
+Why should I instance in the *dioskouroi*, which hath not one line
+below Heroick; the greatness of this is almost inexpressible.
+
+  *aner hyperoplos enemeros, endiaaske
+    deinos idein*
+
+And some other pieces are as strong as these, such is the _Panegyrick
+on Ptolemy_, _Helen's Epithalamium_, and the Fight of young _Hercules_
+and the Snakes: now how is it likely that such Subjects should be fit
+for _Pastorals_, of which in my opinion, the same may be said which
+_Ovid_ doth of his _Cydippe_.
+
+  Cydippe, Homer, doth not fit thy Muse.
+
+For certainly _Pastorals_ ought not to rise to the Majesty of
+_Heroicks_: but who on the other side {22} dares reprehend such great
+and judicious Authors, whose very doing it is Authority enough? What
+shall I say of _Virgil_? who in his Sixth _Eclogue_ hath put together
+allmost all the particulars of the fabulous Age; what is so high to
+which _Silenus_ that Master of Mysterys doth not soar?
+
+  For lo! he sung the Worlds stupendious birth,
+  How scatter'd seeds of sea, of Air, and Earth,
+  And purer Fire thro universal night
+  And empty space did fruitfully unite:
+  From whence th' innumerable race of things
+  By circular successive order springs:
+
+And afterward
+
+  How Pyrra's Stony race rose from the ground,
+  And Saturn reign'd with Golden plenty crown'd,
+  How bold _Prometheus_ (whose untam'd desire,
+  Rival'd the Sun with his own Heavenly Fire)
+  Now doom'd the _Scythian_ Vulturs endless prey
+  Severely pays for Animating Clay:
+
+So true, so certain 'tis, that nothing is so high and lofty to which
+_Bucolicks_ may not successfully aspire. But if this be so, what will
+become of _Macrobius, Georgius Valla, Julius Scaliger, Vossius,_ and
+the whole company of Grammarians? who all affirm that simplicity and
+meanness is so essential to _Pastorals_, that it ought to be confin'd
+to the State, Manners, Apprehension and even common phrases of
+Sheapards: for nothing can {23} be said to be _Pastoral_, which is not
+accommodated to their condition; and for this Reason _Nannius
+Alcmaritanus_ in my opinion is a trifler, who, in his comments on
+_Virgils Eclogues_, thinks that those sorts of Composures may now and
+then be lofty, and treat of great subjects: where he likewise divides
+the matter of _Bucolicks_, into _Low_, _Middle_, and _High_: and makes
+_Virgil_ the Author of this Division, who in his Fourth _Eclogue_, (as
+he imagines) divides the matter of _Bucolicks_ into Three sorts, and
+intimates this division by these three words: _Bushes_, _Shrubs_ and
+_Woods_.
+
+  Sicilian Muse begin a loftier strain,
+  The Bushes and the Shrubs that shade the Plain
+  Delight not all; if I to Woods repair
+  My Song shall make them worth a Consuls Care.
+
+By Woods, as he fancys, as _Virgil_ means high and stately Trees, so
+He would have a great and lofty Subject to to be implyed, such as he
+designed for the _Consul_: by Bushes, which are almost even with the
+ground, the meanest and lowest argument; and by Shrubs a Subject not
+so high as the one, nor so low as the other, as the thing it-self is,
+And therefore these lines
+
+       If I to Woods repair
+  My Song shall make them worth a _Consuls_ care.
+
+{24} are thus to be understood, That if we choose high and sublime
+arguments, our work will be fit for the Patronage of a _Consul_, This
+is _Nanniu's_ interpretation of that place; too pedantial and subtle
+I'me affraid, for tis not credible that ever _Virgil_ thought of
+reckoning great and lofty things amongst the Subjects of _Bucolicks_
+especially since
+
+  When his _Thalia_ rais'd her bolder voice
+  And Kings and Battles were her lofty choice,
+  _Phoebus_ did twitch his Ear, mean thoughts infuse,
+  And with this whisper check't th' inspiring Muse.
+  A Sheapard, Tityrus, his Sheep should feed,
+  And choose a subject suited to his reed,
+
+This certainly was a serious admonition, implyed by the twitching of
+his Ear, and I believe if he had continued in this former humor and
+not obey'd the smarting admonition. He had still felt it: so far was
+he from thinking Kings and Battels fit Themes for a _Sheapards_ song:
+and this evidently shows that in _Virgils_ opinion, contrary to
+_Nanniu's_ fancy, great things cannot in the least be comprehended
+within the subject matter of _Pastorals;_ no, it must be low and
+humble, which _Theocritus_ very happily expresseth by this word
+*Boukoliasden* _i.e._ as the interpreters explain it, sing humble
+Strains.
+
+Theefore let _Pastoral_ never venture upon a {25} lofty subject, let
+it not recede one jot from its proper matter, but be employ'd about
+Rustick affairs: such as are mean and humble in themselves; and such
+are the affairs of Shepherds, especially their Loves, but those must
+be pure and innocent; not disturb'd by vain suspitious jealousy, nor
+polluted by Rapes; The Rivals must not fight, and their emulations
+must be without quarrellings: such as _Vida_ meant.
+
+  Whilst on his Reed he Shepherd's stifes conveys,
+  And soft complaints in smooth Sicilian lays.
+
+To these may be added _sports_, _Jests_, _Gifts_, and _Presents_; but
+not _costly_, such are yellow Apples, young stock-Doves, Milk,
+Flowers, and the like; all things must appear delightful and easy,
+nothing vitious and rough: A perfidious Pimp, a designing Jilt, a
+gripeing Usurer, a crafty factious Servant must have no room there,
+but every part must be full of the simplicity of the _Golden-Age_, and
+of that Candor which was then eminent: for as _Juvenal affirms_
+
+  Baseness was a great wonder in that Age;
+
+Sometimes _Funeral-Rites_ are the subject of an _Eclogue_, where the
+Shepherds scatter flowers on the Tomb, and sing Rustick Songs in honor
+of the Dead: Examples of this kind are left us by _Virgil_ in his
+_Daphnis_, and _Bion_ in his _Adonis_, and this hath nothing
+disagreeable to a Shepherd: In {26} short whatever, the decorum being
+still preserv'd, can be done by a _Sheapard_, may be the Subject of a
+_Pastoral_.
+
+Now there may be more kinds of Subjects than _Servius_ or _Donatus_
+allow, for they confine us to that Number which _Virgil_ hath made use
+of, tho _Minturnus_ in his second Book _de Poeta_ declares against
+this opinion: But as a glorious _Heroick_ action must be the Subject
+of an _Heroick_ Poem, so a _Pastoral_ action of a _Pastoral_; at least
+it must be so turn'd and wrought, that it might appear to be the
+action of a _Shepherd_; which caution is very necessary to be
+observ'd, to clear a great many difficulties in this matter: for tho
+as the Interpreters assure us; most of _Virgils_ Eclogues are about
+the Civil war, planting Colonys, the murder of the Emperor, and the
+like, which in themselves are too great and too lofty for humble
+_Pastoral_ to reach, yet because they are accomodated to the Genius of
+Shepherds, may be the Subject of an _Eclogue_, for that sometimes will
+admit of Gods and Heroes so they appear like, and are shrouded under
+the Persons of Shepherds: But as for these matters which neither
+really are, nor are so wrought as to seem the actions of Shepherds,
+such are in _Moschus's_ _Europa_, _Theocritus's_ _Epithalamium of
+Helen_, and _Virgil's_ _Pollio_, to declare my opinion freely, I
+cannot think them to be fit Subjects for _Bucolicks_: And upon this
+account I suppose 'tis that _Servius_ in his {27} Comments on
+_Virgil's_ _Bucoliks_ reckons only seven of _Virgil's_ ten Eclogues,
+and onely ten of _Theocritus's_ thirty, to be pure Pastorals, and
+_Salmasius_ upon _Solinus_ says, that _amongst Theocritus's_ _Poems
+there are some which you may call what you please Beside Pastorals_:
+and _Heinsius_ in his _Scholia_ upon _Theocritus_ will allow but Ten
+of his _Idylliums_ to be _Bucoliks_, 1. 2. 3. 4. 5. 6. 7. 8. 9. 11.
+for all the rest are deficient either in matter or form, and from this
+number of pure pastoral _Idylliums_ I am apt to think, that
+_Theocritus_ seems to have made that Pipe, on which he tun'd his
+_Pastorals_ and which he consecrated to _Pan_ of ten Reeds, as
+_Salmasius_ in his notes on _Theocritus's_ Pipe hath learnedly
+observed: _in which two Verses always make one Reed of the Pipe,
+therefore all are so unequal, like the unequal Reeds of a Pipe, that
+if you put two equals together which make one Reed, the whole
+inequality consists in ten pairs_; when in the common Pipes there were
+usually no more then seven Reeds, and this the less curious observers
+have heedlessly past by.
+
+Some are of opinion that whatever is done in the Country, and in one
+word, every thing that hath nought of the City in it may be treated of
+in _Pastorals_; and that the discourse of Fishers, Plow-men, Reapers,
+Hunters, and the like, belong to this kind of Poetry: which according
+to the Rule that I have laid down cannot be true for, as I before
+hinted nothing but the action of a {28} Shepherd can be the Subject of
+a Pastoral.
+
+I shall not here enquire, tho it may seem proper, whether we can
+decently bring into an Eclogue Reapers, Vine-dressers, Gardners,
+Fowlers, Hunters, Fishers, or the like, whose lives for the most part
+are taken up with too much business and employment to have any vacant
+time for Songs, and idle Chat, which are more agreeable to the leisure
+of a Sheapards Life: for in a great many Rustick affairs, either the
+hardship and painful Labor will not admit a song, as in Plowing, or
+the solitude as in hunting, Fishing, Fowling, and the like; but of
+this I shall discourse more largely in another place.
+
+Now 'tis not sufficient to make a Poem a true _Pastoral_, that the
+Subject of it is the action of a Shepherd, for in _Hesiods_ *erga* and
+_Virqils Georgicks_ there are a great many things that belong to the
+employment of a Shepherd, yet none fancy they are Pastorals; from
+whence 'tis evident, that beside the _matter_, which we have defin'd
+to be the action of a Sheapard, there is a peculiar _Form_ proper to
+this kind of _Poetry_ by which 'tis distinguish'd from all others.
+
+Of Poetry in General _Socrates_, as _Plato_ tells us, would have
+_Fable_ to be the _Form_: _Aristotle_ Imitation: I shall not dispute
+what difference there is between these two, but only inquire whether
+Imitation be the _Form_ of _Pastoral_: 'Tis certain that _Epick_
+Poetry is differenc't from _Tragick_ only by {29} the manner of
+imitation, for the latter imitates by _action_, and the former by bare
+_narration_: But _Pastoral_ is the imitation of a _Pastoral_ action
+either by bare narration, as in _Virgil's_ _Alexis_, and
+_Theocritus's_ 7th _Idyllium_, in which the Poet speaks all along in
+his own Person: or by action as in _Virgil's_ _Tityrus_, and the first
+of _Theocritus_, or by both mixt, as in the Second and Eleventh
+_Idylliums_, in which the Poet partly speaks in his own Person, and
+partly makes others speak, and I think the old _Scholiast_ on
+_Theocritus_ took an hint from these when he says, that Pastoral is a
+mixture made up of all sorts, for 'tis Narrative, Dramatick, and mixt,
+and _Aristotle_, tho obscurely, seems to hint in those words, _In
+every one of the mentioned Arts there is Imitation, in some simple, in
+some mixt_; now this latter being peculiar to _Bucolicks_ makes its
+very form and Essence: and therefore _Scaliger_, in the 4th Chapter of
+his first Book of Poetry, reckons up three Species of _Pastorals_, the
+first hath but one Person, the second several, which sing alternately;
+the third is mixt of both the other: And the same observation is made
+by _Heinsius_ in his Notes on _Theocritus_, for thus he very plainly
+to our purpose, _the Character of_ Bucolicks _is a mixture of all
+sorts of Characters, Dramatick, Narrative, or mixt_: from all which
+'tis very manifest that the manner of _Imitation_ which is proper to
+_Pastorals_ is the mixt: for in other kinds of Poetry 'tis one and
+simple, at least {30} not so manifold; as in _Tragedy Action_: in
+_Epick_ Poetry _Narration_.
+
+Now I shall explain what sort of _Fable_; _Manners_, _Thought_,
+_Expression_, which four are necessary to constitute every kind of
+Poetry, are proper to this sort.
+
+
+Concerning the Fable which _Aristotle_ calls, *synthesin ton
+pragmaton*, I have but one thing to say: this, as the Philosopher
+hints, as of all other sorts of Poetry, so of Pastoral is the very
+Soul. and therfore _Socrates_ in _Plato_ says, that in those Verses
+which he had made there was nothing wanting but the _Fable_: therefore
+Pastorals as other kinds of Poetry must have their Fable, if they will
+be Poetry: Thus in _Virgil's_ _Silenus_ which contains the Stories of
+allmost the whole Fabulous Age, two Shepherds whom _Silenus_ had often
+promis'd a Song, and as often deceived, seize upon him being drunk and
+asleep, and bind him with wreath'd Flowers; _AEgle_ comes in and
+incourages the timorous youths, and stains his jolly red Face with
+Blackberries, _Silenus_ laughs at their innocent contrivance, and
+desires to be unbound, and then with a premeditated Song satisfies the
+Nymph's and Boys Curiosity; The incomparable Poet sings wonders, the
+Rocks rejoyce, the Vales eccho, and happy _Eurotas_ as if _Phoebus_
+himself sang, hears all, and bids the Laurels that grow upon his Banks
+listen to, and learn the Song.
+
+  {31} Happy _Eurotas_ as he flow'd along
+  Heard all, and bad the Laurels learn the Song.
+
+Thus every Eclogue or Idyllium must have its Fable, which must be the
+groundwork of the whole design, but it must not be perplext with
+sudden and unlookt for changes, as in _Marinus's_ _Adonis_: for that,
+tho the _Fable_ be of a Shepherd, yet by reason of the strange Bombast
+under Plots, and wonderful occurences, cannot be accounted _Pastoral_;
+for that it might be agreeable to the Person it treats of, it must be
+plain and simple, such as _Sophocles's_ _Ajax_, in which there is not
+so much as one change of Fortune. As for the Manners, let that
+precept, which _Horace_ lays down in his Epistle to the _Pisones_, be
+principally observed.
+
+  Let each be grac't with that which suits him best.
+
+For this, as 'tis a rule relateing to _Poetry_ in general, so it
+respects this kind also of which we are treating; and against this
+_Tasso_ in his _Amyntas_, _Bonarellus_ in his _Phyllis_, _Guarinus_ in
+his _Pastor Fido_, _Marinus_ in his _Idylliums_, and most of the
+_Italians_ grievously offend, for they make their _Shepherds_ too
+polite, and elegant, and cloth them with all the neatness of the Town,
+and Complement of the Court, which tho it may seem very pretty, yet
+amongst good _Critics_, let _Veratus_ {32} say what he will in their
+excuse, it cannot be allowed: For 'tis against _Minturnus's_ Opinion,
+who in his second Book _de Poeta_ says thus: _Mean Persons are brought
+in, those in Comedy indeed more polite, those in Pastorals more
+unelegant, as suppos'd to lead a rude life in Solitude_; and _Jason
+Denor_ a Doctor of _Padua_ takes notice of the same as a very absurd
+Error: _Aristotle_ heretofore for a like fault reprehended the
+_Megarensians_, who observ'd no _Decorum_ in their _Theater_, but
+brought in mean persons with a Train fit for a _King_ and cloath'd a
+Cobler or Tinker in a Purple Robe: In vain doth _Veratus_ in his
+Dispute against _Jason Denor_, to defend those elaborately exquisite
+discourses, and notable sublime sentences of his _Pastor Fido_, bring
+some lofty _Idylliums_ of _Theocritus_, for those are not acknowledged
+to be Pastoral; _Theocritus_ and _Virgil_ must be consulted in this
+matter, the former designdly makes his Shepherds discourse in the
+_Dorick_ i. e. the Rustick Dialect, sometimes scarce true Grammar; &
+the other studiously affects ignorance in the persons of his
+Shepherds, as _Servius_ hath observ'd, and is evident in _Melibaeus_,
+who makes _Oaxes_ to be a River in _Crete_ when 'tis in
+_Mesopotamia_: and both of them take this way that the Manners may
+the more exactly suit with the Persons they represent, who of
+themselves are rude and unpolisht: And this proves that they
+scandalously err, who make their Shepherds appear polite and elegant;
+nor can I imagine what _Veratus_ {33} who makes so much ado about the
+polite manners of the _Arcadian_ Shepherds, would say to _Polybius_
+who tells us that _Arcadians_ by reason of the Mountainousness of the
+Country and hardness of the weather, are very unsociable and austere.
+
+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 aletheian*: 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,
+*diespathe kata ta oikeia ethe he poiesis* 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_, _Mecaenas_, _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
+AEgypt_ 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_ _Palaemon_,
+
+  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).
+
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+_Discourse on Criticism_ (1707)
+
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+concerning the Stage_ (1698), and Richard Willis' _Occasional Paper_
+No. IX (1698).
+
+NOV., 1946: Series I, No. 2--Anon., _Essay on Wit_ (1748), together
+with Characters by Flecknoe, and Joseph Warton's _Adventurer_ Nos. 127
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+
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+and a section on Wit from _The English Theophrastus_. With an
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+
+JULY, 1947: Series II, No. 3--Rapin's _De Carmine Pastorali_,
+translated by Creech. With an Introduction by J. E. Congleton.
+
+SEPT., 1947: Series III, No. 3--T. Hanmer's (?) _Some Remarks on the
+Tragedy of Hamlet_. With an Introduction by Clarence D. Thorpe.
+
+NOV., 1947: Series I, No. 4--Corbyn Morris' _Essay towards Fixing the
+True Standards of Wit_, etc. With an Introduction by James L.
+Clifford.
+
+JAN., 1948: Series II, No. 4--Thomas Purney's _Discourse on the
+Pastoral_. With an Introduction by Earl Wasserman.
+
+MARCH, 1948: Series III, No. 4--Essays on the Stage, selected, with
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+
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+End of Project Gutenberg's De Carmine Pastorali (1684), by Rene Rapin
+
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