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diff --git a/old/14495-h/14495-h.htm b/old/14495-h/14495-h.htm new file mode 100644 index 0000000..be4ea08 --- /dev/null +++ b/old/14495-h/14495-h.htm @@ -0,0 +1,2783 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> + +<html> + +<head> +<title>The Project Gutenberg eBook of De Carmine Pastorali, by Rene Rapin</title> +<meta http-equiv="Content-Type" content="text/html; charset=UTF-8"> + +<style type="text/css"> + +body {margin-left: 10%; margin-right: 10%;} +b {letter-spacing: 0.1em;} +td {vertical-align: top; font-size: smaller;} +hr {width: 60%;} +ins.correction {border-bottom-style: dotted; border-bottom-color: red; border-bottom-width: 1px} +.sidenote {width: 20%; float: right; clear: right; padding-left: 1em; padding-top: 0.5em; padding-bottom: 0.5em;} +.firstletter {float: left; padding-right: 0.2em; margin-top: -0.2em; font-size: 300%;} +.pagenum {position: absolute; left: 5%; font-size: smaller; font-style: normal; text-align: left;} +.verse {position: relative; left: 2em;} +.greek {font-family: Lucida, sans-serif; font-size: 95%;} +.smallcaps {font-variant: small-caps;} +.extended {letter-spacing: 0.5em;} + +</style> + +</head> + +<body> + +<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> + J.E. Congleton<br> + 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 & 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, &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 & 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"> <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; & 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>! &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"> <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, &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, &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> + Curator of Rare Books,<br> + General Library,<br> + 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> +<br> +OF<br> +<br> +<font size = "+1">THE AUGUSTAN<br> +REPRINT SOCIETY</font><br> +<br> +<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> +<br> +MAKES AVAILABLE<br> +<br> +<br> +<font size = "+2"><i>Inexpensive Reprints of Rare Materials</i></font><br> +<br> +<br> +FROM<br> +<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> + +<p>Libraries as well as individuals are eligible for membership. Since +the publications are issued without profit, however, no discount can +be allowed to libraries, agents, or booksellers.</p> + +<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., 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, 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"> + <br> + <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, 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. 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