A Full Enquiry Into The Nature Of The Pastoral (1717) Part 2

SECT. 2.

_Whether the Pastoral Fable should be simple or complex; and how it must differ from the Epick Fable_.

The Implex Fables are to me, in all Poetry, the finest. And even Pastoral may receive an additional Beauty from a Change of Fortune in the chief Character, if manag'd with Discretion. 'Tis not easy to give direct Proofs for things of this Nature. But what little I have to offer for Pastoral's requiring an Implex Fable, is as follows.

Pastoral, like all Poetry, should aim at Pleasure and Profit. Pleasure is best produc'd, if the Poem raises Pity, or Joy, or both; and Profit by its having a Moral. Now the Implex Fable attain's it's End the easiest. For we pity Misfortunes no where so much as in one we saw but lately happy: Nor do we joy to see a Man flourish; but to see him rise from Ills to a flouris.h.i.+ng Condition, rejoyces the Mind. And as for the other End of Poetry, which is Profit, every one may see that Implex Fables are greatly best for producing a Moral.

But great Care must be taken in this Way. Whereas the Catastrophe in Epick Poetry, is work'd up by violent Means, as Machines, and the like; In Pastoral it must be produced so easy and natural, as to seem to proceed from it self.

Nor must the Change of Fortune be produced by any sudden Contrast, as in most Tragedies it is; since Surprize (unless very weak) is a Fault in Pastoral, tho' a Beauty in other Poetry.

'Tis also evident that the Ills which a Shepherd falls into, from some slight, and almost inevitable Slip (from which the Moral is form'd) must be infinitely less than those which embarra.s.s a Hero; because Ills must be proportion'd to the Fault; and 'tis plain, the Faults of a Swain are suppos'd to be very minute.

A hundred Observations, like this last, might be made, too inconsiderable to enumerate; but the Poet, when he form's his Fable, cannot avoid observing 'em. Otherwise, 'tis best he keep to the Simple Fable; which, tho' a better may, by Industry, be form'd, is far enough from being faulty.

SECT. 3.

_What Circ.u.mstances or Actions of a Shepherd's Life are properest for the Poet to go upon_.

We cannot be pleas'd with the Description of any State, or Life, which at that time we would not willingly exchange our present State for.

Nor is it possible to be pleas'd with any thing that is very low and beggarly. Therefore, methinks, I would raise my Shepherd's Life to a Life of Pleasure; contrary to the usual Method. For when a Citizen or Person in Business divert's himself in the Country, 'tis not from seeing the Swains employ'd or at Labour; he visits the Country for the easy and agreeable Retiredness of it; and I believe the Pleasure of seeing a Shepherd folding his Sheep, proceeds from the Prospect of Evening, of the Woods and Fields, and from the Innocence we conceive in the Sheep, and the like; not from the Action of the Shepherd folding them. So of Reapers, we conceive 'em filling the following Year with Plenty; We have, while we see 'em, the Thought of Fulness, and the time when every thing is brought to Perfection; and these, and the like Thoughts, rather raise the Delight of seeing those particular Labours, than the Actions themselves. For we see, that if we behold Sheep, or the like, in a City, tho' Countrymen are ordering them, we have no such Delight; because there the Silence of Evening, the Prospect of Fields, &c. are not added.

I would therefore omit the Labour of Shepherds, if I could invent a Life more agreeable; but the latter must be form'd from a Man's Imagination, the former from Observation; and _Virgil_ could draw that almost as well as _Theocritus_. I wonder the Writers of Pastoral should be so fond of showing their Shepherds Beating Their Ronts, or Scolding With each other, or the like; when they might describe 'em sleeping upon Violets; plaiting rosy Chaplets by a lovely Rivulet; getting _Strawberries_ for a La.s.s, &c.

'Tis observable, that no Tragedy can be well const.i.tuted without a mixture of Love; and even _Shakespear_, (who seem's to have had so little of the Soft or Tender in his Genius) was obliged to have some recourse to that Pa.s.sion, in forming his most regular Tragedy; I mean Oth.e.l.lo. Not that an Hero should be soften'd, much less drawn in his most degenerate Hours, when he is in Love. For, methinks, the French seem a little too fond of introduceing Love, when they draw their greatest Hero's as amorous Love-Sops, and omit all that is truly Great in their Characters.

Now if Love, with Reason manag'd, appear so well in Tragedy, it must sure be extreamly proper for Pastoral. In the first we are to be rais'd and heated; in the latter sooth'd and soften'd: The one has to do with Personages, all gentle and tender; the Subject of the other is Fury and Bravery. I would therefore have, methinks, a Sprinkling of Love thro'

all my Pastorals; and 'twill give the Writer an Opportunity of showing the Tenderness, and the Simplicity of his Characters in the finest Manner: Yet must it be so diversify'd and broken, by other Incidents interfering, as not to cloy and nauseate the Reader, with the Repet.i.tion of nothing but Love and Love.

The vulgar Notion is, that Wrestling, and such like Incidents are properest for Pastoral; but if a Writer introduces such, he'll find 'em so few, that 'twill be necessary to touch upon Love besides.

But methinks, I would not show my _CHARACTERS_ in so low and clownish a degree of Life; For if I draw 'em so rough, and Porter-like, in one place, I cannot give 'em Tenderness and Simplicity in another; without breaking in upon the Manners.

So that if I was compell'd to put this Circ.u.mstance of Wrestling into a Pastoral, I would have recourse, even there, to Love, to render it Pleasurable to the Mind; as thus: A tender-hearted La.s.s should be plac'd Spectator of her Wrestling Lover: By this means the Poet might make it s.h.i.+ne in Poetry; if he described her Behaviour, her soft Concern and joyous Smiles, occasioned by every little Failure, and every Prospect of Success.

But this is a Subject of so great Extent, that I have not time to go thro' with it. Take therefore this general Rule for all. Those Circ.u.mstances or Actions in the Fable, which show barely the Delightfulness of the Country, are good. Those which give us a Sight of also the Sprightliness and Vigour of it, are better; and those which comprehend further, the Simplicity and the Tenderness of the young La.s.ses, are best. And from hence a Writer or Reader will be able to make a Judgment of any Circ.u.mstance that may occur.

SECT. 4.

_That this Variety of Actions does by no means impair the Simplicity of Pastoral_.

There is nothing in Pastoral, of which Persons have a wronger Notion than of the word Simplicity. Because the Poem should be simple, they strip it of all Beauty and Delightfulness; that is, they lay the Simplicity where it should not so much be (in the Fable) and deprive it of all Simplicity, where 'twould be beautiful (in the Sentiments and Diction.)

If all the Incidents or Actions, that are truly simple and delightful, thro' the whole Number of _Theocritus_'s Idylls, were collected into one Pastoral, so as to follow naturally each other, and work up to one general End, I think that Pastoral would be more truly simple than any we have at present. 'Tis true, a Poet may thrust into Pastoral as great a mult.i.tude of Actions, and as surprizingly brought about, as we find in Tragedy, but there is no necessity, because he must use a Number sufficient to please, that therefore he must fall into that fault. Yet for mine own part, I had rather see too much, than too little Action, as I cannot help preferring a faulty Writer before a dull One.

But a Poet of Genius will diversify and adorn his Fable, as much as he lawfully may; and as for the Simple, he will draw such soft and tender Characters, as will furnish his Poem with enough of that, and of the most delightful Kind. The generality of Pastoral Writers seem to think they must make their Pieces simple, by divesting them of all the Ornaments of Poetry; and the less and more inconsiderable Sketches they are, the more Simple they are. A strange Conception sure of Simplicity.

While their Sentiments are false almost in every Line; either in their own Nature; or with respect to Pastoral; or to the Person speaking; or some other foreign Cause. But I shall always wave the being particular in such Cases as these. To point at Faults directly, I think the Business of a Carper, not a Critick.

CHAP. IV.

_Of the Moral; and what kind of Moral Pastoral require's_.

The fourth Quality that a Fable ask's, to render it compleat, is a Moral Result. I need not trouble you with a Proof of a Moral's being necessary; 'tis plain that every Poem should be made as perfect as 'tis capable of being, and no one will ever affirm a Moral to be unnatural in Pastoral. But if any one should demand a Proof, 'tis thus: Poetry aim's at two Ends, Pleasure and Profit; but Pastoral will not admit of direct Instructions; therefore it must contain a Moral, or lose one End, which is Profit. We might as easy show that the other End of Poetry, _viz_.

Pleasure, is also impair'd, if the Moral be neglected; but the thing is plain.

To hasten therefore to enquire what kind of Moral is proper for Pastoral, we must look back into the Reasons prescribed by Nature for the Morals in all Sorts of Poetry.

Epick Poetry and Tragedy are conversant about Hero's, Kings, and Princes, therefore the Morals there, should be directed to Persons engaged in Affairs of State, and at the Helm, and be of such a Nature as these; _A Crown will not render a Person Happy, if he does not pursue his Duty towards G.o.d and Man; the best Method of Securing a Government, is to occasion Unity in it_, and the like.

Again, Comedy's Subject is to expose the Ill Habits in low Life. It's moral therefore should contain Instructions to the middle Sort of People: As, _What Ills attend on Covetousness_. Or, _On a Parent's being too Severe_, or the like.

But so easy and gentle a kind of Poetry is Pastoral, that 'tis not very pleasant to the busy Part of the World. Men in the midst of Ambition, delight to be rais'd and heated by their Images and Sentiments. Pastoral therefore addresses it self to the Young, the Tender, and particularly those of the _SOFT-s.e.x_. The Characters also in Pastoral are of the same Nature; _An Innocent Swain_; or _Tender-Hearted La.s.s_. From such Characters therefore we must draw our Morals, and to such Persons must we direct them; and they should particularly aim at regulating the Lives of Virgins and all young Persons.

What Nature I would have a Moral of, cannot so well be explain'd as by Examples; but I do not remember at present any such Pastoral. You are not widely deficient, Cubbin, I think, in this particular. Your first show's us, that the best Preservative a young La.s.s can have against Love and our deluding s.e.x, is, to be wholly unacquainted therewith. Little Paplet is eager of Listning to Soflin's Account of Men and Love; but that first set's her _Heart_ on the Flutter; then she is taken with Soflin's _SWEET-HEART_; tho' all the while she is ignorant of the Cause of her Uneasiness.

The Moral to your second Pastoral, which contain's Instructions to _COQUETTS_, warning them not to take pleasure in giving Pain, is, I think, not worst than this.

But the Moral to your Third (call'd the Bashful Swain), methinks, is not so good. It is also directed to the _COQUETTS_; and instruct's 'em not to give a Lover any Hopes, whom they do not intend to make happy. If the young La.s.s there, had jilted Cuddlett, she had mist of her good Fortune; and her Unwillingness to encrease the Number of her Admirers, is the Cause of her Happiness. But, I know not how, this like's me not so well as the other Three; or, perhaps it is not produced so naturally by the Fable, and that may prevent it's pleasing.

SECT. 2.

_How to form the most regular kind of Moral_.

If a Writer's only Aim was the preserving Poetical Justice in his Moral, he would have nothing to do but to show a Person defective in some slight Particular, and from thence Unhappy; but as a Poet always reaches at Perfection, these following Rules are to be observ'd.

The Inadvertency or Fault which the Character commit's, must be such a Fault as is the natural or probable Consequence of his Temper. And his Misfortune such an one as is the natural or probable Consequence of his Fault. As in Oth.e.l.lo: (For how can I instance in Pastoral.) I rather suppose the Moor's Fault, to be a too rash and ungrounded Jealousy; than that Fault, common to almost all our Tragedies, of marrying without the Parent's Consent. A rash _Jealousy_ then, is the natural consequence of an open and impetuous Temper; and the Murder of his Wife is a probable Consequence of such a Jealousy, in such a Temper. So that the Hero's Temper naturally produces his Fault, and his Fault his Misfortunes.

If you allow that the fault should be the natural or probable Consequence of the Temper; let me ask you then, if those Tragedies or Pastorals can be so perfect, where the original natural Temper of the Hero or Heroine is not drawn into the Piece. I mean, where all that we see of the Mind of the Chief Character, is his Mind or Temper, as alter'd entirely, by some foreign or accidental Means. As, Who will tell me what Hamlet's natural Temper was? Throughout that admirable Tragedy, we see not his bare Temper once; but before he appear's, he's in wild Distraction, which proceed's from former Accidents. This Method Mr.

_Row_ too has taken, especially in that ingenious Tragedy, call'd _JANE Sh.o.r.e_. We do not see any thing of her Temper but Grief and Sorrow; but Grief cannot be natural to any Person's Mind, but must be accidental.

However, I think, this Method may be, at least, very good; whether 'tis the best, I leave others to determine.

But as to the Fault, whether 'tis in the Action, or out of it, is of no moment to the Perfectness of a Pastoral. Tho' I must needs say, I am for what Aristotle call's the Peripatie, or change of Fortune in Pastoral; but I think the Action that produces the Change may be either in the Poem, or have happen'd some time before, but so that it's Influence does not reach the Persons till they have been a while engaged in the Actions of the Tragedy or Pastoral.

SECT. _Last_.

Here Sophy closed his Book; for the Heat of the Day came on, and an House or an Arbour began to be more agreeable than the open Fields.