A Full Enquiry Into The Nature Of The Pastoral (1717) Part 6

To instance in Painting, for that's the same. When I first cast my Eye on a beauteous Landscape, and take in a View of the whole and all it's parts at once, I am in Rapture, not knowing distinctly what it is that pleases me; but when I come to examine all the several Parts, they seem less delightful. Pleasure is greatest if we know not whence it proceeds.

And such is the Nature of Man, that if he has all he desires he is no longer delighted; but if ought is with-held, he is still in Eagerness, and full of Curiosity.

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

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

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

SECT. 3.

_What Pastoral Images will s.h.i.+ne most in a Description_.

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

Yet there are several foreign a.s.sistances or Adjuncts, which do greatly add to a beautiful Circ.u.mstance; as for Instance; if along with a beautiful Image, we by any means show at once the Happiness and Innocence of the rural Inhabiters, it renders the Circ.u.mstance greatly more delightful. This can't so well be explain'd as by an Instance.

_Ovid_ describes _PROSERPINA_, as she is gathering Flowers in a Meadow among her Play-Fellows, hurried away by _PLUTO_, in order to her Ravishment. Among the Misfortunes, which that Violence brought upon the Innocent young Creature, this is one;

_And oh, out Lap the pretty florets fell_.

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

But this is a Circ.u.mstance that would but just bear the touching upon; and _Ovid_ by his two next Lines, has, I think, spoil'd it. In Mr.

_SEWEL_'s Translation they run thus.

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

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

SECT. 4.

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

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

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

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

CHAP. IV.

_That Pastoral should Image almost every thing_.

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

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

----_Comfort Dispels the sullen Shades with her sweet Influence_.

And again:

----_My wrongs will tear their Way, And rush at once upon thee_.

Jane Sh.o.r.e: _Act_ 1.

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

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

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

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

What I have here delivered may seem trifling to the Reader. But if he looks into the modern Pastoral-Writers he'll observe that the Scarcity of Images goes a great way towards making their Pieces flat and insipid.

And 'tis impossible indeed to have a sufficient Variety of Images in a Pastoral that is compos'd by nought but a mournful Speech or Complaint.

Therefore a Writer who would not only write regular, but also delightful Pastorals, should doubtless run very much upon Description.

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

CHAP. V.

_Of the Thoughts. And which are proper for Pastoral, which not_.

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

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

SECT. 2.

_Of those Thoughts which are proper for Pastoral, how to Judge which are finest_.

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

Daph.) _And as I drove my Herd, a lovely Maid Stood peeping from a Cave; she smil'd, and said, Daphnis is lovely, ah! a lovely Youth; What Smiles, what Graces sit upon his Mouth!

I made no sharp Returns, but hung my Head And went my Way, yet pleas'd with what she said_.

Idyll. 8.

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