Read Ebook: A Full Enquiry into the Nature of the Pastoral (1717) by Purney Thomas Wasserman Earl R Earl Reeves Author Of Introduction Etc

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Ebook has 198 lines and 29467 words, and 4 pages

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 Circumstances 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 Lasses, are best. And from hence a Writer or Reader will be able to make a Judgment of any Circumstance that may occur.

SECT. 4.

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 and deprive it of all Simplicity, where 'twould be beautiful

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.

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.

SECT. 2.

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.

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.

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. Sophy told the Swain he would meet him there agen in the Evening, and read him some more of the Minutes he had put down for his Direction, and withdrew; and the Shepherd drove his Lambs to the Covert of the Shades.

Accordingly, as the day began to decline, the Critick again appear'd; and opening his Book, pursued the Argument he had made some Progress in.

I should but tire the Reader, if I endeavour'd to prove that Pastoral does require the Manners, or Characters to be preserved. If our Method of ordering Pastoral be admitted, the Necessity thereof will be easily perceived. But If any one prefer's the ordinary Method, I must tell him, that 'tis not proper to draw Characters in a Piece of an hundred Lines.

Another Observation I shall make, relating to the Manners or Characters in general, is this; and 'tis equally applicable to Epick Poetry, Tragedy, and Pastoral: There are three different ways of drawing Characters; which in Tragedy form the Poem, as 'twere, of three different Kinds or Natures.

The first, and finest is, where the Natural Temper of the Hero's Mind is drawn in the former Part of the Poem, but after the Peripatie alter's. As Timon of Athens is drawn at first all free and well-natur'd to a Fault; but after his change of Fortune, is described as a quite different Man; morose, and in hatred with himself and all the World. And so in other Tragedies.

I need not detain you to apply what I have here observ'd to Pastoral in particular; 'tis enough to affirm, that the Method which appears most beautiful in Tragedy, will be equally finest in Pastoral Poetry.

There are three different Methods, of describing the Country. For it may be drawn, as 'tis suppos'd to have been in the Golden-Age; or, as 'tis now, but only the pleasant and delightful Images extracted, and touch'd upon; or, lastly, we may draw the Country in it's true and genuine Colours, the Deformities as well as the Beauties having admittance into our Poem.

But a Method preferable to this, I think, is a Description of the Golden-Age; and there is very little difference between this, and that which we hold the best. It draw's the Swains, all Innocent and tender. Show's us Shepherds, who are so, not for their Poverty, but their Pleasure; or the Custom of those unrefin'd Ages, when the Sons and Daughters of Kings were of that Employ, as we read in the Scripture of the Ladies of greatest Quality, drawing Water for their Flocks, and the like. I am therefore nothing averse to this kind of Pastoral. It draw's such a Life as we could easily wish our selves in; and such, and only such, can bear a pleasurable Description.

But all the Opportunities that the supposition of the Golden-Age gives the Reader of the Beautiful in his Descriptions, and being Entertaining in his Characters; In short, all the delightful Scenes, Arborets and Shades, as well as all the gentleness and simplicity of that Age, may be drawn into the other, namely the middle state, which we prefer; if the Characters be proper.

Besides, I should not be fond of describing the Golden-Age, because we are not so much interested and concern'd in what was only some thousand Years ago, and ne're will be again. If the Poet possesses us with agreeable Sentiments of our own Country we are doubly pleas'd with the Consideration that it may be in our own Power to enjoy the sweet Amusement: and we are apt to fancy while we are reading, that were we among those Swains, we could solace our selves in their easy Retirements, and on their tender Banks in the same manner that they do.

And since Poetry, the more naturally it deceives, the more fully it pleases; I should be very desirous, methinks, of giving my Pieces as great an Appearance of Probability, as possible. And in our way, the Poet may, to add yet more to the Probability, mention several Places in the Country, which actually are to be found there; and will have several Opportunities of giving his Stories an Air of Truth.

SECT. 2.

But further, to shew that we should not describe the Country in it's Fatigues, it's Roughness, or it's Meanest, take these Few Considerations. For, as no Writer whom I have read has raised his Shepherds and Shepherdesses above the vulgar and common sort of Neat-herds and Ploughers, I am oblig'd to dwell a little the longer on this Head.

It may be observ'd, I think, that there are but two States of Life which are particularly pleasant to the Mind of Man; the busy, great, or pompous; and the retir'd, soft, or easy. More are delighted with the former than with the latter kind, which affoard's a calm Pleasure, that does not strike so sensibly, but proceeds much from the Imagination. Perhaps this may be the reason why Epick and Tragick Poetry are more universally pleasing than Pastoral; for they describe the Actions of such Persons, as most Men are dazled and enamour'd with; and would willingly quit their own Stations in Life for.

But tho' this State of Life may perhaps be more generally engaging than the soft and retir'd; 'tis certain the soft is the next eligible, and consequently will shine the most next in Poetry. As no one would much desire to be one of Theocritus's Shepherds, so 'tis plain, no one can be much delighted with being concern'd, as 'twere, with such; of having their Actions take up our Minds, and their Manner of Life set before us.

Again, 'tis natural to the Mind of Man to delight in the Happiness of it's Fellow-Creatures; and no Pleasure can be imbibed from the Prospect of another's Misery; unless it is so calculated as to excite Pity. The Pleasure, that comes the nearest such of any, is a Comick one, which delight's to see the human Form distorted and debased, and turn'd into that of a Beast.

And as for Pity, the most delightful Passion of all, it can't be excited by this Means. For those Swains are inured to Labour, and acquainted with Fatigue; but we pity those who fall from Greatness to a State of Hardships.

This is the more strange, since even Epick-Poetry and Tragedy, whose Nature is Violence and Warmth, cannot well subsist without the tender Characters. 'Tis they that sprinkle so sweet a Variety thro' those Pieces, and relax the Minds of the Readers, with the Beautiful and Soft, after it is sated with the Sublime.

Now if even the warmest Kinds of Poetry delight in Female Personages, How much more Pastoral, which is all Tenderness and Simplicity? Whose design is to sooth and spread a Calm over the Mind, as the higher Poems are to elevate and strike It.

SECT. 2

Although I am for raising the Characters in Pastoral somewhat above the degree of Boors and Clowns; yet no one is more for retaining the Pastoral Simplicity. Our Characters of young and tender Innocents, give, I think, a better Opportunity of introducing the true Pastoral Simplicity, than those very mean and low Personages, which rather lead us to an unmanner'd Clownishness, than an agreeable Simplicity.

What I have said of this, might be said of the other Passions; but I shall insist no longer on this Head. As for the Passions most proper for Pastoral, they are discuss'd elsewhere.

SECT. 3.

The difference between the Knowledge of our Shepherds, and that of politer Persons, must not proceed in the least from any difference in their Natural Endowments, but entirely from the manner of their Educations. The Poet therefore, has nothing to do in this Case, but to consider what is most probable for Nature to effect, unassisted by Art.

The same is to be said of other the like Passages, but the most ordinary Capacity may judge what Knowledge is, or is not, consistent with the Banner of a Shepherd's Education.

A Poet, who would write up to the Perfection of Pastoral, will find nothing more difficult than the inventing a sufficient Number of Pastoral Characters; such as are both faultless and beautiful. That difficulty proceeds from hence.

Paplet has Simplicity and Tenderness: But her distinguishing Character is, that she is a May, so young, as to be entirely ignorant of Love; but extreamly Curious to be let into the Nature of Men and Lovers.

Collikin has Simplicity and Tenderness: But withal a Tincture of Inconstancy in his Nature.

Soflin, with her Simplicity and Tenderness, is excessive Easy, and Complying, to a Fault; open and too free-hearted.

Florey has Simplicity; and Tenderness for his Lass; but he is almost out of Humour with himself for being so soft. He is suppos'd to be brought up in the lonely Cave with Paplet; and his natural Tamper is wild and excessive brisk; hating the House, and delighting in Hunting. But you show, I see, only a Glimpse of his Natural Temper, which breaks out at times; but he is drawn as tender, being all the Time in Love with Poppit.

The rest of your Characters have the same Foundation; nor break in, I think, upon Simplicity and Tenderness.

'Tis true indeed, as to the Difficulty of forming Pastoral Characters, beyond those of Epick Poetry; That even there, one general Character should diffuse it self thro' all the rest, and that is Bravery. But Bravery will coincide with greatly more Tempers than Pastoral Simplicity and Tenderness; nor does it lay the Poet under a Restraint comparably so great.

'Tis farther observable, as to the Difficulty of forming the Pastoral Characters, that if we wou'd write up to the Perfection of Pastoral, 'tis necessary that whatever habit or temper of Mind distinguishes any CHARACTER in the first Pastoral, wherever that CHARACTER afterwards appears, thro' the whole set of Pastorals, it must appear with the same Temper as before; that is, 'tis not enough to have the Characters uniform and just thro' one and the same Pastoral, but what is the Character of any Swain or Lass in the first and second Pastoral, that must be their Character in all the rest, if they are nam'd or introduc'd, tho' never so slightly. For by this means, not only every single Pastoral will make a regular Piece, but the whole set of Pastorals also constitute together one uniform and ample Poem; if the Reader delights to fill his Mind with a large and ample Scheme.

The set of Pastorals would be still more perfect, if the Characters were also all continued on from the first to the last Pastoral, and none drop'd, as 'twere, in silence; but in the Pastorals which draw towards the End, the Characters should be all disposed of in Pastoral, and after an entertaining Manner; so that the two or three last Pastorals will be like the fifth Act in a Tragedy, where the Catastrophe is drawn up. The reasonableness of this appear's from hence. I suppose the Poet to form his Story so, and so to draw his Characters, that the Reader's Mind may be engag'd and concern'd for the Personages. Now the Mind is uneasy if 'tis not let into the issue of the Affairs of the Person it has been long Intent upon, and given to know whether he is finally Unfortunate, or Happy.

Thus far proceeded Sophy, when Night drew on. He shut his Book; and Cubbin told him, he had not pass'd many days with so much Delight as that. If you have found my Discourse, said Sophy, entertaining, do not fail of being here again early to morrow Morning, and I will continue it to you. The Shepherd express'd his Satisfaction, and they hasted home together.

The following Morn was fair and inviting; they both appear'd when the Lark began his Mattin Song; and Sophy thus proceeded.

The not having a perfect Idea of the Sentiment, make's us conceive something the greater of it.

But I run the Digression too far.

Let us proceed to consider what Images will shine most in PASTORAL. And here I shall not consider all kinds of Images, both good and vicious, but only those which are in their own nature good; and among those show which may, and which may not, be introduc'd into Pastoral.

Of Images, in their own Nature good, only the BEAUTIFUL, and the GLOOMY are, properly speaking, fit for Pastoral. The Uncommon, the Terrible, and the Sublime, being improper.

If any other kinds of Images are introduced, they must be artfully qualify'd, or else be faulty; the Methods to be used in so qualifying them, are too numerous to recount. But give me leave to put down one, which relates to the Language.

But these are things which are better left to the Writer's own Genius, than to Rule and Criticism.

SECT. 2.

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