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At p. 7, 1. 7.-In the first place I own that I have used my best endeavours to the finishing these pieces. That I made what advantage I could of the judgment of authors dead and living; and that I omitted no means in my power to be informed of my errors by my friends and my enemies: And that I expect no favour on account of my youth, business, want of health, or any such idle excuses. But the true reason they are not yet more correct is owing to the consideration how short a time they, and I, have to live. A man that can expect but sixty years may be ashamed to employ thirty in measuring syllables and bringing sense and rhyme together. spend our youth in pursuit of riches or fame, in hopes to enjoy them when we are old, and when we are old, we find it is too late to enjoy any thing. I therefore hope the Wits will pardon me, if I reserve some of my time to save my soul; and that some wise men will be of my opinion, even if I should think a part of it better spent in the enjoyments of life than in pleasing the critics.
WRITTEN IN THE YEAR 1704.
Rura mihi et rigui placeant in vallibus amnes,
DISCOURSE ON PASTORAL POETRY.
THERE are not, I believe, a greater number of any sort of verses than of those which are called Pastorals; nor a smaller than of those which are truly so. It therefore seems necessary to give some account of this kind of poem; and it is my design to comprise in this short paper the substance of those numerous dissertations that critics have made on the subject, without omitting any of their rules in my own favour: you will also find some points reconciled, about which they seem to differ, and a few remarks which, I think, have escaped their observation.
The original of poetry is ascribed to that age which succeeded the creation of the world: and as the keeping of flocks seems to have been the first employment of mankind, the most ancient
sort of poetry was probably pastoral.1 It is natural to imagine, that the leisure of those ancient shepherds admitting and inviting some diversion, none was so proper to that solitary and sedentary life as singing; and that in their songs they took occasion to celebrate their own felicity. From hence a poem was invented, and afterwards improved to a perfect image of that happy time; which, by giving us an esteem for the virtues of a former age, might recommend them to the present. And since the life of shepherds was attended with more tranquillity than any other rural employment, the poets chose to introduce their persons, from whom it received the name of pastoral.
A pastoral is an imitation of the action of a shepherd, or one considered under that character. The form of this imitation is dramatic, or narrative, or mixed of both; the fable simple, the manners not too polite nor too rustic: the thoughts are plain, yet admit a little quickness and passion, but that short and flowing: the expression humble, yet as pure as the language will afford; neat, but not florid; easy, and yet lively. In short, the fable, manners, thoughts, and expressions are full of the greatest simplicity in nature.
The complete character of this poem consists in simplicity, brevity, and delicacy; the two first
1 Fontenell's Discourse of Pastorals.
2 Heinsius in Theocr.
3 Rapin de Carm. Past. p. 2.
of which render an eclogue natural, and the last delightful.
If we would copy nature, it may be useful to take this idea along with us, that pastoral is an image of what they call the golden age: so that we are not to describe our shepherds as shepherds at this day really are, but as they may be conceived then to have been, when the best of men followed the employment. To carry this resemblance yet further, it would not be amiss to give these shepherds some skill in astronomy, as far as
may be useful to that sort of life: and an air of piety to the gods should shine through the poem, which so visibly appears in all the works of antiquity; and it ought to preserve some relish of the old way of writing: the connection should be loose, the narrations and descriptions short, and the periods concise. Yet it is not sufficient that the sentences only be brief; the whole eclogue should be so too: for we cannot suppose poetry in those days to have been the business of men, but their recreation at vacant hours.
But, with respect to the present age, nothing more conduces to make these composures natural, than when some knowledge in rural affairs is discovered.5 This may be made to appear rather done by chance than on design, and sometimes is best shown by inference; lest, by too much
4 Rapin, Reflex. sur l'Art Poet. d'Arist. p. ii. refl. xxvii. 5 Pref. to Virg. Past. in Dryd. Virg.
study to seem natural, we destroy that easy simplicity from whence arises the delight. For what is inviting in this sort of poetry proceeds not so much from the idea of that business, as of the tranquillity of a country life.
We must therefore use some illusion to render a pastoral delightful; and this consists in exposing the best side only of a shepherd's life, and in con- · cealing its miseries. Nor is it enough to introduce shepherds discoursing together in a natural way; but a regard must be had to the subject; that it contain some particular beauty in itself, and that it be different in every eclogue. Besides, in each of them a designed scene or prospect is to be presented to our view, which should likewise have its variety. This variety is obtained, in a great degree, by frequent comparisons, drawn from the most agreeable objects of the country; by interrogations to things inanimate; by beautiful digressions, but those short; sometimes by insisting a little on circumstances; and, lastly, by elegant turns on the words, which render the numbers extremely sweet and pleasing. As for the numbers themselves, though they are properly of the heroic measure, they should be the smoothest, the most easy and flowing imaginable.
It is by rules like these that we ought to judge of pastoral. And since the instructions given for
6 Fontenelle's Discourse of Pastorals.
7 See the forementioned Preface.