one Kind are in low Life, the other not. The Simplicity of Pastoral is nothing touch'd by this, if these Incidents are Pastoral: For the difference between Epick or Tragick Poetry, and Pastoral, must not proceed from the One haveing many, the other no Under-Actions, but rather from the different Actions, which a Hero and a Swain are engag'd in. A Shepherd's leading his Lass to a Shade, and there sticking her Bosom with Flowers, is the same in Pastoral, as an Hero's hurling a Javelin, is in Epick Poetry. And a variety of Circumstances and Actions is equally necessary in both Pieces. Or perhaps in Pastoral most; since the Coolness and Sedateness of Pastoral is very apt to sate and tire the Reader, if he dwell's long on one Action; and we can bear a longer Description of a Battle than of two Shepherd's sitting together; because the first fill's and actuate's the Mind the most; and where it is so much employ'd, it cannot so easily flag and grow dull.

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 flourishing 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 embarrass 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 Circumstances 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 Lass, &c.

'Tis observable, that no Tragedy can be well constituted 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 Passion, in forming his most regular Tragedy; I mean Othello. 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 Repetition 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 Circumstance 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 Lass should be plac'd Spectator of her Wrestling Lover: By this means the Poet might make it shine 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 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.

That this Variety of Actions does by no means impair the Simplicity of Pastoral.

There is nothing in Pastoral, of