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 multitude 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 God 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.

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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-SEX. The Characters also in Pastoral are of the same Nature; An Innocent Swain; or Tender-Hearted Lass. 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.

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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 Lass can have against Love and our deluding Sex, 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 Lass 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 Othello: (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 SHORE. 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,