A Full Enquiry into the Nature of the Pastoral (1717) by Thomas Purney

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But since we are accidentally engag'd in considering the Sublime; I will
endeavour to show you how to judge infallibly of a Sublime SENTIMENT.
For I think it cannot be gotten from _Longinus_; or at least, I could
never learn it from that most Florid and Ingenious author. And it may be
shown in three Lines, as well as in so many Volumes.

A Sublime Image always dilate's and widen's the Mind, and put's it upon
the Stretch. It comprehends somewhat almost too big for it's Reach;
and where the Mind is most stretch'd, the Image is most Sublime; if we
consider no foreign Assistances. As _Homer_ say's, _The Horses of the
Gods, sprung as far at every Stride, as a Man can see who sit's upon the
Sea-shore_. But foreign Assistances, as a figurative Turn, &c. may raise
a passage to an equal degree of Sublimity, which yet does not so largely
dilate the Mind; as this of _Shakespear_'s is more Sublime than that of
_Homer_'s.

--_Heaven_'s Cherubs, _hors'd
Upon the sightless_ Curriers _of the Air,
Shall blow the horrid Deed in every Eye_.

_Macbeth_. Act. 1. Scen. 7

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

A Sublime Thought always gives us a greater and more noble Conception of
either the Person speaking; the Person spoken of; or, the Thing spoken
of. I need not instance; but if you apply this to any of the Thoughts of
_Homer_, or _Shakespear_, generally call'd Sublime, you'll find it will
always square.

Here let me make one Observation: That you may never be mistaken in
judging of a Sublime Passage, _Cubbin_, take notice; that there are
some Thoughts so much imaged in the Turn that is given to 'em, by the
figurative Expression, that they lose the name of Thoughts, and commence
Images. I will mention one out of _Shakespear_, (who uses this Method
the most of any Author, and 'tis almost the only thing that raises his
Language) I will mention it, because, being in it self a low and common
Sentiment, he has made it the most Sublime, I think, of any he has.
_Macbeth_'s Lady say's, before the Murther of the King.

--_Come, thick Night.
And pall thee in the dunnest Smoak of Hell,
That my keen Knife see not the Wound it makes
Nor Heav'n peep thro' the Blanket of the Dark,
To cry, Hold! Hold!_

_Macbeth_ Act. 1. Scen. 5.

But I run the Digression too far.

CHAP. II.

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

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
[A]GLOOMY are, properly speaking, fit for Pastoral. The Uncommon, the
Terrible, and the Sublime, being improper.

[Footnote A: _The Division of the Images and Thoughts is made, and the
nature of the_ GLOOMY _consider'd, in the Critical Preface to the Second
Part of our Pastorals_.]

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.

Suppose you was to describe some LOVELADS and LASSES roving a little
by the Sea-shore in a guilded Boat; when, on a sudden, the Wind arises,
drives 'em into the middle of the Main at once, and dashes the _Gondola_
on a Rock. Might you not describe such a boistrous Circumstance in an
easy and Pastoral manner.

_Sore raven the fell Sea (Oh sorry Sight!)
And strait (most wofull Word) the Boat doth split_.

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

As to the gloomy Images, I shall only caution the Pastoral Writer, that
they must be of a very different Nature from those in Epick Poetry or
Tragedy: That is, the gloomy must not be so strong; but the Images must
rather contain a pleasing Amusement. And that they'll do, if they are
drawn from the Country: As _Fairies_; _Will-o'-Wisps_; _the Evening_;
_falling Stars_; and the like, will all furnish Images exactly agreeable
to Pastoral.

Having made this Observation on the _Gloomy Images_, let us now proceed
to the Consideration of the Beautiful, which will detain us somewhat
longer.

SECT. 2.

_Of Beautiful Images. And of those; which are more, which less fine_.

In my usual way of considering Beautiful Images; for the greater
Clearness, I rank 'em into three several Classes. This division I do
not desire to impose on any one else; but the mentioning it, cannot be
amiss.

Of the three sorts or kinds of Beautiful Images, the first, and least
delightful is, where only a simple Image is exhibited to the Reader's
Mind. As of a Fair Shepherdess.

The second Sort is, where there is the Addition of the Scene; as suppose
we give the Picture of the fair Shepherdess, sitting on the Banks of a
pleasant streamlet.

The third, and finest kind of Beautiful Images is, where the Picture
contain's a still further Addition of action. As, the Image of a fair
Shepherdess, on the Banks of a pleasant Stream asleep, and her innocent
Lover harmlessly smoothing her Cloaths as flutter'd by the Wind. And the
most beautiful Image in Phillips, or I think any Pastoral-Writer, is of
this Nature.

_Once_ Delia _lay, on easy Moss reclin'd;
Her lovely Limbs half bare, and rude the Wind.
I smooth'd her Coats, and stole a silent Kiss;
Condemn me, Shepherds, if I did amiss_.

_Past_. 5.

The last Line contains a Pastoral Thought, of the best Sort; as the
three first a Pastoral Image.

The middle of this last Pastoral is full of beautiful Images, and has
therefore proved so Entertaining to all Readers, that I wonder Mr.
Phillips would not give us the Beautiful in his four first Pieces also.

Of all the Persons who have written in the English Language, no one ever
had a Mind so well form'd by Nature for Pleasurable Writing, as Spencer.
Yet as he wrote his Pastorals when very Young, this does not appear so
much from them, as from his Fairy Queen; thro' which, (like Ovid, in his
Metamorphoses) he has perpetually recourse to Pastoral. Especially in
his Second Book; in which there are more pleasurable Pastoral Images in
every eight Lines, than in all his Pastorals. We have Knights basking in
the Sun by a pleasant Stream, rambling among the Shepherdesses, entering
delightful Groves surrounded with Trees, or the like, almost in every
Stanza; but thro' all his Pastorals, we have not half a dozen beautiful
Images. 'Tis therefore the Pastoral Language that support's 'em, which
he took excessive pains about.

CHAP. III.

_Of Pastoral Descriptions. And what Authors have the finest_.

Of Images are form'd Descriptions, as by a Combination of Thoughts a
Speech is composed. And a Description is good or bad, chiefly as the
Images or Circumstances are judiciously, or otherwise, chosen; and
artfully put together.

As to the putting them together, I shall only observe, that in
Descriptions of the Heat of Love, not in Pastoral, but in such Pieces
as Sapho's, or the like, the Circumstances should be couch'd extreamly
close; in Epick Poetry the Circumstances should be somewhat less closely
heap'd together; and that Pastoral requires 'em the most diffuse of any;
being of a Nature extreamly calm and sedate.

Hence we may learn what Length Pastoral will admit of in it's
Descriptions. And certain it is, that as we are easily wearied by a cold
Speech, so are we by a cold Description, unless very concise.

But as those Poets whose Minds have delighted in Pastoral Images have
always been Men of Pleasurable Fancies, and who never would bring their
Minds under the Regulation of Art; all who have touch'd Pastoral the
finest have egregiously offended in this Particular. The only Writers, I
think, who have ever had Genius's form'd for Pastoral Images, are _Ovid_
and _Spencer_; which appear's from the _Metamorphoses_ of the first, and
the _Fairy-Queen_ of the latter. As for _Theocritus_, he seem's to me
to be better in the Pastoral Thought than Image; and as I rank together
_Ovid_ and _Spencer_, so I put _Theocritus_ in the same Class with
_Otway_. And I think any one of these Four, if he had form'd his Mind
aright by Art, (that is, had either thoroughly understood Criticism
in all it's Branches, or else never vitiated his natural Genius by any
Learning) was capable of giving the World a perfect Sett of Pastorals.
The former two would have run most upon beautiful Images, and the latter
two upon Agreeable Thoughts.

I need not instance in the tedious Descriptions of _Theocritus_, _Ovid_
and _Spencer_. But certainly, if long Descriptions are faulty in Epick
Poetry, as they prevent the Curiosity of the Reader, and leave him
nothing to invent, or to imploy his own Mind upon, they are in
Pastoral much more disagreeable. Tho' if any thing would excuse a
long Description, there is in _Ovid_ and _Spencer_, that inimitable
Delightfulness, which would make 'em pass. Virgil has no Descriptions in
his Pastorals so long as Spencer, and Heavens deliver us if he had; for
as 'tis, I can better read the longest of _Spencer_'s, than the shortest
of his, in his Pastorals.

SECT. 2.

_The proper Length for Descriptions adjusted, from several
Considerations_.

What I have laid down seem's in its self plain and evident; but because
_Rapin_, and some other Criticks, famous for the Niceness of their
Judgments, have made it a considerable Question, and at last own'd
themselves unable to decide it, I shall further consider the Matter.

'Tis best, I think, only just to exhibit the Picture of an Object to the
Reader's Mind; for if 'tis rightly set and well given, he will himself
supply the minute Particulars better to please himself than any Poet can
do; as no different Fancies are equally delighted with one and the same
thing, the Poet in an extended Description must needs hit upon many
Circumstances not pleasant to every Fancy; even tho' he touches all the
best Particulars. But if the Poet only set's the Image in the finest
Light, by enumerating two or three Circumstances, the Reader's Mind
in that very instant it sees the Image or Picture, fill's up all the
Omissions with such Particulars, as are most suitable to it's own single
Fancy. Which farther conceives something beyond, and something out of
the way, if all is not told. Whereas descending to Particulars cool's
the Mind, which in those Cases ever finds less than it expected.

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 Ship, 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 shine most in a Description_.

We have just shown which Images are the finest; and 'tis evident that by
an accumulation of the best Images is form'd the best Description. 'Tis
not here my business particularly to show which Circumstances, 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 Assistances or Adjuncts, which do greatly
add to a beautiful Circumstance; 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 Circumstance 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 Circumstance 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 Circumstance 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,
Tasso, &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 _TASSO_, 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 languishing; then in Eight more gives
us a Description of the Dogs, who lay before the Tents also panting and
languishing, 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
Circumstances, 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 constitutes the Difference between the Language
of one and that of another; and also what Rank or Class 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 Shore: _Act_ 1.

And this is extreamly frequent, especially in Jane Shore. 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 Passion
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 Lass Ill-natured and Satyrical, for Instance,
if 'tis not in her Temper, but assumed 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 Passages 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 Passage.

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.

Com.) _I milk two Goats; a Maid in yonder Plain
Lookt on, and Sigh'd_, Dost milk thy self poor Swain!

And what follows soon after.

Com.) _The fair Calistria, as my Goats I drove,
With Apples pelts me, and still murmurs Love_.

Idyll. 5.

Tho' these Thoughts are so exceeding Beautiful thro' their Simplicity,
I rather take 'em to be Agreeable Thoughts; and Simplicity to be only an
Adjunct or Addition to 'em; as Passion is an Addition and Embellishment
to the Sublime Thoughts.

The Mournful Thought, with the Addition of Simplicity, is as pleasing, I
think, as the Agreeable with Simplicity. The finest of this kind that I
remember in _THEOCRITUS_, are in his 22 _Idyll_. A Shepherd resolves to
Hang himself, being scorn'd by the Fair he ador'd. For the more he was
frown'd upon the more he loved.

_But when o'recome, he could endure no more,
He came and wept before the hated Dora;
He wept and pin'd, he hung the sickly Head,
The Threshold kist, and thus at last he said_.

Many Thoughts In the Complaint are as fine as this. As, of the following
Lines, the 3d and 4th.

_Unworthy of my Love, this Rope receive.
The last, most welcome Present I can give.
I'll never vex thee more. I'll cease to woe.
And whether you condemned, freely go;
Where dismal Shades and dark_ Oblivion _dwell_.

Of the same Nature also is what soon after follows.

_Yet grant one Kindness and I ask no more;
When you shall see me hanging at the Door.
Do not go proudly by, forbear to smile.
But stay,_ Sweet Fair, _and gaze, and weep a while;
Then take me down, and whilst some Tears are shed,
Thine own soft Garment o're my Body spread.
And grant One Kiss,--One Kiss when I am dead.
Then dig a Grave, there let my Love be laid;
And when you part, say thrice,_ My friend is Dead.

All these Thoughts contain Simplicity as an Addition to the Mournful.
And 'tis impossible for any Thoughts to be more Natural.

'Twere endless to enumerate all the several kinds of Beautiful Pastoral
Thoughts, but from these any one may discover the rest; and the general
Rule we gave at the beginning of the Chapter will be a Direction for his
ranging them into distinct Classes.

Yet give me leave to mention one Kind, which I think we may term the
finest. 'Tis where the Agreeable Thought, and the Tender, meet together,
and have besides, the Addition of Simplicity. I would explain my Meaning
by a Quotation out of some Pastoral Writer, but I am at a loss how to
do it; give me leave therefore to bring a Passage out of the Orphan. A
Thought may contain the Tender, either with regard to some Person spoken
of, or the Person speaking. The first is common, this Play is full
of it. I will therefore Instance in the latter. And first where 'tis
chiefly occasion'd by the turn that is given to it in the Expression.
Chamont presses his Sister to tell him who has abused her.

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