any new application of those views to moral purposes.

The range of pastoral is indeed narrow, for though nature itself, philosophically considered, be inexhaustible, yet its general effects on the eye and on the ear are uniform, and incapable of much variety of description. Poetry cannot dwell upon the minuter distinctions, by which one species differs from another, without departing from that simplicity of grandeur which fills the imagination; nor dissect the latent qualities of things, without losing its general power of gratifying every mind by recalling its conceptions. However, as each age makes some discoveries, and those discoveries are by degrees generally known, as new plants or modes of culture are introduced, and by little and little become common, pastoral might receive, from time to time, small augmentations, and exhibit once in a century a scene somewhat varied.

But pastoral subjects have been often, like others, taken into the hands of those that were not qualified to adorn them, men to whom the face of nature was so little known, that they have drawn it only after their own imagination, and changed or distorted her features, that their portraits might appear something more than servile copies from their predecessors.

Not only the images of rural life, but the occasions on which they can be properly produced, are few and general. The state of a man confined to the employments and pleasures of the country, is so little diversified, and exposed to so few of those accidents which produce perplexities, terrours, and

surprises, in more complicated transactions, that he can be shewn but seldom in such circumstances as attract curiosity. His ambition is without policy, and his love without intrigue. He has no complaints to make of his rival, but that he is richer than himself; nor any disasters to lament, but a cruel mistress, or a bad harvest.

The conviction of the necessity of some new source of pleasure induced Sannazarius to remove the scene from the fields to the sea, to substitute fishermen for shepherds, and derive his sentiments from the piscatory life; for which he has been censured by succeeding criticks, because the sea is an object of terrour, and by no means proper to amuse the mind, and lay the passions asleep. Against this objection he might be defended by the established maxim, that the poet has a right to select his images, and is no more obliged to shew the sea in a storm, than the land under an inundation; but may display all the pleasures, and conceal the dangers of the water, as he may lay his shepherd under a shady beech, without giving him an ague, or letting a wild beast loose upon him.

There are, however, two defects in the piscatory eclogue, which perhaps cannot be supplied. The sea, though in hot countries it is considered by those who live, like Sannazarius, upon the coast, as a place of pleasure and diversion, has notwithstanding much less variety than the land, and therefore will be sooner exhausted by a descriptive writer. When he has once shewn the sun rising or setting upon it, curled its waters

with the vernal breeze, rolled the waves in gentle succession to the shore, and enumerated the fish sporting in the shallows, he has nothing remaining but what is common to all other poetry, the complaint of a nymph for a drowned lover, or the indignation of a fisher that his oysters are refused, and Mycon's accepted.

Another obstacle to the general reception of this kind of poetry, is the ignorance of maritime pleasures, in which the greater part of mankind must always live. To all the inland inhabitants of every region, the sea is only known as an immense diffusion of waters, over which men pass from one country to another, and in which life is frequently lost. They have, therefore, no opportunity of tracing in their own thoughts, the descriptions of winding shores and calm bays, nor can look on the poem in which they are mentioned, with other sensations than on a sea chart, or the metrical geography of Dionysius.

This defect Sannazarius was hindered from perceiving, by writing in a learned language to readers generally acquainted with the works of nature; but if he had made his attempt in any vulgar tongue, he would soon have discovered how vainly he had endeavoured to make that loved, which was not understood.

I am afraid it will not be found easy to improve the pastorals of antiquity, by any great additions or diversifications. Our descriptions may indeed differ from those of Virgil, as an English from an Italian summer, and, in some respects, as modern from ancient life; but as nature is in both coun

tries nearly the same, and as poetry has to do rather with the passions of men, which are uniform, than their customs, which are changeable, the varieties, which time or place can furnish, will be inconsiderable; and I shall endeavour to shew, in the next paper, how little the latter ages have contributed to the improvement of the rustick muse.

NUMB. 37. TUESDAY, July 24, 1750.

Canto quæ solitus, si quando armenta vocavat,
Amphion Dirceus.

Such strains I sing as once Amphion play'd
When list ning flocks the powerful call obey'd.

VIRG.

ELPHINSTON.

N writing or judging of pastoral poetry, neither the authors nor criticks of latter times seem to have paid sufficient regard to the originals left us by antiquity, but have entangled themselves with unnecessary difficulties, by advancing principles, which, having no foundation in the nature of things, are wholly to be rejected from a species of composition, in which, above all others, mere nature is to be regarded.

It is therefore necessary to inquire after some more distinct and exact idea of this kind of writ

ing. This may, I think, be easily found in the pastorals of Virgil, from whose opinion it will not

appear very safe to depart, if we consider that every advantage of nature, and of fortune, concurred to complete his productions; that he was born with great accuracy and severity of judg ment, enlightened with all the learning of one of the brightest ages, and embellished with the elegance of the Roman court; that he employed his powers rather in improving, than inventing, and therefore must have endeavoured to recompense the want of novelty by exactness; that taking Theocritus for his original, he found pastoral far advanced towards perfection, and that having so great a rival, he must have proceeded with uncommon caution.

If we search the writings of Virgil, for the true definition of a pastoral, it will be found a poem in which any action or passion is represented by its effects upon a country life. Whatsoever therefore may, according to the common course of things, happen in the country, may afford a subject for a pastoral poet.

In this definition, it will immediately occur to those who are versed in the writings of the modern criticks, that there is no mention of the golden age. I cannot indeed easily discover why it is thought necessary to refer descriptions of a rural state to remote times, nor can I perceive that any writer has consistently preserved the Arcadian manners and sentiments. The only reason, that I have read, on which this rule has been founded, is, that, according to the customs of modern life, it is improbable that shepherds should be capable of harmonious numbers, or delicate sentiments;