A Full Enquiry into the Nature of the Pastoral (1717)

by Thomas Purney

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, but so that it's Influence does not reach the Persons till they have been a while engaged in the Actions of the Tragedy or Pastoral.

SECT. Last.

Here Sophy closed his Book; for the Heat of the Day came on, and an House or an Arbour began to be more agreeable than the open Fields. Sophy told the Swain he would meet him there agen in the Evening, and read him some more of the Minutes he had put down for his Direction, and withdrew; and the Shepherd drove his Lambs to the Covert of the Shades.

Accordingly, as the day began to decline, the Critick again appear'd; and opening his Book, pursued the Argument he had made some Progress in.

The End of the first Part.

PART II.

CHAP. I.

Of the Pastoral CHARACTERS or MANNERS, in general.

I should but tire the Reader, if I endeavour'd to prove that Pastoral does require the Manners, or Characters to be preserved. If our Method of ordering Pastoral be admitted, the Necessity thereof will be easily perceived. But If any one prefer's the ordinary Method, I must tell him, that 'tis not proper to draw Characters in a Piece of an hundred Lines.

It is to be observ'd, that tho' a Fable and Moral are essential to every Poem; yet a Poem may subsist without the Manners. In Epick Poetry the Machinery, the sublime Descriptions, &c. are such strong and Poetical Ornaments, that a very fine Piece of the Heroick kind, might be form'd without the Ornament of Characters. But Pastoral is in it self, (if I may so speak) less Poetical; and therefore more want's the additional Ornaments of Art. 'Tis naturally low and mean, and therefore should be as much rais'd as possible. Whereas Epick-Poetry is of a Nature so warm and heated, that it's own proper Strength and Violence is able to support it. If this could want a Proof, I might say in short, That we can bear with Epick-Poetry, even without any kind of Verse, and Cambray has succeeded in such; but every one will judge that should a Pastoral appear in Prose, nay even without the Feminine Ornament of Jangle, 'twould not be born with; which show's that Epick Poetry can support it self with fewer foreign Assistances than Pastoral.

Another Observation I shall make, relating to the Manners or Characters in general, is this; and 'tis equally applicable to Epick Poetry, Tragedy, and Pastoral: There are three different ways of drawing Characters; which in Tragedy form the Poem, as 'twere, of three different Kinds or Natures.

The first, and finest is, where the Natural Temper of the Hero's Mind is drawn in the former Part of the Poem, but after the Peripatie alter's. As Timon of Athens is drawn at first all free and well-natur'd to a Fault; but after his change of Fortune, is described as a quite different Man; morose, and in hatred with himself and all the World. And so in other Tragedies.

The second Sort is, where the Temper of Mind is the same in the former and latter Part of the Play; but all along forced from it's Natural Bent. Every where inclin'd and leaning to a different Temper; yet is no where wholly carry'd off, or alter'd, as in Venice-Preserv'd; Jaffeir's Temper is generous, faithful, and tender, but thro' Want and Enticement being drawn into a Conspiracy, this Temper is half effac'd in him: But the Strugglings which the Poet has so fine an Opportunity of describing, between his present Actions and his natural Temper, are carry'd thro' the whole Piece; and he condemn's himself the same for ungenerously betraying his Friend at the End, as for entring into the Conspiracy against his Country, at the beginning of the Play.

The last kind of Character is, where the Natural Temper of the Mind is neither drawn in the latter Part of the Poem; nor retain'd thro' the whole, but clouded and broken; but instead thereof some casual and accidental Humour, which from some Misfortune, or the like, has quite changed the Natural Temper before the Person appear's on the Stage, or in the Poem. As in the Distress'd-Mother, the Character that give's name to the Tragedy, is all along in Tears and Grief for Hector; and what her Temper was before his Death, does not appear, that is, what her Natural Temper was.

I need not detain you to apply what I have here observ'd to Pastoral in particular; 'tis enough to affirm, that the Method which appears most beautiful in Tragedy, will be equally finest in Pastoral Poetry.