Metre, then, we'll conclude to be an essential Part of Poetry. Another Question arises, whether Fiction is likewise so. Some tell us, that no one should be entitled a Poet, but he that invents some Fable, and heightens it with the Decoration of Verse. To this Opinion I can by no means assent. The first Writers of Verses, no doubt, made them in Praise of somewhat that was real, and before them. For it is highly probable, that this Art, as most others, was in its Infancy employ'd about Things that were most obvious, and easy to the Learner. Now it is certainly more easy to describe a Subject that already exists, than to form a new one. Vossius[13] thinks, that Love was the first Occasion of Poetry. Which is not improbable, considering that this Affection is coeval with Mankind, is universal, and naturally productive of Poetry. True Love, then, or somewhat true, was the Poets first Theme; afterwards, by Length of Time, they rose to Things that were more difficult, and blended artful Devices and Truth together. So that Poetry was before Fiction; and even since they have been united, there have been many Poets, truly so called, who have had to do with Fiction. Those that exercise that Talent with Art, are Poets in a more peculiar Manner, and of a superior Genius. But if those only were to be honour'd with the Title, the Number of them would be very small. To all, therefore, it ought to extend, who, tho' they invent nothing, yet illustrate their Subject with Metre, animated with the Style and Spirit of Poetry.
I cannot, therefore, sufficiently wonder that the great Scaliger[14] should assert, there was no Difference between Poetry and History, except in the Diction. 'Tis certain he could not mean Poetry in general; for there are many Sorts of it, which are so totally different from History, that they have scarce any Thing in common with it. Even the Epic Poem, tho' it consists much in Narration, yet is distinguish'd enough from History, by the subject Matter, by the Disposal of the Parts, and many other Criterions. Scaliger's Opinion may seem true in respect of one kind of Poetry only, such as that of Lucan, which is properly call'd an Historical Poem: Tho' this may be heighten'd with that poetic Rage and Fire, which, I presume, is somewhat more than Diction, and incompatible with History.
Tho' we generally use the Words Poesis and Poetica, Poesy and Poetry, indiscriminately; yet, if we would speak properly, they ought to be distinguish'd. By a Poem (a third Word, that often occurs in this sort of Dissertations) is meant the Work of the Poet; by Poesy, the actual Exercise; by Poetry, the Art or Habit.
And since Harmony and Sonorousness are so necessary a Part of Poetry, it may not be foreign to our Purpose to compare it with Music; especially as these two entertaining Arts are not only nearly allied in their Nature, but in Fact also, often united: This we see, especially in Odes and Songs, and the Entertainments of the Theatre; where Poesy and Music lend each other their friendly Aid, become joint Associates, and both conspire to captivate their Hearers. In this, also, they farther agree, that they have both the same Admirers. I speak of such as have made a Progress in Letters; for we often meet not only with Lovers of Music, but Masters in it, that, for want of Learning, have no Taste for the Pleasures of Poetry. But among those that are advanced in Literature, an Admirer of one of these Arts, loves the other also; and he that understands one, has a Knowledge in both, or desires and wishes for it. From hence it was, no doubt, that the Ancients made the same Apollo the Patron of Poetry and Music, and attributed to the Muses the divinest Melody, adorning them with the Ensigns of the Harp, and other musical Instruments. Aristotle, likewise, seems to have comprehended Music under Poetry; and tho' that may not be altogether so proper, since Music consists of Sound only, without Words, yet it is plain the Affinity between them is very great. Both charm the Ear with sonorous Measures; Music, indeed, in a higher Degree, but Poetry comes much nearer to it in this Respect, than Prose, how flowing or tuneable soever.
Both turn more particularly upon the Harmony of the Parts, and the proper Disposal of them; both suited to Men of the politest Taste, and both improve it. In short, so nearly are they the same, that the Word Singing is equally applied to both. But this Difference there is, that Poetry is much the more excellent in its kind; because the whole Circle of Learning enters into its Composition; it applies itself more particularly to the Soul, as the other to the Senses; and, lastly, the Advantages of it to Mankind are abundantly greater.
From hence I am naturally led to enquire into the Use and End of Poetry, which is generally reckoned twofold, viz. to instruct and to please. So that we come now to the last Branch of our Definition, wherein we asserted, that Poetry was design'd for the Pleasure and Improvement of Mankind, according to that well known Saying of Horace,
Aut prodesse volunt, aut delectare Poetæ.[15] A Poet shou'd instruct, or please, or both. Roscom.
It is agreed, then, by all, that this is the twofold End of Poetry; but which the principal, is still a Doubt. It may bear a Dispute, indeed, which is in Fact the principal; but which ought to be so, surely can be none: For in this, as in all other Arts, the Advantage ought to be considered before the Pleasure. Some, indeed, of our modern Writers, think otherwise; and boldly pronounce Pleasure to be the chief End of Poetry. It can't be denied, but this Opinion is perfectly consonant to their Writings; in which they not only principally consult their Reader's Pleasure, but in Opposition to their Advantage. Witness those lewd Poems with which this divine Art is polluted. But if we would consult Reason, we should allow that even in Verse what improves us, ought to be more regarded than what delights us. I own, the severest Wits, that lay down the most rigid Precepts of Virtue, ought to have a View to Pleasure in their Compositions; for it is the distinguishing Mark of the Poet from the Philosopher, that tho' Virtue is the Aim of both, yet the one presses it closer, indeed, but in a less engaging Manner. In the dry Method of a Teacher he defines his Subject, he explains his Terms, and then gives you Rules; the other cloaths his Precepts in Examples, and imperceptibly insinuates them under the beautiful Disguise of Narration. I own, likewise, that Readers are generally more sensible of the Pleasure they receive, than the Profit, even when it is less proposed by the Writers; for it is That makes the strongest Impression upon the Imagination: Nay, and I grant, that this is what Writers themselves ought to study. Yet notwithstanding all this, Profit may be the chief End of Poetry, and ought to be so; but for that very Reason Pleasure should be joined to it, and accompany it, as a Handmaid, to minister to its Occasions. When Children are allured with the sweeten'd Draught, or gilded Pill, they, as the Physician intended, consider nothing but the Beauty of the one, or the Taste of the other: But it is well known, this was not the chief Intent of the Physician in his Prescription.
This Rule relates principally to the more perfect and sublimer Kinds of Poetry, and especially the Epic and Dramatic. For we don't pretend that Epigram, Elegy, Songs, and the like, conduce much to the Improvement of Virtue. It is enough, if these Writings keep within the Bounds of Chastity, and give no Offence to Good-manners. Poets sometimes write, not so much to move others Passions, as to indulge their own. And as Pleasure is the chief, or, perhaps, the only Effect of this sort of Levities, so it may very innocently be proposed by Authors as the chief End of them. Tho' even from these lesser Flights one Advantage arises, that they improve the Wit, and polish the style, both of the Writer and the Reader; a Circumstance that may be observed in Favour of all Kinds of Poetry.
If it be asked, What are those inward Sensations of Pleasure with which Poetry affects us, or from whence it is Mankind are so highly delighted with that Way of Writing; I answer, this may in some Measure be collected from what has been already said, and farther, from what we shall have Occasion to say hereafter under the subject Matter of Poetry. At present let the following Considerations suffice: It is obvious enough why Harmony of Verse should please us, since that's a Pleasure that arises from a proper Disposition of Sounds, which make their Way directly to the Senses. But still we feel a much higher, from the Images of Things beautifully painted, and strongly impressed upon the Mind. As we are naturally desirous of Truth, we are glad to find our Ideas confirmed by those of others; for from thence we conclude ours are just, and agreeable to Nature. This Assimilation of Ideas is still more pleasant, when it arises from some sudden unforeseen Impression; for all Impressions upon the Mind, whether of Joy or Grief, are more affecting, the swifter they are made, and the more unexpected; the slower they are, the more languid. This is confirmed no less by Experience, than Reason. Since the Impressions, then, of Poetry, are of the vehement kind, it is no Wonder so much Pleasure should attend them, especially when the Ideas we speak of are heighten'd with all the Elegance of Expression. This Pleasure is likewise in some Measure to be attributed to the natural Love of Mankind for Imitation, the Reason of which we shall attempt to give in its proper Place. From these Principles we may account for the Pleasure that arises from Description, as well as that from Fiction.