244. Sylvis deducti caveant &c.] Having before [v. 232] settled the true idea of the satyric style in general, he now treats of the peculiar language of the satyrs themselves. This common sense demands to be in conformity with their sylvan character, neither affectedly tender and gallant, on the one hand; nor grossly and offensively obscene, on the other. The first of these cautions seems leveled at a false improvement, which, on the introduction of the Roman satyr, was probably attempted on the simple, rude plan of the Greek, without considering the rustic extraction and manners of the fauns and satyrs. The latter, obliquely glances at the impurities of the Atellane, whose licentious ribaldry, as hath been observed, would, of course, infect the first essays of the Roman satyr.
But these rules so necessary to be followed in the satyric, are (to observe it by the way) still more essential to the PASTORAL poem: the fortunes and character of which (though numberless volumes have been written upon it) may be given in few words.
The prodigious number of writings, called Pastoral, which have been current in all times, and in all languages, shews there is something very taking in this poem. And no wonder, since it addresses itself to THREE leading principles in human nature, THE LOVE OF EASE, THE LOVE OF BEAUTY, and THE MORAL SENSE: such pieces as these being employed in representing to us the TRANQUILLITY, the INNOCENCE, and the SCENERY, of the rural life. But though these ideas are of themselves agreeable, good sense will not be satisfied unless they appear to have some foundation in truth and nature. And even, then, their impression will be but faint, if they are not, further, employed to convey instruction, or interest the heart.
Hence the different forms, under which this poem hath appeared. Theocritus thought it sufficient to give a reality to his pictures of the rural manners. But in so doing it was too apparent that his draught would often be coarse and unpleasing. And, in fact, we find that his shepherds, contrary to the poet’s rule,
——immunda crepent ignominiosaque dicta.
Virgil avoided this extreme. Without departing very widely from the simplicity of rustic nature, his shepherds are more decent, their lives more serene, and, in general, the scene more inviting. But the refinements of his age not well agreeing to these simple delineations, and his views in writing not being merely to entertain, he saw fit to allegorize these agreeable fancies, and make them the vehicles of historical, and sometimes even of philosophic, information.
Our Spenser wanted to engross all the beauties of his masters: and so, to the artless and too natural drawing of the Greek, added the deep allegoric design of the Latin, poet.
One easily sees that this ænigmatic cast of the pastoral was meant to give it an air of instruction, and to make it a reasonable entertainment to such as would nauseate a sort of writing,
“Where pure description held the place of sense.”
But this refinement was out of place, as not only inconsistent with the simplicity of the pastoral character, but as tending to rob us in a good degree of the pleasure, which these amusing and picturesque poems are intended to give.