From the length by Nature prescribed to all Pieces, Epick, Tragick, &c. is shown, That Pastoral will, at least, admit of the Length of three or four hundred Lines.
Thus far of the Necessity of extending a Pastoral to the Length of three or four hundred Lines, if we would not deprive our selves of the Opportunities of being as delightful as Poetry will permit. But if any Commentator, who think's himself oblig'd to defend Theocritus and Virgil in every particular, should not only not allow this Length to be preferable, but even condemn it as faulty, it would oblige us to come more close to the Point, and to take the Question from the bottom. What is the Length by Nature fix'd for all Pieces? And why mayn't an Epick be as short as a Tragick Poem? Methink's a Poet should not be content to take these things on Trust, and tye himself down to Brevity or Length only because Theocritus wrote short and Homer long Pieces.
I have not Leisure to enter fully into this Question, but would recommend it to some Person who has, as a Subject that would prove as Entertaining to the Reader as the Writer. However, I shall speak just what I have at present in my Mind upon it.
Without considering Tragedy as drawn into Representation, it is plain it would not endure the Length of Epick Poetry, without being wearious in the Reading, for these Reasons among others: It's Nature is more heated and violent than the Epick Poem, and consists of only Dialogue; whereas the former has the Variety of Dialogue and Narration both. Besides, the under-actions which work up to the main Action in Heroick Poetry, are each as great and as different from each other, as the main Actions of different Tragedies.
Nor would Pastoral bear the Length of even Tragedy. For it admits not both those two kinds of Writing, the Sublime and the Beautiful, which are the most different of any in Nature, having only the last. But these two give so sweet a variety to the same Piece, when they are artfully blended together, that a good Tragedy or Epick Poem can never tire. Soon as we begin to be sated and cloy'd with Passion and Sublime Images, the Poet changes the Scene; all is, on a sudden soft and beautiful, and we seem in another World.
Yet is Pastoral by no means ty'd down by nature to the Length used by Theocritus and all his Followers. 'Tis only Example has introduc'd that Method. For, 'tis a Poem capable of raising two Passions, and those tho' all consistent with one another, yet what raise Pleasures, the most widely different of any, in the Mind. When we have tir'd the Reader with a mournful and pitious Scene, we may relieve and divert his Mind with agreeable and joyous Images. And these the Poet may diversify and vary as often as he pleases. And so different are the Passions of Pity and Joy, that he may all thro' the Poem please in an equal Degree, yet all thro' the Poem in a different Manner.
Besides, this Poem changes the general Scene, which is more than even Tragedy does. A Poet who has form'd a perfect Notion of the Beautiful, and furnished his Mind with a sufficient number of delightful Images, before he set's down to write a Pastoral, will lead the Reader thro' so sweet a Variety of amusing scenes, and show so many beautiful Pictures to his Imagination, that he will never think the tenth Part of a Tragedy's Length too much for a Pastoral.
'Tis true indeed that they who make a Pastoral no more considerable than a Song or Ballad (as Theocritus, Virgil, &c.) without Passions, Characters, a delightful Fable, or any Moral, do well to make it of no greater Extent than a Song or Ballad. Where there is nought to delight but the Sentiments, (for they aim at neither the soft nor the sublime Language) a Reader cannot attend to more than a hundred Lines; but where the Mind is engag'd and concern'd for the Issue of the Story, and eager to know the Event, 'tis insensibly drawn on, and haveing some Aim in View, is much less weary'd, tho' led on to a greater Extent.
CHAP. III.
That the Pastoral Action must not be very little and minute; also that several Under-actions must run thro' the Poem.