Mr. Addison has been pleased to bestow on what was the first attempt in this particular species of composition, viz. the Eclogues of Sannazarius, which (with all deference to the opinion of so able a critic) whoever shall peruse, will, it is believed, be convinced that they hardly deserve such usage. Perhaps the truth was, that Mr. Addison, before Sannazarius came in his way, had laid down what be esteemed the essential requisites of pastoral, and was afterwards, in his review of the pastoral writers, necessarily obliged to praise or condemn according to these rules. However, it were extremely easy to show that several of his requisites are so far from being essentially necessary, that many of the most esteemed pastorals can by 90 means be reduced to, or measured by their standard. The pastoral state, according to his rules, is a state of the most perfect simplicity, innocence, and ease; in short, a golden age.-It is not to be denied, that in order to paint the pleasures of a pastoral life, we must bestow a tint of simplicity, and easy contentment; at the same time, nothing can be more fantastical than to depart entirely from nature, and describe a manner of life, which neither ever did, nor could possibly exist. An affectation of this kind in the writers of pastoral, is the reason why we are justly displeased with most of the modern pastorals, as well as with many of the ancient. But the compositions in this way of writing, which are universally admired, will be found to have departed far from this rule. The most esteemed Eclogues of Virgil admit often of polished, and even of refined sentiments: and it is with justice that we admire these, since it is well known, that the earliest ages, and the greatest simplicity of manners have produced compositions rich in sentiments the most exalted, as well as most beautiful. Many of Spenser's pastorals are so intolerably rude, (or simple, if one chooses to call them so), that they only excite ridicule: some there are extremely beautiful, but they are those only where he has kept nature in view, and forbore an over-affectation of simplicity. Another rule of pastoral, according to this writer, and which indeed has a necessary dependance on his first requisite, is, that the smallest hint of misfortune or calamity should be entirely banished from such a state of ease and innocence. He will allow only a few slight anxieties, such as what a shepherd may feel on having his foot pricked with a thorn, breaking his crook, or losing a favourite lamb; because, says he, we must think that life extremely happy, where these are the greatest misfortunes.-But besides the disgusting sentiment of improbability which this system conveys, we must always judge according to our own feelings; and instead of sympathising with the unhappy shepherd who laments such piteous calamities, we must undoubtedly laugh at him.— The complaints of Virgil's Melibæus will affect every reader, because they are real, and come home to every man's concerns. So much has been said on these, which Mr. Addison calls the requisites to pastoral, because it is presumed he has on them founded his criticism upon the Eclogues of Sannazarius. It is on these principles that he censures both Tasso and Guarini, in the Aminta and Pastor fido; and had he seen a composition, the produce of the northern part of our island, and allowed a master-piece of the pastoral kind', it had probably been measured by the same standard, and, in that case, as certainly coudemned. The word Pastoral implies, that the characters are shepherds: Eclogue significs, a select poem of any kind; but is generally applied to compositions of the like nature with pastorals; and so far as they have some characterising marks in common, they may be judged of by a common standard; but an allowance must always be made for the sentiments which are peculiar to the several characters. Thus we have seen Town Eclogues as well as Pastoral Eclogues, to both of which it would be ridiculous to apply the same standard of simplicity, &c.; each have their different merits, and are capable of their peculiar beauties. -Piscatory Eclogue forms a third species, and cannot be measured by the standard of either of the former. One rule is certain in all these compositions: Examine the characters, and according as they conform to nature, let the performance be judged.-While we set up a visionary standard, such as that of a perfect state of innocence and simplicity, we shall never find two persons who agree exactly in opinion of the same performance. Were it necessary to say any thing in reconmendation of Piscatory Eclogue, we might assert perhaps its advantages over Pastoral. The life of a fisherman admits often of scenes as delightful as those which the shepherd enjoys, and those scenes are much more varied. The nature of the occupation of the former gives rise to a greater variety of incidents, and those likewise more interesting, than that of the latter can furnish.-A subject often handled must become trite, and Piscatory Eclogue has the advantage over Pastoral in displaying a field less beaten and less frequented.But Fletcher's Eclogues will speak for themselves, and sufficiently vindicate both the nature of the composition and their own peculiar merit. These Eclogues have been but once printed, above 130 years ago, and they have met with a fate which I am sure they do not merit, being now almost unknown. I have illustrated them with notes, to explain some historical passages which would have otherwise been obscure; and likewise with some critical observations and similar passages from other poets, many of them old and but little known, with which I know some readers will not be displeased: at least, I am always pleased to meet with the like in other performances, and I believe others are so too. ECLOGUE 1. AMYNTAS. THE ARGUMENT. The poet, under the character of Thelgon, fisher, paints his own father, and, in an allegory, describes his life. Having spent his youth The Gentle 'Shepherd, a Scots pastoral comedy, where the characters and scenery are simple and beautiful, though at the same time strictly natural. in the country, he is solicited to court, where, though honourably employed by his sovereign, he seems to think his labours met not with the reward which they merited. This beautiful Eclogue begins with the most fanciful and picturesque description. The season and scene are laid down :-An invocation to the seanymphs-Thelgon's childhood, and education among the fishers:-The dawning and improvement of his poetical genius:-His removal to court, and his employments in consequence of it:-The rise of his love for Amyntas, with whom he passionately expostulates. The Eclogue concludes with a most beautiful picture of the innocent pleasures of a fisher's life, by which he endeavours to alluie Amyntas to reside with him. "When the raw blossom of my youth was yet In my first childhood's green enclosure bound, Of Aquadune I learnt to fold my net, And spread the sail, and beat the river round, And withy labyrinths in straits to set, And guide my boat where Thame and Isis heire By low y Eton slides, and Windsor proudly faire. VI. "There, while our thinne nets dangling in the winde Hung on our oares' tops, I learnt to sing Among my peers, apt words to fitly binde In num'rous verse: witnesse thou crystal spring Where all the lads were pebles wont to finde: And you, thick hasles, that on Thamis' brink Did oft with dallying boughs his silver waters drink. VII. "But when my tender youth 'gan fairly blow, [seas: I durst to challenge all my fisher peers, That by learn'd Chamus' banks did spend their youthfull yeares'. 4 Vide Eclogue III. §. 3. note 1. In this description of the fisher's youth and education, there is a remarkable similarity to some passages in the 12th Eclogue of Spenser's Shepherd's Calendar. He seems to have been an admirer, and frequently too an imitator of that great poet: but where he has borrowed his thoughts, there are none, I believe, who, upon a comparison, will deny that he has improved on them. The force and tenderness of sentiment, in many of Spenser's Eclogues, is often much impaired by an affected rusticity of expression, which, though some have imagined essential to pastoral, is en The poet's art is admirable, that in the first line he fills the reader's mind with a tender impression, by recalling to his memory the well-tirely distinct from simplicity and feeling, and is known mournful story of Ceyx and Halcyone, (Ovid. Met. b. xi. fab. 10.), at the same time that he uses it to convey a fine idea of the serenity of the sea in spring, indeed unfit to convey such sentiments. This Fletcher well knew, and without losing sight of the characters of his speakers, has never descended to vulgarism or affected obscurity. Extinctum nymphæ crudeli funere Daphnin Our poet has here beautifully improved on the thought of Virgil, by the addition of two fine images which are not exprest in the Latin. The whole stanza is picturesque in the highest degree. 7 The Chame or Cam is remarkable for its many beautiful windings. It is here called learned, from the university of Cambridge, which is situated on the river. The university was founded, as some say, in the year 141; but Sigilbert, a Christian king of the East-Saxons, is allowed to have been the first who established regular schools there. Next Camus, reverend sire, went footing slow, His mantle hairy, and his bonnet sedge, Inwrought with figures dim, and on the edge, Like to that sanguine flow'r, inscrib'd with woe. Milton's Lycidas. Probably the usurpation of Richard III. of England. The other names are fictitious, or perhaps they allude to stories told by other poets, which I have never met with, ? Q. Elisabeth. 12 "Ah! would thou knew'st how much it better were 11 10 Hoc est, hoc, miserum quod perdidit. Ite Camænæ, "This, and the two following stanzas, for elegance and true pastoral simplicity will yield to few compositions, whether of the present age or of antiquity. 12 Mr. Addison, in his criticism on pastoral poetry, will allow no greater misfortune or inconvenience to be described as incident to the state of simplicity which is there supposed, than lefthanded oaks, shrieking ravens, or at most the loss of a lamb or goat. Fletcher, in this passage, will not fall under his censure, where he paints the owl and the night-crow as the most disagreeable objects attending the life of a shepherd or fisher. But this is too squeamish a piece of criticism. There is no occasion for removing ourselves so far from real nature. Virgil, who disdained all pedantic restraint, has not confined himself to a golden age for the scene of his pastorals. He has joyment of their fields and flocks, and exposed to painted his shepherds driven from the peaceful eninsults from the soldiers and barbarians; and this serves to heighten the idea of pastoral innocence and simplicity, where such calamities are so power fully affecting. Dorus and Myrtilus sitting on the beach, while the weather is unfavourable for fishing, amuse themselves with a song. Myrtilus relates the cause of Thirsil's abandoning the employment of a fisher, and forsaking his native streams. The author's father's misfortunes are again touch'd op, in the character of Thelgon, couched under a beautiful allegory. Thirsil affected with the ungenerous fate of his friend, and resenting likewise his own unmerited hardships, forswears for ever his country and his occupation. His parting with Thomalin, and the haunts and delights of his youth, are described Soon had he learnt to sing as sweet a note To him the river gives a costly boat, Scarce of the boat he yet was full possest, It is probable the author here alludes to some office or employment which his father expected, as the reward of his services, and which was undeservedly bestowed on another, stigmatised under the name of Gripus, who had obtained it by flattery, and the low arts, to which Fletcher was a stranger. Vide infra stanza 14. and Eclog. i. stanza 12.As a key to some allusions of this kind which XIII. From thence he furrow'd may a churlish sea: The viny Rhene, and Volgha's self did pass', Who sleds doth suffer on his wat'ry lea, And horses trampling on his icy face: Where Phoebus, prison'd in the frozen glasse, All winter cannot move his quenched light, Nor, in the heat, will drench his chariot bright: Thereby the tedious yeare is all one day and night. XIV. Yet little thanke, and lesse reward, he got; He never learn'd to soothe the itching eare: One day (as chanc't) he spied that painted boat Which once was his: though his of right it were, He bought it now again, and bought it deare. But Chame to Gripus gave it once again, Gripus, the basest and most dung-hill swain, That ever drew a net, or fisht in fruitful main. xv. Go now, ye fisher-boys, go learn to play, To play and sing along your Chamus' shore: Go watch and toil, go spend the night and day. While windes and waves, while stormes and tempest roar; And for your trade consume your life and store: Lo your reward, thus will your Chamus use you: Why should you plain that lozel swains refuse you? Chamus good fishers hates, the Muses' selves abuse you. XVI. THOMALIN. Ah, Thelgon! poorest, but the worthiest swain That ever grac'd unworthy poverty! However here thou liv'dst in joylesse pain, Prest down with grief and patient misery; Yet shalt thou live when thy proud enemie Shall rot, with scorn and base contempt opprest. Sure now in joy thou safe and glad dost rest, Smil'st at those eager foes, which here thee so molest. XVII. THIRSIL. Thomalin, mourn not for him; he's sweetly sleeping' In Neptune's court, whom here he sought to please; While humming rivers, by his cabin creeping, Rock soft his slumb'ring thoughts in quiet ease: Mourn for thyself, here windes do never cease; occur in these eclogues, I find the following anec dote in a small duodecimo, entitled, A Historical Dictionary of England and Wales, printed 1692: After enumerating some particulars of the life of Doctor Giles Fletcher, it is there added, “He was a man equally beloved of the Muses and Graces: In the end of his life having commenced doctor of divinity, and being slighted by his clownish parishioners, he fell into deep melancholy, and in a short time died." 3 See Eclogue i. stanzas 11, 12. and the note thereon. * The ingratitude of a sovereign to a faithful servant,is touched with great delicacy in this oblique complaint against Chamus and the Muses. There is something remarkable in this picture. The image of the poor fisherman, now at rest from all his troubles, and sweetly sleeping in the court of Neptune, carries with it something beauti |