matter, in either mode of compofition, it will be eafy, as I faid, to account for the particular forms of the feveral fubordinate fpecies. And I the rather choose to do it in this way, and not from the peculiar end of each, which indeed were more philofophical, because the business is to make appear, how nature leads to the fame general plan of composition in practice, not to establish the laws of each in the exact way of theory. Now in confidering the matter hiftorically, the diverfity of fubjectmatter was doubtlefs that which firft determined the writer to a different form of compofition, though afterwards, a confideration of the end, accomplished by each, be requifite to deduce, with more precifion of method, its diftinct laws. The latter is that from whence the speculative critic rightly eftimates the character of every fpecies; but the inventor had his direction principally from the former.

Let me exemplify the obfervation in an inftance under either mode of imitation, and leave the reft to the reader.

1. The GEORGIC is a fpecies of narration. But, as things, not perfons, are its fubject

fubject (from which laft alone the unity of defign and continuity of action arife) this circumftance abfolves it from the neceffity of obferving any other laws than those of clear and perfpicuous difpofition, and of enlivening a matter, naturally uninterefting, by exquifite expreffion and pleafing digref fions.

2. The PASTORAL poem may be confidered as a lower fpecies of the Drama. But; its fubject being the bumble concerns of Shepherds, there feems no room for a tragic Plot; and their characters are too fimple to afford materials for comic drawing. Their fcene is indeed inchanting to the imagination. And, together with this, their little diftreffes may footh us in a fhort fong; or their fancies and humours may entertain us in a fhort Dialogue. And that this is the proper province of the Paftoral muse, we may fee by the ill fuccefs of those who have laboured to extend it. Taffo's project was admired for a time. But we, now; understand that paftoral affairs will not admit a tragic pathos. And the continuance of the paftoral vein, through five long acts, is VOL. III.

G

found

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found infipid, or even diftaftful. This poem then has returned to that form which its inventors gave it, and which the subject so naturally prefcribes to it.

II. But, though the common end of poetry, which is to please by imitation, together with the fubjects of its feveral fpecies, may determine the general plan, yet is there nothing, it may be faid, in the nature of things to fix the order and connexion of fingle parts. And here, it will be owned, is great room for invention to fhew itself. The materials of poetry may be put together in fo many different manners, confiftently with the form which governs each fpecies, that nothing but the power of imitation can be reafonably thought to produce a clofe and perpetual fimilarity in the compofition of two works. I have faid à close and perpetual fimilarity; for it is not every degree of refemblance that will do here.

The general plan itself of any poem will occafion fome unavoidable conformities in the difpofition of its component parts. The identity or fimilarity of the fubject may cre ate others. Or, if no other affimilating

caufe

0

cause intervene, the very uniformity of common nature will, of neceffity, introduce fome. To explain myfelf as to the last of thefe caufes.

The principal conftituent members of any work, next to the effential parts of the fable, are EPISODES, DESCRIPTIONS, SIMILIES. By defcriptions I understand as well the delineation of characters in their speeches and imputed fentiments, as of places or things in the draught of their attending circumftances. Now not only the materials of these are common to all poets, but the fame identical manner of affemblage in application of each in any poem will, in numberlefs cafes, appear neceffary.

1. The episode belongs, principally, to the epic mufe; and the defign of it is to diverfify and ennoble the narration by digreffive, yet not unrelated, ornaments; the former circumftance relieving the fimplicity of the epic fable, while the other prevents its unity from being violated. Now thefe epifodical narrations muft either proceed from the poet himself, or be imputed to fome other who is engaged in the course of G 2 the

the fable; and, in either case, must help, indirectly at least, to forward it. "1

If of the latter kind, a probable pretext must be contrived for their introduction; which can be no other than that of fatisfying the curiofity, or of ferving to the neceffary information, of fome other. And in either of these ways a ftriking conformity in the mode of conducting the work is unavoidable.

If the episode be referred to the former clafs, its manner of introduction will admit a greater latitude. For it will vary with the fubjects or occafions of relating it. Yet we shall mistake, if we believe thefe fubjects, and confequently the occafions >connected with them, very numerous.. They must be of uncommon dignity and fplendor; otherwife nothing can excufe the going out of the way to infert them. 2. They muft have fome apparent connection with the fable. 3. They muft further accord to the idea and state of the times, from which the fable is taken. Put thefe things together, and fee if they will not, with probability, account for fome coincidence in the choice and applications of the direct episode. And

admitting