be of a piece with the poem. By thus varying the form Didactic. of instruction, the poet gives life to his precepts, and awakens and secures our attention, without permitting us to see by what means we are thus captivated: and his art is the more to be admired, because it is so concealed as to escape the reader's observation. "In the second (continues the same critic) this passage has its prettiness, though it be not equal to the former :" I have found out a gift for my fair; I have found where the wood pigeons breed: She would say 'twas a barbarous deed: Who could rob a poor bird of its young; Such tenderness fall from her tongue. SECT. V. Of Didactic or Preceptive Poetry. THE method of writing precepts in verse, and embellishing them with the graces of poetry, had its rise, we dac tic poc- may suppose, from a due consideration of the frailties and perverseness of human nature; and was intended to engage the affections, in order to improve the mind and amend the heart. try. 147 -Rules to Didactic or preceptive poetry, has been usually employed either to illustrate and explain our moral duties, our philosophical inquiries, our business and pleasures; or in teaching the art of criticism or poetry itself. It may be adapted, however, to any other subject; and may in all cases, where instruction is designed, be employed to good purpose. Some subjects, indeed, are more proper than others, as they admit of more poetical ornaments, and give a greater latitude to genius; but whatever the subject is, those precepts are to be laid down that are the most useful; and they should follow each other in a natural easy method, and be delivered in the most agreeable engaging manner. What the prose writer tells you ought to be done, the poet often conveys under the form of a narration, or shows the necessity of in a description; and by representing the action as done, or doing, conceals the precept that should enforce it. The poet likewise, instead of telling the whole truth, or laying down all the rules that are requisite, selects such parts only as are the most pleasing, and communicates the rest indirectly, without giving us an open view of them; yet takes care that nothing shall escape the reader's notice with which he ought to be acquainted. He discloses just enough to lead the imagination into the parts that are concealed; and the mind, ever gratified with its own discoveries, is complimented with exploring and finding them out; which, though done with ease, seems so considerable, as not to be obtained but in consequence of its own adroitness and sagacity. But this is not sufficient to render didactic poetry albe observ- ways pleasing: for where precepts are laid down one afed in its ter another, and the poem is of considerable length, the composimind will require some recreation and refreshment by the tion. way; which is to be procured by seasonable moral reflections, pertinent remarks, familiar similies, and descriptions naturally introduced, by allusions to ancient histories or fables, and by short and pleasant digressions and excursions into more noble subjects, so aptly brought in, that they may seem to have a remote relation, and VOL. XVII. Part I. + The style, too, must maintain a dignity suitable to the subject, and every part be drawn in such lively colours, that the things described may seem as if presented to the reader's view. But all this will appear more evident from example; and though entire poems of this kind are not within the compass of our design, we shall endeavour to select such passages as will be sufficient to illustrate the rules we have here laid down. We have already observed, that, according to the usual divisions, there are four kinds of didactic poems, viz. those that respect our moral duties, our philosophical speculations, our business and pleasures, or that give precepts for poetry and criticism. I. On the first subject, indeed, we have scarce any thing that deserves the name of poetry, except Mr Pope's Essay on Man, his Ethic Epistles, Blackmore's Creation, and part of Young's Night Thoughts; to which therefore we refer as examples. II. Those preceptive poems that concern philosophical speculations, though the subject is so pregnant with matter, affords such a field of fancy, and is so capable of every decoration, are but few. Lucretius is the most considerable among the ancients who has written in this manner; among the moderns we have little else but small detached pieces, except the poem called Anti-Lucretius, which has not yet received an English dress; Dr Akenside's Pleasures of the Imagination, aud Dr Darwin's Botanic Garden; which are all worthy of our admiration. Some of the small pieces in this department are also well executed; and there is one entitled the Universe, written by Mr Baker, from which we shall borrow an example. The author's scheme is in some measure coincident with Mr Pope's, so far especially as it tends to restrain the pride of man, with which design it was professedly written. The passage we have selected is that respecting the planetary system. Unwise! and thoughtless! impotent! and blind! Can wealth, or grandeur, satisfy the mind? Of all those pleasures mortals most admire, Is there one joy sincere, that will not tire? Can love itself endure? or beauty's charms Afford that bliss we fancy in its arms?Then let thy soul more glorious aims pursue: Have thy CREATOR and his works in view. Be these thy study: hence thy pleasures bring: And drink large draughts of wisdom from its spring; That spring, whence perfect joy, and calm repose, And blest content, and peace eternal, flows. Observe how regular the planets run, In stated times, their courses round the Sun. Diff'rent their bulk, their distance, their career, And diff'rent much the compass of their year : Yet all the same eternal laws obey, While God's unerring finger points the way. First Mercury, amidst full tides of light, Rolls next the sun, through his small circle bright, D All 148 Examples in didactic poetry. pure: Didactic. All that dwell here must be refin'd and Fair Venus, next, fulfils her larger round, More yet remote from day's all-cheering source, From hence, how large, how strong, the sun's bright ball! Who there inhabits must have other pow'rs, Strange and amazing must the diff'rence be "Twixt this dull planet and bright Mercury: Wondrous art thou, O GOD, in all thy ways ! At his command, affrighting human-kind, Comets drag on their blazing lengths behind: Nor, as we think, do they at random rove, But, in determin'd times, through long ellipses move. And tho' sometimes they near approach the sun ; Sometimes beyond our system's orbit run; Throughout their race they act their Maker's will, His pow'r declare, his purposes fulfil. III. Of those preceptive poems that treat of the business and pleasures of mankind, Virgil's Georgics claim our first and principal attention. In these he has laid down the rules of husbandry in all its branches with the utmost exactness and perspicuity, and at the same time embellished them with all the beauties and Didactic. graces of poetry. Though his subject was husbandry, he has delivered his precepts, as Mr Addison observes, not with the simplicity of a ploughman, but with the address of a poet: the meanest of his rules are laid down with a kind of grandeur; and he breaks the clods, and tosses about the dung, with an air of gracefulness. Of the different ways of conveying the same truth to the mind, he takes that which is pleasantest; and this chiefly distinguishes poetry from prose, and renders Virgil's rules of husbandry more delightful and valuable than any other. These poems, which are esteemed the most perfect of the author's works, are, perhaps, the best that can be proposed for the young student's imitation in this manner of writing; for the whole of his Georgics is wrought up with wonderful art, and decorated with all the flowers of poetry. IV. Of those poems which give precepts for the recreations and pleasures of a country life, we have several in our own language that are justly admired. As the most considerable of those diversions, however, are finely treated by Mr Gay in his Rural Sports, we particularly refer to that poem. We should here treat of those preceptive poems that teach the art of poetry itself, of which there are many that deserve particular attention; but we have anticipated our design, and rendered any farther notice of them in a manner useless, by the observations we have made in the course of this treatise. We ought however to remark, that Horace was the only poet among the ancients who wrote precepts for poetry in verse; at least his epistles to the Pisos is the only piece of the kind that has been handed down to us; and that is so perfect, it seems almost to have precluded the necessi ty of any other. Among the moderns we have several that are justly admired; as Boilean, Pope, &c. Poets who write in the preceptive manner should take care to choose such subjects as are worthy of their muse, and of consequence to all mankind; for to bestow both parts and pains to teach people trifles that are unworthy of their attention, is to the last degree ridicu lons. Among poems of the useful and interesting kind, Dr Armstrong's Art of Preserving Health deserves particular recommendation, as well in consideration of the subject, as of the elegant and masterly manner in which he has treated it; for he has made those things, which are in their own nature dry and unentertaining, perfectly agreeable and pleasing, by adhering to the rules observed by Virgil and others in the conduct of these poems. 149 With regard to the style or dress of these poems, Its proper it should be so rich as to hide the nakedness of the style. subject, and the barrenness of the precepts should be lost in the lustre of the language. "It ought to a- Warton on bound in the most bold and forcible metaphors, the Didactic most glowing and picturesque epithets; it ought to be Poetry. elevated and enlivened by pomp of numbers and majesty of words, and by every figure that can lift a language above the vulgar and current expressions." One may add, that in no kind of poetry (not even in the sublime ode) is beauty of expression so much to be regarded as in this. For the epic writer should be very cautious of indulging himself in toe florid a manner of expression, conversation, all the affairs of life and researches into Epistle. nature may be introduced. Those, however, which are fraught with compliment or condolence, that contain a description of places, or are full of pertinent remarks, and in a familiar and humorous way describe the manners, vices, and follies of mankind, are the best; because they are most suitable to the true character of epistolary writing, and (business set apart) are the usual subjects upon which our letters are employed. Didactic expression, especially in the dramatic parts of his fable, where he introduces dialogue: and the writer of tragedy cannot fall into so nauseous and unnatural an affectation, as to put laboured descriptions, pompous epithets, studied phrases, and high-flown metaphors, into the mouths of his characters. But as the didactic poet speaks in his own person, it is necessary and proper for him to use a brighter colouring of style, and to be more studious of ornament. And this is agreeable to an admirable precept of Aristotle, which no writer should ever forget,-" That diction ought most to be laboured in the unactive, that is, the descriptive, parts of a poem, in which the opinions, manners, and passions of men are not represented; for too glaring an expression obscures the manners and the sentiments." 150 "The cha racter of We have already observed that any thing in nature may be the subject of this poem. Some things, however, will appear to more advantage than others, as they give a greater latitude to genius, and admit of more poetical ornaments. Natural history and philosophy are copious subjects. Precepts in these might be decorated with all the flowers in poetry; and, as Dr Trapp observes, how can poetry be better employed, or more agreeably to its nature and dignity, than in celebrating the works of the great Creator, and describing the nature and generation of animals, vegetables, and minerals; the revolutions of the heavenly bodies; the motions of the earth; the flux and reflux of the sea; the cause of thunder, lightning, and other meteors; the attraction of the magnet; the gravitation, cohesion, and repulsion of matter; the impulsive motion of light; the slow progression of sounds; and other amazing phenomena of nature? Most of the arts and sciences are also proper subjects for this poem; and none are more so than its two sister arts, painting and music. In the former, particularly, there is room for the most entertaining precepts concerning the disposal of colours; the arrangement of lights and shades; the secret attractives of beauty; the various ideas which make up the one; the distinguishing between the attitudes proper to either sex, and every passion; the representing prospects of buildings, battles, or the country; and, lastly, concerning the nature of imitation, and the power of painting. What a boundless field of invention is here? What room for description, comparison, and poetical fable? How easy the transition, at any time, from the draught to the original, from the shadow to the substance? and from hence, what noble excursions may be made into history, into panegyric upon the greatest beauties or heroes of the past or present age? SECT. VI. Of the Epistle. THIS species of writing, if we are permitted to lay down rules from the examples of our best poets, admits the epistle. of great latitude, and solicits ornament and decoration; yet the poet is still to consider, that the true character of the epistle is ease and elegance; nothing therefore should be forced or unnatural, laboured or affected, but every part of the composition should breathe an easy, polite, and unconstrained freedom. It is suitable to every subject; for as the epistle takes place of discourse, and is intended as a sort of distant All farther rules and directions are unnecessary; for this kind of writing is better learned by example and practice than by precept, We shall, therefore, in conformity to our plan, select a few epistles for the reader's imitation; which, as this method of writing has of late much prevailed, may be best taken, perhaps, from our modern poets. The following letter from Mr Addison to Lord Halifax, contains an elegant description of the curiosities and places about Rome, together with such reflections on the inestimable blessings of liberty as must give pleasure to every Briton, especially when he sees them thus placed in direct opposition to the baneful influence of slavery and oppression, which are ever to be seen among the miserable inhabitants of those countries. While you, my lord, the rural shades admire, For wheresoe'er I turn my ravish'd eyes, And still I seem to tread on classic ground; How am I pleas'd to search the hills and woods Sometimes, misguided by the tuneful throng, I look for streams immortaliz'd in song, Sometimes to gentle Tiber I retire, And the fam'd river's empty shores admire, Yet 151 Examples in epistolary poetry from Addi son. Epistle. Yet sung so often in poetic lays, With scorn the Danube and the Nile surveys; Oh cou'd the muse my ravish'd breast inspire See how the golden groves around me smile, Immortal glories in my mind revive, And wond'ring at their height thro' airy channels flow. While the bright dames, to whom they humbly su'd, Such heavenly figures from his pencil flow, Here pleasing airs my ravish'd soul confound How has kind heav'n adorn'd the happy land, O liberty, thou goddess heav'nly bright, [smile. Fir'd with the name, which I so oft have found The distant climes and diff'rent tongues resound, I bridle in my struggling muse with pain, That longs to launch into a bolder strain. But I've already troubled you too long, Nor dare attempt a more advent'rous song: My humble verse demands a softer theme, A painted meadow, or a purling stream; Unfit for heroes; whom immortal fays, And lines like Virgil's, or like yours, should praise. Thero. Epistle. Epistle. 152 Lyttleton. There is a fine spirit of freedom, and love of liberty, displayed in the following letter from Lord Lyttleton to Mr Pope; and the message from the shade of Virgil, which is truly poetical, and justly preceptive, may prove an useful lesson to future bards. From Rome, 1730. The fairest garlands of the Aonian grove; For now no more these climes their influence boast, Nor Baiæ now nor Umbria's plain they love, So in the shades, where cheer'd with summer rays. Oft kiss, with lips devout, some mould'ring stone,, As late on Virgil's tomb fresh flow'rs I strow'd, Nor, when each soft engaging muse is thine, Of thee more worthy were the task to raise But pleas'd a mild AUGUSTUS to obey. If these commands submissive thou receive, The following letter from Mr Philips to the earl of 2 No gentle breathing breeze prepares the spring, No birds within the desert region sing: The ships, unmov'd, the boist'rous winds defy, While rattling chariots o'er the ocean fly. The vast Leviathan wants room to play, And spout his waters in the face of day: The starving wolves along the main sea sprowl,, And to the moon in icy valleys howl. O'er many a shining league the level main Here spreads itself into a glassy plain : There solid billows of enormous size, Alps of green ice, in wild disorder rise. And yet but lately have I seen ev'n here, The winter in a lovely dress appear. Ere yet the clouds let fall the treasur'd snow, Or winds began through hazy skies to blow, At ev'ning a keen eastern breeze arose, And the descending rain unsully'd froze; Soon as the silent shades of night withdrew,, The ruddy morn disclos'd at once to view The face of nature in a rich disguise, And brighten'd every object to my eyes: For ev'ry shrub, and ev'ry blade of grass, And ev'ry pointed thorn, seem'd wrought in glass 3In pearls and rubies rich the hawthorns show, While through the ice the crimson berries glow. The thick sprung reeds, which watery marshes yield, Seem'd polish'd lances in a hostile field. The stag in limpid currents with surprise, Sees crystal branches on his forehead rise: Epistle. 153 Philips and. This |