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taken into their consideration, most of them passing it over in silence, or casting it under the same head with Pastoral; a division by no means proper, unless we suppose the style of a husbandman ought to be imitated in a Georgic, as that of a shepherd is in Pastoral. But though the scene of both these poems lies in the same place, the speakers in them are of ą quite different character, since the precepts of husbandry are not to be delivered with ihe simplicity of a ploughman, but with the address of a poet. No rules, therefore, that relate to Pastoral, can any way affect the Georgics, since they fall under that class of poetry which consists in giving plain and direct instructions to the reader, whether they be moral duties, as those of Theognis and Pythagoras-or philo. sophical speculations, as those of Aratus and Lucretius—or rules of practice, as those of Hesiod and Virgil. Among these different kinds of subjects, that which the Georgics go upon is, I think, the meanest and least improving, but the most pleasing and delightful. Precepts of morality, besides the natural corruption of our tempers, which makes us averse to them, are so abstracted from ideas of sense, that they seldom give an opportunity for those beautiful de scriptions and images which are the spirit and life of poetry. Natural philosophy has indeed sensible objects to work upon, but then it often puzzles the reader with the intricacy of its notions, and perplexes him with the multitude of its disputes. But this kind of poetry I am now speaking of, addresses itself wholly to the imagination : it is altogether conversant among the fields and woods, and has the most delightful part of nature for its province. It raises in our minds a pleasing variety of scenes and landscapes, whilst it teaches us; and makes the driest of its precepts look like a description." A Georgic, therefore, is some part of the science of husbandry, put into a pleasing dress, and set off with all the beauties and embellishments of poetry.".' Now, since this science of husbandry is of a very large extent, the poet shows his skill in singling out such precepts to proceed on, as are useful, and at the same time most capable of ornament. Virgil was so well acquainted with this secret, that to set off his first Georgic, he has run into a set of precepts, which are almost foreign to his subject, in that beautiful account he gives us of the signs in nature, which precede the changes of the weather.

And if there be so much art in the choice of fit precepts, there is much more required in the treating of them, that they may fall in after each other by a natural, unforced method, and show themselves in the best and most advantageous light. They should all be so finely wrought together in the same piece, that no coarse seam may discover where they join; as in a curious brede of needle-work, one colour falls away by such just degrees, and another rises so insensibly, that we see the variety, without being able to distinguish the total vanishing of the one from the first appearance of the other. Nor is it sufficient to range and dispose this body of precepts into a clear and easy method, unless they are delivered to us in the most pleasing and agreeable manner: for there are several ways of conveying the same truth to the mind of man; and to choose the pleasantest of these ways, is that which chiefly distinguishes poetry froin prose, and makes Virgil's rules of husbandry pleasanter to read than Varro's. Where the prose writer tells us plainly what ought to be done, the poet often conceals the precept in a description, and represents his countryman performing the action in which he would instruct his reader. Where the one sets out as fully and distinctly as he can, all the parts of the truth which he would communicate to us, the other singles out the most pleasing circumstance of this truth, and so conveys the whole in a more diverting manner to the understanding. I shall give one instance out of a multitude of this nature that might be found in the Georgics, where the reader may see the different ways Virgil has taken to express the same thing, and how much pleasanter every manner of expression is, than the plain and direct mention of it would have been. It is in the second Georgic, where he tells us what trees will bear grafting on each other,

Et sæpe alterius ramos impune videmus
Vertere in alterius, mutatamque insitu mala i .
Ferre pyrum, et prunis lapidosa rubescere coina.

Steriles Platani malos gessere valentes, .
Constuneæ fagos, ornusquc incanuit albo
Flore pyri: Glandemque sues fregere sub ulmis.

-Nec longum tempus: et ingens
Exiit ad Cælum ramis felicibus arbos;
Miraturque novas frondes et non sua poma. .. .

.. Here we see the poet considered all the effects of this union between trees of different kinds, and took notice of that effect which had the most surprise, and by consequence the most delight in it, to express the capacity that was in them of being thus united. This way of writing is every where much in use among the poets, and is particularly practised by Virgil, who loves to suggest a truth indirectly, and without giving us a full and open view of it, to let us see just so much as will naturally lead the imagination into all the parts that lie concealed. This is wonderfully diverting to the understanding, thus to receive a precept, that enters as it were through a by-way, and to apprehend an idea that draws a whole train after it: for here the mind, which is always delighted with its own discoveries, only takes the hint from the poet, and seems to work out the rest by the strength of her own faculties. . · But since the inculcating precept upon precept will at length prove tiresome to the reader, if he meets wiih no entertainment, the poet must take care not to encumber his poem with too much business, but sometimes to relieve the subject with a moral reflection, or let it rest awhile for the sake of a pleasant and perti,

nent digression. Nor is it sufficient to run out into
beautiful and diverting digressions (as it is generally
thought) unless they are brought in aptly, and are
something of a piece with the main design of the
Georgic: for they ought to have a remote alliance,
at least to the subject, that so the whole poem may be
more uniform and agreeable in all its parts. We
should never quite lose sight of the country, though
we are sometimes entertained with a distant prospect .
of it. Of this nature are Virgil's descriptions of the :
original of agriculture, of the fruitfulness of Italy, of
a country life, and the like, which are not brought in
by force, but naturally rise out of the principal argu-
ment and design of the poem. I know no one di-
gression in the Georgics that may seem to contradict
this observation, besides that in the latter end of the
first book, where the poet launches out into a dis-
course of the battle of Pharsalia, and the actions of
Augustus: but it is worth while to consider how ad-
mirably he has turned the course of his narration into.
its proper channel, and made his husbandman con-
cerned even in what relates to the battle, in those inia
mitable lines, .

Scilicet et tempus veniet, cum finibus illis
Agricola incurvo terram molitus aratro,
Exesu indeniet scabra rubigine pila :
Aut gravibus rastris galeas pulsabit inanes, i!

Grandiaque effossis mirabitur ossa sepulchris. And afterwards speaking of Augustus's actions, he still remembers that agriculture ought to be some way. hinted at throughout the whole poem.!

-Non ullus aratro
Dignus honos: squalent abductis arva colonis:

Et curvæ rigidum falces conflantur in ensem. . We now come to the style which is proper to a Georgic; and, indeed, this is the part on which the . poet must lay out all his strength, that his words may be warm and glowing, and that every thing he de

scribes may immediately present 'itself, and rise up to the reader's view. He ought, in particular, to be careful of not letting his subject debase his style, and betray him into a meanness of expression, but every where to keep up his verse in all the pomp. of numbers, and dignity of words.

I think nothing, which is a phrase or saying in common talk, should be admitted into a serious poem; because it takes off from the solemnity of the expression, and gives it too great a turn of familiarity: much less ought the low phrases and terms of art, that are adapted to husbandry, have any place in such a work as the Georgic, which is not to appear in the natural simplicity and nakedness of its subject, but in the pleasantest dress that poetry can bestow on it. Thus Virgil, to deviate from 'the common form of words, would not make use of tempore, but sydere, in his first verse; and every where else abounds with unetaphors, Grecisms, and circumlocutions, to give his verse the greater pomp, and preserve it from sinking into a plebeian style. And herein consists Virgil's master-piece, who has not only excelled all other poets, but even himself, in the language of his Georgics; where we receive more strong and lively ideas of things from his words, than we could have done from the objects themselves; and find our imaginations more affected by his descriptions, than they would have been by the very sight of what he describes.

I shall now, after this short scheme of rules, consider the different success that Hesiod and Virgil have met with in this kind of poetry, which may give us some further notion of the excellence of the Georgics. To begin with Hesiod: if we may guess at his character from his writings, he had much more of the husbandman than the poet in his temper: he was wonderfully grave, discreet, and frugal; he lived altogether in the country, and was probably, for his great prudence, the oracle of the whole neighbourhood. These principles of good husbandry fan through his

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