Charms for every Mind, and we pity most, where most our Pity's wanted.

So that the two noblest Beauties, and which constitute the main
Difference between Poetry and Versification, between a perfect Poem and
a Madrigal, Epigram or Elegy, are entirely lost in those Pieces, and
the only Pleasure they can raise, must proceed alone from Sentiment and
Diction.


SECT 3.

_The Length of Pastoral, yet further shown from the Passions it raises_.

In every rational and consistent Piece, the Writer has some Aim in View;
as, to work every thing up to one End and a Moral Result; or to excite
some Passion, or the like. Otherwise it is but an Assay of Wit, a Flirt
of the Imagination, and no more. Too trifling to detain the rational
Mind. Now, that these short Pieces are not capable of having a Moral,
or raising any Passion, I need trouble my self for no other Proof than
there never having been such one produced.

But give me leave to instance in the usual Method of forming a Pastoral.
One Shepherd meets another; tells him some body is dead; upon which,
they begin the mournful Dialogue, or Elegy. But in such an Elegy, there
is but one thing can raise a fine Pleasure; which can be the only solid
Reason for the Writers performing such a Work; and that is the raising
Pity, without which no End is obtain'd by such a Dialogue. And 'tis only
a School-Boy tryal of Wit; like a single Description. Unless the Poet
think's it enough that the Scene is laid in the Country, and the very
Talk of Shepherds is enough to support a Piece. And the truth is, of